Not to belabor the point, but:

--have you tried shooting with an HD110 on a Merlin?
--have you shot with an HD110 hidden under your coat?
--have you been happy with the image stabilization on the HD110?
--can you use the HD110 with the stock lens and without a wide-angle converter?
--can you shoot 60p HD with the HD110?
--have you tried putting the HD110, a tripod, a DSLR, lens, radio mics and additional accessories in an airplane carryon that meets international standards?
--have you been happy with the the auto-focus on the HD110?

Obviously the verdict is out. There may be some features not happy to all, such as the lack of a lanc connection.

But if the picture looks good and the encoding holds up, I don't think a 1/4" sensor makes any difference. It does give a smaller, more compact (and lighter weight) lens, that is very good. The 10x zoom is fine for a handheld camera. I don't know how wide the camera goes, but if it doesn't need a converter, and goes a bit wider than the XH-A1, that is great! If the lens get excellent pictures wide open, that is also very good, and if the lens is better than average stopped down, that is also good. (Maybe some of the cost goes into the lens...?) A 1/4" sensor should give better depth of field, which is appropriate for a camera intended primarily for hand-held use.

Maybe extra money has gone into the encoder, or a newly designed CCD. And the camera is true progessive CCD, not CMOS. I have a feeling that being able to shoot quickly in a particular format and quickly off-leading from and SD card will be very good for many people.

I think SAG is correct in holding out, and not giving in like the Directors and Aftra did. "New Media" is here, new delivery is here, and production styles are changing. To me the XH-A1, for example, is an old-style camera in a smaller (but still too big) package. I predict the JVC HM-100 is the first of a whole new generation camera for a new generation of production types and styles.

Have you ever carried HD100 3000 feet up and hung on a rope all day with it? At 3.2 lbs (most likely without a battery) and 5.5 x 7 x 14.4" it's not an "undercoat" type camera. It's smaller and lighter, but not really all that small and all that light. Hd110 or 100 are older types, but they are proven and produce quality picture. Yes, the image stabilization could be better, but we don't know if the new camera will be much of a progress. I flew recently to Canada a few times with HD100. Porta Brace bag will hold all the junk (including AB battery, mics, firestore and SLR). Tripod will never meet carry-on standard, even for security reasons.
Other major issue I have is 4:2:0 and lack of wide angle lens. 39 mm is not wide angle! So again falling short in this department.

Have you ever carried HD100 300 feet up and hung on a rope all day with it? At 3.2 lbs (most likely without a battery) and 5.5 x 7 x 14.4" it's not an "undercoat" type camera. It's smaller and lighter, but not really all that small and all that light. Hd110 or 100 are older types, but they are proven and produce quality picture. Yes, the image stabilization could be better, but we don't know if the new camera will be much of a progress. I flew recently to Canada a few times with HD100. Porta Brace bag will hold all the junk (including AB battery, mics, firestore and SLR). Tripod will never meet carry-on standard, even for security reasons.
Other major issue I have is 4:2:0 and lack of wide angle lens. 39 mm is not wide angle! So again falling short in this department.
We are talking to different things.

Carry on size is 22x14x9 inches, with a weight limit of 13 pounds (Virgin) though most airlines give you a little more weight:
Baggage Policies for Virgin Atlantic (http://www.seatguru.com/airlines/Virgin_Atlantic_Airways/baggage.php)

Then jumping on and off of trams in Germany, dodging traffic in Moscow, shooting inside a compact rental car, quickly dropping the camera in a large purse or tourist shoulder carry bag, holding the camera overhead in a crowd with ois and auto-focus, not appearing as a news reporter in a riot, running at full speed... the HD110 doesn't excel at this type of shooting.

For a carry-on tripod I use the Gitzo Traveler and 2180 fluid head. Together they are about 3 pounds or less. I also carry a Gitzo monopod in the same bag (see size above).

It's a tight fit, but here is what goes in the carry-on:
Canon XH-A1
Pentax K200
4 Pentax lenses
Gateway 12" Laptop
500 GB hard drive
SD Cards
A few tapes
Century .6x WA adapter (for XH-A1)
Gitzo Traveler tripod
Gitzo 2180 fluid head
Filters
Remote zoom controller
Cable release
2 pcs. 22x14" foam core
Sometimes 1-3 Electronic Flash units
Small flash light
Some clothes (for padding and emergency)
A few little things I've forgotten


Admittedly, this is a tight fit. The bag is an old Samsonite (worn, not standing out). It will expand when off the plane. The new HM-100 should give me a much better packed bag.

When off the plane I will split the gear into a second bag and I'll probably leave the computer where I am staying.

This isn't possible with the JVC HD-110.

The Canon shoots 60i and 24f, which I use. But I frequently have to use 1/100 shutter speed, because of old lights. The PAL upgrade for the XH-A1 is over $500. However, it is built into the HM-100, giving me the ability to shoot 25p at 1/50 at the least, I suspect.

No matter what one does, the HD-100 is not great for complete inconspicuosity.

It appears to me that if one needs the new features (especially size, formats, PCM audio, SD recording) on the HM-100, it's worth the price.

On the other hand, if one wants a cheap second camera, there's the Canon HV-30. It will shoot 24p, though one has to jump through hoops to remove pull-down, etc. etc.

Jack, while growing up in Poland in the 70's and 80's I participated (both by choice and by chance) in more riots then most people ever will. So even not as a journalist then I know how it is. However this in not the issue. The point is (and this is only my opinion) this product falls short right at the starting line as far as features-quality-price category. For me 4:2:0 chroma sampling and lack of wide angle (28 mm) lens, (and no Lanc) are major issues. This camera is supposed to be targeted for ENG's, so maybe ditching 24p and beefing up other options would be a better idea.
It's obvious to me JVC reps are luring on this website. I would hope they treat this forum not as piss and vinegar board, but as constructive criticism. I would like to have for once a camera that fits my needs 100%. This is a tool, complex and intricate, but a tool only.
BTW according to B&H the dimensions of HM100 and XH-A1 are almost the same, Canon being only about 1 lbs heavier.

BTW according to B&H the dimensions of HM100 and XH-A1 are almost the same, Canon being only about 1 lbs heavier.
The pages I saw show the weight of the JVC camera a little more than 2 lbs. lighter. The weight of the JVC is a bit lighter than the Sony V1U, which is about the size of the PD150.

As far as dimensions, the JVC about an inch smaller in both heighth and width, which is fairly large amount in volume. I think the length is misleading since it seems to include the mic mount on the JVC.

But as you mention, the Canon lens is wider, etc.

I don't know if there will every be one camera for everything. Perhaps the new Red comes closest, with all it's options.

However, remembering back when I worked on movies, several different cameras were always used: one for shooting in the studio on the pedestal, another on the steadicam, another for slow-motion, and so forth.

I'm also not sure that ENG is the intended use for the HM-100. I think multi-camera narrative shot for new media might be a target market. I also think there might be an upgrade already planned for this camera that would explain some of the choices made on the initial camera in the line... perhaps some sort of wireless synch system or low-cost time-code jamming?

One note, if the camera did not have 1280x720/24p and 60p, I would not be interested.

After all a 1/3" sensor, which is now the 'gold standard' of the prosumer camcorders is only about 25% larger than a 1/4" sensor.

If sensor size is measured across the diagonal then the area is proportional to the square of this measurement and a 1/3" sensor should have almost twice the area of a 1/4" one. In any case, it's clear from currently shipping cameras that 1/4" sensors tend to fall short for serious use while 1/3" is barely adequate, especially in low-light situations. $4000 is too much to pay for an HD camera with a 1/4" sensor when there are better alternatives available at that price; $3000 or even $2500 would be more realistic.

If sensor size is measured across the diagonal then the area is proportional to the square of this measurement and a 1/3" sensor should have almost twice the area of a 1/4" one. In any case, it's clear from currently shipping cameras that 1/4" sensors tend to fall short for serious use while 1/3" is barely adequate, especially in low-light situations. $4000 is too much to pay for an HD camera with a 1/4" sensor when there are better alternatives available at that price; $3000 or even $2500 would be more realistic.

Yes, you're correct if you do the math. However, I've used a 1/4" sensor (the Sony V1U) and it would match up to a 1/3" camera such as the HVX200 (which I have also used), and in fact in many ways I thought it was much superior in overall sharpness (HVX200 users - don't flame me). That's not even talking about 1/3 or even 1/2" sensors of previous eras ---technology and time marches on.

To me the main relevant issue with 1/4" vs 1/3" isn't necessarily with low light, or other factors. It's with being able to limit the depth of field. You can't do it that well with a 1/3" sensor and really can't much with a 1/4" without going telephoto.

Also, as you increase the sensor size so you usually need to increase the size of the lens. To get the equivalent on a 1/3" sensor would also increase the lens, the size of the overall camera, and the weight, taking it out of the smallish prosumer realm.

The proof will be in some test footage in original EXCAM EX format that this camcorder will produce. I can't wait and if it's good enough I'll get one because it really fits with the 'B' camera role especially you have a Sony EX series which has a great workflow for me.

We'll really have to just wait and see the footage ourselves. But what is for sure is that its amazing to have any of these sub 10K HD Cameras - they all look pretty good, and as long as they have good audio (which this one seems to) any will do.

In fact with all the compression in the delivery downstream, and the way most home viewers have there TV's set up, MANY of the spec / chip size / DOF / 4:2:0 / HDVCAMDVCPROACC whatever is a wash... as long as you have good audio. People will watch it if its compelling, but not if they have a hard time hearing it.

Eagerly waiting to give this camera a try. Fingers crossed for the LoLux.

However, I've used a 1/4" sensor (the Sony V1U) and it would match up to a 1/3" camera such as the HVX200 (which I have also used), and in fact in many ways I thought it was much superior in overall sharpness (HVX200 users - don't flame me).
But that's not really comparing like with like, as the V1 is CMOS, the HVX200 CCD. As far as sharpness goes, the V1 has approx 1Mpixel sensors, the HVX200 0.5Mpixel (though they should be considered about 0.75Mpixel equivalent because of pixel shift) so the V1 should be sharper. That and the smaller overall chip size makes every individual pixel smaller than for the HVX200, so you'd expect sensitiviy to suffer - in practice, being CMOS v CCD allows it to hold it's own with the HVX200.

That said, and apart from DOF issues, an undesirable feature of sensors getting smaller are diffraction effects, which can effectively limit the smallest aperture that can be used.

I'm very excited about the edit workflow that these cameras represent. I was leaning heavily towards buying the HMC 150 although the AVCHD workflow isn't there. But not now.

The prospect of editing native files from SD card into Avid or Final Cut Pro or Premiere without transcoding should have everyone shouting from the mountain tops.

Everything else considered, I think this is a great concept overall. I'm glad I waited. I have money in hand and plan on buying both.

Cheers.

Craig's Supermeet GY-HM100 presentation is online... MacVideo - Camera Technology - Features - JVC introduce the GY-HM100; the world's first camera to record high quality native QuickTime files for immediate editing within Final Cut Pro (http://www.macvideo.tv/camera-technology/features/index.cfm?RSS&ArticleID=109356)

I too am very excited about this camera.....the biggest draw is the FCP ready to edit files....but the price is a bit high for the actual specs. The design is straight from the HD10U and GRD HD1.....2 great sized cams.....I really hope they come in at a lower price point considering the HMC150 is $3200+

Can't wait to read 1st impressions!
(I'm hoping blacks aren't crushed and whites aren't clipped- and good dynamic range!!!)

Craig's Supermeet GY-HM100 presentation is online... MacVideo - Camera Technology - Features - JVC introduce the GY-HM100; the world's first camera to record high quality native QuickTime files for immediate editing within Final Cut Pro (http://www.macvideo.tv/camera-technology/features/index.cfm?RSS&ArticleID=109356)

The detachable handle is very appealing. This camera would be great for shooting MOS or with separate sound.

As mentioned in the intro to the presentation, I like the multicam possibilities with this camera. I will be looking for an inexpensive and wireless way to put in synch markers to the cameras and to a small separate recorder.

I don't see the need for timecode synch, but rather synch markers that can be dropped in at intervals or the press of a button from a wireless transmitter.

It would be very nice to have an option to flip the screen to the top of the camera (like a Z1U) when the handle and sound input module are removed.

Stripped down, I think this camera could be great for some high action Merlin shooting, being both heavy enough and light enough for outstanding Merlin use.

This looks like the HD version of Sony's PDX 10 which i used to own. It looks like a great travel cam for doco work when you wish to look like a tourist. I'm very tempted.

These have probably been posted before, but here's a couple of links with more info.

MacVideo - Camera Technology - Features - JVC introduce the GY-HM100; the world's first camera to record high quality native QuickTime files for immediate editing within Final Cut Pro (http://email.macvideo.tv/go.asp?/bMCV001/qF87C7/xJDOK5)

MacVideo - Camera Technology - Interviews - Craig Yanagi, National Marketing Manager, JVC USA, talks about the GY-HM100 (http://email.macvideo.tv/go.asp?/bMCV001/qXQGC7/xJDOK5)

I too am very excited about this camera.....the biggest draw is the FCP ready to edit files....but the price is a bit high for the actual specs. The design is straight from the HD10U and GRD HD1.....2 great sized cams.....I really hope they come in at a lower price point considering the HMC150 is $3200+

Can't wait to read 1st impressions!
(I'm hoping blacks aren't crushed and whites aren't clipped- and good dynamic range!!!)
Agreed about size of the cam. Its form factor reminds me of the Panasonic DVC30.

As a legal videographer, I wonder if the HM100 has a date/time stamp feature for use during documentations and depositions. If it does, I'd prefer to go with a QT native format camera like the JVC than transcoding MPEG4 like with the HMC150.

As a legal videographer, I wonder if the HM100 has a date/time stamp feature for use during documentations and depositions.

No, the HM100 does not have a date/time stamp feature.

Perhaps someone has answers to these questions:

Where is the built-in mic? I can't see it. Is it on the body or on the detachable handle?

Are there provisions for recording directly from the camera to the BR-HD50? Perhaps directly from the SDHC card connected to a computer to the BR-HD50. For ongoing projects or long-term backup, it would be convenient to use the tape deck one may already have.

Hi Craig -

is there going to be a "L" version of the 700 ? basically just a body only ? then one could move over all their 100/200 parts. then you guys could offer a lower price which might be much more attractive in the current economy.

I'm sure the new glass will be better then the current stock lens, and the VF also improved, but I could live with what I have for a while, and upgrade down the road.

I do hope the camera will have either a built in AB / V mount, or accept the old adaptors.

No, the HM100 does not have a date/time stamp feature.

Thanks for the info, Craig. That said, are you aware if the pending HM700 will have that feature?

No, the HM100 does not have a date/time stamp feature.

But the files themselves are date stamped on the card with a "Date Created" date and time (to the minute.) This shouldn't change no matter how many times the file is copied.

But the files themselves are date stamped on the card with a "Date Created" date and time (to the minute.) This shouldn't change no matter how many times the file is copied.

Understood, Tim. But both the Federal and state rules of evidence mandate that a date/time stamp (with seconds) be a visible component of the original recording. That goes for depositions as well as other legal video documentary functions.

Understood, Tim. But both the Federal and state rules of evidence mandate that a date/time stamp (with seconds) be a visible component of the original recording. That goes for depositions as well as other legal video documentary functions.

For that purpose there would be no workaround. You can't visually date/time stamp the video with any of the other cameras in the JVC lineup either.

In fact I can't think of any modern professional cameras that can do this.

For that purpose there would be no workaround. You can't visually date/time stamp the video with any of the other cameras in the JVC lineup either.

In fact I can't think of any modern professional cameras that can do this.

For clarification, the terms 'date/time stamp' and 'date record function' are synonymous.

In SD, the Sony PD-170 and DSR-250 have this feature, as did the Panasonic DVC30. As far as HD, I'm aware of some cameras that do: the XHA1s and XHG1s, HVRZ1U, HMC150, HPX170.

Here is the product page, specifications, showing that the camera has an "internal mic" (See Section HD Video Recording, Audio Recording):
JVC Professional Specifications page (http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL101845&feature_id=03)

Does anyone know where the mic is located? Can it be seen in the pictures? Is it on the body or the handle?

Thank you.

(As a side note, the specs indicate that this camera is both NTSC and PAL, with all the shooting modes for each. However, on the JVC page there is a "U" after the "HM100." Does this mean that there are actually going to be two models of this camera? one for NTSC and one for PAL?)

The mic is literally in the first photo of the links you sent... its on the top of the lens. Follow your link, then on to pictures, then blow the 1st one up.

The mic is literally in the first photo of the links you sent... its on the top of the lens. Follow your link, then on to pictures, then blow the 1st one up.

Thanks! I think I see it now, the raised band with little holes in it on top of the lens.

It looks like one can take the handle off and still record sound as a reference track to match another recording (of a clap or whatever).

I can't tell (and don't know if it's been said) if the lens shade comes off or not so a a wide angle or fisheye can be put on. Skate boarding and other sports looks like a possible market, and the fisheye and extreme wide angle are popular.

In all the specifications I read I can't see anywhere mentioned the low light capability of the lenses. Does anyone knows about that?

The JVC page says this:

"Versatile Manual Controls
When operating the camera in the manual mode, depth of field can be adjusted by manually setting the iris. Aperture priority automatically selects the correct shutter setting based on the iris selection. Shutter can be manually adjusted from 1/4 to 1/10000 sec. Other manual adjustments include:

LoLux mode -- a JVC exclusive feature that permits shooting in adverse lighting conditions

H detail & V detail Adjustment
KNEE Setting (AUTO/LOW/MID/HIGH)
Zebra pattern which range specification is possible
Color matrix/Gain Adjustment
Gain settings of 0,3,6,9,12,15,18 dB & ALC can be assigned to the "L/M/H" gain switch
Gamma Adjustment which gives rich expression of gradation"

We'll just have to see how that LoLux mode is. I'm guessing it will not be good enough for people who really should have a DP or someone to light something properly (even with only 1 light), but will "fingers crossed" be good enough for getting the shot vs. no getting the shot...

We'll see.. can't wait.

the info is here: JVC Professional Technical Discription page (http://pro.jvc.com/prof/attributes/tech_desc.jsp?model_id=MDL101845&feature_id=02)

The Lo lux is an added extra. I mean that every lens indicates how much light needs to be able to reproduce a good image in lux and with what f/stop combination.

I mean that every lens indicates how much light needs to be able to reproduce a good image in lux and with what f/stop combination.

The fStop @ Lux specification is based on the camera imager, not a specific lens.

For example, many broadcast Sony Betacam front ends were rated at f8 @ 2000 lux when I started in the business. This rates how sensitive the imager is, not how much light passes through a lens. Speed of lenses is rated in fStop or (more accurately) T-Stop numbers (usually only on Cine style lenses).

I know but the thing is that we don't know what low lux can the camera do.
Does anyone knows?
I mean EX1 is something like @0.14 lx F1.9, +18 dB gain, @64frames

I don't think the life span of this generation of cameras will be too long. Here we go with SDXC cards- capacity of up to 2 TB! Also greatly increased writing speed. Companies should take a hint from RED. These cards will make possible to record virtually without compression. ProRes 422 HQ is .82Gb/min, so long recording times without quality loss will be possible. Personally I would also like to see 24 frame rate going away, replaced with 30 or even 60p. The days of film are numbered and in the near future even movie theaters will be showing films through digital projectors.

I'm not sure if Chris posted this link somewhere already but here's my "sneak peek" review.
JVC ProHD GY-HM100 Sneak Peek by Tim Dashwood on DV Info Net (http://www.dvinfo.net/articles/jvcprohd/hm100sneakpeek.php)

Great Tim thanks but it seems this isn't a winner at low light as V1E never was. But the look of the cam is awesome. This is a beauty in contrary with Panasonic new line.
It seems also that the files will be easily edited on MC as they use EX's codec.
Can I find some clips to download and test for myself?

JVC is very smart. The option to record mxf is just as significant as the ability to record in Quicktime. Avid edits using mxf. and edits 25 and 35mbits native. And I believe that you can edit mxf native in Adobe Premiere and After Effects. So direct injest is certainly there. You may not be able to edit straight off the card in Avid, but this is much better than converting mp4 to mxf like you do with XDCAM EX.

Good call JVC.

I wonder if I can import QT files of it into MC as it fully support it.

I wonder if I can import QT files of it into MC as it fully support it.

Sure it will import QT. However, I believe it will be a forced transcoode into DNXHD which will be a much slower import than importing native XDCAM codec mxf and editing natively in the same codec. Otherwise you would go out HDSDI, which you can do on the HM 700 but not the HM 100. But, yes if you felt the need to record in quicktime you can still get it into Avid as DNXHD.

I think from the spec it will be long gop mpeg-2 within Mpeg4 level 14 wrapper not MXF. THis is what the Sony EX1 is. The EX3 is pure MXF.

From Tim Dashwood's review linked a couple of posts earlier: "The truth is that the HM100 has two recording formats! It has Quicktime, indicated as .MOV in the menu system, and "ISO Base Media File Format," indicated as .MXF in the menu system.

According to Tim it is mxf. I take ISO to refer to industry standard file format and mxf is widely adopted.

I'm not sure if Chris posted this link somewhere already but here's my "sneak peek" review.
JVC ProHD GY-HM100 Sneak Peek by Tim Dashwood on DV Info Net (http://www.dvinfo.net/articles/jvcprohd/hm100sneakpeek.php)
Thanks! I hadn't seen your review, so I was wondering if there were bad news.

But, from my point of view, much to the contrary... Good News!

The very reasonable picture at 18db gain, the small camera size (and removable handle!), and other features make this seem to be a very promising camera for many uses. I still think this fits a need that is missing and has a possibility of being very successful.

I think from the spec it will be long gop mpeg-2 within Mpeg4 level 14 wrapper not MXF. THis is what the Sony EX1 is. The EX3 is pure MXF.

Correct. Exactly like EX1 or EX3. The files themselves are in a .mp4 wrapper, even though the menu indicated "MXF (http://en.wikipedia.org/wiki/MXF)." I should have been clearer about that in the article.

Keep in mind this is a pre-release engineering sample so the internal firmware will likely change before the cameras ship in April.

Tim

Can you post some full rez grabs from the Caesar's Palace shots?

Or some videos?

Video clips or frame grabs would not be a good idea at this point; the camera Tim had is just an engineering sample, not complete, and not representative of the image quality from a finished, shipping unit. So it wouldn't be fair to you or to JVC, because such clips and grabs would not be accurate. We'll post samples as soon as we can get material from the same kind of unit as the ones that will ship (an engineering sample just won't cut it). Thanks for understanding,

The 35Mbps clips I shot are way to big to upload anyway (next time I'll shoot little 4 second clips to make it easier) and I'm having trouble uploading a full res tiff to the server. I'll see if Chris can post this tiff somewhere else.
It is an engineering sample and the blue/yellow flaring you see may be a non-issue by the time the camera ships but it was still very impressive how little noise there is in the picture at +18dB gain.

would love to see a grab anyway - knowing that it is not a final version... and hoping that final will be at least as good.

Thanks

but it was still very impressive how little noise there is in the picture at +18dB gain.

This is very true. Very minimal noise at those pics.

Some more user pics..

http://www.videoaktiv.de/images/2009/jvcpro/full.jpg

http://www.videoaktiv.de/images/2009/jvcpro/display.jpg

Tim, thanks for the time to post the first look. Other than some night shots did you do any other shooting? What were your impressions, say comparing against existing camcorders, specifically the EX1 or EX3? (or others if appropriate).

I think we all realize there are going to be some tweaks to the final version of the camcorder before release, but there should be some basic impressions (other than lack of remote wired control). I think we're all interested in the image quality. It's hard to really tell from a couple of reduced-rez frame grabs of a fairly low complexity, low texture image such as a building (although much appreciated by all for anything, even this). Will you be posting more full screen grabs or other subjective impressions on your tests with this camcorder?

Thanks much again.

He promised to post videos also and I think he will do.
One thing I missed is where is the ring for iris.
I hope they don't mean you can +/- only without f/stops.

Has there been any information of the sensor resolution yet ?
I really don't worry too much about the small 1/4" CCD-size as long as the native resolution is HD (1920x1080) and not SD (960x540).