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Summary of AJ-HDC27H
I now possess a publication from Panasonic (written by Mike Bergeron and edited by Doug Layton) regarding the many changes in the new “H” model. It’s also been distributed at the recent Varicamp in Seattle, but there are some things included which have not been brought to the attention of the interested audience, namely the folks who participate here. So I’ll summerize the summary as follows:
The changes are in three catagories:
Physical
1. Front Housing is sturdier to provide more support for heavy lenses; also runs warmer because of improved heat sinking that spreads the heat over a larger area.
2. Viewfinder mount is changed to SDX900 style. Also meant to accomodate Accu-Scene third party color VF, which is also accomodated by menu setting which routes color to the VF connector.
3. Accessory Connections (HRS Hirose) are protected so that “mis-wired” cables like a microforce will not damage camera electronics. Also said to provide enough current to power wireless mike receiver (although I’ve had no problem doing so with “F” model).
4. Camera Outputs are labeled to reflect newly dedicated HD-SDI “EE” signal with no characters and HD-SDI “Mon” like before, with nomenclature and menus. SDI boards now use less power, although the “H” uses 4 more watts total than before. It also seems that the remote control connector and the dc out connector are reversed on the new camera. Perhaps this is to help indicate new from old without referencing model number designmation on top.New Features
1. Clean SDI Feed as mentioned above provides always clean 12 bit output for non-DVPRO100 recording direct to disc or D5 VTR. Also for use when doing live remote or live switched shows.
2. Color EVF Compatibility includes menu setting to route color to Accu-Scene VF.
3. Pixel Compensation automatically fixes bad pixels that appear at speeds below 12fps. Also “White Blemish Compensation” is engages when ABB is performed.
4. Enhanced Lens File adds 8 lens file settings that include Flare control in a manner just like the Scene File menu so it’s much more intuitive.
5. Audio Delay is optionally removed (in VTR menu) so that the 2 frame delay can be selected (to match “V” and “F” cameras or picture and sound can be recorded in dead sync. Interesting, but a potention land mine. Be careful and always check this setting when you get an unknown “H” camera!
6. More Heat because of 4 watt more consumption. To be blamed on new 12 bit DSP and A/D converters. “Should not be a problem unless shooting in very hot conditions”. Consider yourself warned!
7. Frame Rate Switch now allows you to assign one of the Usder Swtiches to toggle between two frame rates.Image Improvements
1. High Resolution Emulation Mode for “super sharp 60p broadcast look”. From my tests, you can only see effect when detail itself it turned up too.
2. New CCD’s and accompanying new Prisim Block provides F12 sensativity (vs. F11?) and 12 bit A/D converter “improves gradation, especially over large fields of gradating tones”.
3. 12-Bit DSP Processing lends “additional horsepower for improved image enhancement and signal processing” although in a “F” vs “H” shootout yesterday, I could see no differance!
4. Blue Channel is claimed to have an improved preamp design to help in “dealing with dark blues (noise), low light level scenes, and ble screen work”.I can say from my own tests yesterday, with Doug Layton at Birns and Sawyer
that the two cameras are very easily matched (despite the incompatibility of the memory cards) and that subjectivly the new camera looks no better than the old! This is good news for the many “F” owners. I do feel that there will be many rentors who will seek out the newest model and God bless them! I’m planning to add an “H” to my inventory to accomodate them anbd other “H” users who seek file card compatibility. I hope that the camera pays itself off in the next year before I fear all tape based cameras will be marginally obsceleted!JMHO,
JS
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