The operator’s side of the HVR-Z5U, with lens hood and short shotgun mic fitted. It starts at 4.1mm and zooms to 82mm; in 35mm still-camera terms, Sony says that’s equivalent to 29.5mm – 590mm. Compare that to Sony’s figures for the HVR-Z7U (32mm – 384mm) or the EX1/EX3 (31.4mm – 439mm). Sony HVR-A1U last downloaded: 11.8.2020 - 2020 version. Download Rating: 94%. Windows 7 drivers: Sony HVR-A1U - windows driver, Driver scan: Sony HVR-A1U - windows driver. But, Premiere disappointed. I'm using a Sony HVR-Z1U, attempting to capture a 1080i60 HDV tape. I set up the project, selecting HDV as my capture type. I got the Capture window open, and have machine control. But that's where it gets, uh, funky. I can control the camcorder.but the capture window is black.
The Sony HVR-M15U HDV deck serves as a bridge between SD and HD video formats.
Don’t you wish there was a middle-ground product that would allow you to invest in the new high-definition technologies, yet still be able to fully use your vast stockpiles of standard-definition (SD) video footage? Sony’s new HDV HVR-M15U VTR may be just the tool.
In 2003, Sony and three other corporations (Canon, Sharp, and JVC) introduced the new HDV format. Some said it was the last hurrah for tape-based media; others complained that editing it would be a complete horror. I’m not sure either is right. The goal was to create a standard capable of recording professional, high-definition content onto conventional, inexpensive DV recording media. By using the pre-existing DV technology, development costs were minimized and those savings passed on to the user, helping to make HDV the most inexpensive HD format available. (The new HVR-M15U VTR costs a fraction of the price of higher end HD solutions.)
HDV records high-definition images in a compressed MPEG-2 stream (Sony’s 1080i version records Main Profile at H-14 MPEG-2). As with other flavors of MPEG-2, HDV employs a group of pictures (a GOP) containing I, B, and P frames that effectively lean on each other for completeness, allowing the GOP to include less data than comparable individual full frames would require. Both HDV 1080i and HDV 720p devices are downward-compatible with DV, so you can easily edit, copy, and distribute with DV if desired.
The Sony HVR-M15U”s unique design allows it to sit horizontally or vertically.
By all measures, HDV has succeeded as a format already. According to Sony, HDV has become the most popular HD recording format ever, with more than 35,000 HDV 1080i units shipped during the first six months of availability. JVC’s HDV products have enjoyed similar sales (and critical) success. A healthy online community of HDV user groups is growing, providing info and support resources. From all reports, and now from my own experience, HDV gets the job done well, compressed as it is. For a small one- or two-person outfit such as mine, the HDV format looks to be a very cost-effective path to an HD future. Forza horizon 3 dev build download.
Now, recent advancements in both computer chips and software-processing technology have made realtime encoding, decoding, and editing of HDV MPEG-2 possible, addressing a key barrier to wider adoption. So, let’s look at the new Sony VTR, which serves as a bridge for HDV signals from the shooting to the editing domains.
This new VTR reminds me a little of the old DSR-11 in form — relatively lightweight and small with a footprint about the size of a sheet of paper. The HVR-M15U’s unique design allows it to sit either horizontally or vertically, and I chose the latter option.
Sony Hvr Z1u Manual
The M15U has a wide range of connectivity options, including the i.Link (IEEE 1394) digital interface, component YUV output, S-Video I/O, composite I/O, and analog audio I/O. The deck can also copy external timecode through the HDV/DV in TC feature, and it has a downconversion function from HD to SD, but not vice versa.
You can take a HDV signal and downconvert it to DV or DVCAM (with a choice of Letterbox or Squeeze screen formats), but you cannot take your DV tapes and make them HDV. I say again: You cannot take DV/DVCAM/S-VHS signals and make them HDTV-compatible. For that, you need to buy an SD to HD converter, which can be costly. However, if you work with projects from overseas, the M15U is switchable, between 60Hz and 50Hz, to handle NTSC and PAL broadcast formats.
For two weeks, I ran various tests using the deck as I would any other. The controls on the deck are a bit small for my fat fingers (but the concave buttons help), and the tape loading/unloading a bit delicate. But, overall, I liked using this VTR. I downconverted footage shot with the Sony HVR-Z1U HDV camcorder to DVCAM and DV via IEEE 1394, and found outstanding quality with almost no discernible or measurable signal degradation via my eyes or the waveform/vectorscope. Connecting various VTRs that handle other formats, I took DV footage and recorded it as DV/DVCAM, composite VHS to DV, HDV to S-VHS, and VHS, and every possible cross-configuration. In all cases, the HVR-M15U copies looked as good, or better, than those produced by any other deck I used.
Most of the time, I used the composite and S-VHS outs for monitoring, but it was when I hooked up the M15U via its component YUV output that the picture quality naturally took a leap forward. Hooking it up to a Sony KDF-E50A10 Grand WEGA three-chip LCD rear-projection HDTV, I could finally understand what all the hubbub was about. When playing back HDV footage, shot from a Z1U camera, the imagery was stunning, even on a fairly inexpensive monitor — it’s like going from mono to stereo.
As with some other things (e.g. dual monitors in the edit suite and DV in general), once you use the new product or technology, you’ll never want to go back.
I also used the new deck with various PC- and Mac-based nonlinear editing programs. Most, if not all, popular editing applications now fully support native HDV editing. For example, Apple Final Cut Pro, Final Cut Express, iMovie 6 on the Mac, and Adobe Premiere Pro 2.0 on the PC offer users the ability to capture and edit HDV content in its original format, with no conversion or quality loss.
When HDV first came out, many video editors were concerned about editing MPEG-2 video. It was a challenge then — but, based on my experience, any current concerns are much ado about nothing (save for a few remaining gotchas, such as editing 24fps HDV). I used Premiere Pro 2.0 and Final Cut Express and iMovie from the iLife ’06 package with no problems, other than some lags and artifacts during shuttling and whenever a tape was paused, but nothing that precludes a productive workflow.
Of course, many, if not most people, won’t edit directly from the VTR, and will instead use it as an I/O device to move elements into their NLE workstations, saving wear and tear on their camera tape transport, keeping the camera available, and providing an easy way of combining multiple formats and doing conversions (and all the other things a VTR brings to workflow). Those who do edit in software are wise to plan for the extra horsepower and storage HDV may require.
Over my weeks of full-time testing, I found HDV footage (and even DV tapes) played through the M15U offered natural color reproduction with exceptional sharpness and brightness levels. But most of all, I was blown away by the depth of field between foreground and background objects.
I loved the M15U for many reasons — for its smaller, 1/2RU form factor, its ability to operate vertically on my soon-to-be uncluttered desktop, and its overall Sony reliability. If there is anything I’d wish for, it would be for YUV component input as well as the output it currently offers. This would allow use of the older Betacam SP format. For high-end facilities, SDI I/O would be appropriate, but, admittedly, this is an HDV product and IEEE 1394 I/O is the order of the day.
It also would have been great to include the new HDMI, which would support high-definition monitoring on today’s generation of consumer electronic devices. (Sony’s slightly higher-end M25U deck includes HDMI.) But as it is, the YUV component hookup to the E50A10 Grand WEGA monitor provided stunning visuals.
There are a few more items I’d like to see in the next version, but nothing that would preclude me from buying an HVR-M15U now. For instance, there is no headphone jack included. This would be a useful feature because, it seems, this unit is designed to sit vertically next to a computer — RF-interference issues aside. (Again, the more feature-rich HVR-M25U has a headphone jack.) And you can’t navigate the menu via the included remote control — you must use the buttons on the unit.
Another slight annoyance was the deck would not stay in pause mode. (It’s common for decks to exit pause mode to avoid tape degradation.) I am also not crazy about the tape-insertion protocol — you almost have to put your hand into the unit to push in a tape. It’s a design that seems prone to breaking.
It would have been nice to include some menu items, and/or readouts on the unit itself (all info is output to a video monitor, the overlay of which you can turn on and off from the front of the deck). The front dropdown door seems ripe for an LCD info readout display.
Because of the GOP structure of the HDV signal, I could not get the unit to do any decent audio scrubbing. But again, this is an HDV issue, not a problem specific to this deck.
Any shortcomings are few and far between with this VTR. For the most part, the various software makers have addressed the editing problems associated with HDV, so the format is truly ready for the professional production environment.
The HVR-M15U HDV VTR is a cost-effective video playback and recording deck that provides a perfect transition from the DV and DVCAM formats (and even S-VHS!) into the HD world. It may sound trite, but my HDV viewing experience was truly eye-opening. Webley mk3 air rifle serial numbers.
bottomline
Company: Sony Park Ridge, N.J.;
(800) 686-7669
www.sony.com/professional
(800) 686-7669
www.sony.com/professional
Product: HVR-M15U
Assets: Small size, low cost, multi-format compatibility, easy use.
Caveats: No YUV component input.
Demographic: Content producers needing a cost-effective HDV VTR that supports downconversion to DV/DVCAM.
PRICE: $2,640
Contributing Writer and Reviewer Tom Patrick McAuliffe also writes for
Broadcast Engineering magazine as well as other publications.
Broadcast Engineering magazine as well as other publications.
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