It is popular for producers of documentaries and other television programs because of its small size and relatively low cost. It records in i. The consumer models lacked professional features such as XLR inputs and some manual controls. The HVR-Z7 breaks this pattern as it has all professional features of previous prosumer models, and has no consumer equivalent, although it has a larger shoulder-mounted sister camera, the HVR-S
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No other codec offers the same level of support and reliability, nor the comforting familiarity for those reared on digital tape. While it lacks some of the high-end features needed for broadcast-quality productions most notably XLR inputs and an interchangeable lens it remains a solid entry-point for budding freelancers. From its user-interface to its video performance, every facet of this camera is steeped in sheer class. Yes — by a hair. At k, the HDR-FX shares the same effective pixel count as its FX7 predecessor, although the optics used to get the job done have all changed.
Its optical zoom, meanwhile, remains unchanged at 20x, though this remains impressive for a prosumer-grade camcorder most high-end models sport underpowered zooms due to their wide-angle lenses. What all this means is that the HDR-FX is more adept at capturing crisp, noise-free video than the FX7, particularly in low-light environments. Unfortunately, our HDR-FX7 test footage went missing during the recent exodus to our new office, so we were unable to do any side-by-side comparisons.
By contrast, we recall the FX7 struggling to produce clean images under similar circumstances. There can be no doubt about it: the FX improves on its award-winning predecessor by leaps and bounds. This essentially mimics the look and feel of celluloid and will be a huge boon for amateur film-makers who want their projects to appear as cinematic as possible.
It also comes with CinemaTone Gamma and CinemaTone Color filtering options, which further enhance images with deeper, film-like tones.
While not ideal for all situations free-roaming handheld footage tends to suffer from ghosting, for instance , the 25p progressive scan mode is an excellent option that broadens the scope of what the cameraman can achieve. Another welcome addition to the FX is its servo-controlled iris ring, which joins the focus and zoom rings on the lens barrel.
Naturally, this makes the unit a lot more user-friendly when it comes to manual adjustments, with all major controls right there at your fingertips. One caveat is that the zoom ring still lacks a fixed beginning and end point, which is something we criticised the FX7 for. However, due to limitations of the tape format, it only works in short, 6 second bursts, which translates to 24 seconds of footage.
These give the user greater control over the distribution of light wavelengths and colours in an image, all at the flick of a switch. It also boasts three programmable buttons that can be assigned specific functions. In addition to making you look suitably professional, this also helps to get the results you need quickly, as opposed to fiddling around with an unwieldy menu screen for ages on end.
With a maximum resolution of just 1. In terms of design, the FX could almost pass for one of its predecessors, though a closer inspection reveals vastly improved build-quality. Everything just feels sleeker and more robust on this model, with a nice balance between portability and heft. The sense of class has also been carried over to the LCD display, which is a damn sight better than the typical prosumer offering.
It worked quite well in bright sunlight and could be relied upon when making focus adjustments. Consequently, even video-snobs who stick exclusively to viewfinders may find themselves peering at the LCD display. Stubborn traditionalists will be equally impressed by the Xtra Fine viewfinder which sports a massive pixel-count of 1. On the plus side, the inbuilt 2ch stereo microphone does a good job of capturing audio in all but the noisiest of situations, while the inclusion of a 3.
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