Digital Video Cameras Types

Digital Video (DV) is an ideal format for anyone wanting to use a camcorder (DV camera) to work with video on the PC or the Web. The most exciting aspect of DV editing is the purity of the content. No matter how much you work with your video, if you keep the data in a digital format, the video quality will be exactly the same.corders.

The analog process transmits video as complete frames, with the receiving device then interpreting and translating the signal into video and audio on a monitor. It is at this interpretation stage that a progressive loss of data, however small, leads to a loss in quality.
Digital video, on the other hand, stays digital (such as '0's and '1's ) with the data constructed to describe the colours and brightness of a video frame.

FireWire (other terms include iLink, IEEE 1394 or 1394EEE) provided both the transfer speed, at 400Mpbs, and consistent rates to allow the average PC user to edit their video like a pro.

In the not too distant past, there was a clear distinction between USB and FireWire. USB 1.1 could not transfer high quality DV; loosely defined as 25 frames per second (fps) with each frame being 640x480 resolution, due to USB's transfer limit of around 11Mbps (or around 1.5MB per second). Transferring DV requires a transfer rate of at least 3.6MB per second, which left FireWire as the only option due to its ability to work at 400Mbps, or up to around 50MB per second. Then along came USB 2.0 with a transfer rate of 480Mbps or around 60MB per second.

There are several types of camcoders, depending on storage format.

DV camcorders
From the introduction of the first DV camcorder using the MiniDV tape format, the choices of DV camcorder have expanded, and there are now several format options to suit the way that you want to work.
If you want to prepare video for the Web, or to write to DVD or VideoCD with little or no editing of video, a disc-based camcorder may be the ideal solution.

Tape-based camcorders
MiniDV tape-based camcorders are the most popular DV camcorder choice, with the first model arriving in the mid-1990s.
The advantages of MiniDV include a proven tape format with widespread availability. M
HD-based camcorders
High Definition (HD) video is creating a lot of interest, mainly due to some spirited campaigning by the cable networks wanting you to buy HD boxes to watch TV. Plus, HD is delivered in a widescreen format (16:9) rather than the normal TV format of (4:3).
However, you won't be seeing camcorders available for the average video maker for some time yet.

Disc-based camcorders
Tape is not the only option when it comes to DV camcorders, for there is a variety of different media including mini DVD discs, removable storage and even hard drives.
Panasonic, Hitachi and Sony have released DVD-based camcorders that can record from around 20 minutes up to 1 hour of MPEG-2 video (depending on the quality selection) directly to small 8cm DVD that can then be played directly in a home-based DVD player. However, there are not many options for consumers, with around a dozen choices available across the three companies.

If you are looking for a small camcorder, take a look at the latest Flash Memory camcorders, such as the Panasonic D-Snap, that use SD cards instead of tape. The huge reduction in SD media prices (you can now get a 512MB SD card for under $90), makes flash card-based camcorders a much more affordable option

Digital video camera buying tips

If you're new to the digital video world, then knowing all details of the trade is essential. But let's pause for a moment and go back to the basics.

1. Choose a format.
Of the portable formats, Betacam SP and Betacam SX, Sony DVCAM, Panasonic DVCPRO and JVC Digital-S record the best pictures, but the machines cost $6,000+, so that's probably overkill.
The next step down is DV/MiniDV and Digital8, with professional models costing around $3,000. The Digital8 and DV formats are digital, yielding 500 lines of resolution (very sharp picture) and tapes copied digitally are virtual clones of each other, showing no degradation.
For the lower-end analog formats, Hi8 and SVHS, they are good for about 3 generations of editing/duplication, but nothing stops you from shooting in these formats and editing in some better format.
VHS and 8mm are out of the question for serious video work You're better off getting a good MiniDV camera than being discouraged by the lack of quality in these analog formats.

2. Three chips are better than one.
The more chips you get, the better. Two-chip cameras split the light (weakening it, incidentally), sending some to the color-sensing chip and some to the
luminance-sensing chip. Best, (and most expensive) are the three-chip cameras, the colors stay sharp and pure; luminance resolution is excellent.

3. Check for low light sensitivity.
The more sensitive the camera, the better. Light sensitivity is measured in lux. The lower the number of lux in the spec, the more sensitive the camera.
Don't trust the specs on consumer and prosumer cameras unless they measure them by the "ANSI" method. Some manufacturers don't adhere to established standards of measurement. Also check that the specs are given with the same amount of gain boost; one camera can shoot in 2 lux with +18 dB gain boost, making a fairly grainy picture, while another does the same thing with only a +6 dB gain boost (a smoother picture).
Most professional cameras adhere to more standardized specs, typically 2000 lux at f8. This is a lot of light, but there is no gain boost and the lens can offer a decent depth-of-field.
In most cases, the more light you throw onto the subject, the better your picture will look, especially the colors.

4. The higher the resolution the better.
Higher resolution means sharper pictures. Prosumer cameras start at about 400 lines of horizontal resolution, professional models reach 700.

5. Check for smear.
Smear is a vertical stripe you see running through bright lights (ie. headlights at night) in your picture. The better chips (Hyper HAD, for instance) counteract this abberation.

7. Look for automatic controls with overrides.
The automatic controls get you shooting quickly (while you dive into the ditch as a tornado whirls by) and save you from twiddling knobs.

8. Consider DSP (Digital Signal Processing).
DSP cameras aren't much better per se, but DSP allows you to:
Set up the camera controls (black and white balance, etc.) easily.
Make all your camera adjustments once for each shooting situation, then store them to be retrieved at the touch of a button.

9. Look for multiple-use flexibility.
Can this camera be configured for the studio and EFP? What does it cost for the extra parts (viewfinders, lens cable drives, etc.) to do so? Dual-use cameras can serve two masters.

10. Now, some of the details:

• Time code generator built-in (to keep track of your shots when editing)
  
• Variable shutter speed (freezes motion, or allows you to have computer screens in the shot without seeing bars running across their CRTs)
  
• Wide variety of lens options.
  
• Good camera balance. How does it feel on your shoulder?
  
• Quick start recording (to catch that tornado).
  
• Low power consumption (to squeeze a full 40 minutes out of your aging one-hour
  

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Basic Digital Video Camera Planning

First of all, have a good think about what you are planning to shoot with your camcorder. Planning is the key to a good production.
If you’re being paid for a project, pre-production planning is also essential. So you shold use basic filming techniques.
You can sketch up a storyboard, make notes or an interview/information session with the client...
First of all any video you take needs to have a beginning, a middle and an end.
Here's a practical example:

Timmy's first soccer final is on Saturday. It's a big occasion so you are going to capture it on video. Using our basic formula lets make it into a compelling story-

Beginning:
Open with a shot of the alarm clock, Timmy packing his bag, having breakfast then climbing into the car. All less than 5 seconds duration and if your camera has the function, set it to fade in and out to black.

Middle:
The team runs onto the field. Shots of Timmy chasing, dribbling and passing the ball at warm-up. Get the opening whistle and kick off, then move around the field for various angles and shots of Timmy. Film the coaches address to his players at half time followed by more game footage.

End:
Ref blows the full-time whistle and you video the teams shaking hands and walking off the field. Finally, close the video with a shot of our star and maybe a few words.

It is a very simplified version so here's a few tips to remember:

• Don't keep the camera rolling in the hope that something interesting will happen.
  
• Move around so you're not always filming from the one spot.
  
• Use close-ups and wide shots alternatively.
  
• Don't talk over the footage, let the pictures tell the story.