Sony PMW-200 Brings HD 4:2:2 Workflow to XDCAM Camcorder Line

[Andy Wilkinson]

Thanks Alister. Skin tones do indeed look good in that video of yours.

One other question. I read (on another website) that the PMW-200 has lost the Shot Transition feature. I hardly ever use it on my Sony cameras but I'm just keen to clarify what all the differences are between the EX1R and the PMW-200, as indeed I guess many people will be - especially those about to buy a new camera in this category.

One other comment. What was Sony's design reasoning behind the silver coloured door over the SxS media slots? Anyone know? I presume so it's easier to see when you need to open it in a dark environment? Looks a bit naff though and I imagine some nature/bird shooters will hate it's distraction/light catching potential (on opening). I know exactly where my media is on my EX3 by feel alone/could change it blindfolded if I needed to.

[BTW, I don't really care what the camera looks like, just its images, ruggedness, flexibility in control features and ergonomics for the kind of shooting I do - this PMW-200 seems to tick most of the boxes].

Just noticed the potential 4 channel/24kHz audio options too (albeit two of those channels would just be the internal stereo mics). Details below.

[Alister Chapman]

Yes, shot transition has gone, but you will be able to use a CBK-WA01 (wifi dongle, same as used on PDW cameras) to remotely control some functions like zoom, rec start and stop and focus remotely via an iOS or Android device. I believe you will also be able to use XM-Pilot for logging and metadata management.

I'm not sure about the silver SxS card cover either. All the pre-production cameras have it, but perhaps it will be black on the production cameras.

The ability to record from both the internal and external mic's is nice. Gives you a backup audio recording.

[Gabor Heeres]

Hi Alister,

Just a side question, not specifically regarding the PMW-200 but important if I do step up. Does the older PMW-EX30 deck read SxS cards that are recorded at 422 50 Mbps? Because this older deck was already on the market evenbefore the PMW-500 was realeased it might be a concern? This deck is intalled in my main client's MCR and SNG (I do news).

Two more questions about the PMW-200 itself: The audio controls-door looks a lot more fragile (just as it is on the NX5) than on the EX1R. What's your impression about that? The NX5 than has 3 different ND filters, what's Sony's motivation to build only 2 in an even more professional and more expensive camera?

Hope you've some answers to these 3 issues.

Thanks

Gabor

[Allan Barnwell]

Not to interrupt the discussion - but I'd like to throw out this information I just received. I'm being told that the PMW-200 will have a list price around $7,700 in the US (not sure if this is old news -haven't seen pricing online anywhere yet). That price may be subject to change - I believe it is still being finalized along with release date.

Also - we are starting our $200 deposit pre-orders today on our website later this morning.

Allan Barnwell
Omega Broadcast Group - Professional Video Sales, Rental & Services

[Philip Lipetz]

Our team needs a cam just like this be, but we will never buy a camera that forces us back into proprietary media that is unnecessarily expensive. There is no reason that high end standard cards could not work in this camera.

[Cliff Totten]

@ Alister,

Have you been able to confirm the SDI out is true 10bit?

Also, in your quick noise test, you compared it to EX1 images using +9db. When looking at +12db or even at the +18db top,... what were your findings? (I think you used the phrase "slight improvement")

The 4:2:2 difference is not huge to me. I can shoot 4:2:2 with my EX1r and outboard Hyperdeck 2 when I want it. The biggest factor for me to sell my EX1r for this would be noise performance and if the gain is worth it.

Will an EX1r be just as clean when I use my Neat Video NR in my editor.

All the other bells and whistles are a "nice to have" but not "need to have" for me.

Thanks Alister!

Cliff

Oh,...one think I didn't like when I handle a PMW 100 demo was it's "plasticy" feeling in my hands. I felt like I was holding a "Star Wars" toy or something. How does the PMW 200 build quality feel?

[Galen Rath]

Control by iPhone opens up new possibilities for steadicam work.

[Les Wilson]

Originally Posted by Philip Lipetz

Our team needs a cam just like this be, but we will never buy a camera that forces us backi into proprietary media that is unnecessarily expensive. There is no reason that high hend standard cards could not work in this camera.

You should buy a Canon XF300 if you want to use non-SxS media. I for one enjoy being able to buy robust professional media. It's better, who cares if it's proprietary?

[Galen Rath]

When the media is cheap, I seem to buy much more than I need. When it is expensive, I buy just what I need. In the end I spend the same amount with each type of media. Beware of your spending habits.

[Barry J. Weckesser]

The dimensions of the PMW 200 camera are interesting - nearly 16 1/2" long compared with the EX 1/R 12 1/4". I have a Nanoflash setup attached behind my EX1 with the elegant baseplate/side bracket from Olof Ekbergh and the total length measures 16". It works extremely well and also helps me steady the camera with my shoulder. Certainly can't see upgrading to this new model - now when 4K and 60p come around in another couple of years it might be a different story.

[Alister Chapman]

The EX30 only plays 35Mb/s 1920 x 1080 SxS media, so will not work with any 50 Mb/s media.

The door to the audio controls is quite thin, but it is also quite flexible and this might make it less prone to damage. Only time will tell.

Bigger sensors mean that diffraction blur will small apertures will be much less pronounced on the EX's or PMW200 than on a NX5. So in effect the EX1/PMW-200 has a greater usable aperture range, so you don't need such fine steps of ND to compensate. That might be why they are different.

The XDCAM HD422 format allows clips to be any length up to the capacity of the card without breaking the file into chunks. So, to retain compatibility with all the other XDCAM HD422 cameras a file system other than FAT32 with it's 4GB file limit had to be used. Sony chose UDF as that's what the optical disc XDCAM cameras use. While you can format SD cards with UDF if you do, you will often experience a performance hit and you may also run into reliability issues. SDHC cards are designed specifically to work with FAT32. The wear levelling process used in the cards is designed to work with the block sizes used by FAT32. If you use another format you can get corruption caused by the incorrect block size. You can use XQD for UDF and this is cheaper than SxS.

Of course you can always continue to use the camera in FAT mode with 35Mb/s 420 for everyday non broadcast projects with SD cards and just switch up to XQD and SxS when you need 422 and UDF. You'll still have the benefits of the slightly improved picture quality either way.

[David Dwyer]

Originally Posted by Alister Chapman

The camera is covered in ventilation grills, most off them on the rear of the camera body and underside. I would hope that the sensor area is separated from the rest of the camera to prevent dust ingress, I don't think Sony would release a camera with this many vents without protecting the sensor area somehow.

This is a major worry for me as I film in VERY dusty conditions!

[Gints Klimanis]

If we're at the limit of sensor technologies, I'd be tempted to upgrade for more focusing and metering aids as well as a bump in the LDC and Viewfinder resolution. Is a higher density display (like Apple's Retina display in 2010) not possible for Sony in 2012?

[Les Wilson]

I notice the shotgun mic holder sticks up quite a bit more than the EX1 does. Is it removable?

[Andy Wilkinson]

I took mine of my EX3 as soon as I got it. Two crosshead scews and 10 seconds. I would be surprised if it was any more complicated on this new cam but someone who has handled it better confirm.

The Sony mic mount, even if this one is more robust that what we've seen before, is no substitute for something decent from Rycote like the excellent Invision Video or maybe Rode offerings, both of which are easily removable.

Downside is that these better mic mounts (typically) occupy the front shoe so you are no longer able to get that "rabbit caught in the headlights" look so easily from your talent, if you want to use an on-camera light, for example ;-)

I found taking off my EX3's Sony mic mount also enabled me to much more easily get the cam in a Petrol bag for overhead airplane storage on some big international jobs that I was doing.

Over to someone who has seen the method of attachment.