Product Review: Brian Walshe
Panasonic AJ-D810 Camera/Recorder
Full Review | Fast Facts
Note: The following review first appeared
in "Pro Video Review," an IMAS Publishing Group publication
devoted to equipment reviews for video professionals. Click
here to receive a subscription.
Ahhh… new equipment. The smell
of it, the touch of it, the delight of handling the latest technology
¾ this is one of the reasons we’re in this industry, isn’t
it?
If you’re like me, when I get a new piece of equipment
in my hands for the first time the first thing I do is a personal
ritual. I bypass all the paper ¾ the readme-firsts, operator
manuals, etc., and go right for the hardware. This ritual proves
to be a good test of the new product and myself in that 1) I am
a capable engineer, able to pick up a new camera and operate it
straight out of the box; or 2) the new equipment was built user-friendly
right from the start. I am happy to report on both counts that the
camera and I passed.
Features
The AJ-D810 camera/recorder uses the industry-standard
Sony-style 2/3" bayonet lens mount, permitting easy interchange
with other broadcast cameras. The lens supplied on the review unit
was an internal focusing Canon YJ18x9BIRS with 2x extender and data
coupling to the camera. It also accepts mechanical and electronic
remote controls for use in studio camera configuration or on a jib
or other support. The camera appears to be built for the daily grind
of news operations with a cast alloy case that should withstand
years of use.
The viewfinder offers a large viewport with a with
a telescoping eye tube that easily adapts to different-sized people,
and a fast, one-hand adjustment that simultaneously moves both the
lateral and front-to-back position of the entire viewfinder. Using
a screwdriver, the shoulder rest moves front and back for comfort
and balance. The camera controls fall into familiar positions for
users experienced with Betacam cameras and are quite easy to learn.
The tape deck controls are also no problem, since they are in the
standard positions found on major broadcast cameras and docking
recorders. Almost everything you need is at your fingertips, including
such niceties as luminous audio switch controls and front-mounted
volume and mode check buttons. Pressing the mode check button displays
all the camera settings in the viewfinder without requiring the
operator to open the audio panel to turn on the viewfinder menu.
Multiple personalized camera settings are available on the PCM memory
card. The weight (14.5 lb ¾ 6.6 kg) and power consumption (24
W) are similar to comparable DVCPRO cameras. We found that in shooting
light-duty "photo-opportunity" type coverage with the
supplied ABH50 Anton-Bauer lithium-ion battery, the battery could
be left on the camera for 2 ½ days before showing decline in capacity.
Your existing brick batteries will work with this camera, but since
power consumption is modest, you will have an easier time with lighter
half-size nicads or the newer lithium batteries.
The PCM setup card, at first glance, offers two general
features: convenience in storage and retrieval of scene files, and
edit information for Panasonic’s proprietary non-linear editor.
The card is able to store any camera settings that can be entered
through the viewfinder menu. Although we did not have the AJ-DE77
Editor, editing should be faster and more efficient with the "Picture
Link" function that loads picture icons, scene data and camera
operator selections. If you look a bit further, however, this setup
card is a valuable tool for the cameraperson who has to share the
use of the camera with others, and for the equipment manager. This
means that operators can set their individual preferences on their
own cards and an equipment manager has an easy way to get all his
equipment back to his preferred standard after use.
One feature not normally emphasized on ENG cameras
is their ability to record composite video. The AJ-D810 menu will
let you select the genlock video input connector as a composite
input. This may save you some day when you need to copy video from
someone else on a shoot. Your playback, of course is time-stable
as with other digital tape formats, making the camera a good source
for dubs or direct on-air use.
With a combination of the standard three-way gain
switch on the operator panel, the backlight compensation button,
the "Super Gain" button and the menu settings, you have
14 different video gains available. This is more than anyone needs,
but it means that you can customize your gain preferences any way
you want. The Super Gain settings may save you in an emergency,
but they are really intended for extreme situations. It is amazing
to see full range color images in light so low the eye has difficulty
seeing color.
The shutter has easy-to-set modes for shooting scenes
that include computer screens. This feature changes the shutter
speed in very small increments (248 steps from 60.3 Hz to 253.4
Hz). You just look through the viewfinder and push the Synchro Scan
up or down button until all the artifacts disappear from the computer
screen in the image. This is much easier and faster to use than
the methods used in some ‘high-end’ cameras, and has the benefit
of staying close to your original exposure and f/stop, reducing
motion judder effects.
If you need to record one for you and one to pass
to someone else, just add the 26-pin VCR connector (optional) and
record on a second deck at the same time.
The viewfinder display may be customized with up to
15 different items. This lets you have just the amount of information
you want to see for your particular use of the camera. Anything
in the viewfinder display may be set with the PCMCIA SRAM card,
so you may also have different display configurations for different
types of jobs. The large aperture of the viewfinder eyepiece makes
this camera a joy to operate for the eyeglass wearer, with a large
diopter range and easy viewing at a distance.
In Use
We shot a series of test scenes with the AJ-D810 and
with the Ikegami HL-V77W, also a DVCPRO unit. The camera was subjected
to typical ENG and EFP use in both in normal and low-light conditions.
The AJ-D810 was a bit easier to configure for the
physical comfort of the operator thanks to the one-knob viewfinder
setting. The AJ-D810’s Synchro Shutter made shooting scenes with
computer screens easier and faster, with less frustration for the
operator.
A camera’s viewfinder peaking control aids focusing
by exaggerating the image of sharply focused objects. The viewfinder
of the AJ-D810 shows less peaking noise than the Ikegami, using
edge enhancement instead. Some of our operators liked the effect
of the noise display, others preferred the edge display.
Shooting in low light, the Ikegami had the edge in
sensitivity, but at a higher cost. The AJ-D810’s Super Gain settings
may still save you when using light would be dangerous. The Panasonic
demonstrates a very forgiving nature toward mixed light situations,
delivering a good picture in situations that typically thwart your
best intentions. We found that we could easily mix light sources
in a creative manner and not get in trouble with color balance.
The fast and stable camera playback was a great client
convenience for us, enabling repeated checks and immediate approval
by the producer as we shot. During an interview that required an
immediate client viewing copy, we were able to make VHS dubs from
the camera during breaks in the shooting. This resulted in a pleasantly
surprised and satisfied client, who will be back again.
We had to call customer service a few times during
our evaluation with questions about the construction of the camera’s
chassis, using the composite recording capability, etc. Our calls
were courteously and promptly handled by a knowledgeable technician
each time. The company notes that it has 24-hour parts and tech
support, and if it can actually deliver on this, we will have service
that hasn’t been seen in the camera field since RCA folded its tent
in Camden, NJ.
Summary
"Looks good, lasts a long time" was a familiar
saying at Ikegami maintenance school. Well, you can say the same
thing for the Panasonic AJ-D810. Although we weren’t able to give
this camera a long-term test, in the short term it delivered as
promised. It was more convenient than the competition in some side-by-side
comparisons of practical use. While the camera does appear to be
a bit less rugged than one that costs twice as much, it should provide
many years of good service with results that will pay the bills
and not require any apologies.
Fast Facts
Applications: Independent cameraperson or videographer;
daily broadcast ENG use
Key features: Good low-light sensitivity; easy
shutter settings for shooting computer screens; PCB card scene file
storage; comfortable for those used to high-end cameras
Price: $24,950 with ENG package
Contact info: Panasonic Broadcast Company,
(201) 348-7410; www.panasonic.com/pbds;
or circle Reader Service XX.
PVR Summary
Plus: Good low-light sensitivity; easy viewfinder
mechanics; computer-friendly shutter; NLE integration; customization;
24-hour tech support
Minus: None
Bottom line: Midrange ENG/EFP camera that holds
its own against higher-priced models
Brian Walshe is a freelance video engineer/technician
under contract to the United Nations in New York City. He can be
contacted at lhinckley@un.org.
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