Hands-On Review:
DV-Cam Man In Africa

Not only was I dealing with a continent where power plug formats can change from room-to-room, but it's all 220V. Fortunately, the 220V issue was not a problem. All three of these cameras can automatically handle either 110 or 220, so I got a full array of electrical connectors and I was covered.

The final power problem was battery life. Because we were spending a lot of time outside of cities, in villages, I was worried that I might not be able to recharge. In order to protect myself (thanks to the support of the manufacturers), I took three cameras: The Sharp VL-D5000U, the Panasonic AG-EZ1 and the JVC GR-DV1. Two of these are three-chip (3CCD) DV cameras -- the Sharp and the Panasonic -- and JVC's one-chip miniature marvel was my ace-in-the-hole. All three cameras featured digital stabilization, digital freeze (or still shots) and electronically extended zooms.

Gratefully, Sharp gave me two batteries and a car cigarette lighter recharger, Panasonic gave me three batteries, and JVC added two more batteries for "insurance." I felt reasonably secure.

As the trip unfolded, what fascinated me was how different all three cameras were. All are breaking new ground, but each in a different way, with a completely different design. All of these cameras are using the revolutionary new DV tape format, but each has an entirely different approach to how a camcorder should be put together.

The Sharp, with its huge five-inch view-finder/field monitor is held sideways, much like holding a a hard-cover book with the cover facing forward. The Panasonic is more cylindrical than most camcorders. It's about the size of a half roll of paper towels, but it's formatted horizontally like most conventional camcorders. And the amazingly small JVC is smaller than a small paperback book and it's formatted vertically. Shooting with each was a unique experience.

Since carrying lights was not a possibility, I rounded out my package with about 20 hours of DV tape (thank God they're so small!); a strong, yet lightweight tripod, head and mike fishpole from Bogen Photo; and a Sony ECM-672 shot-gun mike, Vega wireless mike system and assorted cables from San Francisco's premiere rental house, Adolf Gasser's, Inc.

At Gasser's, I also found and bought a padded Cannon knapsack-camera bag (shown here) that held all three cameras and more than a day's worth of tape and batteries. The sound bag also supplied by Gasser's held all the sound equipment, chargers, electrical accessories and miscellania. The compact Bogen-Gitzo tripod and pole were supplied with their own case. So, with the camera bag on my back, and the sound bag on top of my roll-aboard luggage and tripod bag under my arm, I could actually make my way through an airport unassisted. Just the same, I was quite grateful to have members of The Hunger Project study trip who were willing and able to help me out.

A Sharp-er View of DV
The Sharp VL-D5000U is easily the biggest of the three DV-cams that I used. In fact, in the US, people I have shown it to frequently say, "Look how big it is!" All I could think about was how small it is compared to other professional cameras.

It's got a big front face that flips open to reveal the tape transport, behind which is an impressive five-inch viewfinder.

It's a fun camera to use because you can keep both eyes open and comfortably watch the screen while you shoot. It's really different, but it really works. And, of course, when it's time for playback, it's like having a built-in field monitor.

For shooting, the big viewfinder also gives you unprecedented flexibility. For example, you can shoot with your arms held fully extended overhead or with the camera at floor level while walking and still see what you're shooting! The Digital Viewcam also includes a folding monitor-type shade for the viewfinder that did an excellent job of reducing glare.

The downside, in Africa, was that this big viewfinder also meant that the crowd of kids who always seemed to be watching me would sometimes push me from behind trying to get a better view. You had to forgive them.

The other downside is that the powerful batteries don't last quite as long as you'd like (about 30 minutes) because running the D5000U also means running that big screen. Also, on long hand-held sequences, I found that I needed to keep my elbows tight to my body for added stability.

The monitor also facilitates full-color feedback for the operating interface controls. These include everything from manual aperture settings to VCR-type playback controls. This use of the monitor makes the Sharp the most user-friendly and accessible to operate of any camcorder I've seen. For example, the battery life indicator turns from bright green to yellow to alarming red as it progresses from full charge to fully spent, and there's a reverse count-down gauge that appears toward the end of each tape to show you exactly how close you are to the end.

Control buttons corresponding to various menu options are placed below the view-finder so that they are always available. And the manual lens-opening, shutter-speed and focus controls are located on the top left corner of the unit where they can be operated with your left hand.

I was especially grateful that Sharp provided me with a car cigarette lighter attachment which worked flawlessly, charging one battery at a time, in every bus we used in Africa - at least every bus with a working cigarette lighter.

Panasonic's Package
The closest of these three DV-cams to a conventional camcorder design is the Panasonic AG-EZ1 which comes out of the box with an impressive array of accessories that include a wide angle lens, filters and even its own carrying bag. There's also a shot-gun mike among other options.

The Panasonic's power comes from packing professional features into an extremely compact design.

In order to get it all inside this horizontal design, the right side opens in two stages. First you flip up a panel that reveals the VCR-type controls which also double as selection buttons for the optional features such as digital zoom. Then, once this panel is up, the side can be opened to reveal both the tape transport and battery slot. The camera's other side has a built-in LCD display which needs to be opened to operate the manual focus, white balance and gain controls.

The EZ1 performs like a solid and satisfying camcorder and offers a complete set of professional features. These include manual gain controls, a 14-step electronic shutter from 1/60th to 1/8,000th second, and excellent optics.

Although the color view-finder requires the traditional one-eye approach, I discovered that this also provides additional stabilization because of the third point of body contact. The eye-piece also tilts 90° up and 45° down for comfort more than for alternative camera positions because your eye still needs to stay glued to the view-finder.

The EZ-1 proved itself to be a dependable, solid performer that felt as good in my hands and on the tripod. As a camera, it feels something like a sports car in the sense that its compact design helps it handle efficiently, thus inspiring confidence.

JVC's Discreet-Cam
On a cost/performance basis, the real hero of DV-cam quality was the JVC GR-DV1. Despite being only a one-chip camera, this amazingly miniature marvel produced impressive resolution-results. Of course, because it's only a one-chip camera, on this trip, it was largely a back-up in case the other two went down or were out of batteries (which happened only once); but I also found the JVC useful as what I called the "discreet-cam."

For example, I used it when The Hunger Project investor study group paid a condolence call on a village leader whose father had died. With the smaller JVC, I felt less intrusive. I also loaned it to John Coonrod, a Hunger Project staff member who was able to document a small group meeting between Joan Holmes, the president of The Hunger Project, Hunger Project staff and investors, and J.J. Rawlings, the president of Ghana. An event to which I could not get access, but which will appear in my finished program as a result of the ease-of-use of the GR-DV1.

The JVC is a more vertical design that's like holding an old movie camera. You tend to press record with your thumb. Because the controls are so small, one is less likely to attempt manual features, but all of the critical functionalities are readily available and this camera performed admirably. Because of its compactness, this is a camera that can travel and be included in situations where larger cameras might well be too intrusive or too much trouble to transport. Its small size is really an engineering miracle that takes maximum advantage of the small mini-DV cassettes used by all three of these cameras. Given the kinds of camcorder footage that has made the news lately, I expect to see the GR-DV1 showing up in unexpected situations and proving itself to be worth its weight in plutonium.