AJ-D410: solid performer
Written: Nov 02 '02 (Updated Nov 06 '02)
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Pros: Excellent picture quality, highly adjustable DSP, solidly built.
Cons: No LCD display panel, default black level set wrong, no 1394 interface
The Bottom Line: If you are looking for an entry-level 4:3 1/2" CCD camcorder in the DVCPRO format, this is your camera.
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| scottmcclure's Full Review: Panasonic AJ-D410A Camcorder |
The AJ-D410A is the new entry-level DVCPRO camcorder, replacing the AJ-D215 and AJ-D400. It features three 1/2" CCDs, with 410,000 pixels each. The camera optical block, DSP section, and chassis are basically identical to the AG-DVC200 DV camcorder, with the exception of the paint job, which is solid black. It has a standard bayonet lens mount lenses, which gives you a range of broadcast quality glass to choose from. It is the only standard DVCPRO camcorder to use full-sized DVCPRO cassettes, allowing record times up to 184 minutes on a single tape.
The camera's DSP section is highly adjustable - much more so than the JVC GY-DV500, and features more user configurable presets than the Sony DSR-300A. There are six presets, which are easily customized to the operators preferences, including a factory "STD" look, which tries to imitate the look of the popular Sony BVW-D600, "FLOU," which attempts to compensate for shooting under fluorescent light, "SPARKLING" which adds more detail, and brightens colors, "COOL" which gives the picture a cooler, softer look, and "RETRO" which gives the scene a reddish, old-time look which works really well for enhancing the look of sunsets. All of these can be modified and renamed, and later set back to factory settings. Of all of the scene file presets, I've found that most of my customers like the look of "SPARKLING." If you are going for more of a film look, start with the "STD" setting, reduce color saturation and detail enhancement, and tweak the black level until you get the look you want.
Some of the adjustable items include horizontal and vertical detail, detail coring, horizontal detail frequency, master pedestal, manual knee and knee point. Like most cameras in this range, it does feature a "full auto" mode, which is best used for "run and gun" shooting, where there is no time to properly white balance or manually control exposure and gain. I don't recommend using this mode for serious production use on this camera, or any other. That being said, it does do a decent job in a pinch.
Out of the box, the factory defaults provide a picture that is softer than other 1/2" cameras, like the GY-DV500. If you prefer more detail, there are a number of settings that can be used to precisely dial-in the look you need.
My only gripe with the DSP settings is a menu option for setup control. A camera in this range should allow you to control the adding of the 7.5 IRE setup black level boost to the analog outputs, without changing the signal recorded to tape. The AJ-D410A doesn't allow this. If you leave the setup control at the default, it will add 7.5 IRE to the recording, not just the analog outputs. This is totally wrong in a DVCPRO camcorder, since all NTSC DVCPRO VTRs automatically add setup on playback signals at the analog interfaces, and strip it from analog inputs. The rest of the camcorders in the DVCPRO line handle this correctly, but this mistake apparently found its way into this camera from its DV format cousin, the AG-DVC200. Since most DV format equipment lacks the ability to add 7.5 IRE setup to analog video interfaces, this option was intended to allow the AG-DVC200 to fit into an existing analog environment more easily. One of the first things you should do when you get the AJ-D410A is to go into the menus, and change SETUP to 0 IRE. Note that this will also cause setup not to be added to the Video Out and Camera Out connections. Just make sure to calibrate your field monitor to bars from the camera output (which you should always do anyway). This is by no means a show-stopper, but to keep your video workflow clean and consistent, set it to 0 IRE.
One of the less well known features this camera has is the time-lapse recording mode, or "Interval Recording" as Panasonic refers to it. The camera can be set to record at programmed intervals from 10 seconds to 24 hours. The duration of recording at the intervals can be set from 5 seconds to 1 hour. This can come in handy if you are recording something like a house being built, or certain kinds of nature photography.
I opted for the VF-15 high-end 1.5" viewfinder, as it is the sharpest and most rugged of the three viewfinder options. It can be adjusted forward/backward, as well as side-to-side. It is locked into place with a small lever on the top of the mount, which has a very positive, solid feel, just like the the rest of the camera. The viewfinder controls including Tally (High, Off, Low), Zebras (on/off), Brightness, Contrast, and Peaking. While it cost quite a bit more than the VF-5 entry-level viewfinder, and a few hundred more than the mid-range VF-10, the quality was well worth it. If you are going to speed $6,500 on a camera body, I don't think it is unreasonable to speed an additional $1000 on the best viewfinder you can get. It is critical in determining focus and exposure - not something you want to scrimp on.
The shoulder pad is quite comfortable, and is adjustable on the front/rear axis. Weighing in at about 20 lbs with a Fujinon 20x lens, and an Anton Bauer Hytron 100 brick, I found it quite comfortable. At 100 Watt-hours, the Hytron 100 brick will drive this camera for about 4 hours of continuous recording. The complete package is just heavy enough to aid in smooth shoulder shooting, but not obnoxious like an old BetaSP dockable rig that will put you in physical therapy after a few weeks. Some people try to find the lightest battery bricks for their cameras. Personally, I have found that heavier bricks balance the camera out better, both on the shoulder, and on the tripod. A good quality lens is going to be a big part of the cameras overall weight, and all of it is forward of the center of mass. I'd much rather have a well-balanced camera on my shoulder for the day, than a front-heavy camera that weights a few pounds less. Try it, your forearms and shoulder will thank you for it.
The audio section is quite good. It features three XLR connections (1 front for the on-camera mic, and 2 rear, with selectable LINE/MIC levels and phantom power). Headphone monitor jack allows monitoring of Ch.1 in the left ear, and Ch.2 in the right ear. An onboard wireless receiver slot is provided between the carrying handle, and the Anton Bauer mount. As of this writing, Azden is the only vendor with a slot-in receiver that has passed FCC certification. Sennheiser is reportedly working on one as well. Using these onboard slot type receivers means it interfaces directly with the camera, without the need to have a separate XLR audio connection, and 12V DC power connection. It runs off the cameras current power source. In the Audio menu, the recording channels can be set to record from either the XLR inputs, or the onboard wireless unit, if installed. The supplied mic is pretty good, though not as good as a good quality shotgun mic from Sennheiser.
Speaking of inputs and outputs, this camera has quite a few. Connections on the rear include 12 V DC input (4-XLR), Headphones (mini-phone jack), Ch.1 & 2 audio in (3-XLR), 12V DC @ 1 Amp (Hirose connector for outboard wireless unit), and a Video Out port (BNC), which can be set to display all viewfinder information, including zebras, exposure, TC, warnings, menus, and safe area markers. On the side of the camera, there are Ch.1 and Ch.2 audio out (RCA), Genlock in (BNC), Camera/Genlock out (BNC), TC in (BNC) and TC out (BNC), S-Video out (mini DIN), and an ECU interface. The ECU interface allows a Panasonic AJ-EC3 camera control unit to be attached. This is very useful in a multicamera shoot, allowing the camera to be "painted" or "chipped" to match other cameras. A wide range of camera features and functions can be remotely controlled.
One interface this camera is missing is IEEE-1394 Firewire. Panasonic felt that the typical user of a camera at this level will have a Firewire-equipped VTR in the studio, and not have much need for it on the camera. I thought I might miss this feature (my GY-DV500 had it), but I haven't needed it yet.
One of the key attractions of this camera is the DVCPRO format. While DVCPRO is based on the DV25 codec standard, used by both consumer DV and DVCAM, it has some enhancements. Using Metal Particle tape (like Digital Betacam, D-2, D-5, D-9, etc.) and a track width 80% wider than consumer DV, it is far more resistant to dropouts and oxidation than either DV or DVCAM. This is key in the ENG market, nature or extreme sports photography where the camera is likely to be exposed to dust, moisture, and widely varying temperatures. The DVCPRO format has proven itself as a worthy replacement to analog BetacamSP in over 50% of the television stations in North America. Since I have the need for a highly reliable, archival quality tape format that doesn't cost as much as a small Mercedes (Digital Betacam, anyone?), DVCPRO is a good fit.
The DVCPRO VTR mechanism is very responsive, going from pause to record in 1 second. The mechanism also features a field emergency tape eject system. Below the tape door is an access hole covered by a rubber flap. In the even of severe camera damage or power failure, a phillips screwdriver can be used to manually move the mechanism through the eject cycle, without disassembling the camera. It the current crop of DV and DVCAM systems, you would have to disassemble the camera to get the tape out.
The manual supplied with the camera is typical of professional camera manuals. It tells you what the switches and menu selections are, but if you don't know what Pedestal is, or the difference between 90% Knee and 100% Knee, you'll need to do a little research. This manual, like the camera, is intended for those who have experience with professional cameras. It makes no attempt to explain the underlying technology. If you are moving up from consumer/prosumer cameras, this may be an issue for you. If you have experience with Sony, JVC, or other Panasonic professional cameras, you'll find the control layout and options fairly easy to learn.
Overall, I love this camera. It is very solid, rugged, and the picture quality is excellent. The range of control over the look of the camera for different applications is most welcome in a camera in this price range. If you already have a DVCPRO workflow, or are looking at moving to DVCPRO on a relatively modest budget, this is your camera. If you have a need for native 16:9 support, digital triax support, look at the AJ-D610WA instead. It's about $4,000 more, and compares favorably with the Sony DSR-570WSL.
Recommended:
Yes
Amount Paid (US$): 7500
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Epinions.com ID:
scottmcclure
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Reviews written: 1
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