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JVC GY-HM700U Review

Aug 31, 2009 12:00 PM, By D.W. Leitner

JVC scales new heights of tapelessness.

Less ostentatious but no less clever are innovations in operating the HM700. These include the user choice of reassigning the Return Video Button (RET) on the lens handgrip—whether Canon or Fujinon—to the Focus Assist function (see my comments regarding this subject in the HM100 review); the option of setting timecode without entering the menu tree (see photo at right); and what I regard as the best zebras in the business: two patterns for which both upper and lower limits can be set in increments of 5 percent. For instance, I can set the upper zebra pattern zone between 95 percent and 100 percent to monitor my highlights, and place the lower zone between 50 percent and 60 percent, if that’s where I like my skin tones to fall. Not quite a waveform monitor, but very precise and almost as useful.

Imaging has improved, too. While the 1/3in. progressive 3CCD pixel count hasn’t changed—1280x720 per CCD—a newly developed diagonal “Triplex Offset” and dedicated “proprietary front processing” have been introduced, per JVC, boosting actual resolution to “2.5Kx1.4K pixels.” While pixel shifting isn’t perfect (greater possibility of moiré in some circumstances), the HM700’s images appear low in noise for a 1/3in. camcorder, with remarkably smooth detail even under higher gain settings.

Some of the credit goes to the HM700’s new stock zoom. Instead of the lackluster Fujinon 16X (5.5mm-88mm) found on the original HD100 and HD200 series, a newly developed Canon 14X (4.4mm-62mm) is supplied as standard. (For comparison, the 12X Carl Zeiss zoom found on Sony’s HVR-Z7U is 4.4mm-52.8mm.) You can see almost immediately that images appear sharper, with better contrast. While close focus is just less than 3ft. from the front of the lens, there’s a macro ring that’s fun to play around with for closer shots. (Screw-on diopters are always an option, too.)

Of course this is an old-fashioned mechanical zoom, which means no autofocus and no image stabilization except for your shoulder. You’ll have to keep track of the big plastic lens cap, as in the past. On the other hand, the robust handgrip is placed forward for best leverage; the Push Auto-Iris button is where it’s supposed to be; smooth, repeatable manual focus is always a delight; and the geared zoom motor is plenty brawny. No sputtering zoom crawls with this lens!

As in the case of the HM100, a side benefit of Sony’s XDCAM EX format is that both 25Mbps and 35Mbps modes deliver uncompressed 16-bit, 48kHz PCM audio. The supplied plastic cardioid mic is a different matter, but you would replace it with a superior Sennheiser or Sanken anyway, wouldn’t you?

To convert a plain-vanilla HM700 into its XT version, the optional KA-MR100G memory recorder for SxS cards can also be purchased separately ($1,000 at B&H) and attached later. It sandwiches tightly at the rear, between the camcorder body and an Anton Bauer minibrick Dionic battery. Inserting the MR100G extends the camcorder’s length nearly 2in. Fortunately, the 2in. cantilevering of the 1.7lb. Dionic battery, if anything, improves balance—a testament to the HM700’s excellent shoulder-mount ergonomics.

Returning to JVC’s press release: “By attaching the optional KA-MR100G dockable media recorder, it is possible to record Sony XDCAM EX-compatible .MP4 files onto high-speed SxS memory cards, while at the same time recording the same .MP4 files to inexpensive SDHC cards. Having two copies instantaneously available provides more versatility in the field with the assurance of always having a backup.” Well, sort of.

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