Section3 PHOTO - - PRO AUDIO DigitalSystems

Mini DV Mini DV Overview ...... 152-155 DV ...... 156-159 Video DV Camcorders...... 160-165 Canon DV Camcorders...... 166-172 Sony DV VCRs...... 173-174

SourceBook Panasonic DV VCRs ...... 175 JVC Professional DV ...... 176-179

DVCAM Overview ...... 180-185 DVCAM Camcorders...... 186-195 DVCAM VCRs ...... 196-215

DVCPRO Overview...... 216-219 DVCPRO Camcorders...... 220-225 DVCPRO VCRs...... 226-235

Digital-S Overview ...... 236-239 Digital-S Camcorders ...... 240-245 Digital-S VCRs...... 246-249 rofessional The

Betacam SX Overview ...... 250-251

P SX Camcorders...... 252-254 Betacam SX VCRs ...... 255-259 DIGITAL VIDEO CONSUMER DV Overview

Amid all the hyperbole emanating from Panasonic, Sony and JVC about the pre-eminence of their profes- sional digital video format (DVCAM, DVCPRO and Digital-S), there is one undeniable fact — they all began, have since evolved, and are still, firmly based on the consumer DV format.

A format with uncommonly broad international support, picture performance, robustness, multi-generation perfor-

MINI DV DV was the work of the HD (High Definition) Digital mance – produced an optimum system with a hierarchy of VCR consortium that joined in late 1993 to develop the standards for different applications and definitions. For next-generation VCR. It was apparent back then that digi- standard definition, the signal structure is digital compo- tal signal processing, compression, and digital transmission nent 4:1:1. In addition to the widely recognized benefit would revolutionize , and VHS would no longer of component transparency, by keeping the luminance answer the consumer’s needs. In response to this, the con- component at full sample rate, picture resolution is equal sortium set out to develop a single, ubiquitous format of to all formats – even including D-1, D-2 and Digital dramatically better quality. The collective expertise of the Betacam. By reducing the chrominance sampling rate to consortium, originally comprised of ten of the world’s half, the absolute data rate was reduced, but chroma detail most powerful electronic companies (Sony, Panasonic, still remained far better than S-VHS. JVC, Hitachi, , Sharp, Mitsubishi, Toshiba, Philips This compression scheme is a defined standard, as was 152 and Thompson) produced the revolutionary format agreed upon by the consortium, which has since come to known as DV. number 60 companies. It can be packaged in several low- The technology can be divided into a powerful compres- power, economical integrated circuits, making compact sion scheme that can be implemented in a cost-effective field equipment possible and allowing audio/video chip set, a hierarchy of standards covering SD (Standard exchange between equipment of various manufacturers. It Definition) and HD (High Definition), time-shift long is also extensible to other signal structures, such as stan- play, mechanism design, tape format structure and a fami- dard-definition digital component 4:2:2 used by JVC’s ly of cassettes. The key, though, was the compression. Digital-S format. The bottom line is that DVCAM, The consortium’s careful analysis of all the possible trade- DVCPRO and even Digital-S are basically “supersets” of offs – compression artifacts, motion, data rate, subjective the consumer DV format.

DV Technology

The rising tide of digital media is washing over , Within two years of their introduction, there is already the largest remaining use of technology, more digital media recorded in these standards than all with some 300 million VCRs and 50 million camcorders the current digital video in non-linear editors, multime- worldwide. Along with the Digital Video Disc (DVD), dia CD-ROMs, and video servers combined. And whose world-wide standardization has been settled, the although similar, DVD uses non-editable Interframe standard for digital videotape uses a form of MPEG-2 compression (I, B, and P frames), while DV uses editable . Intraframe (I-Frames) compression only.

We are on the web at: www.bhphotovideo.com DIGITAL VIDEO CONSUMER DV e DV format uses 5:1 data compression to store one hour of digital video in the compo- nent (Y, R-Y, B-Y) format on a cassette small- er than a DAT (). Image quality is comparable to Betacam SP – until

now the current standard for broadcasters, MINI DV multimedia producers and non-linear editors. DV offers high image quality, digital (PCM) audio, freedom from analog tape artifacts and dropouts, and most importantly, lack of gen- eration loss. And compared to Betacam in price, DV is an amazing bargain. Mini-DV cassettes are one-tenth the size, one-fifth the weight, a third of the cost, and twice the While functionally similar to D1, DV does not digitize the capacity of Betacam SP cassettes. The standard size horizontal and vertical blanking and sync intervals. It only DV cassette records 270 minutes of video, compared digitizes the 720 by 480 pixels of “active video”. D1 is 4:2:2 to the larger Betacam's 90 minutes. And like S-VHS, YUV, and DV is 4:1:1. DV samples the luminance at the DV camcorders and VCRs have composite and S-Video D1 rate, 13.5 MHz and samples difference signals at 153 outputs for compatibility with analog equipment. half the D1 rate (3.375MHz). This cuts the uncompressed data rate back from 20.25 MB to 15.875 MB (162 Mbps DV compression is a type of intraframe MPEG-2. It is to 127 Mbps). It then compresses the video 5:1 to 3.1 MB. DCT-based YUV 4:1:1 with 13.5 MHz luminance sam- pling. The video data rate is 3 MB/sec (5:1) compression, Digital video deserves digital audio. Therefore, DV supports out of an overall 20 MB/sec data rate. DV contains a very four different choices for audio recording. The 48k Hz, 16- sophisticated error correction code to eliminate the video bit mode captures two channels of AES/EBU digital audio; “dropouts” of small format tapes. two channels of 16-bit at 44.1 kHz (CD sampling rate); a lower rate of 16-bit, 32k Hz; the fourth mode at 12-bit, Mini-DV cassettes come in 30 and 60 minute sizes. 32k Hz to accommodate four channels of digital audio. Standard-size DV cassettes, slightly larger than Hi-8 tapes, The audio is organized by frames and grouped onto the can record up 3 hours in DV VCRs that offer two more video tracks. Audio Ch. 1 appears on tracks 0-4, Audio Ch. channels of audio dubbing. The tiny two-head DV drum 2 appears on tracks 5-9. (the diameter of a nickel) spins at an astonishing 9000 rpm (revolutions per minute), five times the speed of NTSC The DV format features 500 lines of resolution, component recorders and faster than Seagate Technologies’ 7200 rpm recording, and 54 dB S/N ratio — better than Betacam SP. Barracuda hard disk drives. Chroma bandwidth at 1.5 MHz is the same as Betacam SP, but three times the bandwidth of S-VHS. DV supports Analog camcorders record video as a changing voltage with time code, separate video and audio insert editing and a virtually unlimited number of values. Digital camcorders direct digital input and output, based on the IEEE1394 convert the analog video signal to a binary number, storing standard for multiple video stream transfers and editing just “0s” or “1s” on tape. Because of this, the DV system is with no generation loss. DV-compatible cards are available not affected by tape noise, inconsistent record levels and for Mac and Windows, to support non-linear editing, video tape inconsistencies that plague analog systems. servers and LAN videoconferencing.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 DIGITAL VIDEO CONSUMER DV rack layout on the DV cassette is quite extra- Between each sector are edit gaps, allowing the data for an ordinary. Like their analog cousins, DV cam- individual sector to be overwritten independently. This Tcorders record the digital signal to tape using allows insert editing of video and/or audio separately. A sin- a helical-scanning system. Analog camcorders record a gle frame of NTSC is written as ten DV tracks. The ten frame of video as two tracks in a pattern DV video tracks do not contain successive sections of the made by two rotating heads in the drum mechanism, picture. As with a CD-ROM or a hard disk, the digital one track for each field of video. The drum spins at data for a single frame is “shuffled” and distributed with 1800 rpm for NTSC (30 frames per second, 60 times error correction codes over all ten tracks. The information a minute). When the tape is in pause, the spinning is made highly redundant, so that a dropout in a portion heads continue to read the same two fields of video. of one track (very common in small formats like Hi-8, and

MINI DV However, instead of the rotating head drum spinning DV is much smaller) will not prevent the error correction at a speed of 1800 rpm and recording only two tracks from restoring all the data for the frame. In fact, DV (fields) for every frame of video, a DV ’s designers claim that two whole tracks of the ten may be drum rotates at 9000 rpm. This means it turns five lost to dropouts, and DV will still be able to construct the times during one frame time, making ten helical picture. DV cassette error correction is like RAID level 5 tracks. When DV is in pause, the current frame redundancy in hard drives, in which one of the five drives comes from a frame memory buffer. Each track has can be disconnected, and all the data is still available. The an Indexing and Tracking Information (ITI) sector, ten DV audio sectors can divide into two sets of five, each an Audio sector, a Video sector and a Subcode sector of which can record 12-bit stereo audio. 16-bit stereo uses where time code and data codes are stored. all ten sectors. 154

ITI: This stands for Insert and Track Information, and includes location information, track pitch, servo infor- mation and data called APT (application ID of a track). APT, which is repeated in all the four signal areas, defines the internal data structure of the track, for example, whether it is consumer or professional.

ITI sector records signals for audio dubbing and addi- tional data for the camcorder itself. Since video and audio signals are recorded in separate sectors, true video- only insert editing is possible. Subcode: This sector contains SMPTE Time Code, Audio: The separate audio sector includes digital audio, absolute track number and APT. The absolute track audio auxiliary data and APT again. number is a unique, individual number for each track, expressed in a 23 bit code. The 23 bits are enough to Video: In addition to the compressed video data and specify unique addresses for up to 7 hours and 46 min- APT, the video sector also records auxiliary data, such as utes of video, an index ID that allows quick searches for the recording date and time, Focus mode, AE-mode, specific scenes. It also records the PP-ID, IDs for still Shutter Speed, F-Stop and Gain settings. picture recording and playback (photo mode).

We Ship Worldwide DIGITAL VIDEO CONSUMER DV

Compression

One of the key enabling technologies of the 1990s is compression. Like most other DCT BLOCKING & DCT ADAPTIVE VARIABLE FRAMING & video systems that use compression, DV SHUFFLING QUANTIZATION LENGTH DESHUFFLING uses Discrete Cosine Transform (DCT) CODING technology. To make DV possible, its DCT MINI DV implementation was designed around the DATA AMOUNT amount of data that could be contained on ESTIMATION each DV video frame track.

The first element in the process is known as “DCT Blocking and Shuffling”. This is where the picture is divided into regular blocks of 8 x 8 pixels. All the blocks are grouped into macro blocks, each composed of four luminance and two color differ- ence blocks. Five macro blocks are then selected (“shuffled”) from five different areas of the picture. To improve the total compression efficiency, the five macro blocks are assigned priori- ties. Discrete Cosine Transform is then performed for each

macro block, starting with the highest priority area and working 155 to the lowest. At the time of quantization, the amount of data required is estimated.

By estimating, the encoder identifies the macro blocks with more picture detail, which need more data than the others. It is an advan- tage of the DV format that the macro blocks that need more data get more data. This process is called “Variable Length Encoding”. To fit on the tape, the variable length codes have to be placed into standard-size 77-byte receptacles. In the “framing” process, the over- run bytes from the high-detail macro blocks are stored in leftover space in the low-detail macro blocks. In this process, DCT reduces the data to be recorded. We started with 384 bytes of data (8 x 8 x 6 DCT blocks). Each was then recorded in a 77-byte receptacle. Thus the 5:1 compression ratio (77/384).

DV Tape Technology

The DV format completely rewrites the rules of DV hardware to instantly read Table-of-Contents videotape access and control with an innovation information for fast random access to video clips. called Cassette Memory. Under the DV specifi- Some of the first applications, like Photo Index cations, cassette memory is an option, up to a and recording date, are already being used in maximum of 16kB. Cassette memory enables consumer DV camcorders

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AG-EZ1 1/3-inch 3-CCD DV Camcorder The very first camcorder to incorporate the DV format, the AG-EZ1 also features a 3-CCD pickup system and Digital Signal Processing to deliver a level of picture and sound quality previously unimaginable in a unit this compact. It features a high resolution 180,000 pixel color viewfinder, 10:1 optical and 20:1 digital zoom lens with elec- tronic image stabilization, fully automatic – plus sophisticated manual – controls and a large LCD panel. Ideal for news

MINI DV gathering, multimedia, or any other professional application.

Shown here with optional SHAN-MC1 microphone FEATURES

DV Recording 3-CCD Imaging Device Digital Audio ■ DV recording system delivers 500 lines of ■ Three CCDs with 270,000 pixels use a ■ Audio is also recorded digitally, for horizontal resolution with virtually no double-density pixel distribution system quality that rivals CDs. You can choose noise. Signal-to-noise ratio is 54 dB, an and a gapless dichroic prism to ensure between two-channel 16-bit, 48k Hz improvement of 6-9 dB over Analog sys- razor-sharp images and extremely faithful recording, or four channels of 12-bit, tems. (This represents an S/N ratio 2 to 3 . Plus, each pixel has a large - 32k Hz, with the second set reserved 156 times better than existing cameras.) Also collecting area, giving the camera high for uses such as narration. provides frame-by-frame recording of sensitivity and a wide dynamic range. ■ In playback mode, the AG-EZ1 is com- high-quality still images at 1/30-second ■ Incorporates DSP (Digital Signal patible with all four audio sampling fre- per frame, with built-in SMPTE Time Processing), including 3-D noise reduc- quencies of the DV standard. Code generator. (Time Code is recorded tion, gamma correction and knee correc- in the Subcode area.) ■ Has a built-in stereo microphone and tion to ensure best image quality. accepts external microphones, as well. ■ Uses Mini-DV cassettes which offer up to 60 minutes recording time. These cas- 10:1 Optical/20:1 D. Zoom settes can also be played back in the pro- Color Viewfinder ■ Equipped with 10:1 optical and 20:1 fessional DVCPRO VCRs by using the ■ High resolution 180,000 pixel color digital zoom lens. Both are adjustable in optional AJ-CS750 Adapter. viewfinder provides a clear and accurate four speeds (3.5 – 15 seconds), based on image with 400 lines of resolution. It also how hard or soft the zoom toggle is Subcode Recording displays all automatic and manual func- pressed. To set up a shot quickly, the tions on demand. The viewfinder can tilt ■ The Recording Track System of DV also Turbo Zoom function moves from tight 120° vertically, enabling you to shoot allows recording of Subcode. The follow- to wide-angle, or vice-versa in under two subjects from high or low angles. ing data is recorded: seconds, allowing quick framing. For extreme close-ups, the lens can focus – Time Code, which allows precise and down to 1/4˝ from the subject. speedy editing Digital Still Shot ■ Fade-In and fade-out of picture and – The Time and Date when the recording ■ sound. Can also record in 16:9 format. Digital Still Shot allows you to record a was made still-frame for six seconds, while audio continues as normal. Great for creating – ID signals for quick and easy locating of Digital Stabilizer video photo albums or insurance tapes, as the beginning of each recorded scene ■ 290 still pictures can be recorded on a (Index ID) Built-in Digital EIS (Electronic Image Stabilizer) compensates for jittery video single 30-minute tape and 580 shots on a – ID signals for quick and easy locating of and is particularly effective when the 60-minute tape. By using the TopScan photo shots (recorded Still images) digital zoom is employed. function, any shot can be found easily.

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Conveniences Standard Accessories ■ Large LCD panel on the side of the camcorder displays camcorder status ● AG-BP15 90-minute Battery Pack and operating modes. (7.2v/1.25mAh) ● AG-BP50 AC Adapter/Battery Charger ■ Automatic high-speed search of blank ● 25-Function Wireless Remote Control

sections and sections where the record- MINI DV ing date has changed. ● Multi AV Cable ■ Not only a great recording device, but ● Soft Carrying Bag also a great playback . It offers ● Shoulder Strap FF/REW of up to 60x normal speed ● 49mm Filter Kit (UV, ) and recognizable picture search at up to ● 10x normal speed. In addition, compos- 0.5x Wide Conversion Lens ite, S-Video and stereo audio outputs ● AY-DVLCLM Cleaning Tape are all standard, as is a 25-function, infrared wireless remote controller. Sophisticated Controls ■ Two battery packs can be charged suc- ■ ■ cessively by inserting an AG-BP15 Manual focus plus manual iris with a 13- 4-mode white balance includes automatic Battery Pack into the AG-EZ1 and step dial. An AE lock mechanism lets you settings for fluorescent, incandescent and attaching either an AG-BP15 or BP-25 shoot at a selected iris setting without outdoor as well as a manual setting. being affected by changes in brightness. to the AC Adapter/Charger. ■ Includes a high precision, minimal distor- ■ 157 ■ Three features for finding previously Automatic gain and a 4-step (+3, +6, +9, tion 0.5x wide conversion lens and a recorded scenes easily: +12dB) manual gain-up. Setting the gain 49mm filter kit as standard. There is also a independently from the iris offers much custom-made high performance micro- —TopScan plays back the first few sec- more flexibility when shooting. phone, the SHAN-MC1, available as an onds of each segment, providing a option. Superb directional characteristics ■ Variable high speed shutter (14-steps) from handy way to review an entire tape. make it ideal for interviews. It can also be 1/60 – 1/8000 of a second used as a hand-held mic. —Record/Review rewinds the camcorder and plays the last 10 seconds of the last recorded scene – ideal for making sure Optional Accessories you got that important shot. ● AG-BP25 Two-Hour Battery Pack ● SHAN-MC1 Microphone Kit —Indexing function encodes the first (7.2v, 2.5mAh) ● SHL-TPI Mini Tripod scene shot on a given day. This way ● you can quickly find the starting point AG-CB50 DC Battery Charger /AC ● AJ-CS750 Mini-DV Cassette Adapter of each day’s shooting. Adapter for playback on DVCPRO VCRs

AG-EZ1 SPECIFICATIONS VIDEO AUDIO CAMERA : Recording Format: : Power Source: Digital Video (SD Format) Digital PCM Stereo: 1/3˝ CCD Image Sensor x 3 Battery Pack: 7.2v Digital Component 16-bit (48kHz/2ch) AC Adapter: 8.4v Recording 12-bit (32kHz/4ch) Lens: 10:1 variable speed Power Consumption: Tape Format: Audio Input: power zoom lens f/1.6 8.8w (Record mode) Mini DV Mic In (M3):-70 dB, Focal Length: 6 to 60mm Weight: Record/Playback Time: 4.7kΩ or more, unbalanced Filter Diameter: 49mm 2.4 lbs. /1.1kg (w/o battery) 60 Min. w/ AY-DVM60EA Audio Output: Viewfinder: Dimension: -10 dB,600 , loaded 3 13 11 Standard Illumination: Ω 0.7˝ color LCD viewfinder 5 ⁄4 x 4 ⁄16 x ⁄16˝ (WxHxD) 4100 Lux (144 x 121 x 267mm) Minimum Illumination: 5 Lux

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AG-EZ30 1/4-inch 3-CCD DV Camcorder The AG-EZ30 combines 3-CCDs and the DV format to deliver a level of picture and sound quality that makes it one of the most advanced camcorders of its kind. Weighing just 1.5 lbs., this incredibly lightweight camcorder also incorporates a large 2.5˝ color LCD monitor, has a host of sophisticated auto functions, offers full manual control when required, and uses Mini-DV cassette tapes that can be played back on DVCPRO VCRs with a simple adapter. MINI DV

FEATURES

3-CCD System 12x Optical/Digital Zooms Three Search Modes ■ Three CCDs and DV format deliver supe- ■ 12x (4.0-48mm) optical, as well as 30x ■ Blank Search quickly finds the end of the rior picture quality with 500 lines of hori- and 120x digital zoom. Move from wide- recorded segment, readying you for the zontal resolution and S/N ratio of 50 dB. angle to full zoom in 1.3 seconds, allowing next recording. Each of the CCDs has 270,000 pixels with quick framing while in REC Pause. ■ Scene Search function makes it easy to a large light-collecting area, giving the ■ The AG-EZ30 also incorporates an find the start of each recorded program on camera high sensitivity and wide dynamic

158 Electronic Image Stabilizer for clear, shake a video tape and allows you to preview range. Also, double-density pixel distribu- and jitter free shots, even in zoom mode. each indexed recording for a few seconds. tion and a gapless dichroic prism ensure razor-sharp images and extremely faithful ■ Photo Search makes it easy to find the color reproduction. The result is that even Manual Controls recorded still image from the Photo Shot subtle color differences, like between vivid ■ Large-diameter focus ring enables a high mode. and deeper , are clearly distinguished. level of focusing precision. A multi-func- tion push dial allows easy setting of the Controls Mini DV and IEEE1394 16-step iris adjustment, 5-step gain control ■ (+12 dB maximum) and 14-step electronic Five-mode Program AE for shooting in a ■ Equipped with IEEE1394 input/output shutter (up to 1/8000 second). variety of different conditions: Sports, port for machine control, as well as digital Portrait, Spotlight, Sand and Snow and audio and digital video transfer. The cam- Low Light modes. 16-bit PCM Audio era also offers a 5-pin control that is acces- ■ sible through its docking station and ■ Automatic white balance with four modes: Selectable 2-channel 48k Hz/16-bit or Indoor with incandescent lamp, Indoor allows basic transport functions via com- 4-channel 32k Hz/12-bit PCM audio patible edit controllers. with fluorescent lamp, Outdoor and Lock recording. Has a built-in stereo micro- mode. Also has manual adjustment. ■ phone and can accept external mics. Uses Mini-DV cassettes for up to 60 min- ■ utes recording time. Cassettes can also be ■ Automatic and manual focusing, iris and Microphone sensitivity can be adjusted for shutter speed. played back in DVCPRO VCRs using the recording and audio dubbing. Mic levels optional AJ-CS750 Adapter. can be set in steps (-20, 10, 0, +3, +6 dB). ■ Still frame advance and slow motion play- back. Freeze the action during playback, 2.5˝ Color LCD Monitor advance the still picture one by one, play Digital Still Shot back scenes at one fifth the normal speed. ■ Extremely bright, 180,000 pixel, 2.5˝ flip- ■ One touch of the Photo Shot button out active-matrix LCD display doubles as a ■ Zebra pattern indicator for adjusting pic- records a high-quality sill image and seven viewfinder and as a playback monitor. It ture brightness to optimum levels. seconds of audio. One 60-minute cassette offers excellent direct viewing and flexible holds about 500 stills in SP mode, 750 ■ Frame recording mode – pictures are viewing angles. The monitor can be posi- stills in LP mode. recorded as frames — vertical resolution is tioned at any angle within a 270° range. 50% higher than in normal recording. (Also includes a 0.5˝ color viewfinder).

We are on the web at: www.bhphotovideo.com P ANASONIC AG-EZ30 Digital Effects ■ Offers five digital effects: Wipe, Mix, Strobe, Standard Accessories Gain-Up and Monotone Wipe — Gradually replaces a picture of the last ● AG-BP15 90-minute Battery Pack ● Shoulder Strap recorded scene with the picture of the new (7.2v/1.25 mAh) ● Filter Kit ● scene, like drawing a curtain. AG-BP50 AC Adapter and Battery ● Wide Conversion Lens

Charger MINI DV Mix — Gradually fades out the picture of the ● AY-DVLCLM Mini DV Tape last recorded scene, while fading in the picture ● 25-Function Wireless Remote Control ● Docking Station of the new scene. ● DV Interface Cable Strobe — Continuously records 6 still images per second, making the image appear to jump. Strobe effect can be increased by going to higher shutter speeds. Gain-Up — Electronically brightens up the pic- ture in low-light levels (down to 1 lux ) for clear, distinct images.. Monotone — Record without any color (B&W).

Tough and Durable ■ High-strength aluminum die-cast chassis pro- vides effective protection for the precision 159 mechanisms inside the EZ-30. A strong and supple, yet lightweight magnesium alloy is Optional Accessories used in the grip, providing sure protection from rough handling in the field. ● AG-BP25 ● AY-DVM30EA/AY-DVM60EA 2-Hour Battery Pack (7.2v, 2.5mAh) 30 and 60-minute Mini-DV tapes Supplied Docking Station ● AJ-CS750 ● AG-CB50 ■ Supplied AV docking station provides five output terminals: Composite, S-Video, Audio Mini-DV Cassette Adapter for play- Car Battery Charger /AC Adapter (RCA x 2), headphone out and 5-pin edit ter- back in DVCPRO VCRs ● AY-DVMCLC Cleaning Tape minal. The box plugs right into the AG-EZ30 via a 36-pin multi-connector. Also supplied with a wireless remote control.

AG-EZ30 SPECIFICATIONS VIDEO AUDIO CAMERA GENERAL Recording Format: Recording Format: Image Sensor: Power Source: Digital Video (SD Format) Digital PCM Stereo: 1/4˝ CCD Image Sensor x 3 Battery Pack: 7.2v Digital Component 16 bit (48kHz/2ch), Lens: AC Adapter: 8.4v Recording 12 bit (32kHz/4ch) 12:1 Variable Speed Power Power Consumption: Tape Format: Audio Input: Zoom Lens f/1.6 20w (Record Mode) Mini DV Mic In (M3):-70 dB, Focal Length: 4 to 48mm Filter Diameter: 43mm Weight: Record/Playback Time: 4.7kΩ or more, Unbalanced 1.52 lbs. (0.69kg) 60 Min. w/ AY-DVM60EA Audio Output: Viewfinder: (w/o Battery) 0.5˝ Color LCD Viewfinder Standard Illumination: -10 dB,600Ω, Loaded Dimension: 3 3 7 1400 Lux 3 ⁄16 x 4 ⁄16 x 7 ⁄16˝ (WxHxD) Minimum Illumination: (80 x 105 x 189mm) 2 Lux

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DCR-TRV900 1/4-inch 3-CCD DV Camcorder With the supplied Adapter connected via its Type II PC card slot, the DCR-TRV900 combines superior quality digital video with the convenience and versatility of still imaging that can be downloaded to a floppy disk or PC card. It also features Progressive Scan CCD, ana- log input, i.LINK (DV) interface, Super Optical SteadyShot and a host of conveniences — all in a lightweight, compact package.

FEATURES MINI DV Audio and Video Digital Effects ■ Three CCDs with 380,000 pixels each for ■ Zebra pattern indicator for over-exposure, ■ Six digital effects allows you to get cre- excellent color fidelity and high S/N ratio. and a built-in color bar generator for assis- ative with your shots: Still, Flash Motion, tance in properly adjusting your monitor Luminance Key, Slow Shutter, Trail, and ■ Progressive Scan CCD provides high qual- ■ Old Movie. You can also vary the levels of ity still images by reading all of the pixels Interval and frame recording for Single the effects. with a single pass over the imager. Frame recording and Time-Lapse effects Delivers clean edges and an overall sharper ■ Digital Audio/Video fader with fade to ■ Crystal-clear Still/Slow Motion playback picture for still images. Black, Overlap and Monotone. Also offers ■ Intelligent Accessory Shoe provides syn- picture effects like Slim, Stretch, Sepia, ■ 12x optical and 48x digital zoom lens chronized operation of and micro- B& W, Solarization, and Negative Art. ■ 4-Lux minimum illumination phones, automatically. ■

160 Photo Mode uses Sony's Adaptive Frame ■ Super SteadyShot Stabilization system ■ LaserLink system provides wireless connec- Interpolation for better image quality. uses motion sensors to compensate for tion of up to 16´ between the camcorder Store up to 700 individual still photos on camera “shake” without compromising and TV (requires the optional IFT-R10 a 60-minute cassette in LP mode. picture quality. Also eliminates high fre- receiver). quency vibration for smooth video. ■ Built-in external mic jack and headphone Editing ■ Manual focus and exposure, as well as jack for monitoring audio. manual shutter, white balance and gain ■ Control L interface and drop frame time ■ Records 12 or 16-bit digital PCM stereo control. code for frame accurate editing. audio with a dynamic range of more than ■ Analog inputs let you record from Hi8 and 96 dB for superior clarity. Audio dub capa- ■ Equipped with Sony’s i.LINK DV inter- S-VHS and master onto DV cassettes. Can bility allows you to add an additional 12- face (IEEE1394) for bi-directional trans- also playback DV tapes recorded in PAL. bit stereo track to your original recording. fer and editing between another DV cam- corder, or the Sony DHR-1000 VCR or GV-D900 Video . The result is a Still Image Modes video transfer rate faster than through a serial/parallel port or SCSI connection – ■ ■ Memory mode lets you save captured still Capture images in JPEG file format with a with virtually no generational loss. The images to a floppy disc or capture images choice of three quality modes: Standard, i.LINK interface also provides for direct directly to an optional , or Fine and Super Fine. JPEG images can be digital communication between the cam- ATA-type via the camera’s viewed on virtually any computer running corder and a PC with DV capture card. built-in Floppy Disc Drive/PC Card Slot. Windows or Mac OS. When images open You can also automatically copy all of your on your computer, you will see large 640 x ■ Index Titler offers custom titles (22 char- still images from your DV cassette directly 480, 24-bit colored detailed shots. acters), 8 preset titles, 2 sizes, 9 positions, using 4k cassette memory found in select to a standard 3.5˝ floppy disk. ■ Continuous Record mode captures four Sony Mini DV cassettes. Add or change ■ Date/Time stamp automatically writes the shots successively in just a few seconds. titles at any time. date and time to the file information. ■ Index Playback mode lets you preview six ■ Color bar generator displays color bar ■ Delete/Protect function – save your favorite thumbnails at a time. chart to assist in properly adjusting your shots or delete undesirable ones. ■ Create a slide show of your favorite shots. monitor for high quality playback.

Corporate Accounts Are Welcome SONY DCR-TRV900

LCD Monitor

1 ‘MEMORY STICKS’ Recordable IC Memory Cards ■ 3 ⁄2˝ SwivelScreen active matrix LCD swivels up to 270° and can be adjusted to The next generation of digital and media the popular 'Mirror' mode. The LCD transfer, the Memory Stick promises to bring together also has anti-glare and anti-fingerprint digital technologies in a way no other storage media treatments which helps stop smudging has. Smaller than a piece of and promotes easier cleaning. gum, the 64 MB card has MINI DV ■ forty times the storage of Built-in speaker with volume control. a standard 3.5˝ floppy ■ Offers a precision 180,000-pixel color disk, while providing viewfinder as well, for excellent viewing the ability to interface when the LCD monitor cannot be used. with and between a potentially endless array Conveniences of audio, video and computer products. ■ With the optional NP-F950 InfoLithium Battery, you can record for up to eight hours. InfoLithium batteries also offer AccuPower power management, which MSAKIT-PC4A 4 MB Memory Stick Digital Data Storage/PC Card Adapter Kit. provides you with continuous “remaining Includes : operating time” – in minutes – on the • MSA-4A 4MB Memory Stick LCD or in the viewfinder. • Case and label for Memory Stick 161 ■ For point-and-shoot convenience, the • MSAC-PC1 Memory Stick PC Adapter Card camera has a 5-mode program for Auto • Case for MSAC-PC1 Exposure that gives you the right settings to assure proper exposure, shutter and depth-of-field for the following shooting situations: Aperture and Shutter Speed MSA8A 8 MB Memory Stick ...... 34.95 Priority, Sports, Sunset and Low Lux. MSA16A 16 MB Memory Stick...... 49.95 You can also manually control exposure, shutter and depth-of-field. MSA32A 32 MB Memory Stick...... 84.95 ■ LP Mode lets you record 90 minutes on MSA64A 64MB Memory Stick ...... 149.95 a 60-minute DV cassette.

A word about the DV (a.k.a. i.Link/Fire Wire/IEEE1394) Interface

With the DV-equipped camcorder like the DCR-TRV900 or VX-1000, your options do not end with recording. Equipped with DV interface, you can output data as a digital signal to other DV compatible equipment. This means you can edit multiple generations with virtually no dete- rioration of picture or sound quality. And since the DV interface supports the IEEE1394 communications protocol, video and audio can be downloaded directly into your hard drive.

● Two simultaneous signals may flow at one time over a single connection. Sony DV Cables ● Signal is bi-directional, meaning each DV device can be a player or recorder without changing the connection. VMC-IL4415 1.5m cable 4-pin to 4-pin connection ..39.95 ● Up to 63 devices can be daisy-chained. VMC-IL4435 3.5m cable 4-pin to 4-pin connection ..59.95 ● Audio, video and aux data is transferred using one cable – simple design, VMC-IL4615 1.5m cable 4-pin to 6-pin connection ..39.95 simple connection. Dub and edit between DV devices with virtually VMC-IL6615 1.5m cable 6-pin to 6-pin connection ..39.95 no picture quality loss

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DCR-VX1000 1/3-inch 3-CCD DV Camcorder Incorporating advanced DV technology, the DCR-VX1000 records over 500 lines of horizontal resolution, records color using a bandwidth that carries three times as much data as conventional analog cameras and has a higher signal-to-noise ratio than cameras costing ten times as much. To complement the video, the DCR-VX1000 also records audio digitally, using PCM (Pulse Code Modulation), the same technology used in CDs for a breathtaking dynamic MINI DV range of 96 dB. Most important though, since video and audio signals are recorded digitally, you can copy or edit mul- tiple generations with no loss in picture quality. With the DCR-VX1000 analog tape artifacts like color bleeding, dropouts and generation loss are all a thing of the past.

FEATURES

DV Recording Digital Effects Digital Audio ■ Digital component recording samples ■ Digital effects include audio and video ■ Digital audio delivers sound. luminance at 13.5 MHz (same as D-1) to fade (to Black), Overlap and Slow Shutter. Uses PCM recording to achieve a dynamic

162 record an incredible 500 lines of horizon- In Overlap mode, the last frame of the range over 96 dB. tal resolution and provide a wide 1.5 MHz preceding scene dissolves to the action ■ Records 12-bit/32k Hz audio with two color bandwidth. being recorded. In Slow Shutter, it is possi- pairs of stereo tracks (L1/R 1, L2/R2), ble to record in very low levels of light, enabling you to add stereo music or narra- albeit with MTV strobe-like effect. 3-CCD Camera System tion. (The VX-1000 can playback a pair of ■ The DCR-VX1000 utilizes the same ■ You can make a Time-Lapse recording to stereo tracks recorded in 16-bit mode.) automatically record flowers blooming or a advanced optical system as those used in ■ Four-capsule microphone with two sets of sun rising. Recording time is selectable professional cameras. It features a dichroic mics for left and right channels for clear from 0.2 to 2 seconds and in intervals prism that divides the image into its sepa- stereo separation. They sit face to face to from 30 seconds to 10 minutes. rate , and light components reduce wind noise and are mounted away and directs them to one of three CCDs, ■ Frame recording mode lets you make a from the camera body to significantly each with 410,000 active pixels. The result recording with a stop-motion animated reduce mechanical noise pick-up. Audio is CCD imaging with over 1.2 million pix- effect. Move the subject a bit, and the DSP (Digital Signal Processing) provides els providing incredible color fidelity and camera will record four frames before additional wind , without dramatically improved signal-to-noise going into standby mode. harsh filtering to maintain audio quality. ratio. Also offers superb sensitivity of only 4 lux minimum illumination. ■ Has automatic and manual (20-step) audio Time/Data Codes level record controls. This is important, as 10x Optical/20x D. Zoom you cannot record good audio without ■ Records “Extended Data Codes” on a spe- manual audio gain. Monitor the audio ■ Eight-speed 10x optical power zoom lens cial area of the tape. It automatically stores with headphones, or from the LCD panel goes from 5.9 to 59mm in 4.1 to 20 sec- Date/Time, Shutter Speed, Iris, Gain and which has an active VU meter with a red onds. The manual zoom rocker is continu- F-stop for easy recall. In the event you peak light on top. ously variable right up to where the digital have to reshoot, you have your original ■ Audio and video are recorded on separate 20x zoom kicks in. If you don’t want the settings for every scene and frame. digital zoom, you can disable it in the areas of the tape. You can add audio tracks ■ menu. Manual focusing is also available Records Drop-Frame Time Code for accu- later and insert-edit video without affect- with an accurate focus indicator in the rate editing. When working with edit con- ing the original audio track — true video viewfinder that actually tells you which trollers, the time code is read as RC time only insert editing is now possible. way to turn the focus ring. code (accuracy is ±3 frames).

Most Orders Shipped Within 24 Hours SONY DCR-VX1000

Exposure Control Built-in TBC ■ Custom Preset function lets you preset, Built-in Time Base Corrector (TBC) delivers jitter-free playback and dead-perfect stills. Also store and recall your own custom settings provides powerful error-correction circuitry for perfectly clean picture playback, even when two for color intensity, white balance (bluish of the tape’s ten tracks are missing — assuring no dropouts. or reddish), sharpness, brightness and gain shift (0 dB/-3 dB). Super SteadyShot MINI DV ■ Focusing, exposure and white balance are ■ Using a proprietary motion sensing sys- ■ And because Super SteadyShot uses an all automatic or can be manually con- tem, Sony’s Super SteadyShot reduces active prism and precision CCD imagers, trolled. Integrated Iris/Gain is adjustable high frequency camera shake without your pictures remain superb – with no in 20 levels, shutter speed is adjustable compromising image quality. Unlike other loss of detail or reduction in size. from 1/4 to 1/10,000 of a second in 16 stabilization systems, SteadyShot uses hor- In fact, the effect from Super SteadyShot steps. izontal and vertical motion sensors that is so subtle, yet so critical to the quality ■ There are three Auto Exposure modes; allow it to work accurately while zoom- of your video, you will never want to Shutter Priority, Iris Priority and Twilight ing, moving (even shooting from a car), shut it off. mode. In Twilight mode, night scenes and shooting in low light conditions. such as neon signs or fireworks can be recorded without color dropout. Lithium Battery Technology ■ ■ ■ Has a Zebra pattern indicator, just like Uses Lithium-ion batteries with no “memory Using a Sony NP-F730 rechargeable battery the professional cameras. This function effect”. No more charge/discharge cycles — gets you up to 90 minutes of continuous places black and white lines in the you recharge whenever you want to. Also recording time. It takes 3 hours to charge has a Ready/Charge system that lets you an NP-F730 in the supplied charger and

viewfinder where portions of the picture 163 1 exceed a a certain brightness level. The charge two batteries at once, one external- 2 ⁄2 hours inside the camcorder. Two bat- zebra indicator is an excellent guide for ly on the supplied charger and one inter- teries can be simultaneously charged in adjusting shutter speed and exposure. nally as it remains inside the camera. about four hours. ■ Built-in ND (Neutral Density) filter cuts Additional Features down the amount of light, allowing you to work in the middle of the camcorder’s ■ Control L remote terminal for serial bi- ■ Built-on square lens hood reduces external f-stop range, even under bright conditions. directional communication between the light flare effect. camera and Sony editing systems and color ■ Magnesium body offers a very lightweight, printers. Color Viewfinder yet durable shell. ■ Precision 180,000 pixel color viewfinder provides stunning details (over 400 lines Supplied Accessories of resolution) and is great for making sure your white balance is correct. It also incorporates a separate information sub • AC-515 World-Wide AC Adapter panel which displays time code, battery • NP-F730 Lithium Ion Battery time, tape remaining and other cam- corder functions, without cluttering up • AA Batteries (2) the viewfinder. • RMT-803 Wireless Remote Control • Shoulder Strap Photo Mode • A/V Cable ■ A unique Photo Mode allows you to • S-Video Cable record high quality still image pictures with corresponding audio for up to • DVM60 60-Minute Mini DV Tape seven seconds. Using Adaptive Frame Interpolation (AFI) technology, images are smooth and clear without jagged Optional Accessories edges or “stair-stepping” – typical of most still pictures from video. You can • LCH-VX1000 Hard Carrying Case • HVL-F7 Flash for Photo Mode play back images on a monitor or print • HVL-20DW 20w Light • VMC-2DV Digital Cable them out with almost photographic quality using a video printer. • NP-F730 Lithium Ion Battery Pack

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY AMPHIBICO VH-1000 Marine Video Housing for DCR-VX1000 Designed for professional underwater use, the VH-1000 is an aluminum housing for the DCR-VX1000 that allows full use of camcorder functions at depths of 330 feet. The housing features electronic push-button controls, provides excellent underwater bal- ance, and has a unique design that makes camcorder installation easy.

■ Bayonet mounted, fully-coated, amphibi- ■ Pistol grips are ergonomically designed VH-VX1000 MINI DV ous wide angle (0.55X) conversion lens is for cold water gloves or warm water use. Video housing for VX1000 ...... 2495.00 vacuum sealed for maximum anti-fog ■ Bright green LED located on the right VL-MP0135 Mini Pro Video Lights protection. The lens includes a square hand pistol grip flashes when camcorder Includes two video lights with 35w bulbs lens hood complete with 3” x 4” filter slot. is recording. and two flexible arms ...... 699.95 ■ 16 electronic push-button controls, ■ A probe installed into the lowest part of LA-PP0135 Mini Pro Power Pack including: auto focus on/off, manual the housing sets off a flashing red LED For Mini Pro Video lights. focus, zoom in/out, standby, record, shut- on the pistol grip if moisture is detected. Uses two NP-1B type batteries...... 849.95 ter speed, iris control, screen display, white balance, AE Program, review/ ■ Has a compact underwater connector for VLA-L0025 25 Watt Arc Lamp edit/search, natural night mode. Also convenient plug-in of video output for Underwater video light using arc lamps and includes video light controls. external LCD viewfinder or surface electronic ballast to produce 12-volt, 25- umbilical viewing/recording. watt, 5200°K daylight color temperature. ■ Viewfinder features 2X magnification, Includes connectors and flexible aluminum 164 adjustable focus and is tilted 20° for full- ■ Includes state-of-the-art Aquacolor #10 ball joint arms...... 1599.00 frame viewing through the face mask. internal flip and #30 external glass 3” x 4” filters. The filters provide true under- LA-PP2550 Super Mini Pro Power Pack. ■ Amphibious 2-capsule electret condenser water color and heightened contrast for For 25 Watt Arc lamp. stereo mic adds dimension of sound to sharper, brighter underwater hues. Uses two NP-1B type batteries...... 1049.00 underwater video. Works equally well above or below water.

Sony DV

Sony’s Mini DV tapes are one twelfth the size of a VHS tape and have advanced, double- metal evaporated layers for higher output and lower noise. A proprietary DLC (Diamond- Like Carbon) layer protects both recording layers to ensure durability.

■ A special surface layer acts as a lubricant ■ The most unique aspect of the cassette to reduce the friction between the tape is the built-in Read/Write 4 kB memo- and drum, and as a rust-proofing agent to ry chip which stores the date and time prevent the deterioration of the recording of Photo Mode images. With the layers’ magnetic characteristics. information stored in the memory chip, you can then build a “TOC” ■ Back coating layer reduces friction (Table of Contents) of the tape that between the tape and the guide pins, pro- can be accessed to automatically locate viding more stable tape movement. a particular “Recording Date” or “Photo ■ The cassette incorporates a reel-lock Mode” segment. The 4 kB chip stores 6 ■ Sliding write/protect tab helps to prevent mechanism to prevent tape damage. record dates and 43 photo dates. accidental erasure.

Equipment Leasing Available MINI DV 165 7.99 9.99 24.95 14.99 11.99 13.99 12.99 17.99 24.99 26.99 189.95 179.95 169.95 179.95 169.95 AX: (212) 444-5001 F • SONY (for AG-EZ30) ...... (for XL-1) ...... (for AG-EZ1) ...... (for TRV-900) ...... (for VX-1000) ...... DXA-4S DXA-4C DXA-4P EZ Adapter DXA-4 uickly and easily connects to the RCA audio uickly and easily connects to the RCA Q Also uses the camcorder. output jacks on your required. – so no batteries are power camcorders VUIT...... 109.95 ■ ead Cleaner for DV VCRs ead Cleaner for DV ead Cleaner for DV Camcorders ead Cleaner for DV 30-Minute ‘Premium” DV Tape DV ‘Premium” 30-Minute Tape DV ‘Premium” 60-Minute Tape DV ‘Excellence’ 30-Minute Tape DV ‘Excellence’ 60-Minute Chip with Memory ‘Excellence’ 30-Minute Chip with Memory ‘Excellence’ 60-Minute w/Chip Tape DV Size Standard 120 Minute w/Chip Tape DV Size Standard 180 Minute H H HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 EK T PHOTO - VIDEO - PRO AUDIO V12CL VM30PR VM60PR VM30EX VM60EX VM30EXM VM60EXM V120ME V180ME VM12CLE D CTLG#D D D DescriptionD D D D D D Price EACH B ade with Neutrik XLR connectors and ade with Neutrik ugged all metal case is built to last and Sony DV Cassette Tape Sony DV Also has a threaded hole for mounting Also has a threaded on a tripod plate. R noise. complete shielding from provides can transformers for dependability you count on. ■ ■ tereo VU Meter for the VX-1000 VU Meter tereo S ounts onto camera shoe for ideal viewing. udio recording levels for reliable sound quality. for reliable levels udio recording ri-colored LED Bargraph lets you easily check lets you LED Bargraph ri-colored Calibrated display allows you to accurately see to accurately you Calibrated display allows A M for overloads. T VUIT ■ ■ ■ Dual XLR Adapter for DV Camcorders Dual XLR Adapter for (DV-120MEM, DV-180MEM) standard-size DV-180MEM) (DV-120MEM, (DVM-30EXM, DVM-60EXM): Sony’s best Sony’s DVM-60EXM): (DVM-30EXM, (DVM-30PR, DVM-60PR) more economical more DVM-60PR) (DVM-30PR, (DVM-30EX, DVM-60EX) has the same perfor- has DVM-60EX) (DVM-30EX, cassette. Has a 2 dB higher carrier-to-noise ratio–ideal a 2 dB higher carrier-to-noise cassette. Has tape for DV VCRs like the DHR-1000. Includes 4kB like the DHR-1000. Includes VCRs tape for DV

wo channels let you record two sources record wo channels let you ecurely mounts to underside of cam- ecurely corder, eliminating cable strain. corder, S on separate tracks for post audio mixing. mic/line their own Both channels have switch and trim potentiometers for level flexibility and complete control.

T

memory chip. DV mance as the EXM series but without memorymance as the EXM series chip. MEM Series PR Series EX Series Cassette Lineup Cassette EXM Series DV premium tape, unsurpassed in durability, shedding and in durability, tape, unsurpassed premium cassette memory). (No dropouts. for LP recording. Includes 4kB memory Includes chip. for LP recording. ■ ■

even feed a time code signal into one input and audio into the other. one input and audio into the other. feed a time code signal into even sible for you to mix both channels during editing. You can You during editing. to mix both channels sible for you input is recorded on a separate audio track, making it pos- audio track, on a separate input is recorded time. Record from two sources at the same time. Each two sources from time. Record benefits of using balanced audio for superb sound everybenefits of using balanced audio for audio gear to your DV camcorder — and with it, all the camcorder DV audio gear to your The DXA-4 offers an easy, reliable way to hook up professional reliable The DXA-4 offers an easy, DXA-4 CANON GL-1 3-CCD DV Camcorder with L-Series Fluorite 20X Zoom Lens Setting a new price/performance benchmark for prosumer-type camcorders, the GL-1 offers unmatched optical technology for superior image quality and shooting versatility. Building on Canon’s expertise in 35mm photographic and broadcast TV lenses, the GL-1 is equipped with Canon's exclusive L- Series Fluorite 20X optical zoom lens for outstanding imaging power in a lightweight, portable design. In addition to being the world's first mini-DV camcorder equipped with a L-Series Fluorite lens, the GL-1 also incorporates a 3-CCD imager, 20X optical and 100X digital MINI DV zoom, 2.5-inch LCD color monitor, DV (IEEE1394) input and out- put and a host of other features and functions that give it the function- ality of a professional camcorder —making it ideal for newscasters and independent makers.

The GL-1 allows you to shoot outstanding video even under the toughest conditions. By combining the most advanced technologies in lenses and signal processing with manual controls and features, the GL-1 achieves a perfect balance of amazing picture quality and performance versatility. Do all the things the pros do with the Canon GL-1.

3-CCD Image Sensor Outstanding Combination Optical Image Stabilize ■ With 3-CCDs, the GL-l maximizes the ■ With the combination of 3-CCDs, Pixel ■ Canon's superb optical stabilization sys-

166 capabilities of the DV format. A beam Shift technology and the L-Series Flourite tem eliminates image shake due to a wide splitting prism precisely separates the Lens (see below) the GL-1 achieves out- range of movement and/or high wind light passing through the lens into indi- standing picture detail, sharper stills, conditions. It corrects camera shake vidual color components—red, green and reduced vertical smear, accurate color instantly so even hand-held shots, at full blue, and each color is sent to its own reproduction and wide dynamic range. telephoto, and shots taken from a moving CCD. In addition, Canon employs Pixel car, are smooth and steady. And since it is Shift technology, a signal processing optical, there is no loss of image quality method used in broadcast TV cameras. L-Series Fluorite Lens as with electronic image stabilizers. The CCD sensor in the GL-l includes ■ ■ A perfect complement to the high picture 270,000 pixels, however, using Pixel Shift Canon has satisfied the demands of expe- quality of DV, the stabilizer employs a the GL-1 rivals the resolution of cam- rienced image makers for years through unique Vari-Angle Prism within the lens corders using CCDs with 410,000 pixels. the power, design and quality of their 35mm and broadcast TV lenses. The pro- to optically compensate for camera shake fessional L-Series lenses utilize Fluorite, a before light reaches the image sensor, Pixel Shift Technology material which provides outstanding reso- resulting in smooth, steady video without ■ The green component of a video signal lution, contrast and color reproduction, degradation. contains 60% of the picture detail, the especially in lightweight, high-magnifica- red and blue components comprise only tion lenses. Now incorporated into the 20X Optical Zoom Lens 40%. In Pixel Shift, the green CCD is lens on the GL-1, Fluorite delivers the ■ With a 35mm focal length equivalent of shifted the equivalent distance of 1/2 ultimate clarity and image quality. 39.5 to 790mm, the 20X optical zoom pixel from the red and blue CCD. The ■ The Fluorite element inside of the lens transforms distant subjects into crisp, dra- green signal is then sampled more fre- defeats color aberration - the effect when matic close-ups. The GL-1 also offers a quently to extract the maximum picture components of light stray from one digital zoom extending between 40X – detail from the video signal. Also, because another within a lens, causing a reduction 100X. At full telephoto it offers a tele- there are fewer pixels on the CCD, they in sharpness, contrast and color. The scopic 35mm equivalent of 79,000mm. are larger in size and thereby gather more Fluorite lens precisely controls compo- An optional wide converter is also avail- light. The result is improved dynamic nents of light providing an excellent bal- able. Using the WD-58 wide-converter, range where detail is clearly visible in ance of these three critical ingredients of the field of view will increase by 0.7X highlights and shadows without annoying picture quality. This is unobtainable with (28mm in 35mm focal equivalent) for color noise. conventional optical glass. indoor shots or panoramic views.

We are on the web at: www.bhphotovideo.com CANON GL-1

Audio Creative Controls ■ The GL-1 offers two selectable audio In addition to the standard fade to black, the GL1 includes digital effects to create a more modes; 16-bit produces CD quality two appealing look. These include Monochrome, Slim, Stretch or Strobe motion. channel sound on one track. 12-bit mode The GL-1 also gives you advanced control of picture quality with these three functions: divides the audio track into two, record- ing two channels on one track while leav- Camera Sharpness: Adjust the range of pic- Color Phase: Adjust the color tone towards

ing the remaining track open for post ture sharpness to your preference before red or green to your liking. MINI DV production audio recording. recording. Softer compliments the subject AE Shift: Gives you control over how dark or while sharper will make details more visible. ■ Includes a directional accurate micro- light the camera sets the auto exposure level. phone. Newly developed, the mic incor- porates two pairs of pick-up elements Recording and Editing Functions each for left and right. This arrangement realizes a superior directional ability and ■ Can accept an analog video signal from a ■ A/V Insert lets you insert new scenes of fuller, richer stereo sound that must be and record it to DV. Great for making video from your VCR or other camcorder heard to be believed. copies or archiving precious originals on to a tape recorded in the SP mode. ■ Equipped with a DV (IEEE1394) interface ■ Audio dubbing function lets you add nar- Professional Functionality for connection to a DV compatible com- ration or stereo sound to a recording made puter for non-linear editing. in the 12-bit audio mode ■ In addition to the side hand grip, the GL-1 features a top carrying handle com- Exposure Controls plete with a duplicate set of recording ■ White balance can be set for Automatic, ■ Zebra pattern indicator reveals areas of

and zoom controls. Now you can accom- 167 modate your individual shooting style as Preset Indoors, Preset Outdoors and Set overexposure using diagonal stripes to well as make mid to low angle shooting (custom) for any lighting condition. guide you when setting exposure. comfortable and easy. Seven recording controls (Programmed AE), easily ensure great results in various conditions . ■ 2.5˝ flexible LCD monitor makes it easi- Full Auto Green Zone—Controls all camera Spot Light— Prevents the subject from being er to compose shots from any angle. It functions and simplifies use by restricting grossly over-exposed when illuminated by swivels and flips for maximum handling the operation of manual controls. intense light sources, like under spotlights on and comfort and flexibility. It also tucks a dark stage. away when bright shooting conditions Auto Mode— Handles all camera settings requires the eyecup viewfinder instead. while also letting you choose the function or Sand & Snow—Prevents subjects from being functions you would like to control manually under exposed against a bright background. such as focus, exposure and white balance. Three Shooting Modes Shutter Priority/ Aperture Priority— Manual Mode— You control the aperture Simplify capturing fast-action or controlling The GL-1 incorporates three recording and shutter speed together—27 shutter depth of field. Select one of 9 shutter speeds modes to fulfill virtually any imaging need: speeds from 1/60 sec to 1/15,000 of a sec- from 1/60 to 1/15,000 of a second, or select —Normal Movie mode (full motion video) ond, and 23 aperture values with half-stop one of 12 apertures from F1.6 to F11 and delivers more than 500 lines of resolution adjustments from f/1.6 to closed for precise the GL-1 will set the most appropriate shut- for superior image quality brightness and depth of field control. ter or aperture for proper exposure. —Frame Movie mode allows you to record high-speed action at 30 frame images per GL-1 Standard Kit Includes: second for the purpose of extracting high resolution frame video. Images can then ● BP-915 Battery Pack be displayed, printed or digitized. ● CA-910 Compact Power Adapter —Digital Photo mode, with self timer, cap- ● DC-905 DC Coupler tures more than 700 remarkably clear still frame images on a single 60-minute ● SS-650 Shoulder Strap cassette in SP mode. Each still frame pic- ● WL-D73 Wireless Controller ture is recorded for approximately six sec- ● S-150 S-Video Cable onds to ensure the best possible image quality. ● STV-250N stereo video cable ■ For SLR-style flash photography, the dig- ● DVM-E30 DV Cassette ital photo mode will accommodate a ● Lens Hood. selection of Canon's speedlight flashes, including the 220EX, 380EX or 550EX.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 CANON XL-1 3-CCD DV Camcorder with Interchangeable Lenses The XL-1 combines Canon’s exclusive interchangeable XL Lens Mount System and supe- rior optical technology to offer video producers and semi-pro videographers unmatched image quality and shooting versatility. Acknowledged as the most professional type of the DV class, the XL-1 earns this dis- tinction based on its combination of features and design, and to the unprecedented amount of manual control it offers. Whether on the lens or camera body, these controls allow the widest array of adjustments for a great variety of imaging possibilities. Additionally, MINI DV the XL-1 was designed to overcome operational limitations and to com- plement most users’ preferences. Whether your subject is near or far, in a studio, in daylight or low light, the XL-1 delivers outstanding magnifi- cation, resolution, color reproduction, and high S/N ratio.

FEATURES

Interchangeable 16:1 Optical Zoom 3-CCD Image Sensor XL Lens Mount System ■ The longest optical zoom of any DV cam- ■ 3-CCD image sensors create true-to-life ■ Proprietary interchangeable XL Lens corder, the 16:1 zoom has a focal length quality images. A beam splitting prism sep- Mount system provides unsurpassed flexi- range of 5.5mm to 88mm (35mm focal arates the light passing through the lens 168 bility, superior range and opens up a length equivalent of 39 to 633mm). It has into individual color components (RGB), dynamic world of imaging perspectives — high speed motors for auto-focus and and each is sent to its own CCD to achieve ranging from extra wide to super telephoto. zooming, a six-blade Iris and a 1.5x ND outstanding detail and highly accurate Designed for the performance requirements filter. Externally, the lens provides a vari- color reproduction. of a 3-CCD system and the maximum able speed zoom, manual zoom, manual ■ The XL-1 is equipped with 270,000 pixel potential of the DV format, the XL lenses focus control options and a one-push auto- CCDs, but uses advanced Pixel Shift CCD incorporate the highest quality multi-coat- focus button. technology to rival 410,000-pixel systems. ed optical elements to achieve 600 lines of Using Pixel Shift, the camera achieves 530 horizontal resolution. By exceeding the DV SuperRange Optical lines of resolution while applying signifi- format resolution, the lenses deliver greater Image Stabilizer cant improvements to the video signal. visual “sharpness” through its higher sensi- ■ This results in a wider dynamic range, low tivity in the all important 100 to 250 TV The 16:1 also incorporates an improve- color noise, excellent color reproduction, a line resolution area. The lenses also inte- ment of Canon's vari-angle prism optical high signal-to-noise ratio, reduced vertical grate high speed driving motors for faster image stabilization system. Known as smear and remarkable performance in low- response of the internal auto-focusing sys- SuperRange Optical Image Stabilization, it light. It also favorably affects image quality tem and variable zoom speeds. delivers even greater image stabilization performance. Until now, optical image sta- of the XL-1's digital zoom when extended ■ In addition to the included 16:1 lens, bilizers have used a gyro sensor to detect magnification is required. You will realize the XL-1 accommodates an optional 1.6x camcorder vibration. SuperRange takes it a sharper diagonal lines and reduced moiré extender and 3x wide-angle zoom lens step further, using a motion vector to patterns when shooting with the digital (35mm film equivalent of 24-72mm). examine the image after it is received by zoom. ■ It also offers the expanded option of using the CCD, and it detects any low-frequency ■ For super low-light shooting situations, the Canon EOS lenses with the optional EF vibration missed by the gyro. This data is XL-1's pixels measure 72 microns — 150% Adapter XL. Simply mount the adapter fed back to accelerate and refine the move- larger than those of other DV camcorders between the XL-1 and an EOS lens and ment of the stabilizer's vari-angle prism. in its class. The overall result is an approxi- your capabilities are dramatically expanded. The process significantly improves perfor- mate 4 dB improvement in sensitivity. The Potential focal range, from extreme wide to mance for low frequency vibration — XL-1 performs equally well in brightly-lit super telephoto (in 35mm equivalent), is effectively eliminating image shake from shooting environments. Vertical white 24mm to 17,280mm. lower than 1 Hz to over 20 Hz — resulting streaks (smear) from bright light sources are in the most advanced optical image stabi- dramatically reduced. lization system available today.

We Exhibit At NAB, Infocomm, and Siggraph CANON XL-1

Three Recording Modes ■ Three recording options for virtually any ELECTROPHYSICS imaging need include capture of high AstroScope 9300XL Night Vision Module resolution full motion video (Normal Movie Mode), high resolution stop action The ultimate night vision module for the XL-1, images of moving subjects (Frame Movie the AstroScope 9300XL transforms dark, moonlit

- MINI DV Mode) and picture perfect single images nights (below 10 4 lux) into bright, high resolu- (Digital Photo Mode). tion scenes that can be easily seen through the viewfinder and recorded. With its ■ Frame Movie Mode lets you continuously incredible low-light performance and record an incredible 30 frame images a compact design, the AstroScope second, while effectively eliminating 9300XL turns the XL-1 into a power- motion flicker by capturing a full image ful night-time surveillance recording with every scan. The Frame Movie mode system —ideal for use in night-time allows you to record high speed action for news gathering, law enforcement, government surveillance and security applications. the purpose of extracting high resolution frame video images, which can then be ■ With its state-of-the-art image intensifier, ■ For situations having absolutely no ambient displayed, printed or digitized. the AstroScope dramatically extends the light available, there is an optional bore- usable light range of the XL-1 by 8 to 10 sighted infra-red laser that illuminates ■ For SLR-style flash photography, the f-stops. Better put, it transforms nights dark areas covertly by emitting an invisible Digital Photo mode will accommodate with no available light (10-4 lux or infra-red beam. The AstroScope then con- the Canon Speedlite 380EX E-TTL flash, 1/100,000 of a lux) into bright high reso- verts this infra-red light to visible light so

using an optional FA-100 Flash Adapter. lution scenes. that it can be recorded. 169 ■ ■ Five Program Modes Under bright conditions, the camcorder’s Despite its complexity, the AstroScope is auto-iris closes the lens iris, protecting the remarkably easy to use. It requires no set-up, ■ The XL-1 offers five AE Program recording sensitive intensifier tube. calibration or training. Sets up in seconds. modes for convenience, plus full manual ■ ■ control. By simply rotating a large back Weighing a mere 21 ounces it adds virtu- Once attached, the XL-1 and its lens dial, you can choose settings to suit your ally no weight to the camcorder, allowing communicate with each other as if the shooting preferences: portable or tripod mounted operation. It AstroScope wasn’t there. This way lens also draws very little power from the XL-1 functions like zoom and iris — even optical ■ Easy (Green) – All functions are automatic so no batteries or cables are needed. image stabilization— are maintained. ■ Auto (A) – All settings are automatically set. Functions such as focus, exposure, and white balance can be set manually. Standard XL-1 Kit ■ Spotlight Mode – Another Auto mode, this is for when you are shooting bright • 16x XL 5.5-88mm IS subjects on a dark background. Zoom Lens ■ TV (Shutter Priority) – Manually select your own shutter speed from 1/60, 1/100, • CA-900 Compact Power Adapter 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 1/15,000, and the camera auto- • BP-927 Battery Pack matically sets the correct aperture. DC-900 DC Coupler ■ AV (Aperture Priority) – Manually select • your own aperture from 8 F-stop settings • SS-1000 Shoulder (f/1.6 to f/16), and the camera will auto- Strap matically set the correct shutter speed. • WL-D2000 Wireless ■ Manual Mode – Full control over 27 Remote Control shutter speed and 27 aperture settings, as well as manual control of focus, white • S-150 S-Video Cable balance, gain (five preset levels from -3 to +12dB) and exposure lock. A gauge in • STV-150 Stereo • DVM-E30 DV • Lens Hood • SP-100 Shoulder Pad the viewfinder indicates when a proper Video Cable Cassette shutter/aperture has been selected.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 CANON XL-1 Three Digital Audio Modes Dual Action Carrying Handle ■ The XL-1 offers three digital audio ■ Unique shoulder mount design and carrying handle accommodate a variety of shooting modes (16-bit and two 12-bit modes) positions. In addition to the normal side grip, a conveniently positioned carrying handle and is the first camcorder to offer simul- includes an additional Start/Stop switch and zoom control for dual-action shooting. This taneous recording on four channels, makes it ideal for low-angle recording. An adjustable shoulder brace enhances the shoulder enabling recording of four separate mount design, serving multiple users and ensuring maximum comfort. tracks. You can also output each signal independently. Additional Features ■ There are a variety of audio input termi- nals with independent level controls, ■ Equipped with IEEE1394 DV output, for ■ Headphone jack with level adjustment. including one stereo mini-jack and two connection to a DV compatible computer ■ Lighting filters for enhancing white balance pairs of stereo RCA jacks. The optional or VCR for editing, still image capture and

MINI DV operation based on lighting conditions or MA-100 Microphone Adapter/Shoulder output via printer. light source such as daylight and tungsten Pad permits the use of two XLR-type ■ Records DV Time Code (Drop-Frame) for (indoor). microphones. It also allows attachment frame accuracy, as well as data code — of a wireless microphone receiver and ■ Zebra pattern and Color Bar generator date, time, shutter speed and exposure set- functions as a shoulder pad. prevents overexposure and ensures accurate tings. The information remains hidden color display during monitor setup. ■ The XL-1 supplies automatic gain con- until selected for display.. trol, or separate right and left audio ■ Manual control over a Neutral Density filter, ■ Composite, S-Video and DV (IEEE 1394) input gain controls, plus audio level Gain and Zoom provides the highest degree output, Control L terminal. meters for both left and right audio image control, when needed. input channels. Conveniences OPTIONAL XL LENSES ■ Extra large high resolution 180,000-pixel 170 color viewfinder allows you to shoot with 1.6x Extender the left or right eye and move from close range to short distance (sports finder) at Fits between the XL-1 and the XL lens to shift the focal length of the flick of a switch. A brightness control the master lens to telephoto side by 1.6 times. allows you to adjust the viewfinder LCD contrast for enhanced visibility in a variety EF Adapter XL of lighting conditions. Fits onto the XL-1and allows you to use over 50 Canon EF lenses ■ 10-second self-timer provides a 10 second on the XL-1 delay before recording begins — enough time to get in front of the lens 3x Super Wide-Angle Zoom Lens ■ Three slow shutter speeds (1/8, 1/15 and The lightweight 3x Super Wide-Angle Zoom Lens provides the 1/30 of a second) for a “streaming” back- XL-1 with the widest field-of-view of any DV camcorder. It ground when panning, or perfect low-light widens your angle of horizontal view to more than 70°, compared recording to the 47° of the standard 16x lens. This represents an increase in ■ LP Mode extends recording time of a 60 angle of view of nearly 50%. Focal length of 3.4mm to 10.2 mm minute DV tape to 90 minutes (24mm to 72mm equivalent in 35mm) enables you to move from vast landscapes to close-ups with maximum flexibility. ■ Digital fader and wide screen TV effect The lens incorporates eighteen of the highest quality, precision- ■ Chassis is a single, durable magnesium crafted optical elements, including low dispersion glass used to frame, designed for protection from exter- compensate for chromatic aberration, to deliver extraordinarily nal shock. Almost twenty times stronger sharp images as compared to wide-angle lens converters. than standard camcorders.

■ Supplied remote control has Jog/Shuttle ■ Six-blade Iris for minimal light flare ■ Minimum focusing distance of 3/4˝ at wheel for locating edit points down to ■ Manual Zoom and Focus Ring on lens wide end the frame. Can be used with compatible ■ ■ Built-in 1.5x Neutral Density filter camcorders for an assemble edit system. 72mm lens diameter permits the use of ■ The remote also provides independent screw-on type filters Maximum aperture f/1.8 control over audio channels 1 and 2.

SSMM

¨ ¨ CANON XL-1 ACCESSORIES Canon Accessories Power Brace/Power Mate BP-941 Lithium Ion Battery Pack: Provides up to 3 hours recording time...... 149.95 XL-1 Solutions from Dolgin Engineering CH-910 Dual Battery Charger/Holder: The Power Brace and Power Mate Can consecutively charge two battery packs and both give the XL-1 better weight dis- connect directly to the XL-1 to provide twice the tribution, affording you a comfortable MINI DV playback time...... 149.95 handling from any classic shoulder VL-10Li Battery Video Light: 10w illumination mounted camera. They also permit the powered by its own lithium battery ...... 74.50 use of popular, yet inexpensive 380EX Speedlite Flash: Attaches directly to XL-1 Panasonic BP-20 or BP-50 batteries as to give SLR-style flash photography. (Optional FA- a proven and reliable power source, as 200 Flash Adapter required ...... 169.95 well as any available 9-14v DC power. FS-72U Filter Set: Three 72mm filters (Multiple They Both Feature: Image, R-Cross, and Zoom Spot) ...... 129.95 ■ Battery status LEDs HC-3000 System Case: Solid, lockable case for ■ Accepts standard (AG-456) inexpensive Panasonic 12v 2.0 Ah batteries storage and transport of the XL-1 ...... 329.95 ■ 4-pin XLR input accommodates any external 9v to14v DC power source ■ Maintains a 90-minute run time in record mode — even with auto focus and image stabilization on. 171 Power Brace Power Mate An integrated adjustable full fit shoul- The Power Mate is a 12v battery der brace, battery holder, and voltage holder/bracket, which conveniently regulator, the Power Brace attaches to attaches to the optional Canon MA- CH-900 the camera using the rear socket (nor- 100 Mic Adapter/ Shoulder Pad. The 380X mally used by MA-100 Microphone bracket integrates a DC voltage con- Adapter). Also provides an alternative verter and has an easy-to-see LED method for mounting an MA-100. voltage indicator to keep you An easy-to-see LED voltage indicator informed of battery status. keeps you informed of battery status.

MA-100 Power Brace...... 249.00 Power Mate...... 199.00 HC-3000 OPTEX Lens Accessories for the XL-1 MA-100 Microphone Adapter/Shoulder Pad: WALS95 Rectangular Wide Angle Lens Shade: Allows the use of a microphone with balanced XLR Provides protection from flare for both the connectors with the XL-1. It also converts the XL-1 Canon 16x and 3x Wide Angle zoom lenses. body into a shoulder mount for more comfortable and Mounted to the lens via a separate stepping steady handheld shooting. Can also be used as a ring, the shade will also hold up to two 4x4 mount/support for a wireless mic receiver or the filters...... 1399.00 optional CH-900 Dual Battery Charger ...... 329.95 MBXL 4x4 Lens Shade: BeachTek DXA-4C Dual XLR Adapter The OpTex 4x4 Sunshade is a bellows shade that provides a deeper degree of flare protec- The perfect accessory for the XL-1, the DXA-4C tion for the 16x Canon lens. Also holds up to two 4x4 filters...... 475.00 offers an easy and reliable way to hook up profes- sional audio gear for superb sound every time. Input AI and Canon FD Lens Mounts: trim controls let you adjust for “hot” mics to ensure clean audio – eliminates overdriving the camcorder’s Lens mounts for attaching Nikon AI (NXLA) and Canon FD (CFDXLA) lenses preamps. Can be used with the MA-100 Adapter for to the XL-1. When the lenses are mounted on the XL-1 mounts they become four discreet balanced XLR inputs at the same time. fully manual and their original focal lengths is effectively multiplied by 7.2x. NXLA...... 264.95 CFDXLA...... 449.95

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 CANON

172 MINI DV OPTEX XLP lens usedby Panasonic fortheAJ-D210/AJ-D215DVC camcorders. Re-engineered by Optex toaccepttheXLmount,XLPro offers B We 14:1 Manual Zoom LensfortheXL-1 itepcal o h ao L1 h pe Lr sapoesoa /-nh1X uio es(1x. R4 . 77mm—the – uilt especiallyfortheCanonXL-1,OpTex BRM4)5.5 XLPro isaprofessional 1/3-inch14XFujinon lens(T14x5.5 ■ ■ ■ ■ ■ outer acousticalfuristhesoftestandfinestinworld. unbreakable polyethylene, epoxy andnylon,thetough (to pullinclear, of crispdialogue).Constructed common foamsock,alongwithasweetened mid-range E fabric/meshslip-onwindscreen,A highperformance the EQ-XL1 seconds. to alonghighlydirectional micforlongerrange takesonlyafew wideangledirectionalChanging from ashort, micforinterviews other mic—upto30mmindiameter. U boom handlingnoise. lates your microphone from incomingnoise,lensnoiseandmic A low profile lightweight microphone mount,theMM-XL1iso- MM-XL1 qualizer offersfarhigherwindprotection thanthe omscs o pt 0MHofwindprotection. foam socks,forupto40MPH A twenty years. will keepyour micinpristineconditionforfifteento W andacousticallyunaffected. microphone dry Can beusedinrainandsnow, whilekeepingthe mic whileintransit. W Can beboomorfixture mounted,orusedhand-held. niversal modular typeenablesyou toinstantlyswitchany

ttenuates windnoise30dB,ormore thaninefficient are on theweb at:www.bhphotovideo.com ill not crumble andcontaminatethemic.Equalizerill notcrumble ill physicallydampenhard knocksandprotect the LIGHT WAVE SYSTEMS E qualizer U niversal Mini-Mount RO — Professional MicrophoneIsolationFortheXL-1 ■ ■ ■ MM-XL1 EQ-XL1 SI-XL1 workshops inEurope, soyou are assured ofthehighestqualityandreliability. foroverTV andfilmindustry 30years, andpossessesoneofthebestoptical XL l16xlens.Based inEngland, Optex hasbeenproviding opticstothebroadcast answers theneedsofvideographerswhofindfocusingaproblem withthestandard tion farandabove thatwhichtheXL1’s CCDsare capableofresolving, and the 40mph E EQ-XL-1 Equalizer Windscreen W feet andmeters. Throwing focusbetween twoobjectsiseasilyachieved. set backfocus. mum objective distanceof1m.Alsohasmacro capabilityforclose-upfilming. H F liminates Wind Noise tomore eatures an aperture of f1.4, zoom range of 5.5mm –77mm andhasamini- –77mm eatures anaperture off1.4,zoom rangeof5.5mm as a back focus adjuster and special test pattern chart isincludedtopreciselyas abackfocusadjusterandspecialtestpatternchart ith arangefrom 1mtoinfinity, theXLPro’s focusscaleismarked inboth M I MM-XL-1 Universal Mini mount solated Microphones from Zoom, S otor, Gear andHandling Noise ystem Isolator...... E U ulzr...... qualizer high andlow frequencies thatcombineintounwanted andwhine,producing avarietyanisms generatesomerumble of handling noise,orshocktothe microphone. Even thefinestmech- D assembly systemofthecamera. andmicrophone mount tion isolationtotheXL-1viewfinder specific totheCanonXL-1. The SI-XL1provides shockandvibra- The SI-XL1System Isolator isamulti-purposeisolatorcoupler SI-XL1 ieslMn-on ...... niversal Mini-Mount istinctly reduces mechanicallytransmittedmotor andoperator S ystem Isolator superior CameraBalance &Control repositioningplus viewfinder for S SI-XL1 System Isolator hock & Vibration Isolation harmonics. 119.95 119.95 109.95 r esolu-

same SONY GV-D300/GV-D900 DV Video Walkman/VCRs The GV-D300 and GV-D900 are compact and portable DV Video Walkmen for playing, recording and editing your DV footage. Both offer 20-segment assemble editing, using infrared signals that are compatible with a wide array of camcorders and VCRs. They also feature the LaserLink Wireless Transmitter System, SP and LP record/playback speeds, MINI DV analog recording capability, i.LINK (IEEE1394) input and output, 16-bit or 12- bit PCM audio with audio dubbing, Frame Advance, Crystal Clear Still and Slow Motion, Index Titler and Time Code. Identical in every respect, except for the 5.5˝ active matrix color LCD monitor on the GV-D900. Convenient for viewing of playback or recordings right on the spot.

DV-D900 FEATURES

Video Editing GV-D900 Only

■ DV format offers up to 500 lines of hori- ■ Index Titler lets you create custom titles ■ Incorporates a 51⁄2˝ color LCD screen with zontal resolution and significantly higher (22 characters), 2 sizes, 7 colors, 9 posi- active matrix technology to provide clear, 173 S/N ratio to provide stunning video per- tions, or 8 preset titles (Happy Birthday accurate colors for on-the-spot playback formance. etc.), using 4kB cassette memory chip. of recordings. ■ i.LINK DV In/Out (IEEE 1394) lets you ■ Built in assemble editor lets you mark WEIGHT edit or dub between another digital cam- cut-in and cut-out points for up to 20 GV-D300 – 21.5oz. corder, VCR or computer equipped with separate scenes. Use the Walkman as your GV-D900 – 34.2oz. DV capture card, with virtually no gener- source while controlling via infrared, almost any remote-capable camcorder or ation loss. VCR as your recorder. To use the Video DIMENSIONS (W x H x D) ■ In addition to DV interface, they feature Walkman as your recorder, you can use GV-D300 – 6 x 2 x 51⁄2˝ composite (RCA) and S-Video input and the optional DSRM-E1 Assemble Editor. GV-D900 – 6 x 21⁄2 x 51⁄2˝ output for compatibility with analog ■ Crystal clear Slow Motion Playback equipment. A headphone jack is included (even in pause mode). as well. ■ Drop-Frame Time Code for frame accu- ACCESSORIES ■ LP mode for up to 90 minute recording rate editing. on a 60-minute Mini DV cassette. SUPPLIED ACCESSORIES ■ Control L Interface for connection to ■ Three Search modes: by Index, Date or other VCRs and camcorders, with a • AC Adapter: AC-V700 Photo. Control L jack for synchronized editing. w/DK415 - Quick Charger Audio • S-Video Cable Convenience ■ • AV Cable Digital stereo recording with a choice ■ of two modes: Two 12-bit stereo tracks LaserLink system provides wireless con- • DV Cable nection from the Walkman to your TV, (32k Hz) for near CD sound quality, or • Shoulder Strap one 16-bit (48k Hz) stereo track for DAT up to 16 feet away (requires optional quality recording. IFT-R10 receiver). Can also power your Sony TV and switch to the correct input, ■ Audio dubbing utilizing the 12-bit PCM all at the touch of one button. OPTIONAL ACCESSORIES record mode lets you add an additional ■ DSRM-E1 Assemble Editor...... 609.95 stereo soundtrack. You can add music or Uses ‘No-Memory’ InfoLithium battery, narration to your without affecting which can also display in minutes the NP-F950 Battery...... 119.95 your original soundtrack. amount of power remaining at all times. DC-V700-DC Quick Charger...119.95

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DHR-1000 DV Player/Recorder with Built-In Editing Capability The DHR-1000 combines professional quality video (over 500 lines of horizontal resolution) with a long list of advanced features. These include PCM audio (12 or 16-bit), DV and analog input/output, 10-segment Assemble Editor with edit window, removable editing tray, Jog/Shuttle dial, mini and standard DV cassette compatibility, TBC, audio/video insert, Video on Sound, synchro edit, VCR Plus+, and a 181-channel cable-ready tuner with timer — to offer unprecedented capabilities in a prosumer-class VCR.

MINI DV FEATURES DV Format Editing Conveniences ■ DV format offers over 500 lines of hori- ■ i.LINK (IEEE1394) DV input/output ■ Compatible with “Mini” and “Standard” zontal resolution (three times the band- allows multiple generation dubs with vir- DV cassettes without an adapter. width of S-VHS VCRs) and high S/N tually no loss in quality. ■ ratio for stunning video performance. Cassette Memory can display data per- ■ On-board 10-segment Assemble Editor is taining to “Search Mode” on monitor. ■ Digital recording dra- enhanced with an edit window that pro- ■ Search Modes; by Index, Date or Photo. matically improves color rendition and vides a “Playback” window, and “thumb- accuracy, while reducing color “smear”. nails” of all cut-in/cut-out points for easy ■ Cable Ready 181-channel MTS Tuner. ■ review of cuts. PCM digital stereo audio offers either: ■ VCR Plus+ system makes setting VCR Two 12-bit/32k Hz stereo tracks for near ■ Edit tray with Jog/Shuttle dial detaches timer quick, easy and convenient.

174 CD sound quality, or one 16-bit/48k Hz from the deck for convenient placement. ■ stereo track for DAT quality recording. You can also control a Control L- 8-event/1-month Timer with Quick Timer feature for one-touch recordings. ■ Three-hour recording on standard DV- equipped camcorder from the edit tray. ■ 180, one hour on Mini DV-60 cassettes. ■ Video/audio insert and audio dubbing Cable Mouse Remote Repeater for unat- capability. In addition, Video On Sound tended recordings of CATV or DSS (VOS) editing capability lets you replace broadcasts. Video video without affecting original audio. ■ Auto Clock Set from date and time data ■ Digital comb filter separates Y/C for ■ Drop frame time code for precise editing found in broadcast TV (where available). cleaner, sharper, more detailed images. (compatible with RC Time Code). ■ Camcorder-friendly front panel inputs, in ■ Built-in Time Base Correction for jitter- ■ Fine Synchro Edit provides A/B preroll addition to rear panel inputs. free video performance. for improved accuracy when editing. ■ Supplied RMT-X1000A Wireless Remote ■ Crystal-clear freeze frame and variable ■ Whole Tape Copy automatically records features a Jog/Shuttle dial and selectable slow motion (forward and reverse) play- all data (video, audio, time code, etc.) at VCR modes: VCR 1/2/3/4/5/6 back. the touch of a button. ■ 2x, 10x, 25x normal speed playback for Inputs/Outputs quick review, as well as 1/5x slow motion ■ playback. DV input/output connector x 1 (front) ■ A/V Outputs: S-Video, Phono x 2 (rear) ■ Audio A/V Inputs: S-Video, Phono x 2 (front and rear) ■ 12-bit or 16-bit PCM encoding for above ■ RF Antenna In/Out: 75 ohm CD quality with 96 dB dynamic range. ■ ■ Headphone Jack (with volume control): Built-in MTS stereo tuner receives stereo Stereo Mini Jack (front) broadcasts. ■ ■ Control L (LANC): Stereo Mini-Mini Audio level meters are provided for man- Jack x 2 (front and rear) ual control of record and balance levels. ■ Control S Input: Mono Mini Jack

Overnight Shipping Available P ANASONIC AG-DV2000 DV Player/Recorder With Built-In Editing Capability The AG-DV2000 is a DV-format VCR that offers easy, single-VCR editing with superior digital picture quality. Utilizing a professional transport mechanism based on DVCPRO technology, the deck assures

quick response time and outstanding reliability. A variety of terminals MINI DV make it easy connect analog as well as DV equipment.

FEATURES DV Format Multiple Inputs/Outputs ■ DV format offers over 500 lines of hori- ■ Equipped with DV terminal for digital ■ Complete analog compatibility with two zontal resolution and significantly higher dubbing without degradation. Also allows sets of composite, S-Video and stereo S/N ratio, to provide stunning video sophisticated system control. audio inputs and outputs. performance. ■ recording Advanced Transport dramatically improves color rendition ■ Built around the same aluminum die-cast ■ Advanced reel drive technology provides and accuracy, while reducing color chassis and transport mechanism used in faster tape travel without damaging the "smear". DVCPRO VCRs. The rugged casing pro- tape. It improves control at all travel 175 ■ tects the high-precision mechanism to speeds and provides extra-responsive jog PCM digital stereo audio offers a choice assure tape travel reliability, head tracking and shuttle operations. It also offers Super of either: two 12-bit/32 kHz stereo and durability. The mechanism also Linear Slow, an incredibly smooth and tracks for near CD sound quality, or one assures extra-quick search and response natural ±1/5x slow motion playback. 16-bit/48 kHz stereo track for DAT times, and accurate editing of scenes. quality recording. ■ Allows high-density, high-quality DV Versatile Editing with Two Modes: Auto and Manual recording in both SP mode and extend- —In Automatic mode (programmed editing), the AG-DV2000 serves as either the recorder or ed LP mode. In LP (1.5x recording player and controls the other machine. Up to 40 sets of edit start and end points can be set for time), you can record up to three hours automatic editing. on a single cassette. —In Manual Editing mode, the AG-DV2000 can serve as the recorder and will control the ■ Records onto DV cassettes that can be playback unit, designating only the edit start points (One-Touch Editing), or the AG-DV2000 played back in DVCPRO decks, such as can serve as either the recorder or playback unit, control the other machine, and set the edit the AJ-D230H and AJ-D450, with the points by time code. optional cassette adapter. Additional key features include timing control, phase and color level adjustment, pre-roll editing, frame-by-frame time code.

AG-DV2000 SPECIFICATIONS GENERAL SYSTEM TAPE TRANSPORT AUDIO Power Source: Video Recording Format: Tape Format: Audio In: 120 AC± 10% 60Hz ± 0.5% Digital Component DV, Mini DV 309mV, Input Impedance 47kΩ Weight: Audio Recording Format: Tape Speed: 15.0 lbs. Dig. PCM Stereo 16/12-bit Sp: 18.812mm/s Mic In (M3): LP:12.555mm/s 0.33mV, 600Ω Unbalanced Dimensions: 1 13 13 VIDEO 17 ⁄2 x 4 ⁄16 x 13 ⁄16˝ (WxHxD) Recording Time: Audio Out : 123 min. w/ AY-DV123EB 309mV, Output Impedance FF/REW Time: Composite Video: Input: BNC x 1, RCA x 1 1kΩ, Load Impedance 10kΩ 72 Sec. w/ AY-DV123EB Output BNC x 2: 52 Sec. w/ AY-DVM63EB Headphone (M3): S-Video: 1~30mV, 8Ω Unbalanced Input/Output:: x2 (4-pin)

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC GY-DV500 1/2-inch 3-CCD Professional DV Camcorder The first DV camcorder designed from the ground up for profes- sional ENG work, the GY-DV500 combines the convenience and cost-effectiveness of Mini DV with the performance and fea- tures you need. Three 1/2-inch CCDs deliver the equivalent to 750 lines of resolution, superb sensitivity of F11 at 2000 lux and minimum illumination of 0.75 lux (LoLux mode). Ruggedly constructed, its rigid diecast magnesium housing provides the durability professionals crave. Compact design MINI DV and lightweight (under 11 lbs. fully loaded) makes it extremely portable. Additional features like the menu dial and Super Scene Finder assure ease-of-use and shooting flexibility, while the IEEE1394 and RS-232 interface allow integration into various non-linear and post-production systems. A professional camcorder in every sense, the compact, lightweight GY-DV500 redefines acquisition for corporate, educational, cable and broadcast production, as well as wedding videography and multimedia applications.

FEATURES Professional Specifications Professional Performance Professional Audio ■ Applies JVC’s DSP with advanced 14-bit ■ When activated, the Lolux mode increases ■ To complement its superior video perfor- to bring out more natural sensitivity with almost no increase in mance, the GY-DV500 offers outstanding 176 details, eliminate spot noise, accurately noise. Lolux lets you capture high-quality digital PCM sound. Choose between two reproduce dark areas, and restore color video footage with excellent color balance 16-bit 48-kHz channels or 12-bit 32-kHz information in dark areas. at just 0.75 lux minimum illumination. channels with a dynamic range of 85 dB. ■ Three high-density 1/2˝ 380,000 pixel IT ■ Multi-zone iris weighting system gives pri- ■ In addition to camera mounted mic, has CCDs ensure the best possible image qual- ority to objects at the central and lower two XLR-balanced audio inputs with 48v ity with picture sharpness equivalent to portions of the picture for accurate auto phantom power and manual audio control. 750 lines of horizontal resolution. exposure under any condition, even if a Phantom power can be switched off when bright subject moves into the picture. not in use. ■ CCDs are equipped with advanced circuit- ry to virtually eliminate vertical smear ■ Adjustable gamma for adjusting the “feel” ■ Side-mounted speaker lets you monitor when shooting bright lights in a dark of the picture according to taste. audio in playback and recording modes room. Ensures efficient light conversion Adjustable detail frequency for setting pic- without headphones. The speaker also with a sensitivity of F11 at 2000 lux. ture sharpness for a bolder or finer look. delivers audible warnings. ■ CCD Defect Correction function evaluates ■ Viewfinder status display uses characters white defects with the lens closed and then and menus to display selected information, stores their addresses in memory. When including audio indicator, tape and battery Compact and Lightweight the camera is turned on, data is sent to the remaining time, VCR operation and warn- ■ Measuring 10-7/8 x 9-11/16 x 5-1/8 the DSP for storage and real-time correction. ing indicators. Camera settings and setup GY-DV500 amazingly enough is almost parameters can also be checked at a glance. ■ Black Stretch/Black Compress function half the size of the GY-X2B. Weight is A built-in menu dial lets you quickly nav- ensures accurate reproduction of black carefully balanced for ease of use in an igate through the viewfinder menu. areas on the screen. Advanced color matrix ENG environment and extended shooting. ■ circuits give even difficult images a very Highlight Chroma Processing maintains ■ Die-cast magnesium body contributes to natural appearance. color saturation in highlights. The result is the GY-DV500’s reduced weight and offers natural color reproduction, even in bright ■ Multi-stream parallel digital pipeline pro- improved rigidity and durability. Tape highlight portions of the picture. cessing at 40 MHz creates an ultra-smooth mechanism ensures reliability and stable gamma curve, calculated using a true log ■ Smooth Transition mode ensures a smooth shooting in the field. scale algorithm. The result is a dynamic transition with no jump in color or light ■ Consumes less than 20 watts of power, range of 600% to accurately reproduce fine level taking place when manually changing eliminating the need for cumbersome and details and colors in shadows or highlights. gain or white balance settings heavy, large-capacity battery packs.

We are on the web at: www.bhphotovideo.com JVC GY-DV500

Automatic Functions GY-DV500 vs Prosumer 3-CCD DV Camcorders ■ Full Auto Shooting (FAS) mode for DARE to COMPARE point-and-shoot ease of operation. You simply zoom and focus. Activating the The inherent signal recording quality of all 25 Mbps DV-based camcorders is the same. The Full Auto Shooting sets the camera to difference is that the GY-DV500 has been built entirely to JVC’s professional specifications, the Auto Iris Mode, even if the lens is set incorporating much of the same advanced camcorder technology and design that produced MINI DV to manual. Automatic video level control JVC’s DY-90 Digital-S broadcast camcorder. (ALC) is also activated, along with Professional broadcast features include 14-bit Digital Signal Processing, Full Auto White Extended Electronic Iris (EEI) and Full and Auto Black, Black Stretch and Compression, Genlock input, Zebra level indicator and Auto White, which provide both variable LoLux low light performance. It accommodates interchangeable lenses, even broadcast lens- gain and variable shutter. Shoot continu- ously from a dark area to a bright area es, via a standard 1/2-inch bayonet mount. The GY-DV500 provides two channels of 16-bit without changing Gain, Iris or ND filter. digital PCM audio at 48 kHz as well as XLR mic inputs, line input and output, headphone output, and manual audio/mic level adjustments. Video includes composite and ■ ALC (Automatic Level Control) with S-Video output with 7.5 IRE setup and DV IEEE1394 input/output as well. Has a built-in EEI (Extended Electronic Iris) for con- SMPTE time code reader/generator and SMPTE color bar generator. tinuous shooting in all light levels — no need to switch gain settings or ND filter. Professional Design ■ Continuous Auto Black (CAB) circuit assures perfect Black Balance in a chang- ■ Switches are laid out the way most profes- ■ Basic control using a PC is also available ing environment without having to sionals are used to. Operation is easy, intu- via the RS-232 port, making the GY- itive, precise and error-free. DV500 ideal not only for shooting but interrupt shooting. 177 also as a feeder in an editing system. ■ Accu-Focus activates the electronic shut- ■ Genlock input and sync lock mode ter for approximately ten seconds, forc- enables a number of cameras to be syn- ■ Uses a standard professional 1/2-inch bay- ing open the iris. A s a result, the depth chronized for multi-camera shooting. onet lens mount, making it compatible of focus is minimized, and the lens can ■ IEEE1394 (DV) I/O for lossless digital with the widest selection of lenses — even be focused quickly and precisely. transfer to or from DV-based non-linear broadcast lenses. editing systems or DV recorders. Conveniences ■ Time code and index IDs allow frame Super Scene Finder accurate non-linear editing and master- A JVC exclusive, Super Scene Finder lets you log scenes (in and out time code) automatically ing on standard formats with quick easy or manually in the field, and mark the which scenes are good. This dramatically speeds up the access to any target point. transfer process and saves disk space, because you only digitize those scenes you want for editing. ■ LCD display system let you switch or set The scene data is written directly onto the MiniDV cassette, eliminating the need for cassettes functions, while referring to the counter with a memory chip (a/k/a higher priced). Up to 134 scenes can be marked per cassette. In or the on-screen display. Mode selection addition, scene data from the last 3 cassettes is held in the camcorder’s memory, allowing the and initialization are also available via data to be added to the cassette at a later time. the menu display. Back-lit display sup- As shown in the table below, you don’t need any optional equipment to take advantage of the ports shooting in dark areas. Super Scene Finder function. As opposed to Sony’s ClipLink, where an optional board is ■ Back tally lamp lights to let you know required and QSDI transfer is only possible to an expensive non-linear editing system. that the camera is entering the Record mode. It flashes during the transition to SUPER SCENE FINDER VS SONY CLIPLINK the record mode and when an error is Super Scene Finder Sony ClipLink detected in the camera. Log Data Recording Location First, log data is stored in the Log data is recorded in ■ Variable Scan function allows flicker-free camcorder’s memory (for the last three the cassette’s IC memory cassettes) and then recorded at the shooting of computer monitors. Shutter beginning of a tape. speeds can be set from 1/60.5 to 1/196.7 of a second in 255 increments to precise- Number of Log Data Up to 135 scenes for one cassette 198 scenes (16 kb -memory) ly match the scan rate of the monitor. 45 scenes (4 kb -memory) ■ Tape/battery remaining indicator means Mark-In/Out Timecode Data Hour: Minute: Second: Frame Hour: Minute: Second you always know exactly how much tape Index Picture No Yes (optional board and battery power remains. required/transfer with QSDI

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 178 MINI DV JVC When shootingwiththeGY-DV500, unloadthetapeandloaditintoBR-DV600 foreditingonanon-linearsystemordubbingto Lens Mount: Color Bars: Image Sensor: FF/Rewind Time: Record/Play Time: W Dimension Power Consumption: Power Requirement: Gain: Sensitivity: 2 minuteswithMDV-60 60 minuteswithMDV-60 8.8 lbs.(4kg) 215 x88324.5(WxHxD) 35W AC Lolux V -3, 0,6,9,12,18dB, F11. 2000lux 5600K+1/64ND 3200K, 5600K, 1/2˝ bayonet system SMPTE pixels each 1/2˝ ITCCDs(x3)380,000 eight: For optionalaccessoriesseepage58(UsesthesameasGY-X2B) ariable gaininALC and

BR-DV600 SPECIFICATIONS GY-DV500 SPECIFICATIONS 120 V 50/60Hz, 12V GENERAL CAMERA Used Equipment Bought, Soldand Traded : : Vi FF/Rewind Time: Record/Play Time: Electronic Shutter: Min. Illumination: Analog Output: Analog Input: S-Video (4-pinx1) Composite (BNCx1) 2 minutesforMDV-60 60 minuteswithMDV-60 VTR SECTION 60.1 to208.4.Hz second. Variable Scanfrom from 1/100to1/2000ofa V 0.75 luxwithF1.4,Lolux Component video(BNCx3) S-Video (4-pinx1 Composite video(BNCx1) Component video(BNCx3) S-Video (4-pinx1 Composite video(BNCx1) deo Output: ariable electronic shutter VIDEO I/O Line Outputs: Audio Inputs: Dynamic Range: S/N: Frequency Respond: Recording Format: Output: Input B ±6 Line 1/Line2:-6dBRCA Fr balanced Line: +4dBXLR M 85 dB 60 dB 20 Hzto14.5kHz(12-bit) 20 Hzto20kHz(16-bit) 12 bit,32kHz(4channels) 16-bit, 48kHz(2channels) V u 12-pin JVC Bus : RS-232: Mini-DIN 6-Pin IEEE1394: 4-Pin CONNECTORS B 3dBs,low Impedance, 0 ± alanced alanced ont Mic:-60 dB c-0d L balanced ic:-60 dBXLR

: dB, High Impedance, TIME CODE AUDIO W Dimension Power Consumption: Power Requirement: Audio Input Dynamic Range: Frequency Respond: Recording Format: tery, micandtape) 11 lbs.(withviewfinder, bat- 10 20W DC 10.5vto17v RS-232: Mini-DIN 6-Pin IEEE1394: 4-Pin CONNECTORS H I M I Line: 85 dBormore (PCMaudio) 20 Hzto20kHz 12 bit,32kHz 16-bit, 48kHz(2-channels) eight: mpedance, unbalanced mpedance, unbalanced eadphone: onitor: 7 ⁄ 8 x 9 GENERAL -6 dB,High AUDIO 11 ⁄ 16 -6 dB,High x 5 : : 8 1 ⁄ 8 (4-channels) ohms ˝ (WxHxD)

S-VHS. MINI DV 179 JVC AX: (212) 444-5001 F • BR-DV600 Super Scene Finder Additional Features to 134 scenes can be marked per cas- to 134 scenes can be marked

ariety of Inputs/Outputs corder. In addition, composite, Y/C and addition, composite, In corder. on a tape with the GY-DV500 corded quipped with DV (IEEE1394) input and quipped with DV V E output for lossless digital transfer to a DV- based non-linear editing system or DV re provided component inputs/outputs are sources. video for various (SSF). Scene Finder Super exclusive JVC's ones you the log scenes, and mark lets you want to use, to dramatically speed up the space in a disk and to save transfer process non-linear editing system. Logged data re can be spooled onto a non-linear editing scene data is written directly system. Since cas- cassette, expensive onto the Mini-DV settes with memory not required. chips are Up sette. • Time code reader/generator Time • sync input and output • External timer recording/playback • External ■ ■ HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 PHOTO - VIDEO - PRO AUDIO AC/DC Capability System Flexibility PCM Digital Audio enable even more versatile system con- versatile more enable even complement its superior DV pictures, complement its superior DV addition to AC, a DC-12v connector is addition to AC,

In to run the BR-DV600 allowing provided, supply is power an AC in locations where not available. figurations, the BR-DV600 has an indus- figurations, the BR-DV600 try-standard RS-422 interface.feeder As a can in an editing system, the BR-DV600 for editing with vari- source supply a DV 12- also comes with JVC’s ous formats. It pin bus interface compatible with JVC's popular S-VHS edit-desk system. An RS- 232 interface is optionally available. a PC either from the BR-DV600 Control or the RS-232 interface. via DV the BR-DV600 offers outstanding digital the BR-DV600 two 16-bit can choose You PCM sound. 48-kHz channels or four 12-bit, 32-kHz channels with a dynamic range of more than 85 dB. To To ■ ■ ■ BR-DV600 Rear BR-DV600 DV Recording

ini-DV format offers all the convenience ini-DV FEATURES nly 215 mm (8-1/2") wide, two BR- ofessional DV Player/Recorder ofessional V600s can be placed side by side in a V600s can be placed side by Compact and Lightweight iniDV cassette into the BR-DV600 and transfer the video data to the editing system of your choice. With its ability to With choice. the video data to the editing system of your and transfer cassette into the BR-DV600 iniDV and affordability of a consumer system, and affordability high-quality 4:1:1, 8-bit, while providing to 25 Mbps component digital processing perfor- the superior recording you give applica- need for professional mance you available readily tapes are tions. Mini-DV replace- can get so you and inexpensive, them, need you ment tapes whenever are. you wherever M D only 8.8 lbs. rack.Weighs 19-inch standard O

esigned to interface the most commonly used professional with all ■ ■

bility, and wide range of advanced features make the BR-DV600 the only choice for anyone shooting or editing in DV. choice for anyone the only make the BR-DV600 features of advanced and wide range bility, ductions, cable and TV broadcasting, and multimedia applications, the high-quality digital performance, and multimedia applications, the TV broadcasting, system flexi- ductions, cable and convert analog signals to digital, the BR-DV600 integrates into any existing system. For corporate and educational pro- corporate For into any existing system. integrates convert analog signals to digital, the BR-DV600 M A great addition to the GY-DV500 DV camcorder, you can shoot high-quality digital footage in the field then load the you camcorder, DV addition to the GY-DV500 A great analog S-VHS, Hi8 or Betacam SP. SP. or Betacam analog S-VHS, Hi8 optional RS-232 interface, allowing use with just about any existing linear editing system — whether it's digital or use with just about any optional RS-232 interface, allowing RS-422 interface. Additional flexibility is assured by Y/C input/output, JVC’s exclusive 12-pin control bus, and an 12-pin control exclusive Y/C input/output, JVC’s by RS-422 interface. flexibility is assured Additional an excellent choice as an NLE spooler. It is also the only DV machine to feature both component inputs/outputs and an both component inputs/outputs and machine to feature also the only DV is It as an NLE spooler. choice an excellent tal transfer to and from many non-linear editing systems, making it many non-linear editing systems, making to and from tal transfer editing systems, the BR-DV600's IEEE1394 I/O enables lossless digi- IEEE1394 I/O BR-DV600's editing systems, the D any editing system — linear or non-linear. any editing system tile interface capability, is flexible enough to connect into virtually is tile interface capability, any professional video system — analog or digital. And with its versa- And video system — analog or digital. any professional A compact, lightweight DV recorder, the BR-DV600 fits perfectly into BR-DV600 the recorder, DV A compact, lightweight Pr SONY DVCAM Revolutionary Video Format Scenes marked “OK” or “NG” in the camera; 4x transfer speed; digital picture quality that lasts for generations — the extraordinary benefits of DVCAM. Firmly based on the consumer DV format, DVCAM overturns every previously held notion of how video is shot and edited. Camcorders and VCRs that rewrite the standard for digital video cost/perfor- mance, features and functionality. A system that blurs the traditional distinctions between acquisition and production, between consumer and professional - and most importantly, empowers videographers and editors to accomplish much more, in much less time—and less money.

DVCAM DVCAM: The Key Features

Integrated Acquisition and Editing A traditional weakness of non-linear editing systems is the need to More than any other any previous recording feature, ClipLink first download the video program onto the hard drive. This step, blurs the distinction between acquisition and post-production. It somewhat misleadingly called “digitizing”, puts a hurdle in front of enables the shooter to accomplish important editing functions in every production. For a long-form program, digitizing can tie up a camera, in the field. It speeds the transfer from tape to hard drive person, not to mention an editing system, for hours. With an all by enabling editors to automatically transfer only the selected digital, totally integrated production system, DVCAM totally elim- scenes. And it facilitates non-linear editing on the Sony ES-3 or inates this barrier. With completely new and unprecedented fea- ES-7 EditStation by providing Index Pictures right off the tape. tures like ClipLink Memory and 4x Real-Time Signal Transfer, With ClipLink, productions are edited much faster, with vastly DVCAM integrates videotape acquisition and non-linear editing as increased efficiency and far less time wasted on the boring, unpro- 180 never before. ductive business of “digitizing”.

ClipLink Operation

■ With Sony’s ClipLink system, you can mark your scenes “OK” or “NG” in-camera. And you can do it in the field, on the fly, while you are still involved in shooting. ClipLink takes advan- tage of the IC memory chip located on-board Sony DVCAM cassettes. The following ClipLink Log Data is recorded for every scene. 1. Mark In/Out (or Record In/Out) Time Code 2. Cue Point Time Code 3. OK/NG Status 4. Reel Number 5. Scene Number 6. Take Number

■ There is more. For each scene, ClipLink records an Index Picture onto a special area at the end of the tape. This is a still frame of each in-point, to serve as the visual information asso- ■ With the DSR-85 connected to the ES-7, all ClipLink Log ciated with the shot data. When the time comes to transfer Data, including Index Pictures, is transferred first. Then your footage into Sony’s ES-3 or ES-7 EditStation, the Index selected footage can be transferred automatically – without Pictures become available for Drag-and-Drop editing. tying you up.

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4x Real-Time Signal Transfer

■ ClipLink cuts down on the bulk of video you need to transfer ■ The high-speed transfer takes place between the DSR-85 and onto your system’s hard drive by eliminating the out-takes and the ES-7 EditStation and uses the high-speed connection called leaving only the selected scenes. Sony’s 4x real-time transfer SDTI(QSDI). Normal speed transfer requires one frame of data capability takes it a step further. It cuts down on the time it for each 1/30 second time period. The SDTI(QSDI) interface takes to import every one of your selected scenes. Previously, carries four frames of data during the same time period. Video DVCAM non-linear editing systems employed real-time (1x) transfer: one and audio are stored on the hard drive just as it is stored on a hour of video takes one hour to transfer. Sony’s 4x real-time DVCAM VCR tape, therefore no conversion or “digitizing” of system takes just 15 minutes to transfer an hours worth of the digital signal is required. footage.

Description Transfer Connector Cable Speed Length SDI Broadcast standard serial interface for component (D-1) and composite (D-2) digi- x1 BNC Up to 200m (4:2:2 Processing) tal signals (uncompressed video and audio).

SDTI(QSDI) Serial digital interface handling 1/4˝ digital 181 DVCAM Professional compressed video + uncompressed audio x1 & High BNC Up to 200m Digital Interface and data (Subcode). Uses the same physical Speed (4:1:1 Processing) layer as SDI.

DV Serial digital interface handling 1/4˝ com- x1 Multi-pin 4.5m IEEE1394 Consumer Digital pressed video + uncompressed audio and Interface (4:1:1 Processing) data plus VCR control.

SDTI (QSDI) The SDTI (Serial Data Transport Interface) is defined as SMPTE 305M. SDTI(QSDI) is the DV signal interface which conforms to the SDTI. SDTI(QSDI) forms the connection that makes 4x transfer possible. It may sound new, but the SDTI(QSDI) connection is based on SDI, the serial digital interface known as SMPTE 259M. Comparable to SDI, the SDTI(QSDI) uses the same coax cables, BNC connectors, and offers the same 270 Mbps maximum data transfer rate. The SDTI(QSDI) interface can also use the same routing switchers found in today’s SDI facilities and allows the same maximum cable run of 200 meters (over 650´).

1 frame:1/30(1/25)sec. t

x1 1 2 3 4 5 ●●●●●

x4 1 2 3 4 5 6 7 8 9 10 ●●●●● Amount of digital data for DVCAM footage in QSDI

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DVCAM Versatile Docking Recorder Sony’s DSR-1 embodies breakthroughs in cost/performance, portability, durability, features and systems design. As part of ClipLink operation, the DSR-1 stores an Index Picture for each recorded scene. The Index Pictures become the key ingre- dient in easy, intuitive drag-and-drop editing on the ES-3 or ES-7 EditStation. Each Index Picture is first stored in IC memory, either on the cassette memory or on the recorder itself. Then, before the tape is ejected, the Index Pictures are recorded onto the tape.

Index Picture Recording ■

DVCAM One video frame is reduced to an Index Picture of 90 samples (H) times 60 sam- ples (V). Up to 32 Index Pictures can fit into one video frame. For the purposes of optimum DCT compression and decom- pression, each Index Picture is separated by a band of gray. This makes the high- frequency content of the total frame easi- er to handle. The total capacity for Index Pictures depends on the specific size of the cassette memory. For example, using consumer DV (not recommended) cas- settes (4 kB memory) yields 45 pictures. In contrast, DVCAM cassettes (16 kB)

182 yield 198 pictures.

Dual-Cassette Mechanism Dual-Interface Mechanism ■ Conventional VCR wisdom dictates that when a tape format offers ■ As a dockable recorder, it was important for the DSR-1 to be com- small and large size cassettes, the portable equipment will only patible with the widest possible range of docking cameras. So in accept the small cassette. Until now, DVCAM standard-size cas- addition to the standard analog 50-pin docking interface, the settes offer up to 184 minutes of video. Yet in physical size, they DSR-1 also includes a digital 76-pin interface for direct docking to are not much bigger than an 8mm cassette - extremely well-suited the Sony DXC-D30. Cleverly designed, the analog and digital to field acquisition and portable recording. That is why Sony engi- connectors are mounted to a common panel that turns like a neered the DSR-1 to become the first dockable to accept two revolving door. A supplied, screw-mounted cover plate assures that industry-standard sizes of tapes. only the appropriate interface is visible at any time.

The reel drive plates, CM (Cassette Memory) connector and real Pro 76-pin Pro 50-pin lock arm shift within 0.3 seconds after you insert a cassette. The adjustment is quick, convenient, and totally transparent to you..

24 Hour Fax: 800-947-9003 ■ 212-444-5001 SONY DVCAM High-Speed Editing VCR The DSR-85 has the mechanical durability and robustness that mark it as a full-blooded Sony professional VCR. It incorporates many of the same internal design features as Sony Betacam SP , including the loading mechanism, reel drive and tension servo systems. It also has the mechanical refinements that make 4x real-time transfer possible. Given a formats track pattern on the tape, engineers have a wide choice in designing a VCR capable of 4x playback DVCAM speed. Sony could have kept the head number constant and simply quadrupled the drum speed from 9000 to 36000 rpm, but they found that to be unrealistic, both mechanically and electronically. For example, the resulting transfer rate of 167 Mbps was beyond the capacity of a single head pair. Sony then decided to double the number of heads. The resulting drum spins at half the standard speed (4500 rpm) during normal record/play. And it spins at twice the stan- dard speed (18000 rpm) for 4x record/play. The mechanism was just one part of the solution. The electronics had to be redesigned to accommodate 4x Real-Time Transfer. In normal speed playback, the new mechanism uses half the normal drum rotation speed. Each head rotation takes twice as long, but two tracks are traced at once. At 4x, four times the amount of signal is decoded (or encoded) in parallel, using four decoder ICs. After combining decoded signals through the time division multiplexing process, the data is ready for 4x transfer through the SDTI(QSDI) interface. 183 High-Speed Editor (DSR-85) Sony DVCAM Cassette Tape x1 Normal Speed Model x1 Mode x4 Mode Sony’s DVCAM tapes are half the size of a VHS tape and have advanced, double- Metal Evaporated layers for higher output Head 1 Pair 2 Pair and lower noise. A proprietary DLC (Diamond Like Carbon) layer protects Drum Rotation both recording layers to ensure durability. 9000 rpm 4500 rpm 18000 rpm Speed ■ A special surface layer acts as a lubricant to reduce friction between the tape and drum and as a rust-proofing agent to Tape Speed x1 x1 x4 prevent the deterioration of the record- ing layers’ magnetic characteristics. ■ Newly-developed back coating layer reduces friction between the tape and the guide pins, providing more stable tape movement. ■ Sliding Write/Protect tab helps to pre- vent accidental erasure. ■ Built-in Read/Write 16 kB memory chip. The most unique aspect of the cassette is that the chip stores the date and time of Photo Mode images. Information stored in the memory chip lets you build a “Table of Contents” of the tape that can be accessed to auto- matically locate a particular “Recording Date” or “Photo Mode” segment. The 16kB chip stores 6 record dates and 43 photo dates.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DVCAM DVCAM vs. Consumer DV

DVCAM and Consumer DV Compatibility

Thanks to their common roots and Sony’s choice of 15 micron-wide DVCAM tape uses an optimized Diamond Like Carbon (DLC) pro- track pitch, DVCAM and DV equipment are broadly compatible. tective layer and surface roughness pattern, tightly controlled for This is a real advantage for those who wish to play back DVCAM long-term use. As a result, DVCAM tape is better prepared for the recorded tapes in consumer DV machines and DV recorded tapes in rigors of editing and archiving, with half the dropouts of consumer Sony’s DVCAM machines. In a pinch, you can even record on a con- DV tape. Better edge slitting for DVCAM tape also makes for more sumer blank in DVCAM mode on a professional deck. While it is reliable machine-to-machine tape interchange and reduced off-track- physically possible to record professional DVCAM programming ing. Finally, DVCAM tape has four times the cassette memory of

DVCAM onto consumer DV tape, Sony advises against it. Sony DV tape.

Audio Lock and DV Dubbing

While the DV standard allows four recording modes, DVCAM The Audio Lock mode specifies a precise number of audio samples to machines will record in two of them: 2-channel mode (48kHz, 16-bit) be associated with each video frame. Consumer DV machines use the and 4-channel mode (32 kHz, 12-bit). Because professionals demand less precise audio unlock mode, which allows the sample number to absolute synchronization between audio and video, DVCAM vary slightly, according to the precision of the recorder’s internal oscil- machines record in the Audio Lock mode. Using Audio Lock, you can lator. conduct insert edits, secure in the knowledge that audio will follow video with absolute precision. Professional Sample/ Frames The locked versus unlocked distinction may seem slight, but it has an Audio Lock mode 525/60 System 625/60 System important side-effect. You cannot make digital dubs from consumer 48k mode 1600 or 1602 1920 184 DV equipment to professional DVCAM VCRs. Even when both machines have the same interface, the structure of the audio bits is 32k- 4 ch mode 1066 or 1068 1280 incompatible. For the same reason, you cannot “work around” the limitation by inserting the DV tape into a DVCAM player and then Consumer Sample/Frames digitally dubbing onto another DVCAM VCR. However, you can dub Audio Lock mode 525/60 System 625/60 System from DV to DVCAM in the analog domain. The result will be an 48k mode 1600 ± 20 1920 ± 24 audio locked DVCAM cassette that is fully editable. 32k- 4 ch mode 1053 - 1080 1280 ± 16

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DVCAM and EditStation — Complete Digital Solution Digital Processing Throughout — From Acquisition to Editing to Transmission

Together the DVCAM format and Sony’s ES-3/ES-7 EditStation provide a

complete production system with two DVCAM distinguished features. First, all digital processing is achieved from acquisition through editing to transmission. Digital processing camera heads make digital acquisition possible; DVCAM VCRs make possible. The recorded signal can be maintained in the digital domain while stored on a computer hard disk during non-linear editing. The result is far greater opera- tional efficiency, along with virtually no signal deterioration throughout the entire video production process. Second, a variety of digital interfaces are

provided. DVCAM and the EditStations 185 support SDI, SDTI (QSDI) and i.LINK (DV in/out). Standard industry digital interfaces, they facilitate direct digital editing and dubbing without the need for compression/decompression.

Efficient Non-Linear Editing System High-Speed Non-Linear Editing System Integrate the DSR-300 or DSR-130 DVCAM Camcorder, a DSR- An integrated digital editing system can be achieved by combining the 80/85 DVCAM Editing VCR and the ES-3 EditStation, and you have DSR-300 or DSR-130, DSR-85 and the ES-7 EditStation. Again, a highly efficient digital editing system. using the SDTI(QSDI) Interface, maximum multi-generation picture and sound quality is maintained, because there is no compression/ Superior multi-generation picture and sound quality are assured, since decompression or analog/digital conversion. Highly efficient editing data is transferred via the SDTI(QSDI) interface without signal com- performance is provided by the ClipLink function, as well as the high- pression or decompression or conversion between analog and digital. speed data transfer capability of the DSR-85 which transfers data at In addition, highly efficient ClipLink operation enhances the entire 4x normal speed between the DSR-85 and the ES-7. editing process. Low-Cost, Simple Editing System Upwardly Compatible Editing System A fully digital editing system can also be configured at low cost with a DVCAM VCRs (DSR-60/80/85) support SDI (Serial Digital simple system. Connecting the DSR-PD100 or DSR-200A cam- Interface) as an option (included with the DSR-2000). This allows corders to the DSR-20, DSR-30, DSR-V10 DVCAM recorders or the direct digital connection with every other SDI-equipped machine ES-3 EditStation via the i.LINK Interface, allows simple and efficient (D-1, Digital Betacam, Betacam SX), ensuring upward compatibility editing to be performed. This configuration has the added benefit of a throughout the broadcasting system. simple, single wire connection between equipment.

Flexicart System Once editing has been completed, program material can be stored in a Sony Flexicart system, the multicassette system for program transmission. A Flexicart system can be configured with a wide range of Sony VCRs, including DVCAM VCRs. Maintaining the signal in the same digital format, from acquisition to transmission, ensures outstanding picture and sound quality with virtually no deterioration in quality.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-PD100A 1/4-inch 3-CCD Mini DVCAM Camcorder The smallest DVCAM camcorder, the DSR-PD100A offers 4:3/16:9 switchable aspect ratio, and is also the first one with built-in still image capture capability. The DSR-PD100A features three 1/4-inch 380,000 pixel CCDs that allow two scanning modes: 480 progressive (for stills) or interlaced (for video). In the (progressive) scan mode you can capture high quality still images and download them to a card or MemoryStick via the built-in PCMCIA slot. Up to 150 JPEG pictures can be stored on one 8MB MemoryStick. Incredibly lightweight, exceptionally sturdy and extremely DVCAM portable, the PD-100A is perfect for tight situations where your regular, full- size camcorder is too large, heavy or difficult to maneuver.

FEATURES

High Picture Quality High Performance Audio ■ Three 1/4-inch CCD sensors, each with ■ i.LINK interface provides a single cable ■ Records PCM digital stereo sound in both 380,000 pixels compliments the DVCAM connection to transfer digital video and 48k Hz mode (16-bit) and 32 kHz mode format, with a high standard of quality audio with virtually no generational loss. (12-bit). When recording in 12-bit mode, for this class of camera. another stereo channel can be added later. ■ Equipped with a high resolution 3.5-inch ■ Records on the DVCAM format to offer color LCD monitor. The 184,000 pixel ■ Supplied XLR adapter attaches to the hot 186 superior video and audio quality, and reli- monitor opens 90° to the side and swivels shoe allowing connection of professional ability for professional use. 180° degrees. microphones. Via the XLR adapter, DC power (+48V) for a microphone is also ■ The CCDs in the DSR-PD100A can be ■ In addition to the LCD monitor,has a supplied from the DSR-PD100A. switched to scan in two ways: Interlaced 180,000 pixel color viewfinder for accurate Scan for recording moving images and focusing, white balancing and so on. Progressive Scan for recording still Compact and Lightweight ■ Incorporates Sony’s InfoLithium battery images. ■ system enabling the DSR-PD100A to Weighs 2.2 lbs. with battery and a tape. ■ Super SteadyShot compensates for indicate remaining battery capacity within Magnesium alloy die-cast body keeps it unwanted camera movement without one minute of accuracy. light but robust. reducing image quality. ■ 12x optical and 48x digital zoom lens Although the DSR-PD100A may look similar to the consumer version TRV-900, not all is the same under the hood. The DSR-PD100A has a rugged DVCAM tape transport instead ■ Manual control of Focus, Gain, White of DV and records with locked audio. It also features time code with Drop/Non-Drop Frame Balance Shutter Speed and so on. Auto modes and two level Zebra function—both not available on the TRV-900. modes are included for quick operation.

Still Image Recording Supplied Accessories Optional Accessories ■ Record still images on tape or removable ● 0.7x wide conversion lens complete with • ECM-670 media, such as a Memory Stick, which is lens hood and case Electret Condenser Microphone supplied with the unit. • CAC-12 Mic Holder ● RMT-811 wireless remote gives you con- ■ Still images scanned in interlace or pro- trol of Start/Stop/Zoom and VCR opera- • EC-0.5C2 0.5 meter mic cable gressive modes can be recorded on tape. tion, plus slow playback or search • NP-F950/B InfoLithium Battery Pack ■ Still images scanned in the Progressive ● 4 MB Memory Stick with Memory • NP-F550 InfoLithium Battery Pack Scan mode are recorded onto removable Stick/PC Card Adapter. • VMC-IL4415 memory media. Depending on the sub- 1.5m i.LINK 4 pin-4pin cable ) ject, you can choose the picture quality ● AC-L10 AC Adaptor, NP-F330 from three modes: Super Fine (SFN), InfoLithium Battery, XLR Adaptor, • VMC-IL4435 Fine (FIN) or Standard (STD). Stereo AV Cable and Shoulder Strap (3.5m LINK 4-pin-4-pin cable )

7-Day Customer Satisfaction Guarantee SONY DSR-200A 1/3-inch 3-CCD DVCAM Camcorder Combining a compact and lightweight body with the superior picture quality of DSP (Digital Signal Processing) and the DVCAM format, the DSR-200A is the ideal acquisition tool for video journalists, event DVCAM and wedding videographers, stringers and production houses. 500 lines of horizontal resolution, 48 kHz or 32 kHz digital audio, three hour record time, and minimum illumination of 3 lux is only the beginning. Additional features include 16:9/4:3 capability, SteadyShot, high resolution 1˝ viewfinder, Time Code operation, Time and Date superimposition and an IEEE-1394 interface for direct digital output. Offers full automatic, as well as manual control of Focus, Iris, Gain, White Balance and Shutter Speed.

FEATURES 187 Digital Video Recording Professional Viewfinder 10x Optical/20x Dig. Zoom ■ Digital component recording system sam- ■ Precision 1-inch black & white viewfinder ■ Variable servo 10x optical power zoom ples luminance at 13.5MHz (same as D-1) provides stunning details (over 550 lines lens goes from 5.9 to 59mm in 1.7 to 24 to record an incredible 500 lines of hori- of resolution), allowing easy focus even seconds. The zoom rocker is continuously zontal resolution at 5.5MHz. Component when shooting in low contrast lighting sit- variable, right up to where the digital 20x recording provides wide 1.5 MHz color uations. The viewfinder also incorporates zoom kicks in. If you do not want the dig- bandwidth. an OSD (on screen display) which shows ital zoom, you can disable it in the menu. Time Code, battery time and tape remain- ■ Can record up to 184 minutes using a ing, and camera conditions. The display PDV-184ME cassette. When equipped Built-in TBC can be switched on or off, enabling you to with three fully charged NP-F930/B bat- ■ focus with an uncluttered viewfinder, if Built-in time base corrector (TBC) deliv- teries continuous operation (with zoom- you prefer. ers jitter-free playback and perfect stills. ing) up to 4 hours is typical. Also provides powerful error-correction circuitry for clean picture playback, even ■ Incorporates a DV input/output connector Super SteadyShot when two of the tape’s ten tracks are miss- (IEEE1394) standard. When connected ■ Using a Proprietary Motion Sensing ing, thus eliminating dropouts. with the DSR-30 or similarly equipped system, Sony’s Super SteadyShot reduces VCR, video, audio and data can be high frequency camera shake without dubbed with virtually no loss in quality. Time/Data Codes compromising image quality. Unlike other stabilization systems, SteadyShot uses hori- ■ Stores Photo, Date/Time, Shutter Speed, 3-CCD Camera System zontal and vertical motion sensors that Iris, Gain and F-stop for easy recall. If you have to reshoot, you know your original ■ allow it to work accurately while zooming, The DSR-200A utilizes a dichroic prism moving (even shooting from a car), and settings for every scene and frame. that divides the image into its separate red, shooting in low light conditions. And ■ Records DF (Drop-Frame) and NDF green and blue light components and because Super SteadyShot uses an Active directs them to one of three 1/3˝ CCDs, (Non-Drop-Frame) time code for precise Prism and Precision CCD imagers, your editing. Time code is read either as each with 410,000 active pixels. The result pictures remain superb, with no loss of is CCD imaging using over 1.2 million RC Time Code with an accuracy of ±5 detail or reduction in size. In fact, the frames or as SMPTE with ±0 frame accu- pixels, providing incredible color fidelity effect from Super SteadyShot is so subtle, and dramatically improved signal-to-noise racy when used with RS-422 VCRs. TC yet so critical to the quality of your video, Reset button allows time code to be reset ratio. Also offers superb sensitivity of only you will never want to shut it off. 3 lux minimum illumination. to “00:00:00:00”. Time and date can be superimposed on the video output signal.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-200A Photo Mode Exposure Control ■ The unique Photo Mode allows recording ■ Automatic or manual focus, Iris, Gain Shutter and of high quality, Still Image pictures with White Balance. Iris is adjustable in 12 levels, from corresponding Audio for up to seven sec- f/1.6 to f/11. Shutter speed is adjustable from 1/4 to onds. Using new Adaptive Frame 1/10,000 of a second in 12 steps. Gain is adjustable Interpolation (AFI) technology, images are from -3 dB to 18 dB in 8 steps. smooth and clear without jagged edges or ■ Built-in ND (Neutral Density) filter allows you to work “stair-stepping” typical of most still pic- in the middle of the camcorder’s f-stop range, even under bright conditions. tures from video. You can play back ■ ■ images on a monitor, or print them out Zebra pattern indicator places black and Custom Preset function lets you preset, with almost photographic quality, using a white lines in the viewfinder where por- store and recall your own custom settings video printer. Images can be searched for tions of the picture exceed a certain for color intensity, White Balance (bluish or

DVCAM by date/time when utilizing DVCAM brightness level - an excellent guide for reddish), sharpness and brightness. tapes with Cassette Memory. adjusting shutter speed and exposure.

Digital Audio Digital Effects Conveniences ■ PCM digital audio technology delivers high ■ Digital effects include audio and video ■ Although it only has a 4:3 image sensor, it fidelity sound and dynamic range of 96 dB. fade to black (with the audio increas- can capture 16:9 aspect ratio pictures by ■ Records and plays back 16-bit/48 kHz audio ing/decreasing at fade-in/fade-out), processing them digitally. Shoot cinema- on one stereo track or 12-bit/32 kHz with Overlap and Slow Shutter. In Overlap like 16:9 images, and display them on two pairs of stereo tracks (L1/R 1, L2/R2), so mode, the last frame of the preceding monitors at full screen. scene dissolves to the action being you can add stereo music or narration. ■ Control L remote terminal for direct edit- recorded. In Slow Shutter, it is possible ing capability between the camera and the to record in very low levels of light, Sony DSR-30 DVCAM VCR, or any albeit with MTV strobe-like effect. 188 Control L video editor. ■ You can make a time-lapse recording to ■ Built-on square lens hood reduces external automatically record flowers blooming or light flare effect. a rising sun. Recording time is selectable from 0.2 to 2 seconds and intervals from ■ Supplied RMT-806 Remote allows basic 30 seconds to 10 minutes. commands like recording and playback to be performed. ■ Frame Recording mode lets you make a ■ Has automatic and manual (20-step) audio recording with a stop-motion animated ■ Magnesium body offers a very light- level record controls. This is important, effect. You move the subject a little, and weight, yet durable shell. Weighs only because you cannot record good audio with- the camera can record six frames before 10.8 lbs. with NP-1000/B Battery Holder out manual audio gain. Monitor the audio going into stand-by mode. and three NP-F950 batteries. with headphones, or from the LCD panel which has an active VU meter. ■ Has a one-point stereo electret condenser microphone for clear stereo separation. NPA-1000/B Battery Holder Directivity can be selected from 0°, 90° and 120°. audio Digital Signal Processing (DSP) ■ provides additional wind noise reduction The optional NPA-1000/B holds three NP- without harsh filtering, to maintain audio F930/B Battery Packs. Even during shooting, a quality. battery can be exchanged without interruption of any camcorder functions (hot swappable), as ■ Equipped with XLR connectors for connec- long as there is another battery in the camcorder tion to professional microphones. Mic or that is functioning. line level input can be selected. ■ Using a Sony NP-F930 Rechargeable Battery, ■ Audio and video are recorded on separate you get up to 90 minutes of continuous record- areas of the tape. You can add audio tracks ing time. It takes 3 hours to charge an NP- later and insert edit video without affecting 1 F930/B in the supplied charger and 2 ⁄2 hours the original audio track — true video only inside the camcorder. They can be simultane- insert editing. ously charged in about four hours.

We are on the web at: www.bhphotovideo.com SONY DSR-200A i.Link Digital Interface DSR-200A Packages & Accessories With the DSR-200A, your options do not end with recording. Equipped DSR-200A (Basic Camcorder Package): ACC KIT-201 Includes: with DV interface, you can output Includes RMT-806 Wireless Remote Control, data as a digital signal to other DV AV Stereo Cable, S-Video Cable and Shoulder ● 3 NP-F950/B Battery Packs compatible equipment. This means

Pad. DVCAM you can edit multiple generations ● NPA-1000B Battery Holder with virtually no deterioration of pic- PAC DSR-200A (Camcorder and Accessory ● AC-V900/B 3-Position Battery ture or sound quality. Since the DV Package): Includes DSR-200A, ACCKIT-201, interface supports the IEEE1394 LC-200CP Hard Case, VCT-U14 Tripod Charger/AC Adapter communications protocol, video and Adapter Plate, RMT-806 Wireless Remote ● DK-715 DC Cable audio can be downloaded directly Control, AV Stereo and S-Video Cable and into your hard drive. Shoulder Pad. ■ Two simultaneous signals may flow at one time over a single connection. ■ Audio, video and aux data can be Optional Accessories sent using one DV cable — simple design, simple connection. AC-V615/B AC Adapter/Charger ...... 134.95 ■ Up to 63 devices can be daisy DSBK-201 Adapter for WRR-810A

chained. 189 Wireless Mic Receiver ...... 179.95 ■ Signal is bi-directional, meaning each ECM-672 Electret Condenser Mic ...... 419.95 DV device can be a player or recorder without changing the connection. CAC-12 Microphone Holder...... 164.95

DSR-200A SPECIFICATIONS

CAMERA SECTION Shutter Control: Video Output: ZOOM LENS Pickup Device: Auto/Manual (1/4, 1/8, Composite video: (BNC) Focal Length: 5.9 to 59mm Three 1/3˝ IT CCDs with 1/15, 1/30, 1/60, 1/100, S-Video: (4-pin) (10:1) and 20:1 Digital 380,000 pixels (effective) 1/250, 1/500, 1/1000, Audio Output: Iris: Auto/Manual (f/1.6 to each 1/2000, 1/4000, 1/10000) Phono Jack x 1 (Stereo) f/11) and Close Filter Diameter: 52mm Gain: Microphone: Audio Input: Auto/Manual (-3, 0, +3, +6, Built-in one-point stereo- External: XLR x 2 (Mic/Line +9, +12, +15, +18 dB) type electret condenser Selectable) GENERAL microphone. Directivity is Minimum Illumination Microphone Input: Power Consumption: selectable (0°/90°/120°) 11.6w 3 Lux with f/1.4 Max. Gain Stereo Mini Jack x 1 Viewfinder: S/N Ratio: Headphone Input: Dimensions: 1˝ B&W CRT 5 3 3 60 dB Stereo Mini Jack x 1 8 ⁄8 x 9 ⁄8 x 18 ⁄4˝ (WxHxD) Horizontal Resolution: DC Input: Weight: 550 Lines (Luminance Signal) INPUT/OUTPUT 4-pin for DK-715 Cable 12.8 lbs. Control L (LANC): Supplied Accessories: White Balance: Stereo Mini-Mini Jack x 1 RFU DC Output: One-push Auto/ATW/ Special Mini Jack x 1 RMT-806 Wireless Remote 5800K/3200K DV Input/Output: (DC 5v) S-Video Cable 4-pin Jack x 1 (IEEE1394)

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY 190 DVCAM DSR-300/DSR-500WS Corporate Accounts Are Welcome aspect ratio, switchableto4:3. Pr of theDVCAM line-up,theDSR-500WSoffers outstandingpicture qualityby adoptingfull DigitalSignal cations including video journalist, event photographer,cations includingvideojournalist, newsgatheringforbroadcasting and more. and simplefieldeditingis just oneexample. The DSR-500WScanbeusedforawide variety offieldacquisitionappli- and systemflexibilitywith a range ofperipheral products. Built-in forbackup digitaloutputofthei.LINKinterface I To but alsointheevent andcorporate markets. has greatly increased notonlyinbroadcasting, demand forvideomaterialin16:9widescreen widescreen TVs hasbeenintroduced and the in themeantime,nextgeneration of waspackedintothecamcorder.performance But quickly andeasily, becausetherequired functionalityand theability toacquireas videojournalists theirfootage The introduction oftheDSR-300 gave shooterssuch 2/3-inch 3-CCD DVCAM Camcorder ncorporating mostofthefunctionsDSR-300,DSR-500WSextendsmobility, operational convenience ocessing andthree 2/3-inchPower HAD WS (Wide Screen) CCDs whichare specificallydesignedfor a 16:9

• meet thisdemand,SonyofferstheDSR-500WS Widescreen DigitalCamcorder. The newest member Camera Section withFull Digital Processing higher imagequality, free andthelossofresolution ofartifacts typicalofmultipleA/D andD/Aconversions. The DSR-300andDSR-500WSare “True Digital Camcorders” withthesignal maintainedinthedigitaldomain. This allows for 1/2-inch 3-CCD DVCAM Camcorder I with arange ofnewfeatures andperipheral products. Remarkably compact incredibly affordable DSR-300actuallyextendsoperational convenience nheriting manyofthesamefeatures andfunctionsastheDSR-130, • Component Digital Transfer from CameratotheRecorder and lightweight, theDSR-300provides highmobilitywithoutcompro- mising picture onyour shoulder qualityandcanbeheldcomfortably tions andmore. through thelongestshoots. To video journalism, weddingvideo journalism, videography, corporate communica- S is theidealtoolforfieldacquisitionapplications,including picture intoasmallandstylishbody, performance theDSR-300 DV

ignal Processing, Power HADCCDs andhighquality achieve superiorpicture quality, itincorporates 10-bitDigital CAM recording. Packing functionality, andsuperb comfort • D igital Recording DVCAM 191 AX: (212) 444-5001 F • Function SONY EZ Mode EZ Focus Function our subjects a pleasing facial com- our subjects a pleasing Skin Detail Function y

pressing the EZ Mode button, the cameras the EZ Mode pressing Black Stretch/Compress

ve ith this function you can variably adjust can variably ith this function you erridden while recording. etect Cursor on the viewfinder screen etect Cursor ustom, the camera setting is changed in lack Stretch emphasizes contrast in the emphasizes lack Stretch Lets you focus precisely without stopping precisely focus Lets you the lens. EZdown automatically Focus the depth-of-field, open the iris, reducing the same At making critical focusing easier. time, the shutter is automatically set to is EZ Focus light level. obtain the correct ov By auto position. or instantly set to a standard are a choice of two The DSR-300/500WS have When set to or Custom. - Standard EZ Modes C with the selected menu setting. accordance W the image. of area contrast in the Black B enhances Compress while Black area, dark or deepens darkness. Gi the sharpness plexion, while maintaining area active The designated of other areas. the Area adjusting set by is Detail of Skin D Color range button. Set and using the Skin the can also be set from and detail level Capable of color and detail viewfinder. within the full range of visible corrections spectrum (360° range). Ease of Operation HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 DSR-300/DSR-500WS PHOTO - VIDEO - PRO AUDIO (TLCS) (ATW) 10-Bit DSP (Digital Signal Processing) (Digital Signal 10-Bit DSP uEye Process Tr The guard has tiny holes so you can see the LED indicators for the buttons while shooting. has tiny holes so you The guard They have a Switch Guard to prevent misoperation of EZ Mode, Auto Iris and ATW buttons. and ATW Iris Auto of EZ Mode, misoperation to prevent Guard a Switch They have DynaLatitude Function ensure the best possible results when there is no time to set up, the DSR-300/500WS up, is no time to set when there the best possible results ensure vides tracing of the white area fast vides tracing of the white area managing video data at three levels: at three managing video data

conventional RGB Analog or Digital Analog or RGB conventional otal Level Control System otal Level Control ith TLCS. even if incoming light is even TLCS. ith

o

tilizes the limited dynamic range of the the limited tilizes rightness, Hue and Saturation – the same and Saturation rightness, Hue T ris Control, they are still able to achieve they are ris Control, To incorporate automatic modes for exposure, white balance and even to help you focus. to help you balance and even white incorporate automatic modes for exposure, They incorporate 10-bit DSP LSI technology to deliver incredible picture performance and picture incredible DSP LSI technology to deliver They incorporate 10-bit and DynaLatitude function. process TruEye the unique functions like Auto Tracing White Balance Auto Tracing enough to meet the most professional the accuracy of demands. Also improves white balance adjustment. Pr W the range of the automatic or below above I using the Iris by exposure picture correct Gain in combination with Auto Control Exposure. and CCD Auto (AGC) Control ease of operation, while also This ensures characteristics. maintaining low-noise U managing the adaptively video signal by a new dimen- Brings contrast of each pixel. like Dynamic Contrast sion to features (DCC). Control In signal pro- some Non-Linear processing, gamma correction cessing takes place after distortion in hue factor - and can result highlight particularly in extreme obvious virtually eliminates this TruEye conditions. by B is images The result as the human eye. with a wide dynamic range and without hue distortion. Five er HAD CCDs also gives you a low you er HAD CCDs also gives er HAD CCDs to deliver 800 lines er HAD CCDs to deliver CAM format uses 8-bit component w w ser Files allow you to custom set cam- to custom you allow ser Files cord under virtually any lighting: cord ebra 1 can be set within a range of 70 ystem (a control menu with superim- ystem (a control Superior Image Quality Superior Powerful Shooting Aids esolution, sensitivity of /11 at 2000 lux esolution, sensitivity files are factory to accommodate files are preset most common lighting situa- the five Saturation High tions, such as Standard, addition, the three In and Fluorescent. U era parameters to match a particular shooting situation. The DSR-500WS has eight setup files that VF Menu can be used with the dedicated S posed characters on the viewfinder). The DSR-300 has a 3-mode matrix adjustment for optimum color reproduc- shooting environments. tion in different chroma alternative provides This control saturation and hue parameters for STD and Saturation) (High H.Sat (Standard), ) lighting conditions. FL (Fluorescent DV with 5:1 compression digital recording superior and 4:1:1 sampling to provide superb multi-generation quality, picture flexibility. capability and production Po dB (DSR-300) and - of -110 smear level more 120 dB (DSR-500WS) , allowing to shoot highlighted subjects. freedom The DSR-500WS is equipped with three The DSR-500WS is WS PowerHAD 2/3-inch 520,000 pixel 700 lines of horizontal CCDs. Achieves r (Note:and a 63 dB S/N ratio. 700 lines to 930 at 16:9 is equivalent of resolution lines when converted to 4:3). of horizontal resolution, 62dB S/N ratio resolution, of horizontal F11 at 2000 lux. and high sensitivity of 3200K/3000K (switchable via menu), 5600K, 5600K+ 1/8 and 5600K+ 1/64. Like expensive 2/3˝ CCD cameras, they Like expensive to you offer four built-in filters allowing re Z 2 pro- to 90 IRE in IRE steps. Zebra with a more vides a pattern in any area can be dis- Either than 100% video level. or both simultaneously. played Po They offer two types of zebra patterns. They offer two types of zebra The DSR-300 has three 1/2-inch IT 1/2-inch The DSR-300 has three ■ ■ ■ ■ ■ ■ ■ SONY DSR-300/DSR-500WS Enhanced Functionality DSR-500 Exclusive Features ■ Directly attach an optional Anton Bauer Ultralight 2 to the DSR-300/500WS via Widescreen Switchable Optional Analog Input their video light connector. Powered from ■ A true widescreen switchable camcorder, ■ When only a few cameramen are delegated the camcorder battery, light On/Off can the DSR-500WS incorporates a 16:9 wide to a press conference, the DSR-500WS can be controlled manually or can be synchro- aspect CCD to offer superb widescreen be configured as a recorder for “Pool Feed nized automatically with the REC start pictures or conventional 4:3 aspect pic- Operation”. Requires the optional DSBK- function of the DSR-300/500WS. tures as well. 501 Analog Composite Input Board. ■ Jog Dial Equipped with three 2/3-inch Power SetupNavi HAD WS IT CCDs with a high packing ■ A camera setup file storage function, ■ They incorporate a Jog dial that controls density of 520,000 pixels (total)/ 480,000 SetupNavi is used to store the User Files DVCAM the viewfinder menu. Simply select the pixels (effective). Since the CCD is origi- or Factory Preset Files of the DSR-500WS desired menu item, and set the value with nally designed for 16:9 with 4:3 capability, directly onto VAUX (Video Auxiliary) data easy, one-fingered Jog dial operation. The high quality images are achieved in the territory of the DVCAM cassette tape. The Jog dial means fewer button/switches are 16:9 mode with virtually no image loss. data can be stored on and recalled from the required contributing to their simplicity. ■ 16:9 and the 4:3 safety zone shooting are DVCAM tape via the VF Menu System. possible on the DXF-701WS. DV Output Setup Log ■ When shooting 16:9 images, the DSR- ■ 6-pin i.LINK DV output (only) allows a ■ Information of the most relevant setting 500WS automatically adds a wide aspect back-up recording of DV and DVCAM parameters for every shot is automatically ID pulse signal, which indicates that the VCRs with just one cable. The i.LINK cable recorded on the VAUX (Video Auxiliary) picture is shot in 16:9 aspect ratio, through carries digital video/audio signals and control area of DVCAM cassette tapes. This func- the video output signal. The information signals allowing the DSR-500WS to be tion is called Setup Log. It is useful for the of 16:9 is also recorded onto the Video connected to the Sony DSR-70 Field Editor Auxiliary (VAUX) area in the DVCAM for simple field editing (the DSR-500WS 192 camera operator not only when the same shot has to be retaken, but also when tape, together with video signals. is set up as a feeder.). reshooting or operating conditions have to be checked during a particular shoot. Clear Scan and Color Bars Monitor Out They both feature Clear Scan enabling you to shoot computer monitors without horizontal bands and flicker. This is accomplished by precisely selecting a shutter speed that matches the ■ The DSR-300/500WS are equipped with scanning frequency of the computer display. Shutter speeds range from 60.4 Hz to 200.3 Hz a monitor output (BNC). By connecting and are selectable in 183 steps in this range. They also have built-in SMPTE color bar genera- an external video monitor, you can check tor, as well as a 1 kHz audio signal generator. shooting conditions with superimposed characters displayed on the viewfinder. (Character superimposition can easily be DXF-701WS Viewfinder switched on or off). They include the DXF-701WS, a high resolution 1.5˝ black and white viewfinder with switchable 4:3/16: 9 aspect ratio. Full Color Playback Additional features include: ■ They allow full color playback in the field ■ Die-cast aluminum body makes the ■ In addition to the stan- without an external adapter, making it DXF-701WS extremely durable. The dard REC tally above the easy to verify recording results. Material viewfinder position can be adjusted in a viewfinder screen, another REC tally is can be reviewed in the viewfinder with broad horizontal plane. located below the screen to prevent two channel audio signals. overlooking the REC tally indication. ■ Large diameter eyecup not only eases The second tally lamp is on/off switch- eyestrain, but also simplifies focusing. Scene Files able via the menu. Wide range of diopter adjustments ■ With the optional RCP-TX7 Remote (-3 to 0) is provided to compensate for ■ Both vertical and horizontal detail lev- Control Panel (see page 85) up to 16 scene differences in eyesight. els can be variably adjusted by the files can be created and stored. Almost all Peaking potentiometer on the viewfind- ■ Has a TAKE tally lamp for use with the the parameters for DSP functions and er body, while monitoring the ratio of ClipLink system. TAKE tally can also camera set-up can be stored. Instant recall both levels. using the menu button on the RCP-TX7. be used as a second tally lamp.

Most Orders Shipped Within 24 Hours SONY DSR-300/DSR-500WS

Conveniences ClipLink Operation ■ The DSR-300/500WS are equipped with a The DSR-300/500WS offers the unique and convenient ClipLink operation when “DynaFit” shoulder pad. Made of a shape- the optional Sony DSBK-301 Index Picture Board is installed. ClipLink is a com- memory material, this innovative shoulder prehensive shooting information and image management system necessary for the pad does not require forward/backward total digital production process, ranging from acquisition to editing. adjustment. It completely molds to any

shoulder without slipping, maintaining a DVCAM very good balance. ■ With built-in 26-pin VCR interface, they can feed composite or S-Video output sig- nals to an external recorder for parallel or back-up recordings. VCR recording modes including Parallel, Internal (only) and External (only ) are selected via the trigger switch positioned on the operational panel. ■ They incorporate an Edit Search function. Its control button is located on the side panel to allow easy access while shooting. ■ For operational convenience while shoot- ing, the Time Code is superimposed on the

viewfinder screen or MONITOR OUT 193 screen, even during playback. ■ With conventional cameras, it is very diffi- cult to shoot in the same framework and reposition the subject when you need to re-shoot. With the DSR-300/500WS, a picture previously recorded on tape can be ClipLink, in combination with the DSR-300 or DSR-500WS, a DSR-80 or DSR-85 superimposed on the viewfinder screen DVCAM VCR and the ES-3 or ES-7 EditStation, enhances productivity and operat- (Freeze Mix Function), allowing you to ing efficiency throughout the entire video production process. ClipLink data can be easily frame or reposition the subject just quickly uploaded to an Sony ES-3 or ES-7 EditStation from a DSR-85/80/60 so as in the previous shot. Combined with that usable shots can be easily selected using only visual ClipLink information dis- the Setup Log function, the retake shot played on the EditStation’s GUI. Eliminates the task of loading all shots on tape becomes a breeze. onto an ES-3 or ES-7 EditStation. ■ They boast remarkably long recording Two types of information (ClipLink The second is shot information needed time. Both mini cassettes (PDVM series) data) are automatically generated while for the editing process, such as the reel and standard cassettes (PDV series) can be shooting. First is Index Picture, which is number, scene number, take number, used with the DSR-300/500WS. With a digitally miniaturized picture of the time code of the Mark-In/Mark-Out PDV-184ME (standard), they provide a video image of the “MARK IN” point point, and OK/NG status. This refer- maximum recording time of 184 minutes. of each shot. Index Pictures are recorded ence data is stored in the memory of the They can also play back tapes recorded in on DVCAM tape. DVCAM tape. the consumer DV format. ■ By adopting high-density circuit boards and a smaller recording head drum, they Optional Wireless are remarkably small and light. DSR-300 Microphone Adapter weighs only 5.7kg (12.9 lbs) and the A wireless receiver case has been developed specifically to DSR-500WS only 6.3 kg (13.9 lbs 9oz) accommodate the Sony WRR-855A Wireless receiver. The Sony including lens, microphone, viewfinder, tape and lithium-ion battery. CA-WR855 Camera Adapter attaches directly to the DSR- 300/500WS via a V-shoe attachment and a direct audio-power ■ Consuming only 20 and 24 watts of connection interface. A lithium-ion battery can also be directly power (respectively), a maximum of 70 attached to the rear panel of the CA-WR855 via the V-shoe and 80 minutes recording time can be attachment. This allows easy battery replacement, even when achieved with one fully-charged BP-L40 the WRR-855A is mounted. Lithium-ion battery.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY RM-VJ1 Video Journalist Microphone Remote Control Unit for DSR-300/500WS An exclusive accessory for the DSR-300 and DSR-500WS, the Sony RM-VJ1 Remote Control Unit is a compact, mobile and highly reliable remote controller with built-in professional microphone and LCD screen. Directly connecting to the camcorder via a CCA-7-7A cable, the RM-VJ1 enables the operational convenience for one-person operation. Simply put the camcorder on a tripod, and compose your shot using the LCD monitor. Then, report or perform an interview by yourself—without the need of a camera operator.

■ Incorporates a 2.5-inch color TFT LCD monitor for framing or ■ RM-VJ1 offers remote control composing a shot. The LCD has a brightness control and monitor of camcorder functions includ- DVCAM hood for field use. Moreover, a LCD back light OFF switch is ing REC Start/Stop, REC available for saving power. Review, and TAKE and NG marking for ClipLink opera- ■ High quality omni-directional microphone with volume control tion. In addition, remote function. Sony lavalier mics like the ECM-44BC/55BC/77BC can Zoom/Focus control is possible when a Canon or Fujinon lens with be substituted for additional flexibility. the newly-developed Interactive Technology function is attached to ■ Company name label can be attached. the unit via 12-pin connector.

DSR-300/500WS SPECIFICATIONS GENERAL CAMERA SECTION Gain Selection: OUTPUTS -3 dB, 0 dB, +3 dB, +6 dB, 26-pin: (Composite, Power Requirements: Image Device: +9 dB, +12 dB, +18 db 194 Component, S-Video) DC 12v (11-17v) DSR-300: 1/2˝ Interline- 18 dB+DPR, +24 dB, Composite Video Out: BNC Power Consumption: Transfer CCD (x3) 24 dB+DPR, DSR-300: 22.1w with VF DSR-500: 2/3˝ Interline- Hyper Gain (30 dB+DPR) S-Video Output: 4-pin DSR-500: 26.1w with VF Transfer CCD (x3) Monitor Output: BNC Shutter Speed Selection: Record/Playback Time: Built-in Filters: Time Code Output: BNC 1:3200K/3000k (switchable) Off, 1/100, 1/250, 1/500, Standard Size: 1/1000, 1/2000 sec. Audio CH-1/2: RCA 184 min. w/PDV-184ME 2:5600K +1/8ND 3:5600K DV Out : (DSR-500 Only) Mini Size: Clear Scan Selection: i.Link, 6-Pin, IEEE-1394 40 min. w/PDVM-40ME 4:5600K +1/64ND 60.4 to 200.3Hz FF/Rewind Time: Lens Mount: S/N Ratio: Standard SIze: DSR-300: DSR-300: 62 dB OTHERS: 12 min. w/PDV184ME Sony 1/2˝ Bayonet Mount DSR-500: 63 dB DC In: XLR 4-pin, Male DSR-500: Mini Size: DC Out: 4-pin, Female 3 min. w/PDVM40ME Sony 2/3˝ Bayonet Mount AUDIO Battery Terminal: 5-pin Record Time: Horizontal Resolution: Frequency Response: Earphone: Mini-jack DSR-300: 80 min. w/BP-L40 DSR-300: 800 Lines 48kHz: 20Hz to 20kHz DSR-500: 70 min. w/BP-L40 DSR-500: 32kHz: 20Hz to 14.5kHz Light Out: 2-pin female 16:9/4:3 = 700 Lines DSR-300: Dynamic Range: WRR Out: 7-pin 180min. w/BP-L60A Vertical Resolution: More than 80 dB Lens: 14-pin (hot-shoe) DSR-500: 400 Lines (w/o EVS), or 12-pin 140 min. w/BP-L60A 450 Lines (w/EVS) DSR-300: INPUTS Viewfinder: 20-pin Minimum Illumination: Genlock Video Input: BNC 290 min. w/BP-L90A 0.5 Lux with f/1.4, Remote 1: Stereo Mini DSR-500: Time Code Input: BNC Hyper Gain (30 db+DPR) Remote 2 10-pin 230 min. w/BP-L90A Mic Input: XLR 3-Pin Sensitivity: Weight: F11 at 2000 Lux ) External Audio Input: DSR-300:12 lbs 9oz CH-1/2: XLR 3-pin Female DSR-500 13 lbs 9oz Analog Video Input (with viewfinder, lens, mic, (DSR-500 Only): BNC BP-L40 battery, tape) w/optional DSBK-501 board

Equipment Leasing Available SONY DSR-300/DSR-500WS

Lithium-Ion Battery Power System Optional Accessories

● BP-Series Lithium-ion Batteries: Developed specifically for these cameras, CMA-8A AC Power Adapter (for DXC) the BP-L40/60/90 are compact lithium-ion batteries that match the body ● DC-L1 Battery Adapter for charging NP- height of the DSR-300/500WS. They have a high charge capability, pro- 1B NiCad batteries viding continuous camcorder operation for approximately 80 minutes. ● LC-423TH Shipping Case And since lithium-ion batteries do not suffer from a “memory effect”, they DVCAM do not have to be fully discharged to retain their full power capacity. ● RM-M7G Remote Control Unit BC-L50 Sequential Two-Position Lithium- BC-L100 ● DSBK-301 ClipLink Index Picture ion Battery Charger Simultaneous 4-Position Charger for Option Board Lithium-ion and Nicad Batteries. Compact and easy to carry the BC-L50 ● LCR-1 Rain cover quickly charges up to two BP-L40 Lithium- ● AC-550 AC Power Adapter ion batteries using a unique new time-saving charging system. Conventional charging sys- ● WRR-855A UHF Synthesized Tuner using tems only start to charge the second pack CA-WR855 Drop-In Case when the first is 100% charged. When ● LC-300SFT Soft Carrying Case charging two battery packs at the same time, Designed for the DSR-300 and the the BC-L50 begins to charge the second DSR-500WS, The small and lightweight pack when the first is 80% charged. BC-L100 (6 lbs. 13oz.) LC-300SFT has inside and Compact, lightweight and easy- The BC-L50 has a carrying handle and a outside pockets to hold accessories like to-carry, the BC-L100 can simultaneously 195 retractable foot to stabilize it during charg- batteries, battery charger, wireless receiver, charge any combination of four BP-L60, ing. Both the foot and the handle retract and other items — as well as the cam- L90 and NP-1B batteries. Refresh function into the unit when not in use. Charge indi- corder with a lens, viewfinder and mic automatically discharges NP-1Bs before cators flash or light up to indicate the status attached. A robust shoulder belt makes it charging them to eliminate “memory effect” of up to two installed battery packs. easy to carry.

DSR-300 Packages DSR-500WS Packages DSR-300L DSR-500WSL DSR300 3-CCD 1/2-inch DVCAM Camcorder DSR500WS 3-CCD 2/3-inch DVCAM Camcorder RM-LG1 Remote Control Unit RM-LG1 Remote Control Unit VCT-U14 Tripod Adapter VCT-U14 Tripod Adapter DXF-701WS 1.5˝ Viewfinder DXF-701WS 1.5˝ Viewfinder

DSR-300 Basic Package DSR-500WS Basic Package DSR300L DVCAM Camcorder Package DSR500WSL DVCAM Camcorder Package S14X75HS Fujinon 14:1 Lens YJ18X9BKRS Canon 18:1 Lens LC300SZ Soft Case DSR-500WS ENG Package DSR-300 ENG Package DSR500WSL DVCAM Camcorder Package DSR300L DVCAM Camcorder Package YJ18X9BKRS Canon 18:1 Lens YH18X67HS Canon 18:1 Lens BCL50 2 Position Battery Charger BCL50 2 Position Battery Charger (2) BPL40 1 Hour Lithium-ion Batteries (2) BPL40 1 Hour Lithium-ion Batteries LC300SZ Soft Case LC300SZ Soft Case DSR-500WS Anton/Bauer Package DSR-300 Anton/Bauer Package DSR500WSL DVCAM Camcorder Package DSR300L DVCAM Camcorder Package YJ18X9BKRS Canon 18:1 Lens YH18X67HS Canon 18:1 Lens (2) H50 Anton Bauer Hytron 50 Batteries (2) H50 Anton Bauer Hytron 50 Batteries Q2 Anton Bauer Charger Q2 Anton Bauer Charger QRD700 Anton Bauer Gold-Mount QRD700 Anton Bauer Gold-Mount LC300SZ Soft Case LC300SZ Soft Case

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-30 DVCAM Digital VCR The DSR-30 is an industrial-grade DVCAM VCR with a host of features that makes it ideal for afford- able recording and playback as well as simple editing of DVCAM tapes. Equipped with a Control L inter- face and i.LINK (IEEE1394) digital input and out- put, it can be used as an edit controller and editing recorder for the DSR-200A DVCAM camcorder or another DSR-30. Also use for archiving analog footage when connected to other Control L-based recorders. It also fea- DVCAM tures high quality digital audio, external timer recording and continuous Auto Repeat playback function, making it ideal for kiosks and other point of information displays. The DSR-30 can accept both mini and standard DVCAM cas- settes for up to 184 minutes of recording time, and can play back consumer DV tapes as well.

FEATURES

Digital Record/Playback Analog Compatible i.LINK DV Interface ■ The DSR-30 utilizes the DVCAM format ■ Analog composite, S-Video and audio ■ i.LINK (IEEE 1394 ) input/output on the to deliver the highest quality video for (RCA) inputs/outputs make it fully com- DSR-30 allows digital dubbing of video, professional use. 8-bit component digital patible with Hi8 and S-VHS VCRs. audio and data to or from a similarly recording with a 5:1 compression ratio Offers compatibility with consumer DV equipped VCR with virtually no loss in 196 and 4:1:1 sampling provides superb pic- tapes as well. Of course tapes recorded in quality. ture quality and excellent multi-genera- the DSR-30 are compatible with Sony’s tional performance. high-end DVCAM VCRs. Clear Frame Picture ■ Digital Audio Editing Capabilities Using Frame Interpolation technology, the DSR-30 can detect motion between two ■ Two selectable Audio channel modes: ■ Equipped with Control-L, the DSR-30, fields within a frame and compensate for PCM (Pulse Code Modulated) digital can be hooked up to another Control L- picture blur, providing a clear frame audio can be recorded at either 48k Hz based recorder and perform SMPTE Time picture - even from moving images. (16-bit, 2 channel) for DAT quality audio, Code based accurate editing – even with- or at 32k Hz (12-bit, 4 channel), where an out an edit controller. Built-in editing additional two tracks of audio can be functions include assemble and separate Conveniences added over previously recorded portions. video and audio insert. In assemble edit ■ Supplied RMT-DS30 Wireless Remote mode, up to ten scenes can be automati- ■ DVCAM also features Audio Lock to provides basic VCR function control. It cally assembled in any order chosen by ensure that the audio is fully synchronized can also control multiple DSR-30s when their “In” and “Out” points. When used with the video for absolute precision when they are connected via the Control-S with the FXE-120, the DSR-30 can serve doing an insert edit. (DV format does not interface, by simply sending one com- as a player/feeder in an A/B Roll setup. offer Audio Lock.) mand to the master deck. ■ Dual cassette mechanism allows use of Built-in control tray has a Jog/Shuttle dial and VCR Edit function buttons. both standard and mini size DVCAM The tray can also be easily extended from the tapes without an adapter. main unit for added convenience. ■ The Jog/Shuttle dial allows picture search at Has stereo mini jacks for a headphone ±1/5 to 15x normal speed (in forward and output and microphone input on the reverse) with audio playback at the same front panel for operational convenience. speed. With the control tray you have control ■ Function lock inhibits any misoperation of not only the DSR-30, but also a player of the front panel or the control tray. hooked up through its Control-L interface.

SSMM

¨ ¨ SONY DSR-30

Specialized Playback and Optional LANC Interface Box If you want to use the DSR-30 on the record side of a professional editing system (meaning Record Functions with an RS-422 Edit Controller), you can, with the the Sony IF-FXE2 LANC Interface Box. With the IF-FXE2 you can control the DSR-30 from an FXE-120, PVE-500 or RM-450 and Automatic Repeat perform cuts editing. ■ In Auto Repeat Playback mode, the DSR-30 rewinds the tape just after the tape reaches the end; at the end of a pro- DVCAM gram,; or at the first index point. It then automatically starts playing back that segment again.

External Timer Recording ■ When connected to an external timer, and the EXT Timer Record switch is set to on, the DSR-30 will automatically start recording as soon as the AC power is turned on.

Index Search ■ The DSR-30 can search for index points

that are recorded on the tape as a marked 197 “In-point” every time a recording is start- ed. It can also search for the photo data recorded on a cassette by the DSR-200A DVCAM camcorder, or the point where the recorded data has been changed to a new one.

One Program Playback ■ In the One Program Playback mode, the What is LANC? DSR-30 automatically rewinds the tape LANC is an acronym for the Local Application Control bus system. It is a bi-directional wired to the beginning after playing back the command protocol designed by Sony to control video products. LANC is mainly used for program, then enters Standby mode. In consumer video products to connect a wired remote control, to operate two video products kiosks, for example, the video playback with synchronization, etc. The LANC port is labeled as LANC, Control L, or Remote, can be started at the touch of a button. depending on the product.

DSR-30 SPECIFICATIONS GENERAL VIDEO CONNECTORS Power Source: Dimension: Input: Digital In/Out: 1 3 120v AC 50/60Hz 17 x 5 ⁄8 x 14 ⁄4˝ (WxHxD) S-Video: (4-pin) x2 DV-Type, 4-pin jack x1 Power Consumption: (430 x 129 x 374 mm) Composite: (BNC) x1 (Conforms to IEEE-1394) 32w Weight: Output : LANC (Control L): Operating Temp: 20.5 lbs. (9.2kg) S-Video: (4-pin) x2 Stereo Mini-Mini Jack x 2 41° F to 104° Rewind Time: Composite: (BNC) x2 Control S In/Out: Less than 2 minutes with Mini Jack x 1 Recording Time: AUDIO 184 minutes (with PDV-184ME Headphone Jack: PDV-184ME) Search Speed: Input: Stereo Mini Jack x 1 -2, -1, -1/5, Still, 1/5, x1, Phono Jack x2 (Stereo) Mic Input: x2, Cue/Review Output: Mini Jack x 1 (10 or 15 times) Phono Jack x1(Stereo) (Low Impedance)

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-20/DSR-40 DVCAM Player/Recorders The DSR-20 and DSR-40 are versatile DVCAM VCRs with compact chassis’ and a variety of convenient functions for recording, playback and simple editing. They feature Auto Repeat Playback, Power-On Record/Playback, multiple machine control interfaces and i.LINK (IEEE1394) input and output. And, of course, they offer the stunning image and sound quality inherent to the DVCAM format.

DVCAM FEATURES

DVCAM Quality Inputs and Outputs Reference Input ■ They utilize the DVCAM format to pro- ■ They provide a full range of analog video ■ External sync input enables synchronized vide the recording/playback quality and inputs and outputs for integration into playback with other VCRs. In addition, reliability required for professional use. current analog-based systems. They both the DSR-40 only allows adjustment of They can also play back consumer DV offer composite and S-Video input/out- H-sync and SC phase via the menu. format tapes without any special adapter. put, while the DSR-40 (only) offers a ■ They offer two selectable audio modes; a component output as well. The DSR-20 Control S Interface 2-channel mode with 48 kHz/16-bit is equipped with analog audio inputs and ■ The DSR-20/DSR-40 have a Control S recording and 4-channel with 32 kHz/12- outputs (RCA), the DSR-40 with RCA input allowing control via the optional bit recording. inputs and XLR-balanced output. These connections in combination with their DSRM-20 Remote Control Unit. The 198 ■ Dual-size cassette mechanisms accept i.LINK interface allow a smooth transi- DSR-20 adds a Control S output connec- both, mini size (up to 40 minutes) and tion to an all digital system in the future. tor allowing two or more (up to 50) standard size DVCAM tapes (up to 184 DSR-20s to be daisy-chained and con- minutes) without an adapter. Record/Playback Functions trolled from one DSRM-20 Remote. ■ With the DSRM-20 Remote Control you i.LINK ■ Automatic repeat function for repeated playback. After reaching either the end of can shuttle up to ±15x normal speed and ■ They both offer i.LINK (IEEE1394) the tape, the first blank portion or the ±2x normal speed in jog mode. You can input and output. When connected to first index point, the DSR-20/40 auto- also use the remote to quickly find other DV equipped machines, the DSR- matically rewinds the tape, then starts desired points using index signals or date 20/DSR-40 offer digital dubbing of playing back the segment again. and photo mode information. video, audio and data, without any dete- ■ They are capable of searching for Index rioration of image and sound quality. In Conveniences addition, a “Digital dubbing including Points, which are recorded on the tape as TC Copy” mode allows all information “in-point” marks every time a recording ■ Power-on playback capability for unat- (including video, audio and time code) of starts. They can also search for photo data tended automatic playback. When con- the original tape to be copied to another recorded on a DVCAM cassette by the nected to an external timer and their tape. Especially useful when making DSR-200A/300/PD-100A, or where the TIMER switch set to REPEAT, they go working copies of the original. recording date has been changed. into Auto Repeat mode and start playing back the moment AC power is turned on. The DSR-20 also adds Power-On Record capability. When connected to an external timer and the DSR-20’s TIMER switch is set to REC, the VCR starts recording as soon as power is turned on. ■ They are both compact and lightweight (identical in size). Designed as half rack size in width and 2RU high, two DSR- 20/40’s can be mounted side-by-side in a 19-inch rack. They weigh 11 lbs each.

We Ship Worldwide DVCAM 199 AX: (212) 444-5001 F • (DSR-20 only) OTHER which can be con- (DSR-20 only) tereo Mini-Mini Jack Jack Mini-Mini tereo Jack Mini tereo 12v, 4-pin XLR (DSR-20) 4-pin XLR 12v, RMT-DS20 S 9-pin S SONY DC In: Remote: LANC: RS-232C/RS-422: S: Control in a professional A/B roll editing A/B roll in a professional er DSR-20/DSR-40 DSR-40 Only play (doesn’t insert edit) (doesn’t x2) ( CA (x2) R XLR CAM recorded tapes are to be used as source material. to be used as source tapes are CAM recorded a DSR-40. This can be very convenient when DV or be veryThis can when DV convenient a DSR-40.

quipped with an RS-422A interface, the DSR-40 can per- A (x2) ecording function ecording HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S system or cut editing system. It is also possible to add the system or cut editing system. It in example, analog editing system. For DSR-40 to a current system, an S-VHS feeder could be replaced editing an A/B roll by E form as the editing a simple it has Although the DSR-40 was designed as a player, r or via its RS-422A interface. either manually trolled capabili- The DSR-40 is not equipped with a synchronization play. and the editing accuracy is performed pre-roll by ty, DV T 1•800•947•9901 tereo Mini (x1) Mini tereo DSR-20 Rear DSR-40 Rear S RC DSR-20: DSR-40: L: CH-1,CH-3, or CH-1/3 mix R: CH-2, CH-4, CH-2/4 mix ■ ■ ■ Headphone Jack: Audio Input: Audio Output: PHOTO - VIDEO - PRO AUDIO XLR H/SC-phase, Video onitor Out (BNC) x1 onitor Out i.LINK (DV in/out) i.LINK (DV (4-pin x1) IEEE1394 Based Composite (BNC x1) (4 -pin x1): S-Video Composite (BNC) x1 M (4 pin) x1: S-Video DSR-40 Adds: Component (BNC) x3 INPUTS/OUTPUTS ideo Input: ideo Output: Digital: V V — —Yes —Yes —Yes Yes — Yes — YesYes — — RCA RCA RCA DSR-20 DSR-40 nput/Output Input I : ˝ 2 ⁄ 2 ⁄ 1 1 x 15 DSR-20 Only DSR-20 x 15 8 ⁄ 8 ⁄ 7 7 x 3 x 3 2 ⁄ 8 ⁄ 1/5, 1, 2, 10, 15x 1 3 8 8 ± GENERAL DSR-20 & DSR-40 Comparison : 120v, 50/60Hz : 120v, huttle: og: ±1/10, 1/5, 1, 2 eight: DSR-40 Via DSRM-20 S 5.0kg (11 lbs) DSR-20 AC DC: 12v (DSR-20) J DSR-20 / DSR-40 SPECIFICATIONS addition to Control L, the DSR-20 also incorporates an RS-232 L, the DSR-20 also incorporates addition to Control Search Speed: Dimensions (WxHxD) W Power Requirement:

ideo Out Adjustment CR functions. And again, when two or more VCRs are connected are VCRs CR functions. And again, when two or more quipped with Control L interface,quipped with Control the DSR-20 can perform sim- the DSR-20 can serve as a player/feeder. ditStation, upplied with the RMT-DS20 Wireless Remote for control of basic for control Remote Wireless upplied with the RMT-DS20 DC In Audio Output Reference Input Component Output V Audio Input Control L (LANC) Control Wireless Remote Controller RS-232C RS-422A S Control In a PC. functions from VCR of basic control interface for remote S V one wire- from controlled S, they can be simultaneously via Control to the master deck. simply sending one command by less remote ple time code-based editing when connected to another DSR-20 ple time code-based editing like the DSR-30, VCRs/cameras, or other similarly equipped When using the FXE-120 or ES-3 DSR-200A or DSR-PD100A. E E The DSR-20 can be powered by AC or DC. Ideal for mobile Ideal or DC. AC by The DSR-20 can be powered supply can be connected to a 12v power applications, the DSR-20 like a car battery via the 4-pin XLR or battery belt, and powered DC input. ■ ■ ■ ■ SONY DSR-60/80/85 DVCAM Series Editing VCRs The evolution of video production to digital has brought about great advances in image quality and versatility. It has also correspondingly brought an increased demand for equipment that offers greater productivity, creativi- ty and flexibility. To meet the challenge, Sony has developed DVCAM – a digital recording format for the next generation. DVCAM provides long hours of recording time, continuity with non-linear systems, and compatibil- ity with current analog and digital systems.

DVCAM Employing the DVCAM format, the DSR Series provide superb picture quality and incredible multi-generation performance. They offer consistent use of the same compression scheme throughout the system to offer degrada- tion-free pictures. There are no additional compression-decompression cycles, no analog-to-digital or digital-to-analog conversions. This enables a total digital system– from acquisition to final editing. The VCRs also offer total compatibility with current editing systems, with a range of analog interfaces. The DSR Series consists of the DSR-60 Player/Feeder, the DSR-80 Recorder/Editor, and the DSR-85 High Speed Editing Recorder. The DSR-85 executes high-speed playback and recording at up to 4x normal speed via the SDTI(QSDI) connection between Sony’s ES-3 or ES-7 EditStation. All DSR Series VCRs support Sony’s unique

200 ClipLink editing feature to enhance operating efficiency throughout the entire video production process, from the very first stage of shooting with Sony’s DSR-300 and DSR-500WS DVCAM camcorders.

FEATURES

The DVCAM Format Digital Audio Digital Interfaces ■ An extension of the consumer DV for- ■ They provide two selectable digital ■ Optional DSKB-100 SDI (Serial Digital mat, DVCAM is a digital recording audio modes; two channels of 16-bit Interface) output and DSKB-120 SDI format designed for professionals. And (48 kHz) and four channels of 12-bit I/O boards conform to SMPTE 259M although it maintains playback compati- (32 kHz). PCM digital stereo record- standard for connection to SDI equipped bility with consumer DV recordings, ing is used in both modes to ensure devices, such as Sony Digital Betacam DVCAM uses a wider track pitch to superb audio performance with a wide VCRs for lossless editing and dubbing. ensure high reliability for the professional dynamic range and excellent signal-to- The DSR-80/85 are also equipped with editor. noise ratio. AES/EBU digital audio input/output as standard. (Note: SDI is not to be con- ■ DVCAM uses 8-bit component digital fused with Sony’s QSDI, a proprietary recording with a 5:1 compression ratio Analog Compatibility digital interface. See next page) and 4:1:1 sampling (same as consumer ■ In addition to their versatile digital DV) for incredible multi-generation capa- interfaces, they offer a full complement Time Code bility. Using an intra-frame compression of analog audio and video input/out- scheme, each frame of video has 10 puts for full compatibility with existing ■ They have a built-in SMPTE Time Code tracks. Each track has ITI (Insert and S-VHS and Betacam SP systems and Generator/Reader (DSR-60 only reads) for Track Information), Audio, Video and to provide a smooth, gradual transition frame accurate editing. Time Code is writ- Subcode areas. The ITI, which is a refer- to an all digital system. They offer com- ten in the subcode and is transmitted via ence signal for precise tracking, and the posite, S-Video and component inputs the RS-422 interface. Input and output of time code information assure highly accu- and outputs, as well as selectable 4 time code is also possible with the optional rate editing performance. or 2 channel audio inputs and outputs. DSBK-130 Time Code I/O board.

Used Equipment Bought, Sold and Traded SONY DSR-60/80/85

SDTI(QSDI) Advanced Editing Capabilities ■ The DSR-80/85 are equipped with Sony’s SDTI(QSDI) interface as stan- ■ All offer an RS-422 interface for connec- ■ Built-in TBC for highly stable analog out- dard and is available for the DSR-60 as tion to edit controllers like the PVE-500. puts. Sync and sub-carrier phase adjust- an option. Not to be confused with In addition to VCR control, the RS-422 ment is made from the front panel, or can SDI, the SMPTE 259M Serial Digital interface also enables the transfer of be done remotely with the optional UVR-

Interface, SDTI(QSDI) is Sony’s pro- ClipLink Log data from the cassette mem- 60 TBC Remote Control. DVCAM prietary digital interface for handling ory to a Sony ES-3/ES-7 EditStation. ■ Taking advantage of digital processing, compressed video, as well as the sub- ■ When connected to RS-422-equipped edi- these VCRs are equipped with a digital code data and digital audio signals of tors, the DSR-60 functions as an editing slow function that allows 0 to ±1/5x nor- the DVCAM format. With player, the DSR-80/85 as editing mal playback speed in forward and SDTI(QSDI) you have degradation-free recorders. With sophisticated servo con- reverse. The digital slow function achieves transfer of video and audio signals trol and built-in time code capability, noiseless slow-motion images with picture between the DSR-series VCRs and sim- frame accurate assemble or insert editing quality that is on par with Dynamic ilarly equipped non-linear systems. is assured. Tracking playback. Either frame or field accurate playback is possible. ■ High speed picture search with recogniz- ClipLink able picture at up to 32x normal speed ■ In Jog mode, complete reproduction of in forward and reverse. Frame accurate four or two channels of digital audio is ■ ClipLink is a comprehensive data man- picture search is also available in the jog achieved 1/30 to 1x normal playback agement system of the shooting infor- mode. Jog/Shuttle is performed with the speed in forward or reverse. This is espe- mation which is necessary for the total optional DSRM-10 Remote Control or cially useful for quickly and precisely des- 201 digital production process, ranging from edit controller. The DSRM-10 connects ignating edit points while monitoring the acquisition to editing. Incorporated into via the Control S port on their front digital audio signals. Audio data is held in Sony DVCAM cassettes is an IC mem- panel, enabling control of jog/shuttle, memory and output according to search ory chip which holds shot list informa- play, record, pause, FF and rewind func- speed, for enhanced recognition. tion, called ClipLink Log Data. tions. (Control S is short for SIRCS or ■ The DSR-60/80/85 have an attractive and During acquisition with a DSR-500WS Sony Integrated Remote Control System). DVCAM Camcorder, the Time Code functional appearance to complement any data of the In-point and Out- point of ■ In Insert mode, video, audio and time editing environment. They are 4RU high each shot is recorded in the cassette code can be inserted independently or in and can be mounted in a 19˝ rack with memory. A still frame of each In-point, any combination. the optional RMM-130 Rack Mount Kit. called the ‘Index Picture’, is recorded on the tape to serve as the visual informa- tion associated with the shot data. When the cassette is loaded into a DVCAM Metal Tape DSR-60, 80, or 85, the ClipLink Log Data is uploaded into the ES-3/ES-7 To gain maximum performance from high density digital recording, DVCAM uses EditStation for immediate viewing of specially developed Advanced Metal Evaporated cassettes. These tapes deliver superi- the images on the screen before actually or recording quality by increasing the RF video output being recorded onto the hard drive. by +4.5 dB, compared to that of Hi-8 metal evaporated Then only the selected clips are tape. Higher durability is also ensured for the rigors of uploaded for time and space-saving effi- professional editing by utilizing a new dual evaporated ciency of the hard drive. layer structure with protection by a DLC (Diamond ■ The DSR-80 (only) has a tape dubbing Like Carbon) coating. Each cassette has a built-in 16kB function allowing you to make a dub of IC memory that can hold index addresses and other the recorded DVCAM tape information shooting data to enhance editing efficiency. Two cassette (video/audio/subcode) along with the sizes are available: DVCAM Standard-size DVCAM cas- ClipLink log data in the DVCAM cas- settes’ memory chip. Dubbing is accom- settes, which provide a maximum of 184 plished by operating the menu button minutes (PDV-184ME), and the Mini-size on the subcontrol panel via the SDTI cassettes, which record up to 40 minutes (QSDI) and RS-422 interfaces. (PDVM-40ME).

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-60/80/85

High Reliability User Friendly Operation ■ A built-in hour meter simplifies maintenance by showing total ■ Each can playback consumer DV cassettes without any adapters. operating time, drum rotation time, transport operation time, This enables a wider range of program material to be used for and the number of thread/unthread operations. Information can editing. Jog audio and digital slow functions can also be used. be shown on a monitor or on the VCRs front panel display. ■ They are supplied with an initial Setup menu system that is pro- ■ They are designed with a highly responsive mechanism, which is grammed in the form of a layer structure. By simply going the essential factor for efficient editing. This includes U-loading, through the menu using the subcontrol panel, you easily initialize direct reel drive, and an electronic tension servo. FF/REW speeds the VCRs. The menu allows many detailed operational parameters are an incredible 85x normal speed, while recognizable color to be preset. Once set, the VCRs will memorize the options and search at 32x normal speed is achieved. retain them in memory, even after the power is turned off. ■ In addition to their excellent responsive performance, they offer ■ Built-in character generator can superimpose time code, VCR oper- DVCAM easy servicing and maintenance by incorporating self-diagnostics, ation status, menu items and all alarm, warning, and error messages an error log and hours meter. When an error is detected, an error on the video signal output and display them on a monitor. message is immediately displayed and the problem area identi- ■ A large, highly visible display is featured on their front panels. It fied. In addition to minimizing down-time, an Error Log func- shows audio and video input mode, normal/high-speed modes. tion makes it easier to detect the error by retaining the past sta- ClipLink data and Cassette Memory Status can also be displayed. tus data of the VCRs in memory. 202

Rearview DSR-60 Rearview DSR- 80 Rearview DSR- 85

DSR-60/80/85 SPECIFICATIONS GENERAL TRANSPORT VIDEO AUDIO Power Source: Record/Playback Time: Analog Inputs: Analog Inputs: 120v AC 50/60Hz Up to 3 hrs w/PDV-184ME Reference: BNC x 2 3-pin XLR male x 4) Composite: BNC x 1 -9 dB to +28 dB, 600 ohms, Power Consumption: FF/REW Time: S-Video: 4-pin x1 Balanced (DSR-80/85) DSR-60: 85w 3 min. with PDV-184ME Component: BNC x 3 DSR-80: 145w 1 min with PDVM-40ME Digital Inputs: DSR-85: 185w Digital Inputs: AES/EBU (3-pin XLR Search Speed: female x 2) (DSR-80/85) Dimensions: Via RS-422: QSDI: BNC x1 DSR-60/80: 32x (Forward/Reverse) SDI: BNC x 2 (Requires Analog Outputs: 7 7 1 16 ⁄8 x 6 ⁄8 x 19 ⁄2˝ (WxHxD) DSBK-120 SDI Board) 3-pin XLR male x 4) Via DSRM-10: DSR-85: +4 dB 600 ohms, Balanced 7 7 3 Jog Mode: Frame by Frame to x 2 Analog Outputs: 16 ⁄8 x 6 ⁄8 x 19 ⁄4˝ (WxHxD) Digital Outputs: Shuttle Mode: Still to 16x (8-steps) Reference: BNC x 1 AES/EBU (3-pin XLR Weight: Digital Slow: still, x 1/5, x 1/10 Composite: BNC x 1 male x 2) (DSR-80/85) DSR-60: 39 lbs 10 oz (18kg) Jog Audio: 1/30 to 1x S-Video: 4-pin x 1 DSR-80: 41 lbs 14 oz (19kg) Component: BNC x 3 Audio Monitor: DSR-85: 46 lbs 4 oz (21kg) Phono Jack x 1 Digital Outputs: Connections: TIME CODE Headphone Jack: RS-422: 9-pin Female x1 Time Code In: BNC x1* QSDI: BNC x1 (DSR-60 JM-60 Headphone Jack x1 TBC: 15-pin connector Time Code Out: BNC x1* requires DSKB-110 Board) Control S: Stereo Mini Jack (* optional DSBK-130 Time SDI: BNC x 2 (Requires SUPPLIED Code I/O board required) DSBK-120 for DSR-80/85 S/N Ratio: and DSBK-100 for DSR-60) ACCESSORIES Over 55 dB RCC-5G (RS-422) Cable

Overnight Shipping Available SONY DSR-60/80/85

Convenient Playback 4x High-Speed Playback/Record Functions (DSR-60/80) (DSR-85 Only)

■ They have a Closed Caption function ■ When integrated with the ES-3 or ES-7 EditStation, the DSR-85 executes high-speed trans- which reproduces the program with the mission (via SDTI) of the selected ClipLink Data at 4x normal speed, at which time the recorded signal on the video area as video actual editing work can be started immediately. The 4x download capability of the DSR-85 auxiliary data. Furthermore, the DSR-80 brings unprecedented productivity into the editing process. DVCAM can insert captions into prerecorded pro- grams. ■ Switchable RGB/Component output renders them ideally suitable for RGB applications, such as large screen presen- tations and computer environments. This is because RGB signals can be converted into Y/R-Y/B-Y Component signals with minimum picture degradation. They both output high quality RGB, while the DSR-80 can also input signals. ■ The DSR-60 (only) has an Auto Repeat function that enables either the entire tape or a specific portion to be replayed ■ In order to accomplish this, the DSR-85 has a very small head drum that results in a com- 203 continuously. By simply selecting A and pact transport mechanism only 21.7mm in diameter, while incorporating 14-head and 14- B points, or presetting the time codes on channel rotary transformers. This is combined with a laminated head structure with magne- the Setup menu, the DSR-60 plays back to-static coupling film and metallic bonding. The high-quality amorphous twin-heads ensure the selected segment repeatedly. Also has reliable, efficient recording and playback with low noise. To permit data to be transferred at a power-on function for immediate play- 4x normal speed, the head drum rotates at up to 18,000 RPM (revolutions per minute). back upon powering up.

DRV-1000 DVCAM Computer Drive With the increase of digital video acquisition in both consumer and profession- al markets, the demand for PC-based editing is growing rapidly. The DRV- 1000 addresses this need by allowing material shot on DV and DVCAM sources to be edited in a low cost PC editing system. Specifically designed to fit directly into a standard 5.25˝ disk drive bay, the compact DRV-1000, with a third party DV capture board and software, forms a complete, low- cost editing system. ■ Superb record/playback quality and professional reliability of ■ Easily fits into a standard 5.25˝ drive bay (PC or Mac) and uses the DVCAM format. It offers excellent audio quality and can the computer’s DC power (thus lowering its cost). The cassette record signals in both 48 kHz/16-bit and 32 kHz/12-bit compartment slides in and out of the outer chassis to make modes. Can play back consumer DV format tapes, as well. insertion and ejection of the cassette easy. Off-white color and design make it easy to blend into PC operating environments. ■ The DRV-1000 is equipped with i.LINK (DV IEEE1394) input and output. With a single cable connection to this 4-pin ■ Features composite, S-Video and analog audio outputs. In connector, digital audio and video can be transferred without addition to DV capture boards, the DRV-1000 can be used signal degradation between the DRV-1000 and your hard with widely available analog video capture boards. Also enables drive, or between the DRV-1000 and other i.LINK-equipped video playback directly to an NTSC video monitor. machines such as the Sony DSR-30 VCR, DSR-PD100A and ■ Flexible control options via the i.LINK or Control L interface. DSR-200A camcorders.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-2000 DVCAM Editing Recorder w/Pre-Read The DSR-2000 is a highly flexible DVCAM studio deck specifically designed for demanding ENG editing. It can also play back all DV-25 Mbps-based formats—including DV (Standard and Long Play modes), as well as all types of DVCPRO tape as an editing source—all without any mechanical tape adapters. The DSR-2000 is equipped with audio/video Pre-Read Editing and includes a Jog/Shuttle

DVCAM dial that allows two-machine editing. It also provides smooth audio during jog, a wide range of slow motion playback options and fast machine response—core operational features required for professional news editing. A SMPTE standard MPEG SDTI-CP interface option is available for the DSR-2000 to output an MPEG stream in addition to the optional i.LINK interface. This allows the DSR-2000 to seamlessly link to Betacam SX and other MPEG-based video equipment by means of SDI, i.LINK and MPEG SDTI-CP.

FEATURES

DVCAM Format Pre-Read Editing Digital Audio ■ A professional extension of the worldwide- ■ Thanks to newly developed digital process- ■ Offers superior digital audio with perfor- 204 standard DV format, DVCAM uses the ing, the DSR-2000 is equipped with pre- mance comparable to CD quality, thanks same 8-bit digital component recording read editing – a feature never before to a wide dynamic range and excellent S/N with a 5:1 compression ratio and 4:1:1 offered on a 1/4 inch VCR. Since preread ratio. There are two selectable audio chan- sampling ratio for excellent picture quality heads are positioned ahead of record heads nel modes: a two-channel mode with 48 and superb multi- generation performance. on the drum, these heads scan previously kHz/16-bit recording or a four-channel recorded video and audio signals that are mode with 32 kHz/l2-bit recording. ■ DVCAM cassette are available in two sizes: then recorded back onto the same track. standard and mini. The standard size cas- sette provides recording time of up to 180 ■ Preread provides many advantages such as Wide Range of minutes while the mini-size cassette pro- A/B roll editing with only two VCRs, Digital Slow Speeds vides up to 40 minutes. Long recording sound-on-sound capability as well as audio ■ The DSR-2000 offers a variable speed times are made possible by Sony’s advanced cross fade function for a clean transition of playback function with a range of -1 to metal evaporated tape technology. audio at an editing point. Besides, the + 1 times. Within this wide range, the usual delay between video and audio expe- DSR-2000 plays back digital noiseless slow rienced at an editing point is eliminated. DV/DVCPRO Compatible images and smooth jog sound, making it The frame delay between audio channels easy to designate editing points. Digital ■ The DSR-2000 offers playback compatibil- also never appear during audio mix/swap slow speeds can be applied when using any ity with all DV (25 Mbps) format tapes. and over dubbing of audio. DV (25 Mbps) format recorded tapes. This is very important because DV prod- ucts are used more than ever in profession- VCR-to-VCR Editing Dynamic Motion Control al video applications due to their compact ■ Jog/Shuttle dial provides convenient size and superior picture quality. For maxi- ■ Equipped with Sony's innovative DMC two~machine editing without any external mum versatility, the DSR-2000 can play (Dynamic Motion Control), the DSR- controllers. By connecting the DSR-2000 back DVCAM tapes; DV tapes recorded in 2000 can memorize the variable speed to any VCR with an RS-422 or i.LINK both SP/LP modes; and even DVCPRO range of a designated portion on the player (DV In/Out) interface, an editing system tapes without any adaptors. Moreover, it is side and execute editing with slow-motion with ±0 frame editing precision can be cre- possible to use these tapes directly as edit- images. Additionally, DMC allows the ated. Additionally, the optional DSBK-200 ing source material. Now you can save time DSR-2000 to control Dynamic Tracking Control Panel enables remote operation and money as there is no need to use dif- (DT) equipped VCRs like the PVW-2650 from a distance of up to 10 meters. ferent VCRs for each format.

Corporate Accounts Are Welcome SONY DSR-2000

Professional Functions Analog Interfaces ■ To provide highly stable video signals, ■ With analog interfaces for the DSR-2000 is equipped with process- both video and audio, the ing control for both analog and digital DSR-2000 is compatible with outputs. This allows accurate control of conventional analog equip- video level, chroma level, chroma phase ment and ensures a smooth

(hue), set up, Y/C delay, Sync phase and DVCAM upgrade path to an all digital SC (Sub Carrier) phase for composite, system. Equipped with com- component, S-Video and SDI outputs. posite, component, S-Video Adjustments can also be done remotely and XLR connectors. using the optional UVR-60 TBC Remote via the rear 15-pin control port. ■ Equipped with RS-422 control protocol for interfacing to other professional VCRs, edit controllers and Sony’s ES-3/ES-7 EditStations. ■ The DSR-2000 handles two kinds of time code data. Like all DVCAM VCRs, it has a built-in SMPTE Time Code Digital Interfaces generator/reader for frame accurate edit- ■ The DSR-2000 has a full range of standard digital interfaces such as SDI, SDTl(QSDI) ing. Time Code is written in the subcode and AES/EBU as well as optional i.LINK (DV In/Out) and SDTI-CP (MPEG Out). and is transmitted via RS-422. But it is This allows full integration into a wide variety of digital systems like an SDI-based edit- the only DVCAM VCR to also support ing system (Betacam SX or Digital Betacam) or a cuts-only editing system (DSR-500WS VITC (Vertical Interval Time Code). or consumer DV camcorder) via the i.LINK, and much more. ■

Three-color channel condition indicator, 205 (with each color representing a particular error rate threshold level) enables you to Conveniences quickly recognize the condition of a ■ ■ VCR or tape for more reliable editing Tape dubbing function allows you to make Universal power system (100 to 240v AC) operation. a dub of the recorded DVCAM tape infor- means you can use the DSR-2000 any- mation (video/audio/subcode) along with where around the world without the need ■ Equipped with a built-in signal genera- ClipLink log data. Dubbing is done by for a transformer. tor, the DSR-2000 can generate color operating the menu button on the subcon- ■ Built-in character generator can superim- bar or black burst for video, and 1 kHz trol panel via the SDTI (QSDI) and RS- pose time code, VCR operation status, tone or mute for audio. Convenient for 422 interfaces or through i.LINK. creating pre-striped tapes before editing. menu items and all alarm, warning, and ■ For more flexibility the DSR-2000 allows error messages on the video signal output ■ During recording and playback, audio combinations of video and audio inputs. It and display them on a monitor. levels can be adjusted by using the con- is possible to select a digital interface for ■ The DSR-2000 provides easy servicing trol knobs on the front panel. video and an analog interface for audio. and maintenance by incorporating a self- ■ By receiving a wide aspect ID signal, the 1) i.LINK can’t be combined with other interfaces. diagnostics function, error log and hours DSR-2000 can record and play back 2) If you select SDTI(QSDI) for audio, it automati- meter. Also, thanks to its highly durable 16:9 aspect ratio pictures shot with the cally defaults to SDTI(QSDI) for the video input drum, the DSR-2000 realizes an extended DSR-500WS or DSR-200A DVCAM also. However, if you select SDTI(QSDI) for video, any signal interface can be selected for audio. drum replacement interval (2,000 hours). Camcorder. ■ An initial setup menu that provides easy accessibility and simplified operation. ClipLink Operation The setup menu can be scrolled and modified by the search dial while moni- The DSR-2000 supports the ClipLink system that conveys shooting data into the digital pro- toring composite video out, SDI video duction process. During acquisition with the DSR-130, DSR-300 or DSR-500WS DVCAM out or the time counter display. camcorders, the in-point out-point time code data of each shot and OK/NG status are recorded in the cassette memory of the DVCAM tape. These can be changed later on the ■ With a built-in closed caption function, DSR-2000 while viewing the character display of ClipLink Log Data on the monitor. the DSR-2000 can record character data on the video area as video auxiliary data Also, by adding in/out-points from the font panel, the DSR-2000 will automatically recog- and add it into the vertical blanking area nize these as newly created Mark In/Out points. What's more you can easily cue up to the in playback mode. The closed caption designated points (Mark In points/Cue address) while viewing the ClipLink Log Data to data is input and output through the perform a quick picture search. The ClipLink Log Data can then be used to create an ideal composite and SDI interfaces. non-linear editing suite by integrating the DSR-2000 with an ES-3/ES-7 EditStation.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DSR-2000

Sophisticated i.LINK-based Cut Editing System Transport Mechanism ■ The DSR-2000 incorporates a newly designed triple~size cassette compartment to ensure compatibility with DV (25 Mbps) format recorded tapes of all sizes and types. With the new compartment, it is possible to uso standard and mini size consumer DV and DVCAM cassettes as well as medium DVCPRO cassettes with- out any mechanical adaptor. The cassette compartment is also durably designed to DVCAM provide optimum performance in Functional Front Panel demanding editing environments. ■ Incorporating a handsomely designed ■ Equipped with key and record inhibit ■ A quick response is an essential require- front panel with a Jog/Shuttle dial and full functions to prevent accidental operation. ment for professional editing and the editing keys, the DSR-2000 provides a The key inhibit function disables all keys DSR-2000 answers reliably through the variety of professional features that make it while the rec inhibit function makes it use of a direct reel and drum motor he leading edge product in the DSR series. impossible to record onto a tape. mechanism. In switching operation modes - from STILL tn PLAY, for exam- ple - response is exceptionally quick, Optional Accessories especially during audio playback. Fast for- ward and rewind speeds are an incredible DSKB-190 i.LINK (DV In/Out) Board DSKB-2000 Control Panel 85X normal with a maximum search DSKB- SDTI-CP (MPEG) Output Board BKNW-121 Control Panel Case speed of 60X during color playback. UVR-60 TBC Remote Control Unit RMM-130 Rackmount Kit 206

DSR-2000 SPECIFICATIONS GENERAL VIDEO INPUTS VIDEO OUTPUTS AUDIO Power Requirements: Analog Video: Analog Video: Frequency Response: 100 to 240v AC 50/60Hz Reference: BNC (x 2), loop- Reference: BNC (x 1) 2 Channel Mode (16-bit): through connection 20 Hz to 20 kHz Power Consumption: Composite: BNC (x 3 ) Composite: BNC (x 2 ), S-Video: 4-pin (x 1) 4 Channel Mode (12-bit): 110W loop-through connection Component: BNC x3 (x1) 20 Hz to 14.5kHz Playback/Record Time: S-Video: 4-pin (x 1) Dynamic Range 184 min. with PDV-184 Component: BNC x3 (x1) Digital Video: 40 min. with PDVM-40 Over 90 dB SDI: BNC (x 3), Tape Speed: Digital Video: SDTI(QSDI): BNC (x 1) 28.193mm/s SDI: BNC (x 2), active- TIME CODE through connection i.LINK: 6-pin x 1(requires Time Code In: BNC (x 1), FF/REW Time: optional DSKB-190 board) Time Code Out: BNC (x 1), Under 3 min. with PDV-184 SDTI(QSDI): BNC (x 1) Under 1 min. with PDVM-40 i.LINK: 6-pin x 1(requires optional DSKB-190 board) AUDIO OUTPUTS REMOTE Search Speed: Analog Audio: RS-422: 9-pin female (x2) Shuttle : Still to ±60x normal AUDIO INPUTS: Digital Slow: ±1x normal Audio: 3-pin XLR male (x4) Video Control: 15-pin (x1) -60/0/+4 dBu selectable Control Panel: 15-pin (x1) Weight: Analog Audio: 39 lbs. 1 oz. (18 kg) XLR female (x4) -60/0/+4 Monitor: RCA (x1) dBu, 600-ohm on/off- Headphone: JM-60 jack x1 SUPPLIED Dimensions: 60dBu, high impedance ACCESSORIES 7 3 RCC-5G (RS-422) Cable 16 ⁄8 x 7 x 19 ⁄8˝ (WxHxD) Digital Audio: Digital Audio: (427 x 175 x 496.5mm) AES/EBU (BNC x2) AES/EBU (BNC x2)

Overnight Shipping Available DVCAM 207 Yes Yes 199.95 249.95 199.95 AX: (212) 444-5001 F • es Yes es — CA (x2) (x2) RCA R SONY sYes sYes —— — —— — —— — —— — x 1 x 1 x2 - Out x1 In be used as a source feeder only be used as a source

Rack Mount Kit (4RU High) Kit (4RU Rack Mount ...... * ed Remote Control for DSR-60/80/85 Control ed Remote ...... ed Remote Control for DSR-20/40 Control ed Remote ...... 2x 2x 1x 2 1x 2x 2x r r To — (x2) RCA (x2) RCA (x2) RCA Wi Wi HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 DSRM-10 DSRM-20 RMM-130/US sYes sYes 1x 1 1x

PHOTO - VIDEO - PRO AUDIO es (BNC x 3) (BNC x 3)* Yes — — — Y Digital Interface Analog Interface 367.95 784.95 784.95 1299.95 Remote Control InterfaceRemote Control es Yes Yes Only Input — — es Yes Optional — — — es Yes Only Reader Yes Yes Yes nput Input Input Input Input/Output Input/Output ptional Optional Optional — — — Optional Accessories for DVCAM VCRs sY sY sO sY ———— —Y —I —— ———— —Y —Yes—— ———YesYe ———YesYe YesYe Yes Ye Yes Yes Yes Yes Yes — — YesYe Ye Yes Yes Yes Yes Yes Yes YesYesYe YesYes YesYes Yes YesYes Ye Yes Yes Yes — Yes Yes — Yes — Yes Yes Yes Yes — Yes Yes — — — Yes Yes x 2x 3x 1 x 2 x 2 x 1 x 2 x 2 x — x x 1 x 1 x 1 to ±60x to ±32x Up to ±32x Up to ±32x Up to ±15x Up ±15x to Up to ±15x Up ptional — — — — — — ptional — — — Yes Yes Yes

0 to ±1x to ±1/4x 0 0 to ±1/5x 0 to ±1/5x ±1/10, 1/5, 1x ±1/10, 1/5, 1x ±1/10, 1/5, 1x XLR (x4)XLR (x4) XLR (x4) XLR (x4) XLR (x4) XLR (x4) XLR (x4) XLR (x2) O O BNC (x2) XLR (x2) XLR (x2) — Up ±1/30 to 1x ±1/30 to 1x ±1/30 to 1x ±1/30 to 1x — — — es (BNC x 3) (BNC x 3) Yes (BNC x 3) Yes (BNC x 3)* Yes (BNC x 3)* Yes — — DSR-2000 DSR-85 DSR-80 DSR-60 DSR-40 DSR-20 DSR-30 Y Feature Comparison for DVCAM VCRs DVCAM for Comparison Feature SDI Output Board for the DSR-60 Board SDI Output ...... - Timecode I/OTimecode - for the DSR-60/80/85 Board .. SDTI(QSDI) Output Board for the DSR-60 Board SDTI(QSDI) Output .. - SDI I/O Board for the DSR-80/85- SDI I/O Board ...... DSBK-130 DSBK-100 DSBK-110 DSBK-120 MPEG Out Reference I/O (BNC) Time Code I/O (BNC) LANC Control-S RS-232C RS-422A Audio In Only * Output S-Video In/Out Composite In (BNC) Composite Out (BNC) RGB In/Out Component In/Out AES/EBU I/O i.LINK DV Playback SDI In/Out SDTI (QSDI) In/Out Digital Slow Jog Audio Closed Caption Search Speed Power-on Playback Auto Repeat Assemble Editing Insert Editing TC Reader/Generator 4X Transfer Standard/Mini-size Tape Standard/Mini-size Clip Link Audio Out SONY

208 DVCAM DSR-V10 24 Hour Fax: 800-947-9003 while inthefield,ortraveling toanotherlocation. corders, suchasSonyDSR-PD100A.It isidealforsimplerough editing with theoptionalSonyDSRM-E1Edit Adapter andDVCAM cam- The DSR-V10canalsobeconfigured asasimplefieldeditingsystem video —anytimeandanywhere. full range ofaccessories,itenablesyou tocreate professionally produced excellent picture quality, offeringgreat operational performance. With a Compact andlightweight, theDSR-V10fitsinapocket,yet delivers offers convenient hands-free shootingwithminicameras. tion fieldeditingsystem,back-up VCR andhandydesktopviewer. It also D DVCAM Video Walkman esigned forprofessional videoapplications,theDSR-V10isacombina- ■ ■ ■ ■ perform simpleeditsinthefield,orwhiletransitbetween locations. perform camcorder likethePD-100A,you canconfigure aneditingsystemthatallows you to U FEATURES sing theDSR-V10withoptionalDSRM-E1Edit Adapter andaDVCAM nector via a20-pincon- to theDSR-V10 Connects directly Pr Even with upto99 Assemble Editing P Camcorder) as the DSR-PD100 the DSR-20/30or Control L(like equipped with Controls VCRs J Buil og/Shuttle Dial layers ograms t-In ts x4 Optional DSRM-E1EditAdapter Simple FieldEditingwiththe ■ 212-444-5001 ■ ■ ■ ■ ■ tion lost. dubbed andeditedwithoutany genera- connection. Allows source materialtobe V nal transferwithothersimilarly equipped dard, itallows digital videoandaudiosig- Basedinterface. ontheIEEE1394stan- E with up-to-theminuteaccuracy. liferemaining, cise amountofbattery F950/B. The systemalsodisplaysthepre- B time (withLCD on)usingtheNP-F750 allows 100minutescontinuousrecording batteries andlow power consumption operating time. The combinationofthese I only 2.2lbs.,excluding thetape. I top viewer. asahandydesk- of your videoandserves DSR-V10 provides easyfieldmonitoring I DV sional use.It canalsoplaybackconsumer quality andreliability required forprofes- V10 provides therecording/playback U nfolithium Battery Systemnfolithium Battery forextended ncredibly smallandlightweight, weighs ncorporating a5.5˝LCD monitor, the quipped withi.LINK(DV In/Out) attery, and155minuteswiththeNP- CRs andcomputers,usingasingle wire tilizing theDVCAM format,theDSR-

format tapes. DVCAM 209 AX: (212) 444-5001 F • SONY CVX-V3 cording in the field. The CVX-V18NS in the field. cording A 20 letter maximum title can be created, which can be superimposed onto the vertical position and The color, image. position can be selected. Date horizontal or time or both can also be superimposed onto the image. 15 hours using the optional NP-F950/B battery (10 hours with the IR light On) Configure a compact field recording sys- a compact field recording Configure the tem with the DSR-V10. Utilizing format and the high quality DVCAM monitor you built-in LCD DSR-V10’s can perform monitoring and evidence re via the supplied cable attaches directly the DSR-V10. from and uses power microphone and audio output for record- and microphone ing and playback of audio. They include 2 meter camera cable The CVX-V3 (only) has a built-in stereo ■ ■ ■ ■ CVX-V1/CVX-V3 CVX-V1 : Camera Head: .85 oz. CCU: 4.8 oz. : Camera Head: Proof): (Splash : Camera Head 2.6 oz. CCU: 4.8 oz. HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 CVX-V1 CVX-V3 PHOTO - VIDEO - PRO AUDIO anced NightShot function enables anced NightShot v ithout NightShot, low light recording low ithout NightShot, The CVX-V18NS can be powered via The CVX-V18NS can be powered lithium-ion batteries which attach direct- con- power low With ly to the CCU. sumption, the camera can run to for up Compact CCU is easy to carry and can When the cable is hand. be held in your detached on the CCU side, the optional CCN-10 camera cable can be connected, the thus extending the distance between camera and CCU up to 108 feet. Ad video recording at 0 lux . The IR filter is at 0 lux . video recording disabled and additional IR rays can be lit the CCD. by so objects can be recognized W capability is 0.7 Lux. passes video-in, as well as power for a as power passes video-in, as well connection to the DSR-V10. direct use as stand-alone devices directly con- use as stand-alone devices directly nected to a monitor VW (Video Walkman)VW (Video 20-pin connector They utilize lithium batteries, allowing They utilize ■ ■ ■ ■ ■ : 3.9mm f1.8 Lens (Manual Focus/Iris control) Focus/Iris : 3.9mm f1.8 Lens (Manual Lens Zoom : 3X (3.4-10.2mm f/2.8-3.9) Optical

table and unobtrusive for convenient r

quipped with a built-in 18x zoom lens quipped with a built-in 18x zoom

teadyShot function to reduce hand-held function to reduce teadyShot olor Mini-Cameras for the DSR-V10 the DSR-V10 for olor Mini-Cameras

emotely controlling focus, shutter speed emotely controlling ightShot Camera with 0 lux Image Capture Capability Capture with 0 lux Image Camera ightShot The CVX-V18NS camera head is com- and is connected to pact and lightweight, the the CCU via a camera cable. Since tripod shoe is located on the camera the install can conveniently head, you camera at a distant location, while r and exposure. The CCU has an external microphone input, and audio/video output. E mode). (72x in digital zoom 1/4-inch CCD with 470,000 pixels for a 1/4-inch CCD with 470,000 pixels Also incorporates a clear picture. sharp, S or other motion shaking. 1/4˝ precision CCD with 410,000 pixels pixels CCD with 410,000 1/4˝ precision Po shoot in field acquisition, they let you limited space or camera-shy subjects.

CVX-V1 CVX-V3 emarkably small size, they deliver excellent picture quality. Ideal quality. picture size, small excellent emarkably they deliver our range of video applications. It features a unique NightShot function, NightShot a unique features of video applications. It our range total hands-free shooting is required (like skydiving). (like skydiving). is required shooting total hands-free videography and police work. They can be helmet-mounted when They can be helmet-mounted and police work. videography r for use in mobile/portable applications, like event acquisition with 3x zoom provide a portable, their Despite solution for field acquisition. economical provide with 3x zoom When used in conjunction with the DSR-V10, the CVX-V1 Mini-Cam and CVX-V3 Mini-Cam Mini-Cam with the DSR-V10, the CVX-V1 When used in conjunction C ■ ■ ■

functions via an attached cable, and connects directly with the DSR-V10. functions via an attached cable, and connects directly ■ lighting, even in 0 lux. The compact CCU can control all the camera can control The compact CCU in 0 lux. lighting, even ative NightShot function allows the capture of objects in extremely poor in extremely of objects the capture function allows NightShot ative a built-in 18x zoom lens, and a compact camera control unit. The innov- unit. control compact camera lens, and a a built-in 18x zoom y The CVX-V18NS is a new type of color that is sure to expand that is sure color video camera The CVX-V18NS is a new type of N CVX-V18NS ■ ■ SONY

210 DVCAM DSR-70 ■ ■ We U littlespace,anditslightweight bodyiseasytocarry The DSR-70takesupvery andevent videography.70 idealforvideojournalism A ic, fullfeatured cuts-onlyeditingsystemforfieldandmobileapplications. acompleteandergonom- and SDTI(QSDI).Dock twoDSR-70stogetherandform studio editing.It alsooffersthree i.LINK(IEEE1394),SDI optionaldigitalinterfaces: operated, theDSR-70isidealforvarious typesoffieldeditingandplayback,aswell as 422 Interface, ClipLink operation andEdit functionkeys.Small, lightweight andbattery itor, frame accurate editing,Jog/Shuttle dial,audiospeaker, Time Codeinput/output,RS- editingrecorderA portable package,theall-in-oneDSR-70incorporates a6.4˝LCD mon- DVCAM Portable Editing Recorder al can be dubbed and edited with virtually no lossofvideoandaudioquality.al canbedubbedandeditedwithvirtually F Digital Interfaces or digitalinputandoutput,optionali.LINK(DV), maketheDSR-70atotaldigitalsolution.Sou SDIandSDTI(QSDI)interfaces dditional features, suchas Two-Camera Switching Recording, maketheDSR- The DSR-70employs theDVCAM format,(8-bitdigitalcompo- mode with32kHz/12-bitrecording. 2-channel modewith48kHz/16-bitrecording anda4-channel rable toCDqualityaudio. There are twoselectableaudiomodes: wide dynamicrangeandanexcellent signal-to-noiseratio,compa- stereo recording witha systemofferssuperioraudioperformance Inperformance. addition,PCM(Pulse CodeModulation) digital rate) toprovide highpicture qualityandsuperbmulti-generation nent recording witha5:1compression ratioand4:1:1sampling tage forthosewhowanttouseDV recorded tapesasasource. back consumerDV tapeswithoutanyspecialadapter—anadvan- PDV-184ME standard-size cassette. The DSR-70canalsoplay PDVM-40ME Mini-size cassette,andupto184minuteswiththe without anadapter. Record upto40minuteswiththeSony tem thataccommodatesbothstandard andminisize cassettes Like allDVCAM VCRs, theDSR-70maintainsadualcassettesys- se for both shooting and editing, it offers an excellent price/performance ratio.se forbothshootingandediting,itoffersanexcellent price/performance FEATURES

Ship Worldwide DVCAM Format just asinglecableconnection. er) andtheDSR-70(asarecorder), with possible between acamcorder (asaplay- frame accuratecuteditingis interface, 20 andDSR-30. Through thei.LINK PD100A; DSR-200A;DSR-V10;DSR- F DSKB-140 i.LINKDV I/OBoard: or usewiththeDCR-VX1000,DSR- ■ ■ inputs Component I/Oboard. In addition,2-channelbalancedXLR as well ascomponentvideowiththeoptional DSKB-170Analog tions. Offers twocomposite(BNC)andanS-Video input/output, providing amigrationpathforhybrid analogsystemconfigura- H They connectviaa4-pinXLRconnector. Alternatively, anAC-550 orCMA-8AAC adaptercanbeused. ment andcansupplypower fortwoDSR-70sdockedtogether. of three adapters. The AC-DN2A connectsviathe V-shoe attach- the LCD monitoron.AC operationisalsoavailable withachoice batteries. Record foralmosttwohours withaBP-L90Aeven with power, usingcompactSony BP-L60AorBP-L90Alithium-ion on12vbattery The DSR-70canoperateinthefield,running as a full complement of analog interfaces forvideoandaudio, as afullcomplementofanaloginterfaces (-10/0+4dB V ersatile AnalogCapability AC/DC PowerOperation DV as Digital Betacam andBetacam SXaswell as E DSKB-160 SDIInput/Output Board: tion-free transferofvideoandaudio. DSR-60/80/85. providesThe interface degrada- F DSKB-150 SDTI(QSDI)I/OBoard: or working withDVCAM VCRs likethe nables editingbetween broadcast VCRs, such ) and4-channelselectableoutputsare provided. CAM VCRs equippedwithSDIinterface. r ce materi- DVCAM 211 DSR-70 AX: (212) 444-5001 F • Carrying Case dapter dapter

A A

rd SONY 4-Position Lithium-ion Charger 4-Position Ha AC AC Lithium-ion Battery Lithium-ion Battery Parallel-Run Recording -DN2A double deck configuration, two DSR-70s double deck configuration,

cording). Ideal for multi-camera recording for multi-camera Ideal cording). C-500 C-DN220 can record simultaneously (parallel-run simultaneously can record re editing, their time code and sync roll synchro- ensures input/output connection with the same time code. recording nized In Functions L AC A BP-L60A BP-L90A BC-L100 HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 Optional Accessories Acquisition wo-Camera Switching Recording wo-Camera Switching T PHOTO - VIDEO - PRO AUDIO ual Video Input Board Input Video ual ocking Kit i.LINK (DV) I/O Board i.LINK (DV) SDTI (QSDI) I /O Board SDI Board Input/Output Analog Component I/O Board D D Sequential Recording ith two DSR-70s (using each deck alter- ith two DSR-70s (using ith a communication headset, the DSR-70 operator can direct camera operators to make operator can direct ith a communication headset, the DSR-70 elect either the A or B source for recording via the DSR-70 control panel. The DSR-70 panel. via the DSR-70 control for recording elect either the A or B source eaches two minutes, the player deck auto- player eaches two minutes, the sing footage shot on a DVCAM camcorder, material can be reviewed and prepared for final and prepared material can be reviewed camcorder, sing footage shot on a DVCAM W of up to six nately) sequential recording When the is possible. hours without a break deck time of the recorder tape remaining r for events for Ideal matically starts recording. with long run concerts times like and sports. S pattern of the two cameras on screen. level phase and zebra can also display the chroma W adjustments. camera level This unique feature enables the DSR-70 to switch between two camera sources. With the With two camera sources. the DSR-70 to switch between enables This unique feature connected and installed, two cameras can be Board Input Video optional DSBK-180 Dual two cameras (for example, a shot from While recording the output of either one recorded. both sides of the stage), the DSR-70 displays two different from shooting an orchestra in Picture. Picture as screen images on the LCD DSKB-140 DSKB-150 DSKB-160 DSKB-170 DSKB-180 BKNW-225 ClipLink Operation U acquisition with the DSR-130/300/500WS, time code data editing while on location. During of the in-point/out-point of each shot and OK/NG in the cassette memory recorded status are tape. Afterwards, these can be changed using the DSR-70, while viewing the of the DVCAM on the LCDcharacter display of the ClipLink Log Data adding in- and out-points By screen. Mark-In/Out these as newly created the key panel, the DSR-70 automatically recognizes from address) points/Cue can easily cue up to the designated points (Mark-In you points. Moreover search. This makes it possible to perform quick picture while viewing the ClipLink Data. Conveniences Editing Functions Editing og mode, digital audio can be repro- docking two DSR-70s together, a full together, docking two DSR-70s J ilt-in processor for analog and digital ilt-in processor cord and play back 16:9 aspect ratio and cord

ideo/Audio/Subcode) along with ideo/Audio/Subcode) onitoring digital audio signals is espe-

tilizing digital processing, the DSR-70 tilizing digital processing, ull Tape Dubbing function allows you allows function Dubbing Tape ull cially useful for making quick and pre- cise decisions on editing points. duced over the range of 1/30 to 1x nor- the duced over mal speed in both forward and reverse. M featured cuts-only editing system for cuts-only editing system featured This con- created. mobile applications is editing VCR-to-VCR figuration allows addi- In with jog/shuttle dial operation. for both tion, frame accurate editing by assemble and insert modes is provided the sophisticated servo and built- control in time code generator/reader. Bu of video control providing outputs. By and setup for the level chroma level, and composite, component, S-Video high- SDI outputs, the DSR-70 achieves ly stable video signals. Re or shot with the DXC-D30WS pictures This capability DSR-500WS Camcorder. and dig- analog both through is available 4:3 or 16:9 wide screen ital Interfaces. mode is selected using the menu. The DSR-70 can mix (maximum two the channels) or swap input signals from SDTI(QSDI), SDI, i.LINK or analog audio interfaces. Combines quick response with high reli- Combines quick response reel the use of direct ability through tension servo. and electronic drive while 85x normal, speeds are FF/REW speed is 32x with color maximum search playback. In U function. Playback Slow offers a Digital range of 0 to 0.5 times the video over normal speed in forward and reverse. By ClipLink Log Data held in the cassette ClipLink Log Data via the i.LINK This is achieved memory. interface, a combination of SDTI or by (QSDI) and RS-422 interfaces. F information DVCAM to dub recorded (V ■ ■ ■ ■ ■ ■ ■ ■ SONY DSR-1 Dockable DVCAM Recorder The DSR-1 brings exciting new capabilities to existing dockable cameras, as well as to the DXC-D30. Although some of its features work only with the DXC-D30/D-30WS camera heads, (page 74) many features will work with almost any other analog dock- able camera. Thanks to innovative advances in both electronics and mechanics, the DSR-1 is remarkably small and lightweight, yet very durable. When docked to a DXC-D30, the total package, including an NP-1B battery, weighs only 16 lbs., mak- ing it one of the most lightweight professional camcorders available. DVCAM FEATURES

Unique Design Field Operation Digital Audio ■ Equipped with both a Pro 76-pin digital ■ Inputs include genlock and time code, out- ■ Two selectable audio modes utilizing PCM and a Pro 50-pin analog connector, the puts include composite and S-Video. digital stereo recording for the highest DSR-1 can be connected directly to Sony quality .Offers 2-channel 16-bit, 48 kHz ■ Provides full color picture playback with- digital cameras (DXC-D30) or analog or 4-channel 12-bit, 32 kHz recording. out any adapter. This allows field verifica- cameras (DXC-327/537/637) to form tion of the recording, as well as direct ■ Balanced XLR audio inputs (line/mic superb digital recording camcorders. microwave transmission. A Time Base switchable) can also supply 48v phantom ■ The 76-pin connector, in particular, allows Stabilizer provides stable pictures without power to external mics. In addition, a 12v closer communication between the DXC- the need for additional equipment. DC output provides power for wireless 212 D30 and the DSR-1 in operations such as microphone receivers. Also offers earphone ■ Record Review function lets you play back ClipLink, Camera Setup, Data Recording and unbalanced phono output. the last scene and automatically stop at the on tapes, and Time Code display on the end of the previous recording. Playback viewfinder in playback mode. can be extended for up to 10 seconds. User Friendly Operation ■ The DSR-1 has a dual cassette mechanism ■ Viewfinder playback for field verification. ■ Backlit 8-digit LCD display provides an that allows it to accept two cassette size- In playback or Rec Review mode, the extensive range of information about VCR full size DVCAM tape (up to 184 minutes) recorded luminance signal can be moni- operation, including time data (time code, or mini-DVCAM tape (up to 40 minutes) tored on the viewfinder, while audio play- counter and user bits) and remaining tape - without an adapter. back is available via an earphone or the and battery capacity. ClipLink operation built-in speaker. status is also displayed via bargraph meter, Conveniences and a digital audio meter allows for precise ■ Automatic frame accurate back-space edit- audio level adjustment. ■ Lightweight magnesium die-cast body and ing with instant start provides sequential small head drum mechanism make the recording with a smooth transition ■ Various menus can also be displayed on the DSR-1 remarkably small and lightweight, between segments. When activating the LCD for easy access. These include cumu- yet very durable. Including an NP-1B REC Review function, the DSR-1 can lative hours (head drum, transport, total Battery, it weighs only 6.4 lbs. regenerate the time code to be recorded operating hours), ClipLink on/off, audio continuously at any edit point. This sim- mode selections and DF/NDF time code. ■ Low power consumption of only 26W plifies the editing process and allows for when docked to the DXC-D30, allows ■ Built-in self-diagnostic system displays an seamless cuts and transitions. continuous operation for an hour from one error message on the LCD - should an NP-1B battery. ■ Built-in SMPTE Time Code generator error be detected - immediately identifying records time code and user bits in the sub- the problem area. ■ In addition to the supplied battery case code area. Time code can be read at any for one NP-1B battery, an optional case ■ VCR function buttons are covered with a speed. For multi-camera setups, time code (DC-520) can house two NP-1B batter- lid and inhibited during record mode. can be locked to another DSR-1 or to ies. A BP-L60 Lithium Battery can also Record mode can also be activated via trig- external time code. In addition, the DSR-1 be attached to the back of the DSR- ger buttons on the front of the camera or has time code preset and regen capabilities. on the zoom lens grip.

24 Hour Fax: 800-947-9003 ■ 212-444-5001 SONY ES-7 EDITSTATION DVCAM Non-Linear Editing System The ES-7 provides the flexibility and functionality you need to move smoothly from conventional linear and analog edit- ing to all-digital editing. Multiple video interfaces allow you to connect a variety of digital and analog VCRs, and a DVCAM unique Disk B-roll feature and support for hybrid operation means you can perform both linear and non-linear editing. Designed to work with the DSR-85, the ES-7 offers 4x speed transfer via SDTI(QSDI), and over 450 realtime 2D and 3D effects and transitions for turbo-charged productivi- ty. A truly user-friendly, and complete non-linear system, the ES-7 includes Pentium CPU with Windows NT 4.0 and 36GB of storage, powerful editing software, real-time DME switcher, digital audio mixer, character generator and com- positing software. A control panel is also provided for conventional-style operation.

FEATURES 213 Direct Digital Link Hybrid Operation ClipLink Operation ■ Picture quality is never compromised ■ The ES-7 offers hybrid operation support- ■ ClipLink operation saves considerable disk because of repeated recompression when ing non-linear and linear editing or a com- space and time. Clips made during acquisi- uploading and downloading. Because the bination of both. This allows the use of the tion with DVCAM camcorders can be sent ES-7 uses the same compression scheme as most appropriate method for the task — to the ES-7 via a DSR-60/80/85/2000 DVCAM VCRs, uniformly compressed for example, linear operation perform sim- VCR. Clips include data corresponding to data can be directly transferred via the ple tasks more efficiently than non-linear. Mark In and Mark Out points (SMPTE *SDTI(QSDI) interface. time code), OK/NG status and scene num- ■ Another major aspect of the ES-7 is Disk bers accompanied by a still Index Picture ■ Video and audio data transfer can be very B-roll, a unique feature for mixed tape/disk for at-a-glance identification. Clips are time-consuming operation in non-linear operation. In this mode, when you need to then used to make rough editing decisions editing. However using the SDTI(QSDI) make a transition between any two seg- prior to uploading the actual video/audio. interface, the ES-7 realizes 4x speed upload ments on the same tape, the ES-7 automat- This means that only the selected clips and download —with no loss of picture ically copies one of the segments to disk need to be uploaded. quality —when connected to the DSR-85 and an A/B roll edit is performed. DVCAM VCR. Multiple Inputs/Outputs ■ You can also digitally 4x speed backup and Realtime Layering ■ Offers analog composite, S-Video, RGB restore video and audio data between the ■ As the ES-7 enables simultaneous 2-chan- and component input and output. SDI external ESBK-7046 Disk Drive and the nel playback and 1-channel recording, and SDTI(QSDI) are also supported by an DSR-85 via the SDTI (QSDI) interface. repeated digital A/B roll, chroma keying optional interface. In addition, the ES-7 ■ Operation via SDI allows the ES-7 to be and titling are done in realtime. Operations can connect up to four VCRs to edit from connected with other equipment such as are performed internally in the disk unit, a variety of video sources simultaneously. Betacam SX and Digital Betacam VCRs. and therefore in a totally digital domain. Four channels of audio are embedded in Optimum performance is achieved for EDL and File Exchange each video signal. The ES-7 also supports complicated multi-layered effects. ■ The edits on the ES-7 timeline can be con- AES/EBU and IEC958 audio inputs. Dynamic Motion Control verted to the Sony, CMX and GVG EDL ■ To save you a vast amount of time you can formats for export (also imports) to other simultaneously create titles using the ■ Fixed speed Dynamic Motion Control pro- editing system for off-line editing opera- ESDraw, while video/audio data is vides slow and fast motion of uploaded tion. Project files can also be exchanged uploaded to disk using (including 4x video material. A fix speed setting for between multiple ES-7 EditStations, using upload mode). uploaded video clips can now be specified. either ethernet or MO disk.

THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001

PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY

214 DVCAM ES-7 E We ■ ■ ■ ■ ■ Y from anypoint. Pr to previously recorded narrationusing r thepictureview whilenarrationisbeing sound trackonthetimeline,andeven pre- with the GUI observed simultaneously.with theGUIobserved can becreated directly onthelive picture Allgraphics titles canalsobeimported. Third-party graphicfileslike paintand border lineorshadow tobetransparent. I border lining,shadowing andcoloring. and polygonstobecreated, aswell as allows geometricaldrawingslikecircles A compositingtypesoftware, ESDraw ware, addflare toyour textwithESDraw. In and sequential TGA files. to movie files,suchasAVI, QuickTime the timelineimagecanalsobeexported the ES-7asvideoclips. The sequenceon into alpha-channel) filescanbeimported Q attractive, U of BGMinthenarration,forexample. useful, whenyou wanttoadjustthelevel band.Itting foreachrubber ishighly bands forLandRyou canmakeset- timeline. Eachtrackhastworubber tem, fadersettingtrackisprepared onthe r settings inasingleclipwithsimplified G faders are installed forallfouroutputs. pitch control are alsoprovided. Master level control. Tone generator, effectsand EQ, delaycontrol, pan-pot,muteand nel haslow-cut/high-cut filters,3-band control ofalleightchannels.Eachchan- formance isoffered aswell asindependent F ecorded todiskinreal-time. You canlisten ndependent channelsenableeach object, ubber bandstyle. With bandsys- rubber ou canrecord anarrationvoice onany ully automatedaudio-follow-video per- se raphically adjustvariable audiolevel uickTime andsequential TGA (with eview; thismakesiteasytore-narrateeview;

addition tothe Text Composersoft- V Narration Recording are on theweb at:www.bhphotovideo.com computer graphicstocreate more File Import/Export ariable AudioLevel high impactproductions. AVI, Audio Mixer DIT ESDraw S TA TION It nal processing. rating 4:2:2sig- S advanced DME equipped withan The ES-7is ■ ■ ■ ■ lighting/trail canbeselected. border, softnessandsoftborder, 3Deffectssuch asperspective, pageturnsorrolls with tion tocut,dissolve, picture-in-picture, wipeand 2Deffectslikerotate, slideandmosaicwith r luminance key, lineardownstream keyandkey-maskcapability. Select from over 450digital chroma and keying suchas quality linear ealtime effects in category groupings, andmodifythemtosuit your creativeealtime effectsincategory impulse.In addi- witcher incorpo-

offers high used fortheon-lineedit. exact effectsusedfortheoff-linecanbe able withinthesamesystem, Because bothmodesareperformed. avail- Both off-lineandon-lineeditingcanbe so on. point forsplitscreens, 50%dissolves, and ple, allowing effectsto“held” atthemid- achieve For thedesired effectscurve. exam- control tobecustomized sothatyou E color informationofeachclip. torscope forcheckingvideolevels and B T ffects Rubber Band allows thetransition uilt-in waveform monitorandvec- imeline marking and3-pointediting Sophisticated GUIForEasy-to-UseOperation High Performance DMESwitcher High Performance Advanced EditingFeatures ■ ■ r The durationofthechosenclipandsur- without affectingthesurrounding clips. points ofachosenclipatthesametime S clips andmaintainingitsIn/Out points. with reference totheproceeding/following allows you toadjustthepositionofaclip S want thedurationofsequencealtered. ten. This isconvenient whenyou don’t mode, thetimelinesequenceisoverwrit- timeline sequencechanges.In OverWrite ripple backwards, andthedurationof mode, anyclipsalready onthetimeline In Splice OverWrite andSplice Mode: ounding clipsare notchanged. lip trimallows you tomove theIn/Out lide andSlip trimcapabilities:Slide trim and easytouse. E drop” operationmakethe clips andanintuitive “drag and the display. Instant accessto All “tools” are clearlylaidouton needs andexperiencelevels. many waystosuitdifferent user and theycanbecombinedin of GUIpatternsare provided, of operatorneeds,several types tive GUI.Designed onthebasis simple touseandhighlyeffec- The backboneoftheES-7isits ditStation systemfasttolearn DVCAM 215 AX: (212) 444-5001 F • SONY AUDIO onitor Out: 2-Ch (1/3 and 2/4),onitor Out: RCA enlock input (BNC) lack Burst (x4) lack Burst mbedded audio in SDI/SDTI (QSDI) outputs 3 sources (P1//R) selectable from Y/R-Y/B-Y com- (P1/P2/R) selectable from 3 sources Y/C ponent, composite or 2-Ch x 1 source (AUX), selectable from AES/EBU AES/EBU selectable from (AUX), 2-Ch x 1 source 4-ch, 3-pin XLR Line Out: M E G B 1 x SDI PGM output (R), BNC 1 x SDTI (QSDI) PGM output (R), BNC (P1/P2/R), 3-pin XLR 4-Ch x 3 sources 3-pin XLR (AUX), 2-Ch x 1 sources 1 source (AUX) selectable from composite Y/R-Y/B-Y, composite selectable from (AUX) 1 source BNC G/B/R/Sync, Y/R-Y/B-Y, outputs: PGM and Monitor Y/C composite and ES-7 SPECIFICATIONS ● ● ● ● ● ● ● 2 (P1, P2/R) x SDTI(QSDI) 3 (P1, P2/R) x SDI ● ● ● ● ● ● Analog Audio Output Digital Audio Output Analog Video Inputs: Digital Video Inputs Analog Video Outputs Digital Video Outputs Analog Audio Outputs Digital Audio Outputs HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 tware PHOTO - VIDEO - PRO AUDIO ESBK-7046 36GB (4x 9GB Hard Disk) 9GB Hard ESBK-7046 36GB (4x ESBK-7051 SCSI Board Sof ESBK-7071 ESDraw ESBK-7041 Disk Recorder Board (can Board Recorder ESBK-7041 Disk up to 4 ESBK-7046 drives) control As well as controlling the system with a keyboard as controlling As well and mouse via the GUI, you can perform operation with the conventional-style panel. control ● ● ● ● ame as above plus it adds: ame as above S ES-7/AN3D and ES-7/DIGI3D Systems ES-7/DIGI3D and ES-7/AN3D ESBK-7032 SDI Board ● ESBK-7046 Rear View ESBK-7046 Rear ESBK-7024 3D Effects Board ESBK-7024 3D Effects ES-7SPT1 SupportNet Package Package ES-7SPT1 SupportNet Board Switcher 2D ESBK-7023 Advanced ES-7 Main Chassis ES-7 Main ESBK-7011 Control Panel Panel ESBK-7011 Control ESBK-7031 QSDI Board ESBK-7031 QSDI Board peration and Support Center (POSC). peration and Support iagnostic Support by Sony’s Product Sony’s by iagnostic Support ● ● ● ● ● ES-7/AN3D System Includes: ES-7/AN3D ● ES-7/DIGI3D System Includes: ES-7/DIGI3D System ES-7SPT1 SupportNet package provides you provides package ES-7SPT1 SupportNet and prod- software with extended hardware, uct support services including Remote D O P ANASONIC DVCPRO A highly cost-effective solution for ENG, EFP and general business and industrial applications, DVCPRO is a non- proprietary format, standardized as SMPTE D-7. DVCPRO provides higher quality, more advanced features and con- sumes less power — at lower cost. It really is “Better, Faster, Cheaper”. DVCPRO

216 A few years ago, in anticipation of Digital HDTV, a consortium of companies began development of a new digital VCR format. Their goal was simple: A single, ubiquitous digital format of dramatically better quality that could replace VHS. The consortium consisted of some of the most powerful companies in electronics: Sony, Philips, Thomson, Panasonic, Hitachi, JVC, Toshiba, Sharp and Sanyo. Their collective expertise, creativity and resources produced a revolutionary new video compression method called DV. The technology offered maximum subjective picture performance and minimum complexity. Early on, Panasonic foresaw the tremendous potential and decided to apply DV technology to a new format made even more robust for broadcast quality news acquisition...... DVCPRO.

In three short years DVCPRO has become synonymous with news gathering and digital video, and over 85,000 units are in use worldwide. DVCPRO has established such a strong foothold for a number of reasons: It is cost- effective, yet it delivers the digital signals that users seek to preserve image quality. It offers the optimum trade-off of compression and quality in a hierarchy of compatible formats. Last and most important, DVCPRO has a clear growth path into DTV that protects both financial and creative investments.

OVERVIEW

Smaller Size and Lighter Weight Lower Media Cost While camera/recorders continue to improve, recent years have Because newsgathering and other videographic applications consume brought no significant reductions in weight. Even today's mainstay, a lot of tape, tape cost is an important consideration. For example, 1/2-inch S-VHS and Betacam SP formats have burdensome cameras despite the improved pictures, metal particle (MP) tape has not seen that operators struggle with every day. DVCPRO changes all that. widespread use because of its higher cost. Similarly, high tape costs Using cassettes with 1/4-inch tape, DVCPRO achieves reductions in have been a major drawback with Digital camcorders, and metal size and weight that are simply impossible with l/2-inch systems. The evaporated (ME) tapes did not prove rugged enough. DVCPRO AJ-D700A camcorder, for example, weighs only 11 lbs. in full oper- changes this by using a metal particle tape that is much less expensive ating condition, while bringing a whole new level of flexibility to the than current metal tape. In terms of recording time, DVCPRO tape field. The DVCPRO cassette is one quarter the overall size and one cost is about one half that of current 1/2- inch analog (Betacam SP), sixth the weight of current 1/2-inch cassettes, yet provides twice the and about one quarter that of digital (Digital Betacam, D-5). recording time - with digital picture quality.

We Exhibit At NAB, Infocom, and Siggraph P ANASONIC DVCPRO

Compatible With the Digital Future A New Era of Video Journalism The popularity of non-linear post production systems is evident Lightweight and compact, DVCPRO has ushered in an era of video everywhere. Computer technology is creating revolutionary new journalism in which a single person carries all the equipment needed trends in the video production and broadcasting fields with editing to report a story. In addition to fully featured units like the AJ-D400, linked to large capacity video servers, computer graphics, digital data less obtrusive recordings can be made with DV-format equipment networks and communications. Like DVCPRO, all are based on like the AG-EZ30. And since DVCPRO VCRs, like the AJ-D440 DVCPRO compressed digital video signals, and even though DVCPRO draws can play back DV tapes (using the optional AJ-CS750 Cassette on many advantages of tape media, it adapts well to new digital- Adapter), DV and DVCPRO material can be intercut seamlessly. For based technologies like linking to a network across digital telephone further flexibility, the portable AJ-LT85 Editor affords on-site lines. In fact, companies like Quantel, SGI, Avid and Tektronix use editing and facilitates transmission from anywhere in the world. DVCPRO compression.

DVCPRO Infrastructure

4:2:2 In and Out Everywhere Track Pattern It is important to note that DVCPRO accepts 4:2:2 video at the Bringing the DV compression algorithm, chips and 1/4-inch tape input and always recreates 4:2:2 at the output. In 50 Mb/s, the to broadcast television required a few important modifications to complete signal is simply passed (there is no sub-sampling), while the physical format. Having edit transitions that are free of exces-

in DVCPRO the chroma sub-sampling occurs just before com- sive digital errors is critical. If miss-tracking should occur, it can 217 pression and a 4:1:1 signal is recorded on tape. At playback, the create a high error rate that, in turn, causes a disturbance in the Chroma signal is interpolated to recreate a 4:2:2 signal. It is picture at edit points. DVCPRO uses 18 micron wide tracks, as equally important to recognize that the sub-sampling always compared to DV (10 microns) and DVCAM (15 microns). The operates on the same chroma sample or pixel, so multiple genera- wider track results in a higher quality, more editable recording tions are not adversely affected. This is significant, because there that not only plays reliably, but makes DVCPRO playback com- are other means to reduce the data prior to compression that are patible with consumer DV and DVCAM recordings. not so transparent. One ENG format uses traditional filtering MP tape affords DVCPRO two conventional longitudinal tracks. techniques prior to compression that effectively reduce the 4:2:2 One provides an additional audio “cue” track during shuttle and signal to about 3.75:1.5:1.5. This “prefiltering” in itself is not search modes (digital audio is available during jogging and vari- tragic, but when multiple generations occur, the impact of the fil- able-speed modes), and the other provides a control track for ter diminishes the performance every time. near-instantaneous servo lock-up and color-frame identification where appropriate. Color framing is important, because although Studio Quality Audio a component format, DVCPRO may be used in a composite video environment, and the proper color frame should be used DVCPRO provides 2 channels of uncompressed digital audio in when the signal is once again encoded to optimize picture quality. all models. One of the differences within the DV format family is audio capability. In consumer DV, three varieties of audio are allowed: 32 kHz sampled 12-bit compressed (4 channel), Tape Transport 44.1 kHz sampled 16-bit (to match audio CDs), and 48 kHz The DVCPRO tape transport mechanism is just one-sixth the sampled “professional” 16-bit. To make matters more confusing, size of conventional studio type analog component VCRs. This 48 kHz audio can be “locked” (tied to the clock and bit pattern ultra-compact, high precision mechanism contains a 21.7mm of the video) or “unlocked.” diameter head cylinder rotating at 9000 RPM. Because there is DVCPRO uses only 48 kHz locked audio to prevent clicks and minimal frictional wear on the heads and head cylinder, the heads pops at edit or switch points when operating completely in the last longer and need to be replaced less frequently. Minimal digital domain. If the audio is not locked to video, there can be dropout occurrence means less error generation and perfect digi- audio samples (words in digital terms) that do not line up with tal pictures. Durability has been improved in each component, the video blocks of data, and an audio sample could be corrupted resulting in a mechanism that delivers higher reliability, longer at an edit or switch point - SDI signals going through a router, service life and lower maintenance costs. The aluminum die-cast for example. chassis - a Panasonic tradition - is exceptionally long lasting and able to resist the effects of environmental change.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC DVCPRO

Compression System

The power of DVCPRO is the combination of a remarkable DVCPRO compression is Feed Forward and Frame/Field adap- video compression system with a unique tape recording mecha- tive. Generally, compression systems work on one frame, but nism. DVCPRO does not use M-JPEG like some NLE systems, when there is significant motion between the two fields that make nor does it use MPEG like DVD. However, like MPEG, DV up the frame, the natural coherency of the image is destroyed. compression is DCT-based, using Discrete Cosine Transform to convert the video to coefficients. And unlike MPEG, it was This impairs the image, so DVCPRO adapts between two DCT designed for video production by video experts rather than by modes - depending upon the amount of motion. Unlike JPEG mathematicians for digital transmission. DV compression is a and MPEG, it has a feed-forward technique. The process uses an image complexity estimator to select one group of 16 quantizing

DVCPRO highly deterministic, constant bit rate, I-Frame only, Feed- Forward Variable Quantizing system. In short, it is precisely spec- tables from the 64 total available. The coding system then runs ified, constant bit rate, and video friendly. Most important, it is each of the 16 tables in multiple parallel virtual compressions to extensible, able to accommodate standard definition and high produce 16 sets of results. The one that most closely achieves the definition television with tremendous cost-effectiveness. proper length data packets is selected, and the actual compression is performed. This occurs hundreds of times for every frame and DCT based video compression generates a series of coefficients is the reason for the excellent compression performance. that represent the image. Compression occurs when those coeffi- cients are truncated, rounded or discarded. If the close-to-zero Digital video is made up of (Y) Luminance sampled at 13.5 data from the DCT conversion can be preserved, the compression MHz, and (R-Y, B-Y) half-sampled color difference (4:2:2). To can be “lossless”. In 25 Mb/s DVCPRO, the compression process get the best quality at the most efficient data rate, DVCPRO creates four adjacent luminance DCT blocks and two chromi- retains the 13.5 MHz Luminance sample rate and sub-samples nance blocks in each macroblock. The coefficient data is squeezed the Chrominance components again (4:1:1). Because this process 218 (compressed) to fit the blocks and the 5:1 compression. Any is done precisely in the digital domain and not by conventional excess data (overflow) is automatically “shoe-horned” into space filtering, multiple passes or generations are not degraded. There within already filled blocks (if such space is available), or it is lost. was some concern about subjective color imagery with 3.375 MHz sampling, but DVCPRO has demonstrated chroma perfor- DVCPRO 50 uses two compression chip sets operating in paral- mance equal or superior to that of conventional component ana- lel, each processing a 2:1:1 stream to generate the resultant 4:2:2 log formats like Betacam SP. signal. The macro blocks in each of the 2:1:1 compression streams of DVCPRO 50 actually are structured just like The DVCPRO compressed signal is 25 Mb/s, and this has been DVCPRO, but consist of a luminance block, a dummy block, well accepted as an excellent mix of tape usage, picture quality, another luminance block, and another dummy block (plus the and equipment cost. Nevertheless, as good as DVCPRO is, the same two chrominance blocks). However, this time any excess truth remains that “less compression is better”. The post-produc- coefficient data from a luminance block has an entire, empty tion community wished for the same sophisticated compression block for the “automatic” overflow function to use. The space of technique in a more robust (less compressed) form. So DVCPRO the empty blocks is thus filled, and the compression ratio is only was extended to DVCPRO50 by doubling all the compression 3.3:1 - virtually lossless for almost any video signal short of ran- parameters. Two 25 Mb/s chips could do 50 Mb/s and yield 3.3:1 dom noise. compression of 4:2:2 signals. However, the most significant aspect of DVCPRO50 is not the additional color detail, but the lower In technical terms, the DVCPRO compression system is an intra- and effectively lossless 3.3:1 compression ratio. frame (meaning each frame is independent and editable) with a 5:1 compression ratio. Designed for equipment like camcorders The proven simplicity, interoperability, and cost-effectiveness have that need to both record and play, DV compression is physically attracted many companies to develop non-linear and server prod- small, low power and fully symmetrical. The chip set is economi- ucts based on DVCPRO. For them, the ability to move material cal, requires minimal memory, and functions as both decoder and from device to device using technology repre- encoder. Unlike MPEG, where a stream splice may require flags sents the next transformation of the video infrastructure. This or complex “digital housekeeping” for editing, every DV frame coherent, compatible structure allows development of “agile” stands on its own. There are simply no inter-frame editing prob- interoperable decoders and has prompted more than 20 compa- lems. nies to participate in the DVCPRO Partners Program.

We are on the web at: www.bhphotovideo.com P ANASONIC DVCPRO Head System DVCPRO Tapes DVCPRO uses a MIG (metal-in-gap) head that provides the DVCPRO tape incorporates ultra-fine high- magnetic optimal head efficiency required for high-density digital magnetic metal particles that are one third the size of particles in conven- recording. This advanced head delivers excellent recording and tional tape. These particles not only make a thinner magnetic playback, and in conjunction with the low tape tension, offers layer possible, but they also boast superb magnetic characteristics, long life and resilience to head clogs. Use of a floating bearing in thanks to Panasonic's original slanted deposition technology. By DVCPRO the head cylinder has enabled a smaller unit and higher rotational dispersing the particles directly onto the tape in an extremely speed. The DVCPRO helical head system is high in quality, inex- dense formulation, a magnetic energy output that is over 200% pensive, and easy to service. higher than conventional tape is achieved. DVCPRO uses a fixed head that assures reliable long-term perfor- The surface of DVCPRO tape features Panasonic’s ultra-flat base mance at minimal cost. The system consists of 6 heads: two for film and advanced calendering techniques to eliminate space loss recording, two for playback and two for flying erase. This allows and micro-dropouts. Its structure also prevents atmospheric per- those models equipped with dual codes to provide confidence meation, preventing creation of oxide substances. A lubricant is playback of the recorded data. The heads are all used simultane- applied to the tape surface, assuring trouble-free recording even in ously for “off speed” playback to increase the amount of data bitter cold or other extreme conditions. recovered and thus enable “Digital-Slow Motion.” These features give DVCPRO tape an extremely smooth surface, outstanding durability, long shelf life and stable tape transport, Faster Than Real-Time even under the stress of high-speed search. This high performance tape makes high-density digital recording possible, delivering One of the benefits of digital video in the compressed domain is DVCPRO's exceptional picture and sound quality. 219 the ability to move the information in non-real-time , either slow- er or faster than “normal” play speed. Just as CD-ROM drives have gone from 4x to 32x, video equipment is changing. All SMPTE D-7 video used to be real-time , and much of it still is - certainly play- DVCPRO has been widely accepted by broadcasters and program back for viewing is real-time. However, this should not be con- producers, domestically and internationally, as SMPTE D-7. The fused with “trick play” (slow motion or program play) where the format offers digital component quality at analog prices, record- VCR uses track-jumping techniques to make one viewable picture ing on robust industry-standard metal particle tape. It offers size from pieces of different tracks. For non-real-time , the entire advantages for acquisition and archiving, and it utilizes a low- video signal needs to be read or written to the tape, so special cost, widely available compression engine with fully defined per- tape decks like the AJ-D780 are used. formance. Numerous companies offer compatible products based While it is possible to use this capability for dubbing, the real on the same compression, giving high-speed, transparent digital advantage is transfer to and from disk based systems that do not connections to disk-based editing systems and servers. It offers have the constraints of physical tape. One example is the video industry-standard features and SDI/SDTI connections with Panasonic AJ-DE77 “Newsbyte” Non-Linear Edit system that a bridge to the computer industry through networking and file uses an internal 4x deck to move field footage to the disk drives transfer. for editing and back to tape for archiving. Of course, once audio DVCPRO has been proven to be extensible with the availability and video signals are on disk, computer networks can move the of fully compatible DVCPRO 50 product, which works in either information transparently as files using FTP (file transfer proto- 25 or 50 Mb/s mode. And some models operate with interlace or col). Because network technology is currently at 100 Mb/s, progressive scan video. The announcement of DVCPRO 100 DVCPRO can move at about 2x. As faster networks, like fibre indicates that DVCPRO will have a role in HDTV for cost-effec- channel and Gigabit Ethernet, become common-place, those tive field acquisition, and the structural relationship among the transfers will get faster. Many high-end users already use SDI DVCPRO formats assures customers a logical progression and (Serial Digital Interface) to connect digital video devices. The migration to DTV. audio and compressed video signal can be sent over that same infrastructure as SDTI, meaning data carried via SDI. The SDTI interface can carry DVCPRO at 4x as a stream, and the AJ-D780 is supplied with this capability.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AJ-D215 1/3-inch 3-CCD DVCPRO Camcorder The AJ-D215 is an affordably priced camcorder that brings the superior recording capability of DVCPRO to a wide range of users. Designed for use in the field it uses lightweight, detachable 1/3˝ professional lenses, weighs only 13 pounds in full-operating configuration, consumes only 16 watts of power, and when used with large DVCPRO cassettes, provides 123 min- utes of continuous recording. Other features include a highly-sensitivity Interline Transfer (IT) CCD that delivers 500 lines of resolution, high S/N ratio of 60 dB, minimum DVCPRO illumination of 5 lux, outstanding sensitivity and a wide dynamic range. In addition, there are a host of conveniences, such as One-Touch Camera Status Report and Scene Data function.

FEATURES

Digital Recording High Density CCDs Playback Capability ■ Digital component recording delivers out- ■ Thanks to double-density pixel distribution, ■ Provides color playback on a monitor standing picture quality across a 5.75 the AJ-D215’s CCDs deliver the same high directly from the video output connector, MHz video bandwidth. In addition, level of resolution as a CCD with 410,000 without the need for a playback adapter. 220 recording with Error Correction coding pixels. They also features a large light col- This lets you check your pictures on-site, makes it highly resistant to media varia- lecting area to ensure high S/N ratio, out- and allows microwave transmission to tions that cause dropouts and dramatically standing sensitivity and a wide dynamic another station. improves both recording quality and relia- range. bility. Digital audio recording delivers excellent sound with a 48k Hz sampling, Time Code Operation 16 bit 2-channel PCM system. Low Light Capability ■ Time Code can be selected as Drop/Non- ■ CCDs with on-chip lens and +18 dB gain- Drop Frame and Record Run/Free Run. In Optional Digital Interface up allow high quality shooting, even in low Free Run, time code runs continuously light down to 5 lux. A choice of 5 gain set- (even in Pause). ■ With the optional AJ-YAD210P Interface tings are available (0, +6, +9, +12, +18 dB). board installed, the camera can digitally transfer video and audio signals that con- Anton Bauer Compatibility form to IEEE1394. But unlike the con- Three Hour Recording ■ The AJ-D215 s equipped with a gold sumer DV interface,”locked audio is trans- ■ mount plate for mounting Anton Bauer mitted”. Use the board to digitally dub to DVCPRO large-size cassette enable indus- Digital batteries. While the battery is in a properly equipped AJ-D230H/AJ-D250, trial, event and wedding videographers to use, the remaining power is displayed in or for upload to a PC. record up to 184 minutes – a major advantage over formats that are limited to real-time (not just a graphic) in the one hour or two hour recording. viewfinder. Also, when using the Anton Camera Status Indicator Bauer Ultralight, on/off control of the ■ light can be synchronized with the REC With the touch of a button, the AJ-D215 Auto White Balance Start/Stop function on the camera. will momentarily display a list in the viewfinder of all camera switch settings . ■ The AJ-D215 is factory preset with three This comprehensive status report provides white balance settings for use indoors Lens Compatibility an overall system check, enabling critical (tungsten), outdoors, and under fluores- ■ functions to be properly set before shoot- cent lighting. You can also store additional Although the AJ-D215 uses 1/3˝ lenses, an ing starts. You can also customize the settings in memory for quick recall. Auto optional adapter (from Fujinon) allows viewfinder display to show only the set- Tracing White (ATW) balance is also you to attach a 1/2˝ lens for an even tings you want. available. greater choice of lenses.

We are on the web at: www.bhphotovideo.com P ANASONIC AJ-D215

Record Review AJ-D215 Millennium Package: ■ Pressing the RET button while in Record Pause mode allows you to check what was • AJ-D215 Camcorder • Anton Bauer 2-Position Quick Charger just recorded (review from 3 to 10 sec.). • Fujinon 17:1 Servo Zoom Lens • Anton Bauer 25-watt Camera Light • Two Anton Bauer Trimpac 45-watt • Tripod Adapter Scene Data Function Batteries DVCPRO ■ When shooting, you can set a time code and one additional mark (a scene mark). The information is temporarily stored in the camera’s memory, then recorded onto DSP Processing Inputs/Outputs the tape when the cassette is ejected. Later, ■ Digital circuitry optimizes picture quality ■ Equipped with composite (BNC) and when editing, all the scenes that were and ensures that characteristics remain S-Video output. marked can be viewed. Selected scenes or stable, regardless of temperature change, ■ Switchable two-channel line/mic input all scenes can be simultaneously uploaded aging or vibration. Also simplifies opera- (XLR) with 48v phantom power supply. to the system’s hard drive. (For use with tion and minimizes maintenance. Camera There are level controls for audio CH-1/2 DVCPRO non-linear editing systems. setups (easily adjustable, even on location) so you manually set audio recording levels include: if desired. 1.5˝ Viewfinder – Target brightness of the Auto Iris can be ■ Stereo earphone jack for monitoring ■ 1.5˝ B/W viewfinder with 600 lines of res- set in 0.1 increments from -3.0 to 3.0 audio. The camera also has a built-in olution for instant confirmation of focus, – 0% or 7.5% IRE Selectable Setup Level monitor/speaker. exposure and safe shooting area, as well as – Fine adjustment of detail from 0 to 16 221 camera settings. Easy to use viewfinder – Fine adjustment of Chroma phase. Any Additional Features mechanism allows fast adjustment for value from -32 to 32 can be selected. ■ comfortable operation by different users. Built-in Color Bar Generator – Adjustment of Chroma Gain (the higher ■ ■ High speed electronic shutter from 1/100 In addition, a detachable 50mm diameter the value, the greater the intensity of the to 1/8000 of a second. eyepiece and adjustable diopter insure pre- colors). Set any value from 0 to 63. ■ Time/Date Stamp cise focus for nearly all prescription-wear- – Selectable 4:3 or16:9 Aspect Ratio (Year/Month/Day/Hour/Minute ing operators. – Selectable shooting modes: Normal mode ■ Maintenance Menu indicates operation and ■ Viewfinder controls include: Contrast, (for ordinary shooting) or Frame mode drum running in hours and threading. Brightness, Tally on/off, Zebra on/off and (for a “skipped frame” effect) (Number of times tape was loaded to date) Characters (displayed) on/off.

AJ-AD215 SPECIFICATIONS CAMERA SECTION VTR SECTION AGC Level: VIEWFINDER: Pick Up Device: FF/REW Time: Standard, +8 dB CRT: Interline Transfer 1/3˝ CCD 5 minutes w/ AJ-P123LP Front Mic In: 1.5˝ Monochrome Sensor w/On-Chip Lens (x3) XLR Balanced,-60 dB 3kΩ- Video S/N Ratio: 60/-50/-40/dB Selectable Horizontal Resolution: Sensitivity: 55 dB 600 TV Lines 1 2000 Lux w/f/5.6 ± ⁄2 3200k Audio In (CH1/CH2): Video Out: Mic/Line Switchable Control: Minimum Illumination: Composite: BNC (x 1) Mic:-60/-50/-40/dB VR: Bright, Contrast, 5 Lux (f/1.4 + 18 dB Gain) S-Video: 4-pin (x 1 Selectable, Peaking, Shutter Speed: SW: Tally, Zebra, Character Line:-6/0+4 dB Selectable, 1/100 to 1/800-sec. GENERAL Audio Out (CH1/CH2): S/N Ratio: AUDIO RCA,-6 dB Unbalanced, Power Requirement: 60 dB (Typical) DC12v Sampling Frequency: Resolution: 48kHz Headphone: DC In: Horizontal: 500 TV Lines Stereo Mini Jack XLR 4-Pin (Male) Vertical: 400 TV Lines Frequency Response: 20Hz to 20kHz, Power Consumption: Gain: Less than 16w 0/+6/+12/ dB, 0/+9/+18 dB

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P 222 DVCPRO AJ-D400 ing delivers superbpicture qualitywithsuperb55dBS/Nratio. Digitalaudioinclude48kHz/16-bit,two-channelPCM. ANASONIC Corporate Accounts Are Welcome ■ ■ ■ Code input/output. r being shot;SMPTEColorBars; genlockinput;SMPTE Time CodeGenerator/Reader; One-touch camera statusand and Super Gain; Synchro ScanShutter; Shockless autocontrol that adjuststhewhitebalanceaccording totheimage tions suchasGamma Correction andAuto Knee.Additional features include:Programmable one-buttonSuper Iris assuresThe AJ-D400'sdigitalcircuitry simpleoperation, minimalmaintenanceandahostofimage-processing func- pared tostandard mode. resolution,images withhighvertical com- —High VerticalProvidesmode: (Super V) within therangeof30.4Hzto 250.0 Hz. Fr computer monitorswithoutflicker. —Synchro ScanMode: Use whenshooting ecord review functions;built-inmonitorspeaker;phantompower supply;optional26-pin VTR connectorand Time equency canbeswitchedcontinuously Three 1/2-inch410,000pixel FIT(Frame 62dB signal-to-noiseratio. lux, ultralow smearandflare, andsuperb r The cameradelivers 750horizontal line inlowhigh performance lightshooting. on-chip technologyprovide low noiseand I era offerstwospecialshuttermodes: 1/2000 ofasecond.In addition,thecam- H images, even inlow lightdown to2lux. high-quality shootingandcapture ofclear 11 Gain settings(upto+30dB)allows esolution, highsensitivityofF8at2000 nterline Transfer) CCDswithadvanced igh speedelectronic shutterupto FEATURES Camera Section ■ ■ ■ T 2) adjustmentvalues whichcanbestored. has fourfilters,makingatotalof8(4x (ND) filterscanbestored. The camera Conversion (CC)andNeutral Density A as well asapreset for3200°K. Sl (high speed),Normal (normalspeed)or White Balance switchischanged.Fast occurs whenA/B/Preset settingofthe trol. This functionensures thatnoshock vides Shockless Auto White Balance con- Ex ance eachtimethepower isturnedon. off –there isnoneedtoreadjust thebal- even ifthepowerthe memory isturned operations. Adjustment values are heldin B B changes indarkness orbrightness levels. images, even when there are sudden tion time.Assures natural,easy-to-view wo memoriesfor White Balance (A, B) alance canbeadjustedby simpleswitch lack Set, Black Balance and White djustment values foreachoftheColor ow clusive toPanasonic, theAJ-D400pro-

(low speed)canbesetastheselec- quality shootingallthewaydown to2lux. Digitalcomponentrecord- 1/2-inch 3-CCD DVCPRO Camcorder pixel FITCCDs andoffersmanyofthesametop-level functions the AJ-D400features three low-smear, low-noise 1/2˝410,000- S an external monitor.an external The AJ-D400's+30dBgain-upallows high- etting a new cost-to-performance standardetting anewcost-to-performance fordigitalcamcorders, that have madeDVCPRO camcorders thenumberonechoicefor r ecord for66minutesandcanplaybackpictures infullcoloron tery, and consumesonly23wattsofpower anhour. It can network newsgatheringoperations worldwide. w I deal forapplicationsfrom event videotoENG,theAJ-D400 eighs under13poundswithlens,viewfinder, tapeandbat- ■ ■ ■ ■ ■ VTR button. ing the VTR Start buttonorthelens accuracy of0to+1framesimply by press- I contents tobequicklychecked. two secondsrecorded, allowing recorded re Re put connector. on amonitorconnectedtothevideoout- tion, colorplaybackpictures canbeseen screen.be seenontheviewfinder In addi- P anced switchableMic/Line audioinputs. I D to drop-outs. Correction, makingitalmostimpervious r ratio isanunbelievable 55dB.Digital MHz (Luminance) bandwidth,whileS/N standing picture qualityacross a5.75 ecording isenhancedby advanced Error mages canbeshotsuccessively withinan nputs includeGenlock (BNC),XLR-bal- layback pictures (blackandwhite)can winds thetapeandplaysbacklast igital componentrecording delivers out- cord Review functionautomatically VCR Section P ANASONIC AJ-D400

SMPTE Color Bars Audio ■ Generates SMPTE color bars as well as a ■ CD-quality audio with 48 kHz sampling ■ Supplied phantom-powered super-car- reference audio signal to facilitate color 16-bit recording, 2-channel PCM digital- dioid microphone can be attached or monitor and audio level adjustments. system. Frequency response is 20 Hz to detached from the camera for use in ■ Camera ID of up to ten characters, 20k Hz and dynamic range is 85 dB. interviews. (Optional AJ-MH700P mic ■ including letters, symbols and spaces can Built-in monitor/speaker and earphone holder required for mounting other DVCPRO be superimposed over the color bar signal jack for monitoring audio. microphones.) to identify the camera or tape.

Time Code Operation Digital Signal Processing ■ ■ Built-in SMPTE Time Code generator Easy to set up Digital-Signal Processing (DSP) circuitry optimizes picture quality and allows selection of Free Run/Rec Run ensures that camera characteristics remain stable and reliable, regardless of temperature and DF/NDF, as well as User Bits. changes, aging or vibrations. This simplifies operation and minimizes maintenance. ■ Time Code can locked to an external ■ Digital circuitry allows a host of sophisticated camera settings for creative image-process- source using the optional AJ-YA710P ing that are effectively and easily adjusted — even on location. board (RET Video input, Time Code input/output). —2-D Low Pass Filter eliminates cross color —Dark Detail corrects details in dark areas High Resolution Viewfinder —Chroma Detail corrects degraded resolution in brightly colored areas 223 ■ Large 1.5˝ viewfinder with 600 lines of —Matrix corrects 6 types of color phase (R-G, R-B, G-R, G-B, B-R, B-G) resolution projects a detailed picture for —Black Stretch gives black parts more emphasis to to provide sharper images instant confirmation of focus, exposure and safe shooting area. Low flare CRT —Super Color lets you emphasize ‘highlight’ colors, such as those in a blue sky makes the screen easier to see. —Auto Knee circuit achieves a wide dynamic range which allows large signals to pass ■ Equipped with character display func- through tion that displays switch settings, warn- —Shading Compensation function for using a lens with an extender ing displays, etc. on the viewfinder screen. Simply touch the Status button ■ Other DSP functions include Skin Tone Detail, Masking, Horizontal and Vertical Detail, and a list of all switch settings are Master Gamma, Black Stretch and Detail Coring—giving you even more image creating momentarily displayed in the viewfinder. capabilities. You can also constantly monitor only the functions you want. Additional Features ■ One-touch position adjustment is possi- ■ ble not only in the right-left direction, ■ Compact size assures excellent mobility. With the optional AJ-YA700 or AJ-YA900 but also forward and backward. Weighs under 13 pounds with lens, 26-pin adapters, you can connect the AJ- viewfinder, tape and battery. D400 to a variety of portable VCRs. This ■ Adjustable diopter insures precise focus ■ allows you to record with the AJ-D400 for most prescription wearing operators. Warns you of VCR trouble, end of the while making a backup recording with tape, battery wear, etc. with various warn- ■ another format VCR. Offers three types of Zebra patterns, ing lamps and a warning tone. Remaining including Spot Zebra from two levels of tape time can also be checked. — The AJ-YA700 adds a 26-pin and a video Zebra patterns. input connector. That is, the video input ■ Consumes less than 23 watts of power, can be selected to appear at the viewfinder ■ Displays center and safety zone markers. allowing a single Anton Bauer Trim Pack but not for recording. Safe Title, Safe Action and corner mark- battery to power it for over an hour. ings are some of the choices offered. — The AJ-YA900 adds 26-pin and the 12- ■ Equipped with a gold mount plate for ■ pin "multi-connector" that is standard Large aperture allows the screen to be mounting Anton Bauer Digital batteries. equipment on the AJ-D700A. You plug easily seen, even when your eye is When in use, the remaining power is dis- the optional SHAN-C12TCA pigtail into removed from the eyepiece or when the played in real-time in the viewfinder. Also, this connector and you get Time Code eyepiece is detached. when using the Anton Bauer Ultralight, In/Out via BNCs and stereo audio out ■ 3-D viewfinder adjustment mechanism on/off control of the light can be synchro- via RCA connectors. allows fast adjustment for comfortable nized with the REC Start/Stop button. operation by many different operators.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AJ-D700A 1/2-inch 3-CCD DVCPRO Camcorder Almost identical to the AJ-D400 (previous page), the AJ- D700 has the same features and specifications, plus it adds several functions for even more advanced operation. It offers an analog composite video input allowing the AJ-D700A to work as a recorder for “Pool Feed Operation” and time code input/output capability allows synchronization to an external time code. And, with the ability to store different scene files on widely available DVCPRO PCMCIA cards, the AJ-D700A takes versatility to the next level.

Same Features as the AJ-D400 PLUS—

■ SMPTE Time Code input/output and stereo audio output via 12-pin ■ The camera’s set-up file can be saved and stored on widely avail- multi-connector (optional SHAN-C12TCA Time Code/Audio able PCMCIA cards. Creating and saving a variety of files makes it Cable required) quick and easy to adapt the camera to different shooting conditions. It also allows easy set-up of two or more AJ-D700s with the same ■ Equipped to handle a variety of field work, thanks to terminals parameters. Digital setups provide perfect camera matching with for analog video input (BNC) and audio line input (XLR x 2) unprecedented ease. ■ Front and rear head phone jack for added convenience (AJ-D400 ■ The AJ-D700A doesn’t include a viewfinder as standard. Choose doesn’t have a front jack only a rear.). between the AJ-VF10 (standard) and AJ-VF15 (high grade). 224 AJ-AD400/AJ-D700A SPECIFICATIONS CAMERA SECTION VIEWFINDER: AUDIO SIGNAL OUTPUTS Pick Up Device: CRT: Sampling Frequency: Camera Out: Three FIT 1/2˝ CCD sen- AJ-D400: 1.5˝ monochrome 16-bit/48kHz BNC x 1 sors (410,000 pixels each) AJ-D700A: Optional BNC x 1 with on-chip lens Frequency Response: Video Out: Horizontal Resolution: 20Hz to 20kHz, +1.0/-1.0dB Sensitivity: 600 TV Lines Audio Out (XLR): 2000 lux at F8 Control: Headroom: CH1/CH2/Mix selectable 20dB +4dB balanced, low impedance Minimum Illumination: VR: Bright, Contrast, 12-Pin Multi-Connector 2 lux (F1.4 +30dB gain) Peaking, AGC Level: -20dB Low impedance SW: Tally, Zebra, Character Standard, +8dB Shutter Speed: Earphone: 1/100 to 1/2000-sec. Stereo mini-jack x2 Synchro Scan: VCR SECTION SIGNAL INPUTS 1/30.4 to 1/57.4-sec. Video In: BNC x1 GENERAL 1/61.7 to 1/250-sec (variable) Recording Track: Power Requirement: Digital Video Genlock In: BNC x1 S/N Ratio: 62dB DC12v Digital Audio: 2 Ch. Front Mic In: Horizontal Resolution: Cue: 1 Track sub code Ω DC In: XLR 4-Pin (Male) 750 lines XLR Balanced,-60dB 3k CTL: 1 Track -60/-50/-40/dB selectable Vertical Resolution: Power Consumption: 23 watts 450 lines/500 lines (Super-V) FF/REW Time: Audio In (CH1/CH2): 3 minutes with AJ-P63M MIC/LINE Switchable Weight: Gain: Mic:-60/-50/-40/dB -3/0/+3/+6/+9/+12/ Video S/N Ratio: 12.87 lbs. including lens, 55 dB selectable, viewfinder, tape and battery +15/+18/+21/+24/+30dB Line:-6/0+4 dB selectable,

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AJ-D400 Packages AJ-D700A Packages

14:1 Lens Package (#AJD40014H) 14:1 Lens Package (#AJD70014) • AJ-D400 Camcorder • AJ-D700A Camcorder • Fujinon 14x7.5BRM 14:1 Zoom Lens • Fujinon 14x7.5BRM 14:1 Zoom Lens • AJ-VF10 Electronic Viewfinder • AJ-VF10 Viewfinder • Microphone • AJMH-700 Microphone Holder (Optional mic required) DVCPRO • SHANTM700 Tripod Plate Adapter • SHANTM700 Tripod Plate Adapter • Anton/Bauer Gold Mount Plate (Installed) • SHAN-B700 Hard Carrying Case • SHAN-B700 Hard Carrying Case 18:1 Lens Package (#AJD70018) 14:1 Power Package (#AJD40014HB) Same as above except it comes with Same as above Plus— • Canon YH18x6.7BKRS 18:1 Zoom Lens • 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger

18:1 Lens Package (#AJD40018) 19:1 Lens Package (#AJD70019) • AJ-D400 Camcorder Same as above except it comes with • Canon YH18x6.7BKRS 18:1 Zoom Lens • Fujinon S19x6.5BRM4 19:1 Zoom Lens • AJ-VF10 Electronic Viewfinder • Microphone 18:1 Power Package (#AJD700XLC) • SHANTM700 Tripod Plate Adapter Same as AJ-D70018 Plus—

• Anton/Bauer Gold Mount Plate (Installed) • 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger 225 • SHAN-B700 Hard Carrying Case 19:1 Power Package (#AJD70019B) 18:1 Power Package (#AJD400XLC) Same as AJ-D70019 Plus— Same as above Plus— • 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger • 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger

Optional Accessories for the AJ-D215/D400/D700A

Fujinon S14X7.5BRM4 AJ-MC700 Microphone Kit 1/2-inch 14:1 Servo Zoom Lens AJ-B75 AC Adaptor Canon YH14x7.3KRS U-M402H Battery Holder 1/2-inch 14:1 Servo Zoom Lens SHAN-B220 Battery Adapter for AU- Canon YH18X6.7BKRS BP220 and NP-1 batteries 1/2-inch 18:1 Servo Zoom Lens SHAN-B700 AJ-MH700 AJ-VF15 Fujinon S19X6.5BRM4 1.5-inch High Resolution Viewfinder 1/2-inch 19:1 Servo Zoom Lens WV-VF65B 5-inch Studio Viewfinder Fujinon S19X6.5BERM4 (requires the WV-Q71 and AG-YA800) 1/2-inch 19:1 Servo Zoom with 2X SHAN-TM700 WV-Q71 BN064HSR 64K SRAM Card Battery Bracket for the WV--VF65B SHAN-RC700 AJ-YA700 26-pin Connector AJ-VF53 AJ-YA900 26P VTR Connector 5-inch High Resolution Viewfinder AJ-YA710 Time Code Input/Output SHL-QVF5D700 Module with Video In Mounting Bracket for AQ-VF51 AJ-YA711 Cable assembly for using SHAN-RC700 Rain Cover the WV-VF65B with AJ-D700 AU-M402H AJ-B75 SHAN-B700 AJ-MH700 Microphone Holder Thermodyne Shipping Case

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AJ-LT85 DVCPRO Laptop Editor Combining two VCRs, two monitors, speakers and an edit controller in a single unit, the AJ-LT85 provides editing capabilities that go anywhere — from the field to the production room. Utilizing the DVCPRO format, the AJ-LT85 is a laptop editor that is incredibly powerful, yet compact, lightweight and high- ly portable. Take the AJ-LT85 with you in the field for on-site editing. Or use it in-house where it connects with a host of external equipment; provides control over an external VCR via RS-422; and allows editing with archived material recorded in other formats. It also DVCPRO has time code input and output terminals for synchronized record- ing, and allows uploading and downloading of EDL data.

Dual DVCPRO VCRs Editing Functions EDL Capability ■ ■ Each of the VCRs is equipped with com- ■ Designed for editing efficiency, you can During multi-event editing, you can dis- posite video and audio inputs/outputs use VCR 1 as a player and VCR 2 as a play the EDL on the monitor for easy (XLR, 2-Channels), component video recorder for easy assemble and insert edit- checking. On-screen display makes it easy output, reference input, video and audio ing. A 100-event memory makes it easy to adjust many editing-related settings. monitor output and RS-422 remote to add the cuts you want, one after ■ An EDL terminal (9-pin) lets you interface. The AJ-LT85 not only offers another. In insert edit mode, video, both up/download EDL data that has been 226 stand-alone editing, but also recording audio channels and time code can each be rough-edited on the AJ-LT85, to be used when connected to a camera, or dubbing selected separately. for final editing in the studio. Also lets with another VCR. Connect an external ■ In insert edit mode, you can add narra- you store EDL files on a PC. VCR via the RS-422 terminal on the tion through the mic input. Split editing, VCR 1 side, and the AJ-LT85 can control in which the timing of the video and it as the source VCR and edit from it on DVCPRO Quality audio are shifted, can be done using the VCR 2 side. This greatly simplifies either the video or the audio as reference. ■ DVCPRO format provides the exceptional editing and dubbing from archived mate- “Swap” editing lets you interchange and picture quality of component digital rial recorded in analog component or record two audio source channels. recording, while two 16-bit digital audio other formats. channels with 48 kHz sampling provide a ■ Equipped with a host of functions ■ The VCRs can also make recordings from sound to match. Quality remains superb, designed for quick, easy editing, includ- two different sources at the same time (or even after multiple generations of editing ing Go To, Trim (+/-), Last Edit and send playback to two different external or dubbing, and you can record a full 184 Preview/Review. Each of the VCRs has its units). They can also serve as players in minutes with the AJ-5P92L cassette. own Jog/Shuttle dial with forward or an A/B Roll system and offer encoder reverse searching up to 32x normal speed, control including: Video Gain, Hue, adjustable in 19 steps. SMPTE Time Code Setup, Chroma Gain, H phase, SC phase (fine/coarse). ■ Each VCR features a built-in SMPTE Time Code generator and reader, making it possible to edit with frame accuracy. CTL editing is also possible. The counter can be switched to show tape remaining time. ■ Equipped with Time Code input and out- put terminals that let you synchronize to an external time code. This is especially important when recording simultaneously with multiple cameras. AG-LT85 Rear

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Totally Portable Components of a News Gathering and Editing System ■ There has never been so much editing equipment in such a small package. The AJ-LT85 fits two VCRs, two monitors and an edit controller in a compact pack- age weighing less than 26 lbs. With the

panel closed, it is about the size of an DVCPRO attache case — and small enough to carry on the plane. ■ A casing made of tough aluminum die- cast gives the AJ-LT85 the ideal combi- Optional Accessories: nation of light weight and rugged dura- AJ-B75 — AC Adaptor AJ-SC75 — Soft Carrying Case bility. It also comes equipped with a rear panel protector to prevent damage to the Simultaneous Recording and Playback System terminals while the unit is in transport. ■ Comes complete with a 12v DC input terminal (4-pin XLR), while an optional AC adapter (AJ-B75) lets you run it from an AC outlet. Driven by battery or AC, it consumes only 12v/8.5A of power, even when you are using both VCRs and monitors. 227

Conveniences ■ Offers a simple, symmetrical design and AJ-LT85 SPECIFICATIONS horizontal layout. Each VCR has its own counter display, cassette slot and control GENERAL AUDIO I/O panel with Jog/Shuttle dial. Power Requirement: Analog Audio Input: ■ All essential operations are intuitive and DC 12v VTR1: XLR x 2 (CH1/CH2) High settings are made from an on-screen Record/Playback Time: impedance +4/0/-20dBu menu, so even beginners can use it. Up to 184 min. with AJ-5P92L VTR2: XLR x 2 (CH1/CH2) High imp. ■ Precise brightness adjustment is possible FF/REW Time: +4/0/-20 dBu and -50 dBu on CH2). for each 6.5˝ LCD monitor, while sepa- 3.5 min. with AJ-5P92L rate Light/Dark/Off selectors further Frequency Response: Analog Audio Out: reduce power consumption. 20Hz to 20kHz ± 1dB VTR1/2: XLR x 2 (CH-1/2) -20/0/+4 dB ■ Monitor audio via the internal speakers, Weight: Monitor (VTR 1/2): XLR x 2 0dBu, headphone or audio monitor output. 25.7 lbs. (11.7 kg) CH1/MIX/CH2 selectable (VTR 1/2 ■ VCR input select switch lets you use the Dimensions (W x D x H): independent) AJ-LT85 to record an external source, or 16-3/4˝ x 17-1/4˝ x 4-3/4˝ Headphone: M3/Stereo x 1, Max -20dB, you can monitor the input by depressing Dynamic Range: the Ext Check button. Convenient when More then 85 dB OTHERS connected to a camera and in record standby mode. Time Code: VIDEO I/O Input: BNC x 1 Output: BNC x 2 Video Inputs: Additional Features Remote In: Analog Composite: BNC x 2 (VTR1/2) RS-422A (9-Pin) female ■ Playback of Mini-DV tapes Reference: BNC x 2 Composite, loop- through with 75Ω Auto EDL In/Out: ■ Independent record inhibit switches RS-232C interface 9-Pin (male) Video Outputs: ■ Color framing synchronization Analog Composite: BNC x 2 (VTR1/2), LCD Display: 6.5˝ x 2 (VTR1/VTR2) ■ Independent audio record/playback level Analog Component: BNC x 6 (Y/PB/PR) Built-in Speaker (x2): control Monitor: BNC x 2 (VTR1/VTR2), Composite VCR1/MIX/VCR2, CH1/MIX/CH2 switchable

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AJ-D220/D-230H DVCPRO Desktop Player and Player Recorder Affordably priced, both the AJ-D220 Player and AJ-D230H Player/Recorder combine high DVCPRO digital quality with convenient desktop use. With a built-in handle, measuring only 83⁄8 x 53⁄16 x 153⁄8˝ (WxHxD) and weighing only 15.4 lbs., they can be carried to a desk, meeting room or virtually anywhere for recording or playback. The AJ-D220 is designed as a multi-purpose player DVCPRO that can be used anywhere and even has an RF terminal for playback on ordinary television sets. The AJ-D230H is ideal for dubbing and back-up recording. Equipped with an RS-232 terminal, it can also be used as a highly versatile multimedia VCR.

FEATURES DVCPRO Format Extremely Compact Analog Interface 3 3 3 ■ ■ Digital component recording assures ■ Measuring only 8 ⁄8 x 5 ⁄16 x 15 ⁄8˝ (WxHxD), To interface with analog equipment, superb pictures, and two 16-bit digital two AJ-D220s or AJ-D230s or one of each they are equipped with composite (BNC), audio channels with 48kHz sampling can be placed side by side in a 19˝ rack. S-Video and 2-channel audio output. delivers audio quality surpassing that of This allows them to provide superior dub-

228 CDs. Also features one analog cue track. bing quality when used with S-VHS Time Code Operation ■ They can accommodate both program equipment. ■ production and broadcasting needs. They They offer built-in SMPTE Time Code ■ In addition to offering similar inputs and accept DVCPRO AJ-P66M medium cas- operation. Time Code is recorded onto the outputs, the AJ-D230H, when recording, settes (up to 66 minutes), as well as the subcode area of each track enabling frame features a video input signal stabilizer and AJ-5P92L large cassette (184 minutes). accurate precision and time code detection independent adjustment of audio input ■ during searches. Time Code can be super- levels. They also offer 4-position audio DVCPRO recordings are made on rugged imposed on the playback image for extra metal particle tape. However, by using the output selection: CH-1/CH-2/CH3-4 for convenience when checking tapes. With the DV cassette playback. optional AJ-CS750 cassette adapter, they AJ-D230H, precise indexing control is pos- can play back Mini-DV tapes. sible using a PC. Auto Functions ■ Designed for easy operation, they can be set to begin automatic playback or auto AJ-CM32 DVCPRO Micro-Cart pause as soon as a cassette is inserted. You An ultra-compact, low-cost video cart, the AJ-CM32 is a can also set them to automatically rewind, mini-tower that fits on a desktop and holds up to 32 eject, or rewind the cassette when the tape end is reached. DVCPRO tapes for up to 96 hours of recording or playback.

■ 7 13 5 Only a half-rack wide (8 ⁄16˝ W x 21 ⁄16˝ H x 23 ⁄8˝ D) the AJ- Repeat Playback CM32 Micro-Cart houses an AJ-D230H and rotary cassette bin ■ Tape can be set for Auto Repeat, either in that holds up to 32 DVCPRO tapes. entirety or between any two points you ■ Super efficient robotic cassette loading and unloading system. set. There are three types of Auto Repeat Provides tape changes in 35 seconds or less. to choose from: Memory Stop, Single ■ Can be controlled by an external PC via RS-232 port for a variety Playback (after which it rewinds the tape of automatic operations. and enters Standby mode), or ■ Two or more AJ-CM32s can be controlled simultaneously. Set Consecutive (endless replay). Especially them for repeated, alternating recording/standby operation, and convenient for demonstrations at conven- they provide continuous recording with no gaps. tions or trade shows.

Equipment Leasing Available DVCPRO 229 Only) CA x 1 : BNC x 1 R : (AJ-D220 BNC x 1, M3 Stereo, M3 Stereo, AX: (212) 444-5001 F AJ-D220) • 4-pin x 1 ( ( D230H/250) CA x 4 (CH-1/2) CA x 2 (CH-1/2) Only) R R OUTPUTS onitor onitor eadphone: udio: udio: ariable Level Composite: M H RF Modulated: CH3, CH4 A (AJ-D250 S-Video: M A V . igital I/O board, you can input and output you igital I/O board, D AJ-D220 Only AJ-D220 AJ-D230H Only emote control r AJ-D220/D-230H BNC x 1 BNC x 1 9-pin RS-422 interface board allows use with the allows 9-pin RS-422 interface board CA x 2 (CH-1/2) 4-pin x 1 9-pin RS-422 interface board for remote control of basic control for remote 9-pin RS-422 interface board R wireless AUDIO INPUTS AJ-YAD230 AJ-YAD230 than 80 dB

(Not on the AJ-D220) re HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S ference: T 1•800•947•9901 udio: A Composite: S-Video: Re 20Hz to 20kHz Mo addition to composite and S-Video output, the AJ-D220 fea- and S-Video addition to composite AJ-YA230 AJ-YA230

ANASONIC IEEE1394 digital video and audio signals and still retain RS-232 and audio signals and still retain IEEE1394 digital video the optional use Or although in a 9-pin configuration. control, The AJ-D230H comes standard with a 25-pin RS-232 board, standard The AJ-D230H comes the this with replacing a PC. By from machine control allowing optional AJ-YA230 Controller. AJ-A95 9-pin Remote operation with the Panasonic tures an RF output that allows it to be connected to any television it to be connected an RF output that allows tures set (switchable CH-3/4). deck that is also the only DVCPRO It includes a In Frequency Response: Dynamic Range: ■ ■ P PHOTO - VIDEO - PRO AUDIO ˝ (WxHxD) : 8 ⁄ anasonic AJ-A850 Edit Controller. Controller. anasonic AJ-A850 Edit nstalling the optional 3 Connecting the AJ-D250 to the AJ-A250 through its RS-232 interface performthrough Connecting the AJ-D250 to the AJ-A250 lets you The AJ-A250 also audio and video insert and assemble editing with ±3 frame accuracy. The AJ-A250 can also control function and has a large jog/shuttle dial. offers a preview VCRs. S-VHS and the AG-5710 the AJ-D230H DVCPRO I P ■ ■ x 15 4 ⁄ 1 x 5 16 ⁄ 7 eight: 33:820 mm/s 3 minutes w/AJ-P123L 184 min with AJ-5P92L 63 min. with AJ-P63M 8 15.4 lbs. ape Speed: T FF/REW Time: Record/Play Time: Dimensions W RS-232C (25-Pin) Cable GENERAL DVCPRO Desktop Editing VCR Editing Desktop DVCPRO Additional Features Additional 120v, 50 to 60Hz 120v,

igital Audio: 2CH igital Audio: igital Video ue: 1 Track ue: 1 C: REC in Sub-Code Area C: REC in Sub-Code T C Track CTL: 1 D D AJ-D220: 37w AJ-D230H: 45w AJ-D250: 56w AC RS-232C (25- Pin) Cable ward and reverse search at 10x normal speed. search and reverse ward r

Recording Track: Power Requirement: Power Consumption: emote control capability gives you the instant fingertip you control capability gives emote control eaturing the same advanced mechanism found in DVCPRO mechanism eaturing the same advanced ou need to deliver effective video presentations. They can both be They can both video presentations. effective ou need to deliver broadcast VCRs, they are still tough enough to stand up to rigorous they are VCRs, broadcast and durability that set of reliability levels studio use, giving them VCRs. them apart consumer from F An easy-to-read on-screen display with a simple, straight-forward display on-screen An easy-to-read of functions to be easily interchanged. a host allows layout operated with the optional AG-A11 Wired Remote Control, while Control, Remote Wired AG-A11 operated with the optional standard. control remote a wireless the AJ-D220 comes with y R Fo

AJ-D220/D230/D250 SPECIFICATIONS dentical in appearance and with all the same features as the features and with all the same dentical in appearance ■ ■ ■ ■

for business, schools and wedding videographers. videographers. for business, schools and wedding AJ-A250 Edit Controller, you have a low-cost system ideal a low-cost have you Controller, AJ-A250 Edit capability through its RS-232 interface. With the optional With its RS-232 interface.capability through AJ-D230H, the AJ-D250 adds insert and assemble editing AJ-D250 I P ANASONIC AJ-D440/450/850 DVCPRO Series Editing VCRs With the AJ-D440 and AJ-D450, Panasonic brings the superior pic- ture and sound quality of DVCPRO to professional and industrial video markets—without the price tag. Using digital component tech- nology, DVCPRO achieves a previously unattainable level of quality for event, corporate and industrial video production. The AJ-D440 is a player/feeder, the AJ-D450 an editing recorder. They feature analog and optional digital input/output, RS-232 and RS-422 interfaces, playback of Mini-DV tapes, Time Code operation, DVCPRO 60x search and Digital Slow motion. For broadcast stations and high- end video production, the AJ-D850 adds powerful features like V-blanking data recording and audio crossfade editing using an external mixer. Interfaces include both industry-standard SDI and SDTI, which allows transmission of DVCPRO data without the need to decompress it. Incredibly versatile, they all readily integrate into analog, digital and non-linear editing envi- ronments to offer creative solutions for applications ranging from video production to multimedia.

FEATURES DVCPRO Format Editing Functions Digital Audio

230 ■ Digital component recording assures ■ They incorporate a control track to enable ■ They feature two 16-bit/48 kHz digital superb pictures, with a video bandwidth of fast servo system lock-up and robust edit- audio channels. There is also an analog cue 5.5 MHz and S/N ratio of 60dB. Using ing with short preroll times. track that permits audio to be heard while the optional AJ-YA750 SDI (Serial Digital ■ The AJ-D450 and AJ-D850 are editing shuttling at high speed in either direction Interface) board, picture quality remains VCRs with assemble and insert editing (especially useful when digital audio is incredibly high — even after 15 genera- functions through a remote edit controller. unrecoverable), or use as a third audio tions of editing and repeated dubbing to Via the RS-422 interface, they perform channel. The AJ-D850 comes standard other similarly SDI-equipped VCRs. single-event and audio split editing. The with built-in AES/EBU digital (balanced ■ They can accommodate both program pro- DVCPRO control track contains color XLR) input and output, while the AJ- duction and broadcasting needs with up to frame information for perfectly color D440/450 require the optional AJ-YA655 2-hours recording time. Use of the framed edits. (BNC) or AJ-YA656 (XLR) AES/EBU Digital Interface Boards. DVCPRO large-size cassettes provides a ■ The AJ-D850 incorporates a built-in edit maximum recording time of up to 184 controller for machine-to-machine assem- Digital-Slow Motion minutes (AJ-5P92L), while medium-size ble and insert editing without an edit con- cassettes provide up to 66 minutes record- troller. It also has Preview, Review and ■ They offer digital still and digital slow ing time (AJ-P66M). Trim functions. Using both of its RS-422 motion playback at up to ±3/4* normal ■ While DVCPRO recordings are made on ports, single event and audio split editing speed with excellent picture quality at each rugged metal particle tape, they can also is possible with two AJ-D850’s or with one step. Slow motion can be accessed from play back DVCAM tapes without any AJ-D850 and one AJ-D440/D450. the front panel on the AJ-D850 and with adapter required. They can play back an external controller with slow motion Mini-DV tapes, as well, using the optional Time Code capability (like the Panasonic AG-A850) AJ-CS750 Cassette Adapter. when using the AJ-D440/D450. ■ They have a built-in SMPTE Time Code (LTC and VITC) reader and all except *Actual speeds are: -0.43, -0.3, -0.2, -0.1, for the AJ-D440 generate time code as -0.03, +0.03, +0.1, +0.2, 0.3, +0.5, +0.75). well. User Bits are also provided. Time code is recorded onto the subcode area of System Interface Capability each track, enabling frame accurate edit- ■ In addition to the standard 9-pin serial ing and time code detection during high- (RS-422) connector, an RS-232 connector speed searches. is also provided for computer control.

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■ For adjustment of VCR parameters, including Level, Phase and Gain the AJ-D440/450 AJ-D850 Step-Up Features require the optional AU-ER65B Video Encoder Remote Controller. The AJ-D850 ■ Search dial includes has adjustment from the front sub-panel and shuttle, jog and vari- uses the AU-ER65B only for remote opera- able modes. The shut- tion. tle mode allows search up to 60x normal DVCPRO High-Speed Search speed, as well as FF/REW up to 100x. ■ When used with an external controller, the Variable mode pro- AJ-D440/450 provide frame by frame jog duces high quality dig- operation and forward/reverse search with ital stills and slow recognizable color picture up to a blazing 60x motion -0.43x to +0.75x. (The AJ-D440/D450 require an external controller). normal speed. The Analog cue track allows ■ Advanced audio control includes full control of playback as well as record levels for you to hear recorded audio, even at high Audio CH-1, CH-2 and cue tracks. search speeds. They also offer a whopping ■ Cue track input/output (balanced XLR) for use as an additional external audio 100x speed in FF and REW. The AJ-D850 track (linear). offers the same, but does not require an exter- ■ nal controller — everything is accessed from Digital audio is standard with built-in AES/EBU digital input and output via the front panel. two-channel balanced XLR connectors. (The AJ-D440/D450 require the optional AJ-YA655 or AJ-YA656 AES/EBU Digital Interface Board). Analog Interface ■ In addition to the optional AJ-YA750 board for SDI input/output, the optional AJ-YAC850 board offers SDI and SDTI input and output. SDTI uses convention- 231 ■ They come equipped with composite and al BNC cables and routers to transfer compressed data. component input and output, as well as two ■ V-Blanking Data recording function lets you record a variety of vertical blanking channels of balanced-XLR stereo audio data, in addition to closed captions and VITC. You can record up to two lines (Y) input/output for easy connection with exist- only or one line (Y/C) of vertical blanking interval data. In addition, teletext data ing analog equipment. There is also S-Video can be recorded according to the mode selection. input/output (except the AJ-D850) for ■ Internal RAM stores up to 20 seconds of digital audio, giving the AJ-D850 greatly superior dubbing capability when used with enhanced audio editing capabilities. Audio crossfade can be used to mix recorded S-VHS equipment. audio with a separate audio source, using an external mixer. On-Screen Setup Menus ■ A number of initial settings are easily changed, with on-screen convenience. The display is easy to read, thanks to a simple, straight-forward layout. There are five user files, each containing the following: Basic, Operation, Interface, Edit, Tape Protect, Time Code, Video, Audio.

Conveniences ■ During digital recording, channel condition lights indicate playback quality. Green means the error rates for video and audio are both acceptable. Blue means the error rate for the video or audio playback signals have deterio- Sub Panel rated. Red means the video or audio signals Built-in machine-to-machine editing control capability means any VCR (with RS- are subject to rectification or interpolation. 422) can be directly controlled from the AJ-D850. Player/recorder select buttons are provided, and Time Code or CTL readings from the controlled player are displayed ■ They are each equipped with a head cleaner on the AJ-D850’s counter display. Control all operations, including Search, FF, REW, to automatically reduce dirt on the heads. Edit Point Entry, etc. An on-board, flip-up editing panel eliminates the need for a ■ They are compact 4 RU high and fit into a separate edit controller by providing advanced editing operations, including 19˝ rack using the optional rackmount Assemble, Insert (Video, Audio CH-1, CH-2, Cue, and Time Code), Preroll, Trim, adapter kits. Their space-saving size allows Preview, Review and Auto Edit. use in a studio or OB van.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 232 DVCPRO P ANASONIC A AJ-YA656 AJ-YA655 AJ-YAC850 AJ-YA750 AJ-CS750 U-ER65B AJ-D440/450/850 SPECIFICATIONS Bandwidth: Dimensions: W Editing Accuracy: FF/REW Time: Record/Play Time: Recording Track: Power Consumption: Power Requirement: ( Digital In/AnalogComponentOut) 30Hz to1MHz(±1dB) Chrominance: 30Hz to5.5MHz(±1dB) L 16 AJ-D850: 16 AJ-D440/450: AJ-D850: AJ-D450: AJ-D440: ±1 ±0 Frame with Time Code AJ-D450/850 Only: 2 minutesw/AJ-P66M 3.5 minutesw/AJ-5P92L 66 min.withAJ-P66M 184 minwithAJ-5P92L CTL: 1 Track C T D D AJ-D850: AJ-D450: AJ-D440: AC eight: uminance: C: RECinSub-Code Area ue: 1 Track igital Audio: 2CH igital Video 11 15

⁄ 16 ⁄ 16 F 120v, 50to60Hz GENERAL rame x 716 x6 VIDEO E AES/EBU Digital Audio Board (XLR)forAJ-D440/450 AES/EBU Digital Audio Board (BNC)forAJ-D440/450 SDI/SDTI Board forAJ-D850 SDI Board forAJ-D440/450/850 M 7 ncoder Remote Controller forAJ-D440/450/850 ⁄ 8

¨ ini DV CassetteAdapter 37 lbs. 33.1 lbs. 210w 150w 120w 35.1 lbs. x16 with CTL) 5 ⁄ 8 3 ⁄ 8 ˝ (WxHxD) ˝ (WxHxD) ¨

SSM

M *Only withAU-ER65B EncoderRemoteController Headroom: Dynamic Range: Frequency Response: Sampling Frequency: S/N Ratio: Bandwidth: S/N Ratio: ADJUSTMENT RANGE Optional AccessoriesforDVCPROVCRs AJ-D440/D450 (Video Out) AJ-D440/D450 (Video SC Phase: SC Phase: Y/C Delay: S S Chroma Phase: Chroma Gain: Video Gain: In: Composite Video S S Chroma Phase Chroma Gain: Video Gain: AJ-D850: AJ-D440/450 300Hz to6kHz 20Hz to20kHz 48kHz,16-bits/Sample 55 dB 30Hz to1MHz(±1dB) Chrominance: 30Hz to5.5MHz(±1dB) L 60 dBorMore ync Phase: et Up: ync Phase: et Up: uminance: AJ-D850 (Video Out) AJ-D850 (Video (Analog Component In/Component Out) PROCESSOR AUDIO -15 to+30IRE ±15 IRE* 90 dB ±180° ±180° ±300 nanoseconds ±8 µsec ±2 µsec ±3 dB ±3 dB* : 85dB : ±30°* 20 dB ±3 dB ±3 dB* ±30° (Cue Track) (Dig. Audio) ±3 dB AJ-YAD230 AJ-YA230 AJ-A11 Level Control, 8 Audio InputCH-1/2: Analog Output: Analog Input: Headphone Out: Monitor Out: Audio OutputCH-1/2: RAK-750 RSK-DVC AJ-MA75 through with75 Re XLR x2600 Analog: (AJ-D450/850) ( V Composite: S-Video: Component: through with75 Composite: S-Video: Component: D850 AJ-D440/450 XLR x1AES/EBU Format D with optionalAJ-YA656 XLR x1AES/EBU Format with optionalAJ-YA655 BNC x1,AES/EBU Format D impedance, 4/0/-20dB Analog: XLR x1AES/EBU Format D with Optional AJ-YA656 XLR x1AES/EBU Format with Optional AJ-YA655 BNC x1,AES/EBU Format D INPUT/OUTPUT S ideo 1, Video 2, Video 3 gtl(AJ-D850): igital (AJ-D440/D450): igital (AJ-D850): igital (AJ-D450): igital uperimpose On/Off) ference: XLR x1(4/0/-20dB) XLR x2,Low Rack System Slides forAJ-D440/450/850(With andEars) 4-pin x1 4-pin x1 IEEE1394 Board forAJ-D230H/D250 9-pin Interface Board forAJ-D230H/D250 Wi BNC x2,loop- Ω BNC x3 BNC x2,loop- Ω r BNC x3 BNC x3 , 4/0/-20/-60dB Rack Slides forusewithAJ-MA75 Rack Ears(Black) forAJ-D440/450/850 ed Remote Control forAJ-D220/D230H/D250 R Ω Ω CA x1, on/off on/off V ariable AJ- Time CodeInput: SDI Output: SDI Input: Parallel: Encoder Remote: RS-232C: Control: Remote VCR Time CodeOutput: With optionalAJ-YA750 SDIBoard D-Sub 25-pin XLR x1,0.5to8.0 Vp-p AJ-D850: BNC x1,0.5to8.0 Vp-p AJ-D450: SMPTE259M-C, 272M (Video andAudio) BNC x3,75 SMPTE259M-C, 272M (Video andAudio) Throughout, 75 BNC x2,Active D-Sub 15-pin 25-pin, RS-232CInterface RS-422A Interface D-Sub 9-pin, R AJ-D850: RS-422A Interface R AJ-D440/D450: XLR x1,2.0 Vp-p AJ-D850: BNC x1,2.0 Vp-p AJ-D440/D450: With optionalAJ-YA750 SDI emote in/Out: emote in:D-Sub 9-pin, Board forAJ-450/850 OTHERS ( AJ-D850 Only) Ω , Ω P ANASONIC AJ-D780 DVCPRO 4x Transfer VCR The AJ-D780 is a special-purpose DVCPRO Recorder/Player designed for the rapid and cost-effective transfer of DVCPRO recordings into non-linear editing, video server or archiving systems. The AJ-D780's

ability to record and playback video data at 4x normal speed signifi- DVCPRO cantly shortens system input and preparation work - a big advantage over the digitizing of conventional non-linear editing systems. The AJ-D780 achieves digital transfer at 4x speed via SDTI (Serial Data Transport Interface), a compressed serial digi- tal interface. Other features include RS-422 interface and VITC/LTC time code reader/generator. Also offers a composite monitor video output at 1x speed for preview and audio monitor output.

■ Special heads designed and config- ured for 4x speed operation make it possible to play back or record Video, DVCPRO Digital Cassette Tape Audio and Time Code data at 4x nor- mal speed. This means that a 123- Panasonic DVCPRO tapes minute DVCPRO tape can be played incorporate ultra-fine high- back or recorded in only 30 minutes. output metal magnetic parti- 233 ■ Built-in SDTI input/output terminals cles (MP) —half the size of make it possible to transfer data at 4x previous metal particles but normal speed between several AJ- with 70% more energy. D780’s, or between an AJ-D780 and The high energy particles are mounted in an extremely dense pattern on tape with an ultra- other SDTI-equipped servers or non- thin 0.2 micron magnetic coating– the thinnest ever in a broadcast-use metal tape. The result linear editors. is a tape with the low-noise, high-frequency characteristics needed for digital recording. ■ SDTI uses regular BNC cables and routers to transfer compressed data at ■ An ultra-flat base film gives DVCPRO ■ High-quality DVCPRO metal tapes are high speeds. tape an ultra-smooth magnetic layer sur- more cost effective because they offer easy face that eliminates micro-dropouts. The portability in the field and minimum stor- ■ The advanced SDTI interface pre- results is lower error rates and a higher age requirements. serves full picture and sound quality chroma to noise ratio. by eliminating the signal degradation that is a by product of the compres- ■ A tough cassette shell and sealed structure sion/decompression process. assure durability and prevent dust or other particles from entering. The cassette also ■ SDTI includes an Error Correction Model No. R/P Time Length features a reel-lock mechanism that pre- function that assures high reliability vents tape sagging and a slide-type erase- L-Size AJ-5P92L 184 min. 377 m even over distances of 200 meters. prevention mechanism to protect against AJ-P126L 126 min. 259 m ■ Quasi-normal playback function lets mishaps. AJ-P94L 94 min. 194 m you monitor Video and audio signals ■ Binder uses a high polymer that helps pro- AJ-P66L 66 min. 137 m at normal 1x speed as a check when tect the magnetic layer and assure excellent AJ-P34L 34 min. 72 m transferring data. Provides composite durability, even with repeated usage. AJ-CL12L Cleaning Tape video and XLR analog audio monitor output. M-Size AJ-P66M 66 min. 137 m ■ On-screen setup allows a number of AJ-5P92L 3-Hour Tape: AJ-P46M 46 min. 96 m initial settings to be quickly changed. Designed to meet the long play demands of AJ-P33M 33 min. 70 m The display offers a simple, straight- EFP field acquisition on DVCPRO 50 and AJ-P24M 24 min. 51 m forward control panel and a host of feature film playback on DVCPRO, this tape AJ-P12M 12 min. 27 m functions. offers 92 minutes of recording and playback AJ-CL12M Cleaning Tape at DVCPRO50 resolution and 184 minutes ■ Compact (4RU) for easy installation. at DVCPRO(25) resolution.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 P ANASONIC AJ-DE77 ‘NEWSBYTE’ DVCPRO High-Speed Non-Linear Editing System Featuring a built-in 4x DVCPRO VCR for uploading and downloading at 4x normal speed, the AJ-DE77 virtually eliminates picture quality degradation, dramatically short- ens editing time and requires less installation space than a conventional non-linear edit- ing system. Suitable for a variety of broadcasting and production applications, especially time-dependent news and sports programming.

FEATURES

■ Built-in DVCPRO VCR for uploading ■ The AJ-ED77 uploads, edits and down- DVCPRO and downloading footage, reduces costs loads DVCPRO data in its original com- and saves space by eliminating the need for pressed form. Because there is no decompres- an external VCR. The system also includes sion process, there is virtually no loss of a built-in . Data from a picture or sound quality. DVCPRO tape can be uploaded to the AJ- ■ Equipped with multiple inputs and out- DE77 as easily as as floppy disc. ■ puts including analog composite and com- The AJ-ED77 can be set to automatically ■ Data is uploaded and downloaded between ponent video, XLR-balanced audio. Has upload, only scenes marked by the Picture the built-in VCR and hard disk at 4x nor- Options for SDI, SDTI and AES/EBU Link Function. Found on higher end cam- mal speed. This significantly shortens signals is available. corders like the AJ-D810, the Picture Link preparation work — a big advantage over Function saves an icon picture, time code ■ The system has four audio channels, plus conventional non-linear editing systems. and camera data for each recorded scene, built-in functions such as audio-split, V- and lets you mark each scene. The Picture ■ Records data using the same compressed fade and cross-fade editing. This makes it Link data is then written onto the tape, 234 digital signals as DVCPRO. The internal possible to add narration or background and viewed when the tape is loaded into 24 GB hard drive can store 72 minutes of music to a DVCPRO source (2-channel) the AJ-DE77. Upload only the scenes you video and six hours of audio. and preview it in real time. want for a tremendous time saving.

AJ-DR7000 DVCPRO Server The compact AJ-DR7000 provides up to 90GB (six hours of recording) hard disk storage of DVCPRO digital video and audio. SDTI input and output allow uploading and downloading of fully compressed DVCPRO data at 4X normal speed. The AJ-DR7000’s fast, digital operation brings higher speed and picture quality to every step of the broadcasting process, from news production to on-air broadcasting. Can also provide a commercial cache for automatic broadcasting, allowing applications such as, on-air time shifting and video-on-demand.

■ SDTI input/output make it possible to ■ Equipped with four independent input ■ RS-232 interface for PC control transfer data at 4x speed between several and output channels, and either of three ■ 6 RU high, 19-inch rack mountable AJ-DR7000’s, or between the AJ- (SDI, SDTI, analog composite) optional DR7000 and the AJ-DE77 or AJ-D780. interface boards can be inserted for each. ■ Equipped with ten 18 GB hard drives, ■ Each channel is equipped with an RS-422 Optional Interface Boards the AJ-DR7000 allows up to 12 of port. Odetics and Louth protocols are ● AJ-YAC7000 SDTI Board recording. An optional external RAID supported for on-air control, giving you ● AJ-YA7100 STI Board can also be connected for even more the same type of control found on VCRs. ● AJ-YA7000 Analog Composite Board time.

Used Equipment Bought, Sold and Traded P ANASONIC AJ-D90 DVCPRO/DVCPRO50 Dockable VCR The AJ-D90 is a dockable DVCPRO50 VCR that converts your camera into a 50 Mbps/4:2:2 digital component recording system. DVCPRO50’s high recording rate of 50 Mbps allows recording of 4:2:2 digital component video signals at a low

3.3:1 compression ratio. For added versatility, the AJ-D90 features switchability DVCPRO between a DVCPRO 4:1:1 signal and the DVCPRO50 4:2:2 signal. This means you can also record in the DVCPRO (25 Mbps) format for longer recording time.

■ Offers 4:2:2 signal processing, digital ■ Offers easy setup with on-screen display. video data rate of 50 Mbps, 3.3:1 DCT- Many parameters can be set and checked based compression, and 16-bit 48 kHz via the viewfinder or an external monitor; ■ Very compact and lightweight it weighs a sampled channels (four channels in also incorporates Digital hour meter. little over six pounds and draws less than DVCPRO50 and two channels in 15 watts of power. ■ One-touch Record Review facilitates play- DVCPRO) of digital audio. back of the last segment recorded. ■ Additional features include phantom ■ Play back pictures in monochrome on the power supply, built-in monitor speaker, ■ Built-in SMPTE Time Code generator viewfinder, or in full color on an external stereo mini jack (x1) for audio monitor- allows selection of Free Run/Record Run TV monitor via the VIDEO OUT termi- ing, Time Code In/Out (BNC x2), a large and DF/NDF, as well as User-Bits. nal, allowing a field team to check record- LCD multi-display, and external DC ed pictures on-site or send a microwave ■ Comes with an Anton/Bauer Gold Mount In/Out connector. 235 transmission. plate installed. ■ Docks directly to the Panasonic WV-F565 ■ Two audio mic input terminals (XLR) ■ Using DVCPRO medium size cassettes, you to form a superb camcorder. You can also allow recording of two channels of superb get a maximum record time of 60 minutes dock the AJ-D90 to Sony DXC-type cam- digital sound. An analog cue signal can in DVCPRO, 30 minutes in DVCPRO50, eras with the optional AJ-YA90SPP or to also be recorded onto a linear track for thus allowing emphasis on higher picture Sony BVP-type cameras with the optional editing convenience. quality or longer recording time. AJ-YA90SBP, docking adapters.

AW-F575 High Performance 1/2-inch 3 FIT-CCD DSP Camera– Ideal for Docking to the AJ-D90

The AW-F575 is a high-performance 1/2˝ HS-FIT 3-CCD camera that is the perfect partner for the AJ-D90 DVCPRO50. Docked to the AJ-D90, the AW- F575 delivers uncompromised reliability and seamless system design for demanding acquisition and production applications.

■ The AW-F575 utilizes three high-sensitivity (HS) 1/2˝ 400,000 ■ Incorporating advanced 10-bit digital processing, the AW-F575 pixel FIT CCDs to produce 850 lines of horizontal resolution, a achieves a S/N ratio of 65 dB (with Digital Noise Reduction on) high sensitivity of F8 at 2000 lux, a minimum illumination of and 60 dB when the camera's gain setting is at +9 dB. Five 0.5 lux, and less smear - while maintaining a wide dynamic adaptive scene files (two defined by the user, plus Wedding, range (comparable to 2/3˝ CCDs). Indoor Party and Outdoor modes) respond to various critical shooting situations. ■ “Night-Eye” mode switch automatically simulates +36 dB Gain by +30 dB boost, enabling a remarkably low minimum scene ■ Includes an array of 58 digital processing adjustments that illumination of 0.5 lux. provide high reliability and stability and make the camera extremely easy to operate.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC DIGITAL-S For the last ten years, the broadcast and production industry have exploited the superb quality, ease of handling, consistency, systems flexibility, and computer compatibility of digital media. More pow- erful and more flexible than its analog counterpart, digital video offers a breathtaking range of options backed up by quality that stays true through multiple generations. Seamless integration with computer editing and graphics tools, transparent picture quality and superior precision make digital video a dream come true for video professionals. Introduced two years ago, Digital-S is the breakthrough format DIGITAL-S that delivers the digital power you need in the field and in the editing suite, at a price you can afford. Not just another digital format, Digital-S was developed after years of intensive research and careful analysis of industry needs. Taken into consideration was the need for the highest quality video and audio that would also hold up through multiple generations, future compati- bility with disk-based non-linear editing systems, longer recording/playback times, compatibility with current systems, easy operation, and above all, affordability. Digital-S meets these requirements and more. It offers virtually infinite improvement of picture quality and multi-gener- ation performance. It provides very high quality, yet economical recording; and full integration into any system— digital 236 or analog. Advanced features such as Pre-Read place it light years ahead of all competing formats . It even provides S- VHS playback with the BR-D51, enabling you to work with current tape libraries. Combining high-quality digital recording with outstanding cost/performance, Digital-S can and will satisfy the needs and requirements of the most demanding video professional, as well as corporate, educational, industrial and broadcast users.

The Digital-S Infrastructure

1/2-inch Tape Format: Unlike the Panasonic and Sony 6mm DV-based formats, DIGITAL S uses l/2-inch tape. The use of 1/2-inch tape gives DIGITAL S several distinct advantages over the other (smaller) digital formats. First, it enables the use of a more robust video processing system with Last, using 1/2-inch tape ensures you don’t have to make the same less compression. 4:2:2 8-bit component processing, the preferred choice compromises that are made with the DV-based formats. For instance, among industry professionals, assures the highest resolution, as well as Digital-S records 2 linear audio tracks (for cue purposes), as well as a color detail. The video data rate is maintained at 50 Mbps. Images are control track. The data tracks are wider and longer, resulting in more superior to any analog component VCR or 4:1:1 digital format. “robustness’’ and allow more information to be recorded. It is less prone to dropouts. Digital-S provides two and four independently Second, longer tape means longer recording time. All Digital-S editable digital audio tracks (16 bit, 48k Hz). There is also room for recorders, camcorders and players offer running times up to124 minutes two lines of uncompressed video (useful for closed captioning, etc.). per cassette. The BR-D92 even features a mode that lets it record up to 150 minutes on a DS-124 cassette. Despite the long record times, The tape itself is a high-density metal particle tape similar to that Digital-S units never compromise quality—maintaining 4:2:2 sampling, used in the W-VHS HDTV system. Appearance and dimensions of 3.3:1 compression and a 50 Megabit/second data rate throughout. the cassette are the same as those of VHS. However, the cassette housing features a newly-developed dust-proof structure which Third, it allows current S-VHS users forward compatibility with their increases the life of the tape, and a safety system that prevents loading present investment. By incorporating the 1/2-inch design, the BR-D51 it into conventional VHS/S-VHS decks. is capable of accepting standard analog S-VHS recorded tapes, thus allowing use of existing tape libraries.

We Ship Worldwide JVC DIGITAL-S

Drum Structure Tape Transport Unlike a conventional drum structure (consisting of an upper rotary The Digital-S tape transport is adapted from the proven 1/2-inch and a lower stationary drum), the 62mm head drum of Digital-S tape transport and mechanisms used in professional JVC VCRs. employs a tri-layer structure (upper stationary drum, middle rotary, Tape speed is set at 57.8 mm/s, resulting in a maximum recording and a lower stationary drum) to maintain S-VHS playback capability. time of 104 minutes (124 minutes when used with a thin-type

tape). Drum rotation speed is 4500 rpm. DIGITAL-S DIGITAL S Head Assembly For precise tracking and alignment, Digital-S has an auto-tracking servo system which utilizes tracking signals imbedded into the rotary tracks with newly-developed sapphire guide roller flanges and 7-mm diameter guide poles. By using tape guides with sapphire, as opposed to ceramic or steel, they maintain perfect alignment of the tape path for far longer. And realizing how superior precious stones are, Digital-S also employs a sapphire tape cleaner, which provides an edge that keeps tapes amazingly clean. As an extra precaution, there is an automatic head cleaner that wipes the heads whenever a tape is loaded or ejected.

Recording System Digital-S employs the azimuth {±15°) recording system to suppress crosstalk from adjacent tracks. Flying (rotary) erase heads are incor- porated to erase-and-record each segment and helical track, assuring 237 reliable and frame accurate insert and assemble editing. With the head drum size being compatible to S-VHS, this mode of operation delivers very low inertia for precise control when switching The modulation system uses S-INRZI/24-25 modulation with the from Digital-S to S-VHS rotation speeds. PR4 detection method to efficiently capture large amounts of video and audio data in the smallest amount of space. High recording Recording and playback heads on the middle drum make stable tape density is achieved utilizing a track width of 20um (microns) movement possible even at 4500 rpm (2.5 times faster than VHS). It a 2-bit length of 0.587um, and recording clock frequency set at 49.5 also improves track linearity by providing a more precise tape posi- MHz. tioning relative to the drum. An electronic tape tension control around the drum has been established at a level that is optimized for The system uses a two-track, parallel recording system with a pair of both the Digital-S mode and the S-VHS mode. heads on each side of the drum and aligned exactly opposite each other (180°). One frame of video is recorded on 10 tracks with the The three drum design also improves channel separation by splitting video area on either side of the audio area. Track-width is an extra the digital recording and playback rotary transformer between the wide 20 microns to ensure stability and reliability. The longitudinal upper and lower drums. This means that the record and playback sig- tracks at the edges of the tape include two auxiliary (cue) Audio nal transmission lines from the heads are divided and passed through tracks and the control track (CTL) pulses. The two linear cue tracks both the lower and upper portion of the drum to maintain sufficient permit audio to be heard while shuttling at high speed in either isolation and enable preread editing. direction. The Subcode area stores two selectable uncompressed lines The rotary drum itself is very narrow. This eliminates thicker air film of video, which are suitable for recording closed caption or other at the drum inlet, ensuring stable head-to-tape contact and optimized information located in the vertical blanking area. track linearity. The inner drum is tapered in order to reduce tape dam- age, powder drop, wear, and burn at the drum area. The upper and lower sections of the drum, as well as the tape guide flanges located at the drum entrance and exit, are made of an aluminum alloy material with high silicone content. This greatly reduces wear and minimizes tape path change, thus maintaining tape pattern linearity for an extended period. Long head service life is ensured, even with metal particle tape, by use of a tape cleaner to prevent particle accumulation that can cause head wear. In addition, the relationship between heads has been optimized for greater precision, and the shape of the edges on the rotating mid- dle drum are refined for less wear. Users routinely report getting more than 5,000 hours of head drum life on Digital-S VCRs and some have even reported over 10,000 hours.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC DIGITAL-S Highest Possible Image Quality Digital-S uses sophisticated techniques, such as 4:2:2 component sampling and DCT-based Intra-Frame Encoding, to achieve and maintain the highest possible image quality. Plus, it pumps out horizontal resolution of 720 pixels or 540 TV lines. Working together with wide-band component recording, these specifications enable Digital-S to reproduce the finest color details and subtlest contrasts, while significantly minimizing artifacts.

4:2:2 Signal Processing 4:2:2 sampling is required for high quality chroma keying and com- positing. It is also the preferred sampling when creating material that Digital-S provides an image so outstanding that it is far superior to is to be distributed on any format including DVD, any existing analog component system, any 4:1:1 digital format, direct satellite and DTV broadcasts.

DIGITAL-S and it even rivals high priced, high-end digital component VCRs, like Digital Betacam. The outstanding picture quality of Digital-S is derived from 4:2:2, 8-bit component processing, the industry stan- 3.3:1 Compression dard for resolution and color. 4:2:2 adds a richness and warmth unobtainable with any lesser format and ensures the highest resolu- With a myriad of compression systems on the near horizon, interfac- tion and finest color detail over multiple generations. ing will become a significant issue. It is a fact that all compression systems generate artifacts that compound when signals are trans- Digital-S applies 4:2:2 image sampling as specified in the ITU-R ferred between systems. So it was critical for JVC to keep the BT.601-4 Standard and records the resulting 4:2:2 component digi- amount of compression to a minimum. Bearing this in mind, tal video signals on video tape. Of the several color component sub- Digital-S employs a sophisticated DCT (Discrete Cosine Transform) sampling methods, experts acknowledge that 4:2:2 image sampling based algorithm that applies a very mild 3.3:1 compression ratio, is required to preserve the color component sharpness and resolution resulting in a data recording rate of 50 Mbs. These specifications necessary for the best digital component picture quality, especially, allow Digital-S to sample and recreate the finest colored details of an when it comes to the rigors of multi-generation editing, chroma key- 238 image, with the fewest amount of artifacts and picture distortions. ing, special effects, matting and other color resolution dependent post production processes. DCT-based Intra-Frame compression was selected to achieve the best compression efficiency, and because frame accurate editing, The 4:2:2 method samples color components “Cr” and “Cb” at good error correction and concealment was desired. The data rate is every second luminance {“Y”) sample on every horizontal scanning set at 50 Mbps, which results in a 3.3 to 1 compression ratio. This line, as specified by ITU-R BT.601. In comparison, 4:1:1 color results in excellent picture quality for multi-generation dubbing, and component sub-sampling results in reduced color component resolu- full two hour record/playback capacity . tion half that of Digital-S.

Why Such High Quality?

There is a good reason to employ the highest quality acquisition A joint SMPTE/EBU task force made extensive evaluations of and recording system you can afford. Low cost consumer digital different compression systems whey they tested DVCPRO, (DV) systems have “raised the bar” for professional producers. Betacam SX and DIGITAL S (D-9). The task force concluded Yesterdays Betacam SP standard of quality—roughly equivalent to that only DIGITAL S could stand up to the quality of Digital todays DV, DVCPRO and DVCAM formats—limit the type of Betacam through the rigors of critical studio applications and work that you can do and how much you can charge. Newer digi- that DIGITAL S was “judged suitable for mainstream broadcast tal television systems (DVD, DTV, DBS) and file servers are applications”. In some tests, DIGITAL S even exceeded the per- designed to work best with artifact-free 4:2:2 signals. formance of Digital Betacam. While 4:1:1 DV quality may be High quality 4:2:2 systems have been around for years—D-1, D- acceptable for some low complexity acquisition, the industry 5, Digital Betacam—but all too expensive for mainstream use. trend is toward higher quality imagery and Digital-S meets that Even DVCPRO 50, offering 50 megabyte image quality similar requirement most cost effectively. to Digital-S, is expensive and has severe limitations with 1/4-inch tape. Only Digital-S offers high-end quality throughout its prod- uct line and makes high quality production available to everyone.

24 Hour Fax: 800-947-9003 ■ 212-444-5001 JVC DIGITAL-S

4:2:2 vs 4:1:1 Signal Processing

The active picture in an NTSC (525 lines/60 fields) system is 720 pixels by 482 lines. An uncompressed 4:2:2 source data rate is approx- imately 166 Mb/s. The following equation shows how this data rate is determined: Y or CR or CB: ? Pixels /Line x 482 lines /Frame x 30 Frames/Second x 8 bits/Pixel DIGITAL-S 4:2:2 Processing 4:1:1 Processing Y Luminance: 720 x 482 x 30 x 8 = 83 Mb/s Y Luminance: 720 x 482 x 30 x 8 = 83 Mb/s CR Component: 360 x 482 x 30 x 8 = 41.5 Mb/s CR Component: 180 x 482 x 30 x 8 = 20.75 Mb/s CB Component: 360 x 482 x 30 x 8 = 41.5 Mb/s CB Component: 180 x 482 x 30 x 8 = 20.75 Mb/s

4:2:2 Total Bit Rate =166 Mb/s 4:1:1 Total Bit Rate =124.5 Mb/s (Mb/s =Megabits per second)

Digital-S does not eliminate color component samples from the The uncompressed 4:1:1 source data rate is approximately 124.5 4:2:2 ITU-R BT.601-4 component digital video source signal. Mbps — reduced by discarding half of the color component sam- Digital-S preserves all samples and color details through the entire ples (and color detail and resolution in the picture). Once discard- input/output and record/playback processes. Digital-S compresses ed, the color detail information can never be recovered or accu- the 4:2:2 signals directly at a light 3.3 to 1 compression ratio, rately reconstructed and reproduced. Almost 42 Mbs is eliminated resulting in a 50 Mb/s (166 divided by 3.3) video/audio data rate in the conversion from 4:2:2 to 4:1:1, even before compression is 239 for recording on video tape. applied to the signal.

Preread Video Editing (Available with the BR-D85 and BR-D92 Only )

Video Preread, never before available on a system in this price range, enables the recorder to play back a digital signal on a tape, while almost simultaneously recording a new signal in its place. The playback actually occurs a fraction of a second before the recording, so the signal being played can be processed or modified and then re-recorded. Independent heads are provided for recording and playback, with playback preceding the recording head by approximately four frames – equivalent to the delay time caused by the signal process- ing. In a typical application, the playback head reads data from the tape, which is then decompressed. The resulting signal is fed through the analog or digital outputs of the recorder to a switcher or keyer, where it is modified with a special effect or graphic. The modified signal is then routed back into the VCR, compressed, and then recorded on exactly the same spot on the tape. The record head’s position on the drum is actually 1mm lower than the play head to account for tape movement. Using video from the play- back head as a source in the editing system opens up many creative possibilities. A simple two-machine editing system can perform A/B Roll effects with the ease of a cuts-only system. A single BR-D85 (instead of the usual two) can create composite images, or add titles to a program. Graphics can be layered onto a video scene with multiple edits. And since the multi-generation video quality is so high, there is no visible loss, even when going down over a dozen layers. 4:2:2 resolution assures that keys and digital effects will be sharp and natural looking. There is no limit to the length of a Preread edit. It can be the entire length of the tape, if desired. Preread works with both analog and digital inputs/outputs, allowing users with existing Betacam SP or S-VHS systems to add a single Digital-S preread recorder to achieve these stunning effects with minimal investment.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC DY-700 1/2-inch 3-CCD Digital-S Camcorder The DY-700 combines three 1/2˝ CCDs with the uncompromising quality of Digital-S, to deliver broadcast-ready recordings of incredible fidelity. In addi- tion to superior resolution, it offers the exceptional sensitivity of JVC’s acclaimed LOLUX mode, advanced exposure and white balance control, Variable Scan, 10x Picture Search, Heavy-Duty Transport mechanism and a host of opera- tional conveniences, making it ideal for both studio and field applications. DIGITAL-S FEATURES

High Performance Automatic Functions Additional Features ■ ■ ■ Three 1/2” CCDs deliver an outstanding Losing a few seconds to set up can some- Variable Scan function allows recording 750 lines of horizontal resolution, while times mean losing a shot. When Quick of computer monitors without the normal JVC’s innovative micro-lens technology Record mode is turned on, the camera is flicker. Shutter speed increments can be ensures efficient light conversion with a set to Auto Iris, even if the lens is set to set in 305 steps from 1/60.1 to 1/208.4 of sensitivity of F8 at 2000 lux and a superb manual. The Automatic Level Control a second to precisely match the monitor’s S/N ratio of 62 dB. (ALC) with Extended Electronic Iris (EEI) scan rate. is also activated, providing variable gain ■ ■ Viewfinder displays essential information, LOLUX mode for shooting when there is and variable shutter, allowing continuous including audio levels, accumulated or almost no light. Capture superb pictures shooting from dark indoors to bright out- 240 remaining recording time, VCR operation, with excellent color balance at just 1.5 lux doors without the need to change Gain, battery voltage and tape remaining time. illumination. By combining electronic Iris or ND filter. Gain boost and unique dual pixel readout ■ Remote control connector (RS-232) allows ■ Full Time Auto White (FAW) circuit auto- technology, LoLux mode is achieved with remote record start/stop operation via matically tracks color temperatures. This almost no increase in noise. wired remote control. Using the RS-232 allows continuous shooting from incandes- interface you can also check the VCR sta- cent to fluorescent to outdoors without Audio tus without interfering with camera opera- adjusting white balance or changing the tion. When the request is sent diagnostics ■ Records two independent, editable 16-bit, filter wheel. 48 kHz digital audio tracks and two linear are run to check for failures such as head ■ cue tracks for monitoring (during search). In addition to ATW, an Auto Black circuit clogging and error rate. ensures perfect black balance under chang- ■ Menu system lets you switch or set most ■ In addition to camera mounted mic, two ing environments. No need to interrupt basic functions, while referring to the external mics can be connected via rear shooting to rebalance. XLR connectors. Mic inputs also supply counter or on-screen back-lit LCD display. ■ 48v phantom power which can be Multi-Zone Iris Weighting system gives And, because the menu system is hierar- switched off when not in use. priority to objects at the central and lower chical, pressing one of the direct main portions of the picture for accurate Auto access buttons lets you go directly to the ■ Side-mounted speaker lets you monitor Iris exposures under any condition, even if menu you want. audio in playback and recording modes a bright subject moves into the picture. ■ Available with two types of viewfinders: without headphones. The speaker also ■ VF-P115– A 15-inch CRT with 500 lines of delivers audible warnings. SMPTE Time Code generator records time code in the subcode area. The gener- horizontal resolution. In-Camera Editing ator can be slaved to existing time code on the tape, or to an external master Time VF-P116– Broadcast viewfinder, provides ■ Built-in switchable Automatic Editing Code generator for multi-camera shooting. 600 lines of horizontal resolution, external Function ensures smooth cuts with mini- The camera also records time code data adjustable peaking, 4 LED tally and a larger mal distortion, while the Quick Review corresponding to date and time eyepiece. function lets you quickly and easily check the footage just shot. Also offers high The DY-700 incorporates all the powerful features you’ve come to speed picture search of up to 10x normal expect from a high-end JVC camera—in a durable package built to speed in forward and reverse. withstand the pounding of service in the field.

7-Day Customer Satisfaction Guarantee JVC DY-700

DY-700 SPECIFICATIONS CAMERA SECTION VTR SECTION Image Pickup Device: Minimum Illumination: Audio: Time Code: Three 1/2˝ IT CCDs 1.5 Lux with f/1.4 2-channel PCM, 48 kHz, Input/Output: BNC

(380,000 pixels each) Horizontal Resolution: 16-bit, each channel editable DIGITAL-S 750 Lines (Luminance) (Also has two cue tracks). Power Consumption: Color Bars: 40 watts SMPTE type White Balance: Audio Input: Optical Filter: 2 Auto White Memories, Camera: -20 dB, balanced Weight: 18.7 lbs. with Lens, Battery, 3200K, 5600K, 5600K+ND 1 Preset and Full Time Auto Line: -60 dB/+4 dB balanced Viewfinder Sensitivity: S/N Ratio: Audio Output: f/8 @ 2000 Lux 62 dB Line: -6 dB, unbalanced DC Input: Headphone: Mini jack 12v DC (11 to 17v DC) Gain: Variable Scan: 0, +9dB, +18dB, ALC, LoLux Frequency Response: 60.1Hz to 208.4Hz 20Hz to 20kHz

Optional Accessories for the DY-700 Canon YH14X7.3K12 MV-P612 Stereo Microphone: 1/2-inch 14:1 Servo Zoom Lens Attaches to the DY-700 via 6-pin connector and provides stereo input. (KA-A70 mic 241 Canon YH18X6.7K12 holder is required). 1/2-inch 18:1 Servo Zoom Lens KA-A70 Microphone Holder: Fujinon S14X7.5B12 Allows most barrel-type microphones to be 1/2-inch 14:1 Servo Zoom Lens AA-P250 used with the DY-700 Fujinon S19X6.5B12 CB-27: 1/2-inch 19:1 Servo Zoom Lens Shipping/Carrying Case for DY-700 HZ-FM13: AA-G10 NB-G1: Rear Focus Controls for Fujinon Lenses 2.2 Ah Nicad Battery for DY-700 HZ-FM15: AA-P250 Battery Charger/AC Adapter: Rear Focus Controls for Canon Lenses VF-P400 Charges one NB-G1 battery at a time. Can HZ-ZS13B: Rear Zoom Servo Controls also power the DY-700 via AC. Includes for Canon and Fujinon Lenses 4-pin XLR 15’ DC cable. VF-P115 1.5-inch Economical Viewfinder AA-G10 AC Adapter/Multi-Charger: HZ-FM13 Charges up to 4 NB-G1 batteries sequen- VF-P116 tially. Can also power DY-700 via AC. 1.5-inch High Performance Viewfinder Includes 4-pin XLR DC cable. VF-P400 4-inch Studio Viewfinder YH14X7.3K12

DY-700 Packages

Camera Package (#JVDY700UVF5) Camera Package (#JVDY700UVF6) DY-700 1/2˝ Digital-S Camcorder (No Lens), DY-700 3CCD 1/2˝ Digital-S Camcorder (No Lens), VF-P115 1.5˝ Viewfinder, Microphone, Tripod Plate VF-P116 1.5˝ High-Res Viewfinder, Mini Microphone, Tripod Plate,

14:1 Lens Package (#JVDY700UL14C) 14:1 Lens Package (# JVDY700UL14F) DY-700 with Canon YH14 X7.3K12U 14:1 Servo zoom lens, DY-700 with Fujinon S14X7.5B12 14:1 Servo zoom lens, VF-P115 Viewfinder and quick-release tripod plate (no case) VF-P115 Viewfinder and quick-release tripod plate (no case)

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC DY-90 2/3-inch 3-CCD Digital-S Camcorder Designed and engineered from the ground up, the DY-90 is an all-digital, unitized camcorder that offers superior performance and extremely good ergonomics. Unlike other camcorders that force you to accept either a bulky camera, inferior performance or limited Record time, the DY-90 compromises on nothing. Equipped with three 2/3˝ IT CCDs, it delivers the equiva- lent of 850 lines of resolution, sensitivity of F11 at 2000 lux and a 62dB S/N ratio. It also incorporates Full Auto

DIGITAL-S Shooting Mode (FAS) with continuous Automatic White Balance and JVC's exclusive LoLux mode —outstanding low light performance down to 0.75 lux. The DY-90 incorporates powerful 14-bit DSP (Digital Signal Processing). 14-bit DSP enhances natural details, elimi- nates spot noise and gives exceptional reproduction of dark areas, highlights and highlight color. Additional features include two scene files for saving advanced custom camera settings in addition to the standard setup. Of course, clear rich audio is a must — and one of the most sought after features is 4-channels of audio. The DY-90 obliges by recording four independent and editable 16-bit, 48 kHz PCM audio channels. A shooter’s dream, camera operators on the go will appreciate the DY-90’s Automatic Editing Function (AEF) for 242 smooth cuts; 4x Picture Search in both directions; and color video playback for monitoring. Made of space-age materials and construction, the DY-90 is the lightest, sturdiest and most maneuverable Digital-S camcorder ever. Weighing just 15.4 pounds (7kg.) with lens, viewfinder, battery and tape, the DY-90 still employs a rugged, die-cast chassis, ceramic tape guide rollers and sapphire flanges for a long life. It also sports a durable, reliable center rotating head design and has low power consumption for longer battery life.

FEATURES

Digital Signal Processing for Superior Image Quality

■ The DY-90 is a fully integrated cam- ■ Applies JVC’s DSP with advanced 14-bit ■ When activated, the Lolux mode increas- corder which captures, processes and video processing to bring out natural es sensitivity with almost no increase in records only digital signals for studio- details, eliminate spot noise and accu- noise. Lolux lets you capture high-quality quality acquisition. The result is sharply rately reproduce dark areas. video footage with excellent color balance improved picture sharpness and image at just 0.75 lux minimum illumination. ■ Delivers remarkably true reproduction of quality. the entire 600% dynamic range of the ■ Multi-Zone Iris weighting system gives ■ Three high-density 2/3˝ IT CCDs pro- CCDs to produce uncompressed fine priority to objects at the central and vide exceptionally high picture sharpness detail in shadow areas, as well as full nat- lower portions of the picture for accurate of 850 lines of horizontal resolution. ural color and detail in highlights. This is Auto Iris exposure under any condition, accomplished in part because signals are even if a bright subject moves into the ■ JVC’s innovative Micro-Lenses, support- processed at 14-bit resolution to give picture. ed by a large light shield, reduce reflec- essential DSP headroom, and by a multi- tions and light leakage for minimal ver- ■ Heavy-duty tape transport system and stream parallel digital pipeline, processing tical smear. Ensures highly efficient light die-cast magnesium chassis ensure at 40 MHz, creating an ultra-smooth conversion with a sensitivity of F11 at durable, rigid support for both mecha- gamma curve calculated using a true log 2000 lux. nism and electronics. scale algorithm.

We are on the web at: www.bhphotovideo.com JVC DY-90

Automatic Functions User Friendly Design ■ Full Auto Shooting (FAS) Mode provides ■ Ergonomically designed for maximum ■ Die-cast magnesium body offers the bene- point-and-shoot ease of operation, letting operator comfort and utility. All switches fits of exceptionally low weight (9.7 lbs. you simply zoom, focus and press the are logically located for precise, error-free without accessories), with improved rigid- Record button. Activating the Full Auto operation. Also offers sharply reduced ity and durability for professional use.

Shooting sets the camera to the Auto Iris drum noise for quiet operation. DIGITAL-S Mode, even if the lens is set to Manual. Automatic Video Level Control (ALC) is Conveniences also activated, along with Extended ■ LCD display system let you switch or set ■ Variable Scan function allows flicker-free Electronic Iris (EEI) and Full Auto functions, while referring to the counter shooting of computer monitors. Shutter White, which provide both variable gain or the on-screen display. Mode selection speeds can be set from 1/60.5 to 1/196.7 and variable shutter. Shoot continuously and initialization are also available via the of a second in 255 increments to precisely from a dark area to a bright area without menu display. Back-lit display supports match the scan rate of the monitor. changing Gain, Iris or ND filter. shooting in dark areas. ■ Back tally lamp lights to let you know ■ Accu-Focus activates the electronic shut- ■ Tape/Battery remaining indicator means that the camera is entering the Record ter for approximately ten seconds, forc- you always know exactly how much tape mode. It flashes during the transition to ing open the Iris. A s a result, the depth and battery power remains. the record mode and when an error is of focus is minimized, and the lens can detected in the camera. be focused quickly and precisely. ■ Continuous Auto Black (CAB) circuit assures perfect Black Balance in a chang- 243 ing environment without having to inter- Coming soon to a theater near you, rupt shooting. a wide screen version..the new DY-90W ■ Automatic Editing Function (AEF) lets you make smooth cuts with minimal dis- Call for Details tortion. ■ ALC (Automatic Level Control) with EEI (Extended Electronic Iris) allows continu- ous auto shooting in all light levels – no Additional Features need to switch gain settings or ND filter. ■ Genlock input enables a number of cam- ■ Highlight Chroma Processing maintains ■ Smooth Transition mode ensures a eras to be synchronized together for color saturation in highlights. The result smooth change with no jump in color or multi-camera shooting. is natural color reproduction, even in bright highlight portions of the picture. light level when manually changing gain ■ Viewfinder status overlay displays selected or white balance settings. information through the viewfinder, ■ Two SMPTE-standard time code genera- including audio levels, accumulated or tors record independent time code Audio remaining recording time, VCR opera- streams in the subcode area. The main ■ The DY-90 has four independently tion, battery voltage and the selected time code generator can be preset by you editable, high-quality, 16-bit, 48 kHz setup parameters. or slaved to either existing time code on the tape, or to a master time code gener- sampling digital audio channels, with a ■ Detail Correction function lets you ator for multi-camera shoots. . dynamic range of more than 80 dB. switch the mixture of in-band and out- ■ ■ A side-mounted speaker lets you monitor band correction to adjust the emphasis The secondary time code automatically audio in playback and record modes and produce a pleasing picture. records data corresponding to date and time of day. Digital-S editing VCRs accu- without headphones. ■ Black Stretch/Black Compress function rately read both time codes at any speed. ■ Newly-designed, the optional KA-A90U ensures accurate reproduction of Black ■ is an anti-vibration type microphone areas on the screen. A convenient Camera/VCR output selec- tor lets you switch between the image holder that enhances ease of use and ■ CCD Defect Correction function evalu- coming directly from the camera or from increases flexibility, while reducing noise. ates white defects with the lens closed, the VCR output. ■ Phantom power can be supplied to then stores their addresses in memory. ■ optional microphones via XLR connec- When the camera is turned on, the data is Using the Setup Box, scene file data can tors and switched off to each channel sent to the DSP for storage and real-time be transferred to other cameras to main- when not in use. correction. tain constant setup between cameras.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC DY-90 DY-90 SPECIFICATIONS CAMERA SECTION VTR SECTION Image Pickup Device: Minimum Illumination: Audio: Frequency Response: Three 2/3˝ IT CCDs 0.75 Lux with f/1.4 LoLux 4-channel PCM, 48kHz, 20Hz to 20kHz (380,000 pixels each) Horizontal Resolution: 16-bit, each channel editable Time Code Color Bars: SMPTE type Equivalent to 850 lines (Also has two cue tracks). Input/Output: BNC Optical Filter: White Balance: Audio Input: Power Consumption: Camera: -20 dB, balanced 3200K, 5600K, 5600K+ 2 Auto White Memories, 33 watts 1/6 ND, Star Effect Line: -60 dB/+4 dB balanced 1 Preset and Full Time Auto Weight: Sensitivity: Audio Output: S/N Ratio: Line: 0 dBs, Low impedance 15 lbs. with Lens, Battery f/11 @ 2000 Lux 62dB and Viewfinder

DIGITAL-S (XLR-5) balanced Gain: Variable Scan: Headphone: Mini jack DC Input: -3, 0, +6dB +9dB, +12dB 60.5Hz to196.7Hz 12v DC (11 to 17v DC) +18dB, ALC, LoLux

Optional Accessories for the DY-90 Canon YJ18X9.5BK12 MV-P615 Monaural Microphone: 2/3-inch 18:1 Servo Zoom Lens Attaches to the DY-90 via XLR connector Fujinon A19X8.7B12 (KA-A90 mic holder is required). 2/3-inch 19:1 Servo Zoom Lens MV-P616 Stereo Microphone: Fujinon A19X8.7BE12 2/3-inch 19:1 Attaches to the DY-90 via 6-pin connector (KA-A90 mic holder is required).

244 Servo Zoom Lens with 2X Extender AA-P250 HZ-FM13: Rear Manual Focus Control KA-A90 Microphone Holder: for Fujinon Lenses. Allows most barrel-type microphones to be used with the DY-90 HZ-FM15: Rear Manual Focus Control for Canon Lenses. AA-G10 NB-G1: (2.2 Ah) rechargeable nicad HZ-ZS13B: Rear Zoom Servo Control battery for DY-90 for Canon and Fujinon lenses AA-P250 Battery Charger/AC Adapter: VF-P400 VF-P115 Charges one NB-G1 battery at a time. Can 1.5-inch Economical Viewfinder also power the DY-90 via AC. Includes 4-pin XLR 15’ DC cable. VF-P116 1.5-inch High Performance Viewfinder AA-G10 AC Adapter/Multi-Charger: HZ-FM13 Charges up to 4 NB-G1 batteries sequen- VF-P400 4-inch Studio Viewfinder tially. Can also power DY-90 via AC. CB-27: Shipping/Carrying Case for DY-90 Includes 4-pin XLR DC cable. YJ18X9.5BK12

DY-90 Packages 18:1 Package (#JVDY90C) 19:1 Package (#JVDY90F) DY-90 Camcorder, VF-P116 1.5˝ High Performance Viewfinder, DY-90 Camcorder, VF-P116 1.5˝ High Performance Viewfinder, Canon YJ18X9BKRS 18:1 Lens, Mini-Microphone, Tripod Plate Fujinon A19X8.7BRM 19:1 Lens, Mini-Microphone, Tripod Plate,

18:1 Power Package (#JVDY90CK) Same as above PLUS— 19:1 Power Package (#JVDY90FK) Same as above PLUS— ● KA-A90 Microphone Holder ● KA-A90 Microphone Holder ● MV-P615 Microphone ● MV-P615 Microphone ● (2) IDX NPL-46 Lithium-ion Batteries with LED ● (2) IDX NPL-46 Lithium-ion Batteries with LED ● IDX KL-4 Plus 4-Ch. Sequential Charger with AC Power Supply ● IDX KL-4 Plus 4-Ch. Sequential Charger with Power Supply ● CB-27 Carrying Case ● CB-27 Carrying Case

We are on the web at: www.bhphotovideo.com JVC BR-D40 Dockable DIGITAL-S Recorder For literally the same price as an analog component recorder, the BRD-40 offers total support for all your acquisition requirements and gives you studio quality 4:2:2 component digital with JVC and other 3-CCD professional cameras. Features include complete analog interface with input/output connectors, bal- DIGITAL-S anced audio input and built-in Time Code generator. It also offers 10x picture search, built-in monitor speaker, a comprehensive backlit LCD display with tape and battery remaining indicator, and a self-diagnostic function.

FEATURES

■ Records two editable 16-bit, 48 kHz ■ Large, high contrast back-lit LCD displays ■ Generates and reads SMPTE LTC and digital audio tracks with two linear cue- time code, user-bits and CTL, as well as VITC Time Code, as well as User-Bits. tracks for monitoring during search. audio recording and playback levels, bat- Regen function is also included. tery condition, hour meter, operation Time/Date generator permits display of ■ Balanced-XLR audio input, switchable mode, tape remaining, self-diagnostics and real-time shooting data, independent of between camera, mic and line warning codes. The BR-D40 can be set for time code data. Two BNC connectors pro- ■ Built-in phantom power supply, as well Drop/Non-Drop frame, battery-type and vide time code input and output. battery remaining alarm time settings. as a DC output for supplying power to a 245 wireless microphone receiver ■ Monitor speaker for monitoring without Optional Docking Adapters headphones. Audible warnings are also heard through the speaker. The BR-D40 docks directly to the JVC KY-19, KY-27 and KY-D29 cameras and can dock to other brand professional cameras with an optional adapter. ■ Quick Review function to locate a specif- ic scene or check what you just shot. SA-S45 Docking adapter for the BR-D40. Allows the BR-D40 to dock to the Sony DXC-537/637D30 ■ Tape speed can be varied from still to ±6x times normal speed in Play/Search SA-S40 Stand-alone Adapter for BR-D40 mode, and ± 20x in FF/REW mode. With the SA-S40 attached, the dockable BR-D40 can now be used as a portable VCR for mastering or backup applications. A versatile accessory, the SA-S40 attaches directly and is ■ AEF (Automatic Editing Function) for secured with the BR-D40’s conventional carrying handle. smooth cuts with minimal distortion. ■ With a wired remote control you can ■ 26-pin and 14-pin connectors for ENG ■ Camera or manual triggering control Start/Stop recording from a dis- cameras (cable lengths up to100’) ■ Tally connector tance. An RS-232 cable can also be con- ■ Composite, S-Video, component input ■ Master/slave function allows use as nected for maintenance and inspection ■ via the RS-232 interface. Outputs composite, S-Video and audio backup VCR CH-1/CH-2

DIGITAL-S Dust-Proof Tape: High-resolution Digital-S signals are captured and preserved on a high density 1/2-inch tape featuring an advanced metal-particle formulation based on W-VHS HDTV technology. Tape speed is 57.8mm/s with a maxi- mum recording time of 124 minutes. No other digital media offers the length of record/playback time with the durability of Digital-S video cassettes.

DS-10 10 Minute Digital-S Tape DS-104 104 Minute Digital-S Tape DS-34 34 Minute Digital-S Tape DS-124 124 Minute Digital-S Tape DS-64 64 Minute Digital-S Tape DCL-5A Digital-S Cleaning Tape

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 JVC BR-D350/51 • BR-D750/80/85 Digital-S Editing Players and Recorders The Digital-S line is designed to meet a variety of applications. For powerful editing capability, there is the BR-D85 with pre-read and the basic BR-D80 Editing Recorder. For playback, the versatile BR-D51 with S-VHS playback will extend the lifer of your library. When econo- my is the issue, the BR-D350 Feeder/Player and BR-D750 Edit Recorder offer the very same exceptional 4:2:2 sampling and 50 Mbps per second—but at prices that resemble S-VHS machines.

DIGITAL-S Powerful Playback, Recording and Editing Features

Variable-Speed Playback Playback Functions Digital-S plays back noise-free pictures in ■ Playback error checking with LED status ■ Auto Tracking with Manual Mode. slow motion between ±1/3x normal without display. Sophisticated error correction cir- ■ Auto Rewind at the end of a tape. using moving playback heads like analog cuits correct for errors caused by VCRs. Variable-speed playback reads burst dropouts or miss-tracking . Using data ■ Automatic Repeat Playback when the data picked up by the scanner (upper head from the previous frame, an error conceal tape ends. This procedure is repeated drum) from the tape that is moving at search circuit hides errors that the correction continuously. speed. Consequently, video signals from dif- circuit cannot correct. ferent frames are combined to form single vis- ible frames during variable speed playback. 246 For best quality, the entire image must be Editing Functions rapidly renewed from a series of data. This is ■ Intra-frame compression recording ■ Search functions via the jog/shuttle dial done by dividing the picture into blocks and method allows frame-by-frame recording (except on the BR-D350/BR-D750) allow compressing the data from each image unit and editing - indispensable for animation footage to be viewed in color at speeds of block as fixed-length data. The compressed recording and frame accurate editing. up to ±32x The Jog dial is also used for lengths of data representing each image unit selection of menu setting items and data ■ Two independently editable 16-bit 48 kHz block are combined sequentially, correspond- setting in Time Code preset. ing to the order that they were scanned from, audio tracks (the BR-D52 and BR-D92 offer four 16-bit tracks). ■ System, SC and video phase can be adjust- to make up a single visible frame. ed on the front panel, while video level, ■ Two auxiliary audio (cue) tracks standard The compressed data length has to be shorter chroma phase, chroma level and setup than the burst length read from each track on ■ Slow-motion playback is Field or Frame level can be adjusted remotely via the 15- the tape, thus limiting search speeds. The selectable via the menu pin connector on the rear panel. compressed data length for each image block ■ Manual audio recording level adjustment ■ SMPTE LTC/VITC Time Code opera- is inversely proportional to search speed — (exclusively for analog sources) tion with user-bits. Recorders include a the shorter the data length, the faster the ■ REGEN mode which reads out the time maximum possible search speed. Conversely, Remote control via RS-422 protocol code recorded on the tape and allows you compression efficiency is directly proportional ■ External sync input accepts standard ana- to begin a new recording with the time to compressed data length. As it becomes log sync signals for reference. code, continuing from where it left off shorter, compression efficiency is reduced. In (Jam Sync). digital VCRs the minimum decodable data ■ Capstan Bump function for frame syn- ■ unit is called a Sync Block. In Digital-S com- chronization Counter Search lets you specify a tape position by zeroing out the counter, and pressed data length corresponding to the min- ■ User-definable preroll lets you set the time imum decodable data unit is kept as short as letting you go to the specified location at a for the VCR to back up before the indi- later time via FF or REW. VCR automati- possible, virtually the same as the Sync Block. cated edit point. Consequently, jog/shuttle search, functions in cally stops at the specified location. ■ a manner similar to that of an analog VCR. Linear control track offers a short lock-up ■ ORC (Optimized Record Current) auto Data rate for the entire image is set at a suffi- time – a stable picture is achieved quickly, setting analyzes the coercitivity of the tape ciently high level to compensate for the eliminating long prerolls and saving pre- to be recorded and automatically sets para- reduced compression efficiency. cious editing time. meters for optimum recording levels.

We are on the web at: www.bhphotovideo.com DIGITAL-S 247 JVC AX: (212) 444-5001 F • ffers the accuracy and precision of ffers the accuracy and precision udio monitor level adjustment udio monitor level dit point trim and cancel wo 8-digit time counters O time-code refer- and LTC VITC SMPTE enced editing. to con- you ports allow 4 separate GPI of external devices such as nect a variety and CGs. switchers, SEGs, audio mixers Comprehensive on-screen setup menu on-screen Comprehensive T E A ■ ■ ■ ■ ■ ■ On-Screen Menu HE PROFESSIONAL’S SOURCE (212) 444-6601 HE PROFESSIONAL’S T 1•800•947•9901 PHOTO - VIDEO - PRO AUDIO via RS-232 Interface ariable Motion Control (VMC) Control editing ariable Motion ou store all data for each edit, allowing a all data for each edit, allowing ou store wo jog/search dials with separate LED wo jog/search V motion memorywith 7-event when used Memory 98-Event VCRs. with Digital-S and ripple functions lets with renumber y list to be compiled and comprehensive Optional then performed automatically. easier. key pad makes edit data input even The RM-G820 also allows you to do you The RM-G820 also allows T counter displays Self-Diagnostic Function Function Self-Diagnostic permit easy access to a full array of professional functions, Digital-S VCRs use an On- VCRs functions, Digital-S permit easy access to a full array of professional ■ ■

Thanks to the RS-232 interface,Thanks to the RS-232 can you condition operating VCR’s check the When without interfering with operation. via the RS- command is sent the request run232C interface, diagnostic checks are rate, etc. for head clogging, error ifty items are selectable, including Color Frame, component out level, Noise Reduction, Noise out level, component selectable, including Color Frame, ifty items are esetting can be switched directly via the menu display. via the menu display. esetting can be switched directly To data is super- Menu memory. non-volatile VCR’s data in the system which stores Menu Screen imposed on the video monitor output. to set or switch most you This menu system allows selection and initial- Mode display. on-screen to the counter or basic functions while referring DIP switch functions normally requiring and even all possible via the menu display, ization are r F of external switches, it also the number reducing TBC. Besides Code and Time backspace, A full set of LED accidentally switched on or off. lessens the chance of function settings being mode On-Screen engaged. functions are that the desired you panel assure indicators on the front And, since the menu system is hierarchical, also provided. check and warning indications are menu. to go straight to the desired you buttons allows Access Menu one of the Direct pressing BR-D350/51 • BR-D750/80/85 BR-D350/51 ariable Motion Editing Controller Editing ariable Motion V

Digital Audio Digital

eadphone output with level control eadphone output with level igital-S records two or four inde- igital-S records fre- igital PCM with a sampling eview and Review functions eview and Review cording onto tape. cording CRs like the BR-D85 and BR-D92 , or finding cue points quickly dur- ead edit, the controller sends a com- ead edit, the controller esponse is 20Hz-20 kHz and esponse is 20Hz-20 kHz ell as all Digital-S machines. V performthe RM-G820 lets you A/B style player editing with only one source When initiating a pre- instead of two. r to play back a VCR the mand that allows a signal while simultaneously recording this tech- With new signal in its place. cre- layer upon can add layer nique, you ating dazzling special effects. edited without interfering with the Time and built-in SMPTE other, frame accuracy. Code ensures H permits monitoring of the audio sig- nals. A manual audio recording level A manual audio recording exclusively adjustment is provided for analog sources. F ing fast shuttle in either direction, two linear cue tracks that are there while the audio to be heard allow editing. D of 16-bit pendently editable channels D the ensure quency of 48 kHz to Frequency highest quality audio. r 85 dB. Digital dynamic range over before audio data is not compressed re When editing with pre-read equipped When editing with pre-read When editing, either channel can be When editing, either Pr

JVC brings sophisticated features and high performance to tape based editing brings sophisticated features JVC The RM-G820 was Controller. Edit systems with the easy-to-use RM-G820 that of the familiar cuts-only controllers with the same concept developed the RM-G820 unlike other products, But for years. been around have motion control high-end capabilities such as variable adds powerful for the BR-D85 and BR-D92 as is the ideal controller It and pre-read. w RM-G820 ■ ■ ■ ■ ■ ■ ■ JVC BR-D52/BR-D92 Top-of-the-Line Digital-S Player, Edit Recorder Meeting the demands of broadcasters and production facilities, the BR-D92 Recorder and BR-D52 Player offer features and performance previously found on only the most expensive VCRs. They both have four independently editable audio channels, while the BR-D92 offers front panel editing control capability and video preread capability. With these features, it all adds up to affordable, ultra high-end performance that makes these Digital-S VCRs the perfect solution for the media demands of the 21st Century.

FEATURES DIGITAL-S

4-Channel Audio With the BR-D92 and BR-D52, you can now access all BR-D92 Only four audio channels and enjoy much greater production Tiltable Front Panel Editing control for flexibility. Embedded in the Serial Digital Interface Recorder and Player (Swap Editing). Front (SDI), each channel can be controlled independently panel editing makes creative control easy. with separate recording (BR-D92 only) and playback. In Even with no editing controller connected keeping with JVC's commitment to backward compati- to the system, you can still accomplish bility, tapes made on 2-channel Digital-S VCRs can be high-performance editing - thanks to the played on the BR-D52/BR-D92. Earlier recordings can BR-D92's front panel editing control capa- also be enhanced simply by inserting additional channels bility. Player/Recorder Select buttons are

248 of audio. Furthermore, tapes recorded on the BR-D92 provided, and Time Code from the source can be played back on 2-channel (less CH 3/4) machines VCR can be displayed on the BR-D92's so you can mix the BR-D92 with other Digital-S mod- counter display. els, while retaining full quality throughout.

Additional Features

■ Digital audio slow (±1/3) speed capability ■ Front panel proc-amps for control of SC (not just video) and video phases, video level, chroma phase, chroma level, and pedestal level ■ Adjustable audio playback levels (not just record levels) ■ Remote TBC adjustment via 15-pin con- ■ nector (unlike other Digital-S machines Audible PCM sound in slow motion for they use the Sony protocol, so they are precise editing compatible with remote TBC controllers ■ Balanced audio monitor output like the the BVR-50). ■ ■ LTC Time Code with XLR-balanced I/O ■ Optional SDI video output with 4-chan- Four independently editable 16 bit, (BNC on other Digital-S decks) nel embedded audio 48 kHz PCM audio channels ■ Rate converter for 44.1 kHz and 32 kHz ■ Audio V-Fade Function Optional SDI (Serial Digital Interface) Boards for Digital-S VCRs ■ Built-in pre-read for layering and 2-machine SA-D50 SDI Output Board for the BR-D51 and BR- A/B Roll D350 ■ Wide pre-read window tolerance range of SA-D80 SDI Input/Output Board for the BR-D750, 5H BR-D80 and BR-D85 ■ Optional SDI (Serial Digital Video) SA-D52 SDI Output Board for the BR-D52 input and output with 4-channel SA-D92 SDI I/O Board for the BR-D92 embedded audio

7-Day Customer Satisfaction Guarantee JVC DIGITAL-S Specifications and Features at a Glance

BR-D92 BR-D85 BR-D80 BR-D750 BR-D52 BR-D51 BR-D350 Digital-S Player Player Player Recorder Recorder Recorder Recorder

Record/Play Time Up to 124 minutes with DS-124 tape Video Sampling/ Compression/Data Rate 4:2:2 Video Sampling 3.3:1 Compression 50 Mbps Data Rate DIGITAL-S Audio Sampling/Cue Tracks 16 bit/48kHz 2 Cue Tracks Audio Tracks 422242-D9/4-SVHS 2 Pre-Read Editing Yes Yes ————— Rate Converter (44.1 & 32kHz) Yes — — — ——— Adjustable Audio PB Level Yes — — — Yes — — Jog/Shuttle Yes Yes Yes — Yes Yes — Slow Motion (Video) ± 1/3 ± 1/3 ± 1/3 ± 1/3 ± 1/3 ± 1/3 ±1/3 Slow Motion (Audio) ± 1/3 — — — ± 1/3 — — Built in TBC/Frame Sync Yes Yes Yes Yes Yes Yes Yes TBC Control Function Yes w/Remote w/Remote w/Remote Yes w/Remote w/Remote 249 Repeat Playback From the beginning to the end of a tape (also Auto Rewind at the end of tape) Counter Search Yes Yes Yes Yes Yes Yes Yes Front Panel Editing Control Yes Yes Yes Yes Yes Yes Yes Tiltable Front Control Panel Yes Yes Yes Yes Yes Yes Yes SMPTE LTC/VITC Time Code Reader Reader/Generator Pre-Roll Function With User-Designated Time Setting Capstan Bump Function for Frame Synchronization Yes Yes Yes Yes Yes Yes Yes Headphone Output with Level Control Yes Yes Yes Yes Yes Yes Yes Auto Tracking with Manual Mode Yes Yes Yes Yes Yes Yes Yes

Inputs/Outputs

Analog Outputs: External Sync (Loop Thru) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) Composite Video x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) Component Video BNC x3 BNC x3 BNC x3 BNC x3 BNC x3 BNC x3 BNC x3 Y/C — 4-Pin 4-Pin 4-Pin — 4-Pin 4-Pin RS-232 Diagnostic Port 9-Pin 9-Pin 9-Pin 9-Pin 9-Pin 9-Pin 9-Pin Digital Audio I/O AES EBU with optional SDI SDI YesOptional Optional Optional Yes Optional Optional

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY BETACAM SX Betacam SX—MPEG-2-based Digital Format In the 1980’s, Sony gave the world Betacam and then Betacam SP—workhorse formats that introduced such radical improvements in picture quality that they were quickly adopted throughout the world. For over a decade the BVW range set the standard for reliability and performance in the demand- ing worlds of ENG and EFP. Then in the late 1990’s, digital technology BETACAM SX BETACAM brought revolutionary changes to the broad- cast industry — changes that were accompa- nied by benefits and advantages that could be applied throughout the entire broadcast operations. To realize these dramatic benefits, Sony developed the Betacam SX system: a total solution for optimized digital acquisi- tion and production. The Betacam SX for- 250 mat achieves superior picture quality, faster editing, increased system flexibility, and greater productivity in every aspect of news gathering and production. Betacam SX combines several advantages: an advanced compression algorithm, dramatic reductions in equipment size and operating costs, the speed and creativity of non-linear disk-based editing, and the power of a total digital network. Betacam SX complies with MPEG2 4:2:2 Profile at Main Level (MPEG2 4:2:2P@ML) to maintain broadcast-quality from camera through post production. Using a robust compression algorithm that achieves higher picture quality at a reduced bit-rate, Betacam SX delivers superior digital acquisition, high- speed transmission from the field, high-speed material upload to server, cost-effective archival storage, and server-based playout. Betacam SX brings the full benefit of digital technology to news broadcasting operations, while maintaining the functionality and cost efficiency that its predecessors were famous for. It draws on Sony’s long experience in serving the real-world needs of the broadcast industry and combines the proven performance of analog Betacam SP with the digital technology leadership of the D-1, D-2, and Digital Betacam formats.

The Betacam SX lineup answers all the needs of both field and studio newsroom operations. Its versatile interfaces and analog compatibility with Betacam SP makes it easy to integrate into into current analog installations. Upgrading can be accomplished step by step, at a pace that suits your organizations needs and budget. With the Betacam SX approach, new equipment can be added as required without compromising overall system functionali- ty. And when your migration to digital is complete, Betacam SX will deliver the full benefit of digital technology at its most advanced.

We are on the web at: www.bhphotovideo.com SONY BETACAM SX

Broadcast Quality with MPEG2 4:2:2P@ML Cost Efficient Betacam SX records 8-bit, 4:2:2 component digital signals using an Betacam SX delivers all the benefits of high-quality digital perfor- advanced compression algorithm. Recordings maintain high-quality mance, and also achieves significant long-term saving in both media pictures without visible artifacts, while keeping the bit-rate low. The and hardware as well as reduced operating expenses.

Betacam SX format also preserves 507 active lines per frame including Advanced signal compression technology brings the advantage of long BETACAM SX vertical blanking signal information, and supports 4-channel, tape recording times: up to 62 minutes on a single S-cassette, and up 16-bit/48kHz digital audio. Betacam SX yields superior picture to 194 minutes on a single L-cassette. quality, with excellent luminance detail and improved color resolu- “Multiple head tracking” technology ensures reliable playback by per- tion. The 4:2:2 sampling structure maintains the chrominance infor- forming powerful error correction on adjacent tracks. This enables mation necessary for editing and special effects — and stands up to Betacam SX to handle a high bit-rate signal within narrow tracks, the post production needs of news program production. allowing the development of low-cost, high-quality Betacam SX tape. Compared to conventional Betacam SP tapes, tape consumption can Efficient Bit Rate Reduction actually be reduced by one-half —which means that ENG acquisition The robust compression algorithm of Betacam SX results in a reduced and studio archival tape costs can be greatly reduced, while superior bit rate of 18 Mbps for the video signal, achieving greater efficiency picture quality is maintained. for transmission and storage while maintaining high-picture quality. Betacam SX equipment also incorporates an Automatic Alignment Reducing the bit rate enables non-linear editing systems to handle System that maximizes accurate tape recording and reproduction of real-time video and audio signals at lower cost. It allows either high- digital data. An Automatic RF Equalizer optimizes the gain and phase speed transmission or simultaneous 2-channel transmission of differ- of off-tape RF signals. These automatic systems minimize the need for ent video source signals within a limited bandwidth. The reduced bit time-consuming manual equalization and servo system rate also yields overall cost saving in storage requirements and trans- mission time, making more effective use of the hardware capacity and Another significant economy results from the reduced bit-rate of the 251 channel bandwidth of a disk and server-based studio network system. Betacam SX format: the ability to develop new hardware designs that reduce cost by combining multiple functions. A dramatic example of this design efficiency are the unique Sony Hybrid Recorders, which Compatibility with Analog Betacam SP combines VCR and hard disk drive in a single integrated unit. Betacam SX is designed to maintain compatibility with current analog systems. This analog compatibility provides a logical, cost-efficient migration path towards a totally digital environment. Betacam SX: The Key to the Digital Newsroom The 1/2-inch tape size used by Betacam SX is the same size 1/2 cas- sette as current Betacam SP equipment, giving Betacam SX playback Betacam SX format is the key to the Sony approach to the digital capability of analog recordings made on oxide or metal particle tape. newsroom— bringing the multiple advantages of high-quality pictures Using advanced Hybrid Recorders that combine video tape transport and sound, high-speed transmission, and low-cost operation. and hard disk drive, existing analog Betacam SP archive material can The compression has been carefully designed to maintain high picture be accessed and digitized for non-linear editing. quality during every phase of broadcast news operations. Employed throughout the Betacam SX range, MPEG2 4:2:2P@ML compression Current BCT-MA Betacam SP metal particle tape cassettes can be is also used by the digital, disk-based A/V Servers in the Sony system. used for Betacam SX recording, assuring wide availability of recording This means that, throughout the newsroom system, no encoding and media. For superior digital performance at reduced cost, metal particle decoding is needed, so picture quality is not compromised. tape has also been developed specifically for Betacam SX recording. Betacam SX products provide both analog and digital interfaces, allowing these new digital products to coexist with all the existing The Right Media in the Right Application analog systems in the studio and in the field. Sony expertise in every aspect of video technology has led to a careful evaluation of the running costs, recording times, mobility factors, and Robust Tape Format industry-wide compatibility of both tape and disk media. Sony employs tape media for applications requiring low running costs, The robust tape format of Betacam SX records 8-bit, 4:2:2 compo- longer recording time, and higher mobility — and uses disk media nent digital video signals and supports four channels of 16-bit/48 kHz when high-speed random access and non-linear operations are digital audio. Its powerful ECC (Error Correction Code) automatical- required. Best of all, both tape and disk utilize the same sampling ly corrects off-tape data errors caused by burst errors during recording structure and compression algorithm, allowing both to work together and playback. This ensures virtually dropout-free recording of impor- seamlessly and efficiently in a powerful hybrid storage system — tant news program material. that is the beauty of the Sony Betacam SX System.

Betacam SX machines come with a three year warranty on parts—including the heads!

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DNW-7/DNW-9WS Betacam SX Camcorders The DNW-7 and DNW-9WS provide the advantage of a fully digital acquisition tool with compact one-piece design. They combine operating simplicity, rugged design, and compact, lightweight portability. Smaller than analog 1/2-inch models, they incorporate operational conveniences like color video playback, a slot for an optional wireless receiver and an internal light system. A range of camera adaptors can also be connected. They also incorporate another important feature: the ability to record Good Shot and REC Start Marks. Identifying these recorded segments on Sony’s non-linear editors saves both time and valuable storage BETACAM SX BETACAM capacity by transferring only selected scenes. The DNW-7 is equipped with 2/3-inch 400,000 pixel Power HAD IT CCDs. It employs 10-bit/28 MHz full digital signal processing in the camera section, and component digital recording in the VCR section to bring cost-effective fully digital operation to day to day ENG and EFP shooting. The DNW-9WS is the same plus it adds switchable 4:3 and 16:9 aspect ratio.

FEATURES

252 Camera Section Tru-Eye Process Comprehensive Menu ■ Superb specifications include sensitivity of F9 ■ In conventional RGB digital processing ■ Setup parameters are organized in a at 2000 lux (F8 on the DNW-9WS), S/N cameras, some non-linear signal processing two-layer menu system (User and ratio of 63dB and low-light capability. occurs after gamma correction, such as Engineer). User Menus only allow Minimum illumination for both is 1 lux. White Clip and Knee Correction. This can access to the standard setup functions result in hue factor distortion, a phenome- needed by operators. Engineer Menus ■ The DNW-7 is equipped with a 1.5-inch non particularly obvious in extreme high allow access to all camcorder setup viewfinder, the DNW-9WS includes the light conditions. A breakthrough innova- functions. Menu pages are visible in 2-inch wide BVF-V20W viewfinder for easy tion TruEye process totally eliminates this the viewfinder and can also be dis- focusing, even in 16:9 widescreen mode. An problem..TruEye manages video data played on an external monitor. The optional color viewfinder is also available, the according to three factors — brightness, setup control is easily operated using 1.35-inch BVF-VC10W. hue and saturation. Thereby, color in low the rotary switch on the camcorders. ■ They have Auto Tracing White Balance and high light situations is as faithfully (ATW) capability. This enables automatic reproduced as by the human eye, without adjustment of white balance according to the hue factor distortion. Setup Cards overall scene lighting conditions. When light- ■ ing conditions change quickly— moving DynaLatitude Setup parameters can also be stored on from indoors to outdoors—white balance is removable Setup cards. These cards ■ rapidly readjusted with ATW. Based on TruEye, DynaLatitude adaptively allow operators to quickly, easily and manages the contrast of each pixel according accurately set up camcorders in the ■ Turbo Gain function quickly raises the gain to analysis of the video signal level distrib- field. level to +42dB at the touch of a button— ution. This brings a new dimension to ■ allowing immediate adjustment in extremely Dynamic Contrast Control (DCC) which Several different camcorder settings low light shooting conditions. Turbo Gain controls the dynamic range of video sig- can be stored on Setup Cards prepared combines Dual Pixel Readout (DPR) technol- nals. DynaLatitude optimizes video level in the studio. Setup Cards also aid in ogy with conventional electronic gain-up to distribution based on signal histograms to matching the setup of multiple cam- maintain a high S/N ratio. make the most of the limited dynamic corders, when shooting in several remote locations, or when time passes ■ To capture clear images of fast-moving sub- range of the video signal. Even in difficult lighting situations picture quality will be between shooting assignments on a jects, they have a high speed shutter up to single story or production. 1/2000 of a second. greatly improved.

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Audio Shot Data and Shot Markers ■ The audio level of the front microphone They allow automatic and manual recording for shooting data on tape. Data such as Date, can be adjusted by using the rotary Time, Shot ID, Cassette Number, and Shot Number can all be recorded during the shooting switch located under the lens converter process. Shot Data can be used to retrieve material during editing.

of the camcorder. Positioning the rotary BETACAM SX Betacam SX camcorders provide an innovative function to speed the editing process: the abil- switch in this location helps prevent the ity to identify good takes while shooting in the field. A REC Start Marker is automatically operator’s hand from accidentally touch- placed on the the tape each time the VCR Start button is pressed while the VCR is in stand- ing the lens or entering the frame. by mode. A Good Shot Marker can be added at any time by pressing the Return button ■ Built-in noise barrier prevents sensitive while in record mode. When tapes are played back using the DNW-series Hybrid Recorders, microphones from picking up noise gen- these markers will appear highlighted as thumbnails on the GUI of Sony’s non-linear editors. erated by the high-speed rotating drum This eliminates tedious searching through recorded material, and saves hard disk space by downloading only the scenes you select. Thumbnails recorded by SX camcorders can be used ■ Four channels of audio can be assigned effectively throughout the broadcast newsroom operation, from acquisition to archiving. according to need. When Parallel mode is selected, the same signals are recorded by CH- 1/CH-3 and CH-2/CH-4. In Separate mode, CH-3 automatically Conveniences records the front microphone and CH-4 ■ Remote control of basic functions and ■ SX camcorders are carefully designed for the wireless mic. This function ensures adjustments can be accomplished by con- simple operation. Switches are located in the mic won’t accidentally miss the audio necting the RM-P9 remote control. similar positions as on Betacam SP cam- recording; even when the external micro- ■ corders, so those used to analog equip-

To prevent damage to the cassette com- 253 phone isn’t connected, audio from the ment will find them easy to use. front microphone and the output of the partment mechanism, the redesigned cas- wireless microphone will still be captured sette compartment doesn’t pop up during ■ Comprehensive LCD display provides on audio channels 3 and 4. cassette loading and ejection. Cassettes information on VCR operating status. ■ are loaded vertically through a narrow Time Code, CTL and user-bit data. Tape The WRR-855A UHF Wireless Mic entry that helps to keep out dust parti- remaining and battery capacity are dis- Receiver fits directly into the camcorders cles. The window on the cassette case played via a bargraph meter. A digital using their slot-in mechanism. This gives allows the operator to see how much tape audio peak meter allows precise adjust- you a cableless interface between the remains for recording. ment of audio recording level. camcorder and the receiver. ■ 5-pin XLR connector carries two audio output channels. Either CH-1/2 or CH- 3/4 can be selected through the menu. Optional Camera Adapters

Playback Functions CA-702 External Input and Analog Component/SDI Output Capability ■ With the optional CA-702 Camera Adapter attached via the 40-pin connector, the DNW-7 They provide full color playback (and or 9WS can record an external analog composite or SDI input signal. The CA-702 also has playback of two audio channels) in the a 26-pin output connector to feed an analog component signal (to a BVW-50), and a BNC field without an adaptor making it easy output to feed an SDI signal (to a DVW-250) to an external VCR. to verify recordings and to send them to the studio via microwave transmission. 4-Channel Audio Input and SDI Output Capability Recordings can also be reviewed via the CA-701 viewfinder while audio is monitored via The optional CA-701 Camera Adapter (also attaches via the 40-pin connector) enables the earphone or built-in speaker. simultaneous 4-channel audio recording by providing access to audio channels 3 and 4. In addition, two SDI outputs are provided, allowing direct connection to other digital equip- ■ Recordings can be quickly checked by ment via a single coax cable. pressing the Return button while in the REC Pause mode. Tape automatically CA-755 Studio Camera Integration with a Triax System rewinds for about two seconds, the end Integrate the DNW-7 or DNW-9WS into a studio setup using a Triax system. The optional of the last scene will be played back, and CA-755 Camera Adapter attaches directly to the camcorders via their 40-pin connector giv- the tape will stop precisely at its previous ing you precise control of camera setup parameters (Gamma, Detail, Iris, etc.) from the position. Holding the Return button CCU-550 Camera Control Unit. longer extends rewind time up to 10 sec- onds.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DNW-7/DNW-9WS Power and Lighting DNW-7/DNW-9S SPECIFICATIONS ■ They use lithium-ion batteries for long run times. With higher capacity in a CAMERA SECTION AUDIO OTHER smaller, lighter size, a fully charged BP- Image Device: Frequency Response: DC Input: XLR 4-pin L60 battery provides 2-hours of opera- DNW-7: 2/3˝ IT 48kHz: 20Hz to 20kHz DC Output: 4-pin (for wireless mic receiver) tion, the BP-L90 over three hours. PowerHAD CCD (x3) Dynamic Range: Batteries attach directly using the V-shoe Light Out: 2-pin DNW-9WS: 2/3˝ More than 80 dB attachment, which facilitates quick, easy Lens: 12-pin PowerHAD 16:9 Remote: 6-pin battery changes. (NP-1B batteries can Widescreen IT CCD (x3) also be used with the optional DC-L1). I/O CONNECTORS Built-in Filters: ■ Optional AC-DN1 AC adapter can also 1:Clear Signal Inputs: GENERAL be used to slow charge the lithium-ion 2:5600K +1/48ND Genlock: BNC Power Requirements: 3:5600K Time Code Input: BNC batteries in an emergency. DC 12v (11-17v) 4:5600K +1/16ND External Audio: CH-1/2: BETACAM SX BETACAM ■ Directly attach an optional Anton Bauer Minimum Illumination: XLR 3-pin Female (x2), Power Consumption: -60dB/+4dB selectable Ultralight 2 to the camcorders via their 1 Lux with f/1.4, 32 watts (record mode) Mic Input: XLR 3-Pin video light connector. Powered from the Record/Play Time: camcorder battery, light On/Off can be Sensitivity: F11 at 2000 Lux Signal Outputs: 60min. w/BCT-60SX controlled manually or can be synchro- Composite: BNC (x1) nized automatically with their REC start Shutter Speeds: Test Video: BNC (x1) FF/Rewind Time: function. 1/100 to 1/2000 sec. Time Code: BNC (x1) 5 min. w/BCT-60SX Clear Scan Selection: Audio: XLR 5-pin male Weight: 60.1 to 7000Hz (260 steps) (stereo) 13 lbs 9oz. complete Earphone: mini-jack Additional Features S/N Ratio: 63 dB ■ They incorporate a sophisticated diagnos- 254 tic system to detect malfunctions within the camcorder. Digital signal processing Optional Accessories for the DNW-7/DNW-9WS improves the ability to specify the precise location and nature of a fault: camera • BSC-1 Pack Package of 4 Setup Cards and a soft case faults are indicated by warning lights in • BP-L60A/BP-90LA Rechargeable Lithium-ion batteries the viewfinder, and VCR faults are indi- • DC-L1 Battery case for NP-1B batteries cated on the camcorder LCD display. • BC-L100 Two-position charger for lithium-ion batteries ■ Shot ID (set by menu) can be superim- posed on color bars for confirmation of • AC-DN1 AC Adapter • BVF-VC10W 1.35-inch which camcorder was used for an individ- • AC-550 AC Adapter 16:9 Color viewfinder ual recording. • VA-DN1 Interface Box • BVF-55 5-inch Studio Viewfinder ■ Test output port provides composite • PM-P9 Remote Control Unit • BKW-401 Viewfinder Rotation Bracket video, red, green or blue signals for cam- • CCU-550 Camera Control Unit • LD-DN7 Shipping Case era testing. ■ A built-in time code regenerator provides continuous time code recording in the Conventional BCT and UVWT Betacam SP metal particle tape can be used in Betacam SX REGEN mode so time code editing can camcorders, so tape is always readily available—and with Betacam SX, recording time is dou- begin immediately after shooting. ble the stated length. To achieve even higher performance and cost-efficiency, original Betacam SX tape should be used. ■ Multiple tally functions include front, back, and on the viewfinder at the side of the eyepad so an operator can see that Tape Time List the tally is on, even when looking into Tape Length Betacam SP Betacam SX the viewfinder from a distance. Models m (feet) Playing Time (min) Playing Time (min) ■ BCT-5MA 42 (138) 6 12 Genlock capability allows them to inte- BCT-10MA 78 (256) 11 22 grated into multi-camera systems. BCT-20MA 150 (492) 21 42 Camera Return video can also be BCT-30MA 222 (728) 31 62 accessed through the same connector. UVWT-10MA 78 (256) 11 22

Most Orders Shipped Within 24 Hours SONY DNW-65/DNW-A65 Betacam SX Player/Feeders Equipped with a wide range of features, functions and interfaces including Freeze function, NTSC and PAL playback, 4-channel audio, variable-speed playback, Good Shot Marker support, and BETACAM SX optional SDTI output, they are ideally suited for linear operation as well as for installation in Sony’s Flexicart or Library Management multicassette systems. Identical in every respect, the DNW-A65 adds analog Betacam SP playback capability.

FEATURES

■ They deliver the exceptional video quality ■ Optional SDTI (SX) output enables ■ High-speed picture search is available in of the Betacam SX format, recorded 8- transfer of material to an A/V server at a shuttle mode at up to 65x normal speed bit, 4:2:2 component digital signals using maximum of 2 times normal speed. Will in both forward and reverse directions. MPEG2 4:2:2Profile@Main Level com- also speed up editing time. ■ They can be used as players in a Flexicart pression technology. Also includes four ■ They are equipped with analog composite or LMS system, giving those multicassette 16-bit, uncompressed audio channels. and component video output as well as systems the Betacam SX advantage—long

■ They provide long playback time up to SDI output. There are analog and playing times and low maintenance costs. 255 194 minutes on a single L-cassette and 62 AES/EBU outputs for four audio chan- minutes on a single S-cassette. nels, and outputs for two-channel audio DNW-A65 Step-up Features: monitoring. In addition, RS-422/RS-232 ■ Equipped with Sony’s Dynamic Motion ■ control, parallel 50-pin remote control, The DNW-A65 can play back analog Control function, they provide noiseless video processor control (15-pin), and Betacam and Betacam SP tapes—oxide or slow-motion playback and digital jog time code output are all included. metal particle. This analog capability lets audio from –1 to +2x normal speed. you maintain the long-term value of your ■ Their remote control panel can be ■ Digital memory enables you to freeze any existing analog tape archives and enables extended, and since they are equipped picture and view it solid still existing Betacam SP camcorders to still be with another connector on the rear panel, used for acquisition. ■ They can be switched from NTSC they can also be controlled from the Analog DT (Dynamic Tracking) playback 525/60 mode to PAL 625/50 mode to optional BKNW-119 Control Panel, from -1 to +3x speed and playback of play Betacam SX tapes recorded overseas. adding greater operational flexibility. AFM (Hi-Fi tracks) is also available.

DNW-A22 Betacam SX Player The DNW-A22 is a simple player for viewing Betacam SX as well as ana- log Betacam SP tapes. It also offers RF output (with optional adapter) for playback on any television set.

■ Plays back analog Betacam and Betacam ■ Equipped with two analog composite SP tapes—oxide or metal particle. outputs including one monitor output with character superimposition. ■ ■ Front panel matrix for switching the Optional RFU-89KB RF adapter allows channel of audio monitoring. Each of the ■ High-speed picture search in shuttle playback on virtually any television set. four playback channels can be switched mode at up to 50X normal play speed. ■ Built-in self-diagnostic system advises of to either the left or right monitors out- ■ Automatic Alignment System maximizes malfunctions. puts. the accurate reproduction of digital data, ■ Built-in RS-232 interface allows control ■ Can be switched from NTSC 525/60 to while an automatic RF Equalizer opti- from an external PC. PAL 625/50 mode to playback SX tapes mizes the gain and phase of off-tape RF recorded overseas. signals.

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DNW-75/DNW-A75 Betacam SX Recorders/Editors The DNW-75 and DNW-A75 incorporate all the features of the DNW-65/DNW-A65 like variable speed playback, freeze function, 4-channel audio and Good Shot Marker support, plus they add recording and editing capability. With frame-accurate video/audio insert editing, as well as Pre-read editing, they are ideally suited for many aspects of linear operation such as machine to machine editing and A/B roll editing. Identical in every respect, the DNW-A75 adds analog Betacam SP playback capability.

BETACAM SX BETACAM Same features as the DNW-65/DNW-A65 PLUS— ■ They offer ±0 frame accurate.insert and ■ The DNW-75 and DNW-A75 offer a ■ Pre-read heads are located ahead of the assemble editing. This enables precise edit- powerful feature called Program Play record heads on the drum so they can read ing of Betacam SX tape in machine-to- Function. Program Play allows the dura- previously recorded video and audio sig- machine or A/B roll configurations. tion of of a program to extended or short- nals. The signal can then be processed by ened so that it will fit into an allocated external equipment and recorded back ■ They are equipped with analog composite time period. This enables video recordings onto the same track.Preread allows the edi- and component video I/O, component to be reproduced over a range of ±15% tor to execute a picture transition with SDI I/O and 4 channels of analog audio normal play speed in increments of 0.1% effects between two VCRs as well as audio I/O, AES/EBU I/O, and 2 audio monitor (some frame dropping will occur). mixing/audio channel swapping with frame outputs as standard.In addition, RS-422 accuracy. Moreover, when performing over

256 and RS-232 control, Parallel 50-pin ■ They are equipped with Preread editing dubbing of audio, the usual delay experi- remote control interface, video processor capability. Preread is ideal for titling, color enced at an editing point is eliminated. control interface (15-pin), and Time Code correction and layering for video, and mix- I/O are also included. SDTI (SX) I/O is ing or sweetening for audio. optional.

DNW-A28/65/A65/75/A75 All Handle ‘Good Shot Mark’ The DNW-65/DNW-A65, DNW-75/DNW-A75, and DNW-A28 can all scan tapes at high speed and automatically detect Good Shot Marks recorded on the tape. (These marks are qualitative decisions made in the camcorder while shooting). After scanning for marks, a list of all the marks is displayed on the monitor, allowing easy cueing to any mark. In addition, they detect two additional types marks; Record Start Mark and Virtual Shot Marks. A record start mark is inserted at the begin- ning of every recording, a Virtual Shot Mark is inserted in the list by the operator to mark scenes for easy cueing at a later time. These fea- tures can dramatically speed up the edit search process.

Optional Accessories for Betacam SX Machines

BKNW-118 SDTI (SX) Input/Output Board DNW-A75 Rear BKNW-119 Control Panel BKNW-121 Control Panel Case BKNW-122 Control Panel Extension Kit RMM-111 Rack Mount Kit

Betacam SX machines come with a three year warranty on parts—including the heads!

Equipment Leasing Available SONY DNW-A28 Betacam SX Recorder/Editor The DNW-A28 is the front loading and front access version of the DNW-A25 Digital Portable Editor. It’s front access design makes it suit- able for use in a limited 19-inch rack space such as in OB vans. Also, BETACAM SX connecting to existing editors and monitors, the DNW-A28 can make full use of current broadcast equipment.

FEATURES Compact, Lightweight Design 4-Channel Audio ■ Half rack size (3RU high) it weighs only ■ Mix or swap any 2 channels of audio from Playback/Record Function 12 lbs. Compact size makes it ideal for the available 4 digital audio channels or 2 ■ Two DNW-A28s can be connected to pro- installation into limited rack spaces. analog audio channels. The monitor out- vide sequential recording. This can provide ■ The DNW-A28 is a front loading and put has 2 channels (L and R). Each of the endless recording by synchronizing the front access VCR. A sliding key panel 2 channels can output mixed audio from recording process across both DNW-A28s. mechanism makes it possible to control a any of the 4 channels. ■ ■ The DNW-A28 can play back analog variety of functions, despite its size. With the sliding key panel, the DNW-A28 Betacam and Betacam SP recordings made can have two audio controllers (large ones on oxide or metal particle tape. Editing Functions and small ones) in a compact design body. ■ The DNW-A28 can easily be switched 257 ■ Performs assemble and video/audio insert You can select which level you control with from 525/60 to 625/50 modes when used editing as well as time code insert. Also the large volume controllers (record/play- in a component digital environment. equipped with preread editing function. back volume priority switching function).

DNW-A65/65/A75/75/A28 Specifications

DNW-A65 DNW-65 DNW-A75 DNW-75 DNW-A28 General Power Requirements AC 100 V to 240 V, 50/60 Hz DC 12 V, +5.0 V/-1.0 V Weight (Approx.) 28 kg (61 lb. 10 oz) 26 kg (57 lb. 5 oz) 28.5 kg (62 lb. 12 oz) 27 kg (59 lb. 8 oz) 5.5 kg (12 lb. 3 oz) Dimensions (WxHxD) 16 7/8 x 9 3/8 x 20 3/4 inches 8 3/8 x 5 1/4 x 18 inches Betacam Sx 59.515 mm/s (525 mode), 59.575 mm/s (625 mode) Tape Speed Betacam/Betacam SP 118.6 mm/s – 118.6 mm/s – 118.6 mm/s Digital Playback/Recording Time Max. 194 min with BCT-194SXLA cassette 62 min with BCT-62SXA Fast Forward/Rewind Time 3 min with BCT-194SXLA cassette 3 min with BCT-62SXA ±50 (Betacam SX) ±50 (Betacam SX) ±24 (Betacam SX) Search Speed Range ±50 (Betacam SX only) ±50 (Betacam SX only) ±35 (Betacam/Betacam SP) ±35 (Betacam/Betacam SP) ±10 (Betacam/Betacam SP) Input/Output Signal Analog Composite Input – BNC (x2) BNC (x1) Analog Component Input – BNC (x3, for 1 set, Y/R-Y/B-Y) – SDI Input – BNC (x2, including one active through out) BNC (x1), SMPTE 259M SDTI Input (option) – BNC (x1) – Analog Audio Input – XLR (x4), CH1/2/3/4 XLR (x2, CH1/2) Digital Audio Input (CH1/2, 3/4) – BNC (x2), AES/EBU – Analog Composite Output BNC (x3, including one character out) BNC (x2) Analog Component Output BNC (x3, for 1 set, Y/R-Y/B-Y) – SDI Output BNC (x3, including one active through out) BNC (x2), SMPTE 259M SDTI Output (option) BNC (x2), Maximum 2x Speed – Analog Audio Output XLR (x4), CH1/2/3/4 XLR (x2, CH1/2) Headphone Output Standard jack (x1), stereo Digital Audio Output (CH1/2, 3/4) BNC (x2, CH1/2, 3/4), AES/EBU BNC (x2), AES/EBU – Remote Control Remote D-sub 9-pin (x2), Sony 9-pin remote interface D-sub 9-pin (x1) RS-232C D-sub 9-pin (x1), RS-232C interface – Processor Control D-sub 15-pin (x1) – Connector for Control Panel Mini D-sub 15-pin (x1) Mini D-sub 29-pin (x1) – Parallel Remote 50-pin (x1) –

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901 SONY DNW-A25/A225/A220 Portable Betacam SX Editing Systems To further realize the full benefit and potential of Betacam SX – already the optimum digital acquisition format – Sony offers a full line of portable field editing systems. The DNW-A220 and DNW-A225 combine two portable Betacam SX VCRs together with bright 6.4-inch LCD screens to offer field editing in small and compact packages. During editing, video is monitored via the LCD screens on each deck, while audio is monitored via headphones or the built-in speakers. Features include Betacam SX record/play-

BETACAM SX BETACAM back, analog Betacam SP playback (left side only on the DNW-A220) and frame-accurate video/audio insert and assemble editing (right side only on the DNW-A220). They support the Betacam SX Good Shot Mark system, and both are designed to provide detachable operation of each VCR, allowing use as two separate portable VCRs. The DNW-A25 is simply one side or one half of the DNW-A225. In addition to stand-alone operation, it can also be used as a feeder or a as third VCR for A/B roll with the DNW-A220 or DNW-A225

FEATURES

258 Professional Editing 4-Channel Audio Compact, Lightweight Design ■ They deliver the superb digital image ■ They have the capability to mix or swap ■ The DNW-A225 and DNW-A220 incor- quality of Betacam SX, recording 8-bit, any 2 channels of audio from the avail- porate two VCRs, two LCD screens and 4:2:2 component digital signals using the able 4-digital audio channels or 2-analog built-in audio monitoring, weigh around advanced MPEG-2 compression algo- audio channels. The line output and 13 kg (under 30 lb) with overall dimen- rithm. monitor output have 2 output channels sions of 16.6 x 17.5 x 5.9”. The DNW- (L and R) Each of the 2 channels can A25 is half in weight and width. They are ■ Frame accurate assemble and insert edit- output mixed audio from any of the 4 small enough to be hand-carried and ver- ing for video, audio and time code . channels. satile enough to be used internationally. ■ Equipped with 9-pin RS-422 interfaces, ■ The DNW-A225 and DNW-A220 can each deck can be remotely controlled. NTSC or PAL Playback easily be separated into two portable ■ VCRs; each one operating as an indepen- Fast and Easy Operation They can easily be switched from NTSC to PAL modes when used in a compo- dent stand-alone portable VCR. ■ Control layout is similar to Betacam SP nent Digital-Signal environment. In addi- VCRs, for simple, and familiar operation. tion, analog Betacam SP monitoring is Less Equipment Required They also include Jog/Shuttle dials and available for both 525/60 and 625/50 familiar audio slide faders for fast and mode. This flexibility enables editors to ■ They achieve a significant reduction in precise control with a 'hands-on' feel. work in international environments. the amount of field editing equipment required by news crews. With bright LCD screens in a compact, modular package, they make it ideal for portable editing applications. During editing, pic- tures can be monitored on the LCD screen on each deck of the DNW-A225, DNW-A25 Rear A220, and A25, and audio can be moni- tored via headphones or built-in speakers. The DNW-A225 and DNW-A220 func- tionally replace two VCRs, two video monitors, and audio mixing equipment.

We Exhibit At NAB, Infocom, and Siggraph SONY DNW-A25/A225/A220

Record/Playback Functions Good Shot Mark Handling ■ Noiseless slow motion playback is avail- One of the most useful features is support of the Shot marks generated in the Betacam SX able over the range of -1 to +1x normal camcorders. play speed. The editors also include The Editors can scan tapes and automatically detect all the Good Shot and REC Start Dynamic Motion Control (DMC) edit- marks recorded on the tape. After scanning for marks, a list of all the marks is displayed on BETACAM SX ing with Betacam SX media. the LCD screen, allowing easy cueing to any mark. In addition, during Play, Shuttle, Jog ■ High-speed picture search is available in and Still, they can memorize additional marks, called "Virtual Shot Marks", entered by the shuttle mode at up to 24X normal speed operators. This speeds up the edit search process dramatically. Shot Mark Operation menu in forward or reverse. Betacam SP tapes is used to specify whether REC Start marks are recorded. You can write additional shot can be searched at up to 10X speed. marks at any position on the tape and delete individual marks that are no longer needed. They also let you read shot data (cassette number, shot number, time, date, ID number, ■ The DNW-A25, DNW-A225 and the etc.) Shot data is recorded continuously on the tape during shooting. To display shot data, left side deck of the DNW-A220 can press the PLAY button together with the ENTRY/SHIFT button. The tape is played back, playback analog Betacam and Betacam and the display shown below appears. The contents of the display changes as the shooting SP recordings made on oxide or metal condition changes (for example, the date and time or shooting device change). particle tape. Connect to DV and DVCAM Multiple Powering Options ■ They operate on battery power by attach- ing Sony BP-L60 or BP-L90A lithium- ion batteries via the V-shoe attachment. Lithium-ion batteries provide high capac- 259 ity in a small and compact size! and offer approximately 90 minutes operation time in a fully charged condition. ■ AC powered operation is also available by connecting an AC-DN2A AC adaptor, which can supply power to both decks, through the V-shoe attachments and 4- pin connector. ■ The DNW-A225 and DNW-A220 pro- DNW-A225/A220/A25 SPECIFICATIONS vide a sequential recording function using both left and right side decks. This GENERAL INPUT/OUTPUT PROCESSOR allows endless recording by synchronizing Power Requirement: Analog Composite In: ADJUSTMENT RANGE the recording process across both decks. DC12v BNC (x1) Video/Chroma Level: ±3 dB/-∞ to 3dB selectable ■ Specifically designed for the portable edi- Power Consumption: Analog Composite Out: A225 130W (65Wx2) BNC (x2 Set Up/Black Level: tors, the AC-DN2A delivers up to 150 A220 120W (60Wx2) ±30 IRE/±210 mV watts of power. Equipped with a XLR 4- A25 65W SDI Input: Y/C Delay: BNC (x1) pin port, the AC-DN2A can also be used ±100 ns (in Betacam SP playback) Weight: Chroma Phase: ±30° A225/A220: 28 lb. 10 oz) SDI Output: to power Betacam SX camcorders.Last, µ A25: 14 lb. 5 oz BNC (x2) System Phase: Sync: ±15 s the AC-DN2A can be used as a battery (SC step), SC: ±200ns Analog Audio I/O (CH1,2): charger for Lithium-ion batteries while Tape Speed: Betacam SX: 59.515 mm/s (525 XLR (x2) OTHER powering the DNW-A25, using the V- mode), 59.575mm/s (625 mode) Analog Monitor Out (L,R): shoe battery attachment included. Betacam/Betacam SP: 118.6 mm/s LCD Monitor: XLR (x2) Active matrix 640 x 480 Digital Play/Record: Headphones Output: Max. 62 minutes with Standard jack (x1), stereo Size: Optional Accessories BCT-62SXA cassette Remote Control: 6.4 inches 9-pin (x1) remote interface Luminance/Brightness: BP-L60A/L90A Lithium-ion Batteries Fast Forward/Rewind Time: Adjustable by knob 3 min with BCT-62SXA cassette Reference Input: Built-in Speakers: AC-DN2A AC Adapter/Charger Search Speed Range: BNC (x1) Test: A225/A220 x2, monaural BKNW-225 Docking Kit Betacam SX: ±24 times normal A25 x1, monaural playback speed Aux 6-pin (x1) (for maintenance) BKNW-25 DV Interface Box Betacam/Betacam SP: ±10 times Time Code I/O: Display: normal playback speed BNC (x1) Counter, Servo Lock, Tape LC-DN220 Shipping Case Remain, Battery Remain, etc. LC-DN220SFT Soft Carrying Case

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PHOTO - VIDEO - PRO AUDIO 1•800•947•9901