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High Definition Update

Miranda Downconverters, monitors and lenses compatible with High Definition camcorders

Author: Cal Barton

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HIGH DEFINITON ACCESSORIES

MIRANDA MDC-902 DOWNCONVERTER
The Sony HDW-F900 HDCAM camcorder only has a high definition component video output. This means if you want to see what you’re shooting on a monitor you need a high definition monitor with component inputs. In most situations, this is a real pain. To address this problem, the American manufacturer Miranda, and others, make downconverters. Like all downconverters, Miranda’s latest model, the MDC-902, attaches to the battery mount on the back of the camcorder and has a battery mount on the back of it for a battery to power both the camera and the downconverter. The downconverter is connected to the camera electronics by the 26-pin input just inside a removable rear panel on the back of the camera.

Once attached, the MDC-902 offers a range of outputs for monitoring: High Definition SDI (HD SDI), Standard Definition SDI (SD SDI) and Standard Definition Composite. This allows the use of a wider range of monitors and if necessary allows you to feed more than one monitor using HD and/or SD feeds.

If you’re using an HDW-F900 on a multi-camera shoot and recording some images with a recorder rather than in camera, a downconverter is essential if you prefer to use an HD SDI rather than an HD component feed. The obvious advantage is you only have to run one cable from each camera rather than three. As an aside, when you do this, be sure to use BNC cable that is made to handle a high definition signal. For monitoring only, you can get by with standard BNC cables but for recording you need to use cables made for high definition signals.

The Miranda costs £65 to £80 per day to hire so it increases costs but if your shoot calls for the quality offered by the HDW-F900, particularly if what you shoot is going to be shown on a cinema screen, it is well worth the price.

The next HDCAM model down, the HDW-750P, has an HD SDI output built into it which makes the hiring of a downconverter unnecessary. The 750P only offers two settings to shoot in, 25P or 50i, while the F900 offers eight possible settings. However, if you’re shooting for television, this should generally not be a problem and if cost is a concern the 750P is probably the best way to go.

Sony LMD-9050 Monitor
This is one model in the range of Sony’s new nine inch LCD monitors. It accepts SD composite, component and SDI feeds as well as HD SDI feeds. It is lighter than the nine inch CRT monitors Sony no longer manufactures and we offer them in custom made metal cases that they stay in on location. The advantage of this monitor is the range of sources it will accept. It is also environmentally friendlier as pointed out in an earlier E-Zine.

I would recommend using an HD monitor on HD shoots whenever possible. If you use an SD monitor the pictures will look brighter because the scan lines are larger and if you’re using the monitor to help set your exposure you may easily end up being out by as much as one-third of a stop. Also, there is the risk that what appears to be in focus on an SD monitor may not be in focus when viewed on an HD monitor or when projected (see more about focus below).

The hire rate for the Sony LMD-9050 is £60 per day.

Follow Focus
HDCAM recordings show far more detail than standard definition images so focus is especially critical. To help ensure the sharpest possible focus some clients use a follow focus. This piece of equipment attaches to the focus ring on the lens and is supported by the kind of rods used on production matte boxes. It allows you to focus without touching the lens by using a set of gears that fit into the teeth on the focus ring of the lens. These gears are turned by a wheel which is controlled by whoever is operating the follow focus rig.

In the film world, follow focuses are virtually always used. They are usually operated by a focus puller but with video cameras sometimes a camera assistant or even the operator carry out this role.

We carry the Arri FF4 follow focus and if you’re interested to see it work we can arrange that. The hire rate is £40 per day.

Whether you need to use a follow focus or not depends on the demands of your shoot. Generally the DOP, lighting cameraman or budget will decide. But with high definition jobs, it should be considered more often than is the case with standard definition shoots.

HD Lenses
If you are shooting HDCAM you should use high definition lenses. They are designed to give higher quality images than you can get with standard definition lenses. Keeping it basic, a high definition lens is made to handle the higher resolution and detail in HDCAM cameras. Standard definition lenses are not. In fact, if you use an HD lens on an SD camera you should notice the image looks crisper because of the higher resolution.

We carry a range of Canon HD zoom lenses that operate in the same way as Canon’s SD lenses. They come in three focal lengths: 11 x 4.7 (wide angle); 17 x 7.7 (standard) and 22 x 7.8. There are other options including cine-style and prime lenses but they are generally used for drama and commercial shoots.

Rates for these lenses range from £90 to £120 per day.

Summary
There are some accessories specifically geared to shooting in high definition. Aside from the downconverter, none of them are any different from equipment any cameraman would know well. Anyone shooting HD is most likely using HD lenses and HD monitors. We find greater demand for follow focus rigs on HD jobs than we did on SD jobs and downconverters are only necessary when using the HDW-F900. That sums it up briefly.

Paul Wheeler DVDs
We received many requests for the edit of the interview with Paul Wheeler on high definition. The DVDs have been made but when we went to ship them out last week we found some problems with the copies. We’ve sent them back to the duplication company and hope to have the issue sorted this week. As soon as they’re ready, we’ll send them out. I hope that will be later this week.

Until next time, happy shooting.

Cal Barton,
Procam Television

www.procamtv.com

About Author

Cal began working in television for the Canadian Broadcasting Corporation in Vancouver in 1982. In 1988, he moved to London and began working for Worldwide Television News, ultimately managing 17 news bureaux in Asia from the regional headquarters in Hong Kong. In 1998, Cal moved back to London to develop Procam Television. His background includes directing coverage of major international news stories, directing documentaries and directing and vision mixing for multi-camera shoots

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