GEAR JVCHC500
for editing. And, straight fromTV land is the return over IP function, which allows the camera to receive video footage froma remote location, such as a TV studio or base station. TV crews have used it for years so in- the-field reporters could liaise with the director, but it’s new technology for independent filmmakers. Of potentiallymore interest is that the camera has the right RTMP format for shooting directly to Facebook Live and YouTube, where many rival cameras – even those which aremarketed as connected cameras – still don’t. With this camera and a 4G dongle, you can start streaming to themost popular sites inminutes. The camera also delivers as a very capable large-sensor machine that offers some very robust codec for serious grading and a cinematic look, ideal for not only ENGwork, but documentary andmore creative films. It records 4K/60p in 4:2:2 10-bit in Apple ProRes, with support for its own Log colour gamma to maximise dynamic range in post- processing and built-in HDR/HLG for the latest TV sets. ProRes is a very data-hungry format, so as the camera uses twin SDXC card slots, they just weren’t going to be fast enough. JVC developed the camera’s own SSD caddy, which takes small-sized 2.5- inchM.2 SSD drives and goes straight into the camera. Fast SSD drives like this are relatively inexpensive and can be bought in huge sizes. It’s
a good solution to the problemof massive files and the speed needed to record 4K/60p in ProRes. In ProRes 422HQ for the highest quality, a 1TB SSDwill record for around 75 minutes, while the standard 422 lasts for around 113minutes and 162 minutes in 422 LT. At 4K/30p in even the largest ProRes settings, the camera records to fast SDXC cards. It’s just the 4K/60p that needs SSD, but it makes sense to use this slot anyway for its faster speeds. What the camera does do is offer a wide range of codecs at a variety of speeds and sizes, allowing the user tomake a choice between the highest 4:2:2 10-bit quality for editing afterwards, lower 4:2:0 8-bit, or even SD at 8Mbps for speed and potential streaming.
Onemuch-appreciated feature is high-speed recording of 120fps in HD, too, for up to 5x slowmotion. This is ideal for creative slow-motion shots and is helped by the one-inch CMOS sensor and fast lens. Although obviously smaller than a full-frame 35mmor Super35 camera, this sensor is built to give a wide dynamic range, low noise and the shallow depth-of-field effect beloved of cinematographers. The lens is a 20x zoom, 9.43- 188.6mm f/2.8-4.5, which is equivalent to 28-560mmon a full- frame camera. Wide open, you can get a nice shallow depth-of-field effect, although obviously nothing compares to a full-frame sensor with an f/1.4 telephoto on it. The larger sensor and 4K quality means focusing is more critical than ever, and the HC500 has lots of advanced options you’d expect fromamodern camera. The triple rings on the lens are great for the traditionalist, with focus peaking available to help get everything pin- sharp with ease. But for AF, there are lots of customisable options in terms of speed, sensitivity and the area that the AF points cover. There’s one- button AF, whichmany cameramen use to get the focus near, then fine- tunemanually.
IMAGES The HC500 hast live streaming to YouTube and Facebook Live, there are lots of traditional controls and the SSD is a great idea
“With this camera and a 4G dongle, you can start streaming to themost popular sites inminutes”
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PRO MOVIEMAKER SUMMER 2019
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