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Hitachi has been making quality LCD projection products for years. Until now their focus has been on business and commercial products. However with the

Lens and throw distance. Manual zoom and focus, moderate average throw distance with a very long 2.08x zoom range. Throws a 100" diagonal image from as little as 8.5 feet to as much as 17.5 feet--by far the longest zoom range we"ve yet seen on a portable projector.

Vertical and horizontal lens shift. With the lens in center position it throws an image with the centerline of the lens intersecting the center of the image. Vertical lens shift moves the image up or down on the screen such that at the extreme ends of the shift the image is either entirely above or entirely below the centerline of the lens. Horizontal lens shift moves the picture side to side up to a maximum of 50% of the picture width.

Fan noise and operating modes. Two operating modes include Normal and Whisper. In normal mode the audible noise from the fan is very low. In Whisper mode it is extremely quiet.

The Hitachi Home-1 is a native widescreen 16:9 projector with 854x480 resolution. As noted in other reviews of native 480-line display products, video in the NTSC world comes with 480 lines per frame. That means no vertical scaling is required to map the video signal onto the display. The result is a cleaner image than you might get if it needed to compress or scale up the signal information to fit another physical format.

Perhaps the most remarkable aspect of the Home-1 is its ease of installation, and its ability to be installed in a wide range of settings. The 2x zoom range is truly unique for this class of product. What it means is that you can throw a wide range of picture sizes from a short distance, say a coffee table sitting in front of you, or from a very long distance, say on the shelf on a rear wall behind you. No other projector we"ve seen has this variable range of throw distance.

Complementing the long zoom range is the horizontal and vertical lens shift. This feature lets you move the image around on the wall without introducing any rectangular distortion that would need to be offset with keystone adjustments. The combination of lens shift and zoom adjustments enable you to precisely match the projected image onto a fixed screen with no muss no fuss. It also lets you set it up so that the projector is not necessarily directly in line with the screen. If there is a post in the way, for example, you can offshift the projector to one side from the center of the screen and use the horizontal shift control to compensate for it. Keep in mind however that you want to avoid using the extreme ends of the lens shift range, as you end up sacrificing some of the optical efficiency of the lens which reduces lumen output. Moderate use of the lens shift feature is no problem.

Fan noise on the Home-1 is remarkably low even in Normal mode. It gets even quieter when you set it in Whisper mode, which reduces light output by about 15%. However, the use of Whisper mode does not necessarily extend lamp life. While the use of the Whisper mode may improve the odds of any individual lamp making it to 2000 hours without failing, the Home 1 is programmed to shut down the lamp after 2000 hours of use regardless of the mode of operation.

Pixelation (visible pixel texture in the image) is an issue with all lower resolution projectors. The closer you sit to the screen the more visible it becomes. On the other hand, as you back up from the screen all pixelation eventually disappears. On the Home-1 the point at which pixel texture disappears is about 2.1x the screen width, or about 15 feet from a 100" diagonal screen.

Onboard video processing on this unit is not as comprehensive as it is on more expensive projectors. As with other products in this price class, with an interlaced input you will get some deinterlacing artifacts, and with film sources you will see some instability related to 3:2 pulldown. It is easy to avoid this problem by using a good progressive scan DVD player with effective 3:2 pulldown compensation (the process by which a 24 frame-per-second film source is converted to 30 fps video). With a progressive scan input the Home-1 produces an extremely stable image.

As one would expect the best possible image on the Home-1 is achieved with a good HDTV signal. While the picture is great for the money, one should not expect the resolution of an HDTV image to be as pristine on a product like the Home-1 as it is on a higher resolution projector. There is only so much that can be done when compressing a 1080-line signal into 480 physical lines. Those who are primarily interested in obtaining the best possible HDTV images should consider projectors with 960x540 or 1280x720 displays, depending upon budget constraints.

The ANSI lumen rating of 700 is a theoretical rating that you will not achieve in normal operation. After calibration and with typical video sources you should expect to net out about 450-500 lumens. In a dark viewing environment this is plenty of light to produce a very engaging image. This is not a projector you"d want to use in a room with high ambient light levels, as contrast will quickly diminish in the presence of other light sources.

Contrast performance is typical for LCD products in the entry level price category. Black levels are adequate to render black as black rather than dark gray. There is some weakness in the separation of shadow details that is to be expected, and should be considered normal.

Color saturation on the Home-1 is comparable to other LCD products in its price class, which is to say it is good but you could benefit from a bit more. Color accuracy is acceptable but average, and overall this is probably this unit"s weakest performance attribute.

In general the natural limitations which exist in this projector"s contrast and color saturation are aggravated by going too large with the screen image. By concentrating its light output on a smaller screen surface you get much better actual contrast and color saturation. Regular readers of this site will know that this is true of any front projector, but it is particularly true of any projector in the lower range of light output and contrast capability. Video quality is always a trade-off with image size. Thus for those interested in optimum image quality from the Home-1, we recommend keeping the image size to no more than 90" diagonal (16:9).

As a final observation, out of the box calibration on the Home-1 is not ideal. To get the best picture from this unit we recommend acquiring a calibration disc such as the AVIA Guide to Home Theater DVD. At minimum it will help you zero in on the ideal settings for the five basic picture controls--brightness, contrast, color, tint, and sharpness--all of which we found needed to be pushed quite a way from the factory presets to obtain the best picture the projector was capable of. However, this calibration is easy to do, and once the unit is tuned up you get a very satisfying image for the money.

Hitachi"s Home-1 is a formidable entry level projector that has a combination of features unusual in the price class. No other entry-level product we know of (and few at any price) can beat it in terms of ease of set up, as well as its adaptability to a variety of different viewing room layouts. The native 480-line format renders especially clean images from 480-line sources, and HDTV images are exceptionally good considering its price.

Overall, this is an impressive product selling for street prices under $1500 (at this writing) that should be considered by anyone starting out to experiment with big screen entertainment in the home. You can simply set it on the coffee table and produce a dramatic large screen picture without bothering with a permanent ceiling mount or fixed rear shelf mounting. So for those who want to make a tentative first step toward a formal home theater, or for those who want to take advantage of its portability and move it from venue to venue, the Home-1 gives you superb flexibility for set up and a very impressive picture for the investment. Based upon its unique features and exceptional overall value for the money it earns our rating as a Highly Recommended home theater projector.

Screen Size: 32-inches diagonal, Resolution: Supports up to 1024 x 768, Brightness: 600 cd/m2, Aspect Ratio: 16:9, Colors: 16.7 million colors, Inputs: See PDF for detailsVideo: TV/Video with optionalTV tuner.Additional Features: 32-inch versatile display...

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Most of us don"t think much about the images we look at on a TV, flat-panel display, or on a laptop or desktop computer screen; that is, we don"t think about what comprises the image—because our eyes and brain merge all the elements of color, brightness and contrast into a “picture” we immediately see. The process is similar, but not exactly analogous, to what happens when we watch a movie. We don"t sit there and dissect the 24 still pictures presented sequentially every second (in the case of a TV program, 30 frames per second). Our visual system and brain merge the rapidly moving images into motion, and if the TV show or movie is any good, we"re happy.

But if you move up really close to an electronic image display and use a magnifying glass, you can see the tiny individual squares of red, green, and blue “pixels”(short for “picture elements” in modern video-speak) that comprise the image. The pixels are actually square or rectangular in new technologies like LCD (liquid-crystal display), plasma panels, and in DLP (digital light processing) or LCD front and rear projection sets. And the smaller the pixels, and the more of them there are distributed vertically and horizontally across the face of the screen, the greater the “resolution” or detail we will see in the image. (On the old but familiar CRT picture tube TV, the picture elements are groups of round red, green and blue phosphor dots that glow when the electron beam in the tube strikes them.)

LCD, plasma, and DLP devices are all called “fixed-pixel” displays because the panel has a predefined and fixed number of pixels in its display format. Knowing the number of pixels in each direction (horizontally and vertically) will tell you how sharp an image it will produce, as well as whether it will display a true High Definition TV image or only Standard Definition, both of which are part of the new digital TV standard. The pixel count will also affect the cost. Lower resolution costs less; higher resolution costs more, sometimes a lot more. And don"t make the mistake of thinking that just because a TV is labeled “digital” means that it is capable of producing a high-definition picture. Within the new digital TV set of standards, there are three levels of resolution permitted: Standard (SDTV), Enhanced (EDTV), and High Definition (HDTV).

If you are considering purchasing a larger screen and/or a High Definition TV (HDTV), there is a phrase describing potential image clarity that you must understand. That term is “native resolution,” and it refers to the maximum degree of clarity that one of the new digital TV formats is capable of displaying. Native resolution of a fixed-pixel display is defined as the total number of horizontal pixels across each scanning line by the total count of vertical lines stacked top to bottom. For example, a Standard Definition fixed-pixel display would have 704 pixels across each of 480 scanning lines (704 x 480) and that would represent a squarish 4:3 aspect ratio screen shape, the image shape in which virtually all TV programs were photographed until the advent of HDTV, which, as part of the HDTV standard, requires a “widescreen” aspect ratio of 16:9, similar to that of most commercial movies.

As our TV system gradually converts from analog TV transmission and display to an all-digital system, a process that will continue until 2006, Digital TV allows for three standards of “definition” or clarity, two of which encompass High Definition TV. Standard Definition, as explained above, is equivalent to 480 interlaced horizontal lines (480i) stacked from the top to the bottom of the screen. The “interlaced” lines mean that the image (a frame) is made up or alternating fields of 240 lines that are scanned across the screen every 1/60 th of a second. As the fields combine or “interlace” on the screen, a full frame of TV in Standard Definition is presented.

Stored on a DVD is an MPEG digital bit stream representing the video. Older DVD players would output only 480i images from a DVD, because most older analog TV sets would only work with a 480i input. However, even inexpensive new DVD players now have internal circuits that will output the DVD"s video in either 480i or 480 progressively scanned lines, known as “480p.” This is called Enhanced Definition, and gives a smoother more film-like look, with no visible scanning lines.Any fixed-pixel display will display this standard, so when you see a display described as having a native resolution of “800 x 600” pixels, you know that it has enough resolution to extract virtually full clarity from a DVD player that outputs a 480p, progressively scanned image. That resolution is not high enough to display full HDTV, but it"s nearly enough to capture every line of a wide-screen DVD, which calls for 852 x 480 resolution. Put another way, the resolution would measure 852 pixels across each of 480 horizontal lines scanned sequentially from top to bottom.Typically this is the resolution of the least expensive plasma and LCD thin-panel displays, as well as inexpensive DLP projectors that use the 800 x 600 DLP chips.

In practice, most of these displays will look quite detailed with DVD playback and even HDTV signals that are “scaled” or down-converted to fit the display"s 852 x 480 native resolution. However, such a display or projector will not let you view true High Definition signals in their original resolution.

To take full advantage of HDTV"s ability to render spectacular clarity and detail, you must find an LCD, plasma, or DLP device that has a native resolution of either 1,280 x 720 pixels (720 lines progressively scanned with a widescreen 16:9 aspect ratio) or “1080i” (1920 x 1080), which represents a 16:9 widescreen image with 1920 pixels across each of 1080 interlaced scan lines. These are the only two High Definition formats defined by the HDTV standard. All network broadcasters use one or the other for their HD programs. For instance, ABC and Fox broadcast in 720p, while CBS, NBC, and PBS use 1080i. Likewise, cable and satellite networks will use one or the other: HBO, HDNet, DiscoveryHD, and Showtime use 1080i, whereas ESPN uses 720p. Broadcasters choose one or the other for different reasons. Progressive scanning (720p) produces a smoother, more film-like look, but a 1080i image actually contains greater detail. Though it has fewer lines, the native progressive scan format (720p) eliminates motion artifacts that originate in interlacing. For subject matter that contains a lot of rapid motion--Monday Night Football, basketball or hockey games, for example--720p will produce a clearer, more stable picture than 1080i. Alternatively, for subject matter that has very little motion, 1080i is capable of rendering more picture detail. And because 720p has the highest data bandwidth and horizontal scan rate, it usually means that 720p programming is converted or “scaled” to 1080i for transmission (it occupies less digital “space” than 720p).

When you choose an HD display, it must be able to receive and display both of these formats, either natively or by converting (scaling) the incoming HD signal to the display"s native resolution. For example, a 1280 x 720 fixed-pixel LCD or plasma panel or DLP projector will have an internal scaler that will convert every incoming video signal so that it “fits” its 1280 x 720 native resolution. How well the internal scaler or converter does this may vary from one brand of set to another. And many outboard HDTV digital cable boxes and satellite tuners can be set to output their signals to exactly match your HD display"s native resolution. Sometimes your HD set"s internal scaler may do a better job than the outboard cable box or receiver at converting, say, 1080i to 720p, or 480i to 720p. In other cases, there may be little or no difference. You can find out with a bit of experimentation, but that is a subject for another newsletter. You can get a quick fix on this by viewing a display in a store with a variety of different input signals, including analog cable and regular broadcast TV, as well as DVDs and High-Def signals. Of course, it"s difficult to do that because retailers love to showcase their new sets with HD programming so the image has the greatest impact. But if you ask, most stores will switch to a local cable or broadcast feed that will give you some idea of what you"ll see viewing regular analog TV signals. And be prepared to become an HD snob. Once tasted, HD images are very seductive, and it"s hard to go back to viewing “old” 4:3 non-HD signals. But each year brings more and more HD programming, so your care in understanding and choosing the right fixed-pixel display now will assure you of beautiful HD images in the future as more and more High-Def programming becomes available.

GY-HM700UFinal Cut ProAt Last, a Pro Camcorder thatSpeaks the Same Language asYour Editing SystemThe world"s first native support for Final Cut ProIntroducing the GY-HM700U, the world"s first professional camcorder that natively records Apple’sQuickTime (MOV) file format for Final Cut Pro. Forget transcoding and file wrapping – recorded files canbe read directly into Apple"s popular editing system for a workflow that"s fast and smooth, with absolutely noloss of quality. And for compatibility with other NLE systems, the GY-HM700U also supports the MP4 fileformat.SDHCMP4SxSRecording to twin SDHC memory cards, the GY-HM700U represents a new generation of camcorders thatmake continuous HD shooting and seamless software integration a reality.1

The Choice of Broadcasting andCinematography ProfessionalsDrawing on its long experience of developing dedicated encoders for the broadcasting industry, JVC hasequipped the GY-HM700U with a brand new MPEG2 encoder capable of compressing full 1920 x 1080 HDvideo at up to 35 Mbps. The result is the pristine picture quality that professional users demand–from asurprisingly compact and lightweight shoulder-mount camcorder.WorkflowWith Native File Recording, JVC has eliminated one ofthe main obstacles to achieving a smoother, morestreamlined production workflow. Until now, gettingfootage into a file format that computer-based editingsystems could work with was a time consumingprocess. With Native File Recording, your footage isready to edit the moment it"s shot.ShootingSDHCTransferQuickTimeorMP4MP4SxSUSB2.0QuickTimeorMP43

35MbpsExceptional ImageQualityEncoding video at higher bit-rates means just one thing:higher image quality. The 35 Mbps data rate used by theGY-HM700U is high enough to support full 1920 x 1080encoding, and results in stunningly detailed, broadcaststandardHD images.JVC’s newly developed 1080p Dynamic Digital SignalProcessor (DDSP), is the engine that encodes the highbit-rate video signal into an MPEG2 stream and acts asa file compiler for QuickTime and MP4 files.Photo courtesy of WXYZ-TV(ABC, Detroit)Photo courtesy ofDirtyPoliticsTheMovie.comPhoto courtesy ofDirtyPoliticsTheMovie.comPhoto courtesy of Waterman Broadcasting Corp.EditingFinal Cut ProStorageBlu-rayAvidFile ServerAdobeCanopusNetwork4

Absolute Flexibility ina Compact ShoulderCamcorderGY-HM700ULCOS ViewfinderThe GY-HM700U features a stunning new16:9 aspect ratio LCOS (Liquid Crystal onSilicon) viewfinder. Thanks to its highresolution, the LCOS viewfinder is crisperand more detailed than conventional LCDviewfinders.Canon 14x HD LensThe GY-HM700U comes with a new, highperformance14x HD lens from Canon, based onthe superb optics found in more expensive HDlenses. From wide angle through to telephoto, thelens has pin-sharp focusing accuracy andconstant image brightness with no F-drop.Three 1/3-inch Progressive CCDDesign with Triplex OffsetHigh definition is all about image quality. The newlydesigned 1/3" progressive CCDs together with JVC’soriginal Triplex Offset and a patented exclusive AdaptivePixel Correlation Technology that produces resolution andcolor comparable to cameras with larger image sensors.5

1080p Dynamic DigitalSignal Processor (DDSP)JVC’s new 1080p Dynamic Digital SignalProcessor is the engine that drives the GY-HM700U. This highly efficient MPEG2encoder processes video signals at up to35 Mbps for full 1920 x 1080 progressiveor interlace video.Twin SDHC Card SlotsThe GY-HM700U gives users the flexibility of twin SDHC memory card slots. When one cardis full, the camcorder switches automatically to the other card with no drop out, makingpossible true continuous shooting. Memory cards are hot swappable, so cards can beremoved for editing without interrupting the shoot. For even greater flexibility, the optionalSxS media recorder makes possible simultaneous recording to both SxS and SDHC media.4.3-inch LCD MonitorThe large 16:9 aspect ratio LCD monitor and redesignedGUI bring ease of use to a new level for a professionalcamcorder. For improved monitoring, especially whenshooting outdoors, the surface of the monitor is designedto minimize reflections and glare.6

Innovation thatMeets the Needsof ProfessionalsThe Next Generation of Direct File AccessNative File Recording (QuickTime for FCP)The GY-HM700U uses QuickTime as itsnative file format for the tightest integrationyet with Apple’s popular Final Cut Proediting system. Simply drag the QuickTimeMOV files recorded on the memory card intoFinal Cut Pro and you’re ready to startediting—no file wrapping, no transcoding, nowaiting.Final Cut ProTwin SDHC Card Slots withSeamless Continuous RecordingLoaded with two 32 GB cards, the GY-HM700U isgood for over six hours* of continuous HD shootingacross both cards. When one card is full, thecamcorder switches seamlessly and automaticallyto the other card. And because cards are hotswappable, there is in effect no limit to thecontinuous shooting time in any mode, even withinexpensive lower capacity cards—just keep loadingnew cards. Hot swappable media also means it ispossible to start editing footage from one card while stillshooting to the other. The twin card slots also offer theflexibility of scene-by-scene card selection.Slot ASlot BSlot ASlot BCard 1ChangeCard 2ChangeCard 3 Card 4SDHC media offers the best combination of price, availability, capacity,reliability and transfer speed. With no moving parts and no pins or otherextrusions, SDHC cards are both durable and reliable, and compare favorablywith tape on a cost-per-minute basis.* In 19 Mbps modeSxS Double Media Hybrid Recording (Optional)The optional SxS media recorder allows simultaneous shooting toSDHC and SxS media. This hybrid recording system not onlyprovides a reliable backup solution, it also allows the GY-HM700U tointegrate smoothly into any MP4 file-based workflow. This file formatis compatible with all major NLE systems, including solutions fromAdobe, Avid and Canopus.7* Playback compatibility not guaranteed on all products due to variation of supportedrecording mode.* MP4 is the compliant file format used on the XDCAM EX.* SxS is a flash memory card designed for professional video cameras with a high-speed PCI Express interface.* All trademarks and brand names are the property of their respective proprietors.

Advanced MPEG2 High Bit RateEncodingBest-in-Class High Resolution HDRecording1080p Dynamic Digital Signal Processor (DDSP)At the heart of the GY-HM700U is the DynamicDigital Signal Processor. Processing is performedon the full progressive 1920 x 1080 signal,regardless of the camcorder’s settings, ensuring the highest picturequality in any shooting mode. All major HD resolutions aresupported, including 1920 x 1080, 1440 x 1080 and 1280 x 720.35Mbps35 Mbps MPEG2 EncodingThe highly efficient MPEG2 codec used by theDynamic Digital Signal Processor compresses videosignals at up to 35 Mbps—high enough to supportfull 1920 x 1080 resolution—for simply stunning image quality.The MPEG2 long GOP (Group of Pictures) codec is a widely used,broadcast-standard compression system and is supported by allpopular editing systems and broadcast servers.Newly Developed Canon 14x HD LensThe JVC GY-HM700U comes equipped with anewly developed 14x interchangeable HD lensfrom Canon. With a focal length down to 4.4mm (equivalent to 31.7 mm on a 35 mm camera), the new lens is20% wider than previous models, and at the telephoto end (up to447 mm at 35 mm equivalent) it is less susceptible to color flaring.Throughout the zoom range the lens produces less chromaticaberration for more accurate focusing, and the same imagebrightness without reducing the F-stop.1920 x 1080/60i1920 x 1080/50i1920 x 1080/30p1920 x 1080/25p1920 x 1080/24p1440 x 1080/60i (MOV only)1440 x 1080/50i (MOV only)35 Mbps 25 Mbps 19 Mbps1280 x 720/60p1280 x 720/50p1280 x 720/30p1280 x 720/25p1280 x 720/24p1440 x 1080/60i1440 x 1080/50i1280 x 720/60p1280 x 720/50p1280 x 720/30p1280 x 720/25p1280 x 720/24plinearPCMRecordingUncompressed Audio Recording with FullManual ControlThe GY-HM700U captures audio with the sameuncompromising quality as video. Two-channel16-bit/48 kHz uncompressed linear PCM can be recorded via thebuilt-in microphone, or via a pair of balanced XLR connectors.Versatile input switching and independent channel assignmentallow both mic and line-level sources (such as wireless receivers) tobe connected, and phantom power is available on each XLRconnector independently. Audio recording levels can be controlledautomatically or manually, with an audio meter in the viewfinderand LCD monitor for easy monitoring.Three 1/3-inch Progressive CCD Designwith Triplex OffsetThe three progressive CCD design providesrich, accurate colors, while JVC originalTriplex Offset technology in conjunction with pixel correlationadaptively increases the effective resolution both horizontally andvertically by shifting the red and blue pixels independently relativeto the green for a sharper picture without any corresponding loss insensitivity.RGBTriplex Offset8

Ease of Operation for Complete Creative Freedom1.22 Megapixel LCOS ViewfinderThe GY-HM700U features a stunning new highresolution(852 x 480 x 3) LCOS (Liquid Crystal onSilicon) 0.45” viewfinder. The 16:9 aspect ratio imageis crisper and more detailed than conventional LCD viewfinders,with higher vertical resolution and superior RGB color separation.Helping the camera operator stay focused on the action is a focusassist system that colors the edges ofthe parts of the image that are in focus.Also visible in the viewfinder areindicators for the audio input level, thebattery time remaining, and therecording time available on each memorycard.GUIThe new GUI features several improvementsthat make the GY-HM700U a pleasure to use.All on-screen monitors can be navigatedintuitively via a four-way cross key and a centralSet button. A colored LED ring illuminates the outer edge of thecross keys, indicating the current cross-key mode. The GUI can beviewed in both the LCD monitor and overlaid in the viewfinder.The high-resolution picture thumbnail display makes it a simpletask to select clips visually for review, and more detailed file andshooting information for each clip is now available, including thefile format, frame rate and resolution, time code data and more.4.3-inch LCD MonitorThe large, high-resolution 4.3-inch 16:9 aspect ratio LCD monitorprovides a wide array of monitoring and setup indications. Themonitor’s 800 x 480 WVGA resolution, together with the easy-tousecross keys for GUI navigation, bring ease of use to a new levelfor a professional camcorder. The surface of the monitor isdesigned to minimize reflections and glare, providing clear, brightimages even outdoors.Shooter-Friendly Controls andLayoutThe control panel of the GY-HM700Uhas been laid out so that all commonlyused controls are within easy reach ofthe operator while shooting. Amongthe controls are three user-definablebuttons that can be assigned a rangeof functions for instant setting.9

Versatility and Quality of OutputPre Rec modeHow many times have you missed a crucial moment because youdidn’t hit the record button in time? With Pre Rec enabled, thecamcorder continuously buffers about three seconds of video, sothat when recording is started the cached video is included in therecorded file, giving you a three-second head start.Normal RecRec triggerSDI and IEEE1394 Output of HD and Downconverted SD VideoIn addition to SD composite and HD component video output, theGY-HM700U is provided with SDI and IEEE1394 output. SDIoutput is via a BNC connector and can be switched between HDand downconverted SD with embedded uncompressed audio.IEEE1394 output is via a 4-pin connector and can also beswitched between HD and downconverted SD. The audio output isHDV-compliant in HD mode and DV-compliant in SD mode.Composite outPre RecRetro cache recording period (3 sec.)Remote Camera Control ConnectorThe GY-HM700U is equipped with astandard JVC 6-pin TTL interface foran optional remote camera controller(RM-LP25U, RM-LP57U or RM-LP55U). These units provide extensivecontrol options, including paint, iris,gamma level, knee, gain, shutter andblack level.Component outSDI outIEEE1394 out10

GY-HM700 Editing WorkflowMOV File WorkflowDirect file access to Apple’s Final Cut ProSxSSxS MemoryCard ReaderUSB 2.0SDHCSDHC MemoryCard ReaderUSB 2.0RecordedMOV filesDrag and dropMP4 File WorkflowIngest MP4 clips to major NLE systemsSxSAvidAdobeCanopusSxS MemoryCard ReaderUSB 2.0SDHCFile ingestSDHC MemoryCard ReaderRecordedMP4 filesImportingProHDClip Manager11

ProHD SoftwareJVC ProHD Clip ManagerThe ProHD Clip Manager, for both Mac and Windows, makes it easy tomanage MP4 clips on the GY-HM700"s memory cards from your PC.With a few clicks of the mouse you can copy, move or delete clips,preview clip content, as well as view and edit clip metadata. Athumbnail view of all the clips in the current folder shows the content ofeach clip at a glance. Use the viewer to watch the whole clip, or changethe clip’s index frame used for the thumbnail. You can also managefolders to keep your clips organized, and check the remaining freespace on a card.ProHD Log and Transfer Plug-inThe ProHD Log and Transfer Plug-in is a software for Apple"sFinal Cut Pro that lets you drop MP4 files recorded on theGY-HM700 into the clip bin of Final Cut Pro.With the plug-in installed, you can view thumbnails of theMP4 files on a memory card from the Log and Transfer screenof Final Cut Pro. Simply drag and drop the thumbnails intothe bin to automatically convert the clips to QuickTimeformat, ready for use.Log and transferscreenInformation windowMain screen for Windows ®Viewer windowDimensionsUnit: inches (mm)1-5/8(40)(VF MOVE)3-9/16(90)3-3/4(95)2-3/8(59.8)1-13/16(44.6)5-1/4(133)2-1/4(56)(VF MOVE)11-1/2 (291) (for ANTON BATTERY)6-9/16 (166)3-1/4(82.3) 9-9/16 (242.3)4-5/16(108.5)9-1/8 (231)3-1/4(82.3)8-7/8 (225)(S.PAD MOVE)1-3/168-1/4 (209)(30)12 (304) (for IDX BATTERY)8-5/16 (210)12

System ConfigurationBlack: ProvidedRed: JVC OptionBlue: Local ProcurementHD-SDI cableBNCSwitcher, VCR etcComponentcable BNCMonitorFocus manual controlHZ-FM13 (for Fujinon lens)HZ-FM15 (for Canon lens)MicrophoneMV-P615Shoulder beltHeadphonex 2Composite cableBNC pinAudio cableRCA pinMonitorZoom servo controlHZ-ZS13B(except HTs18x4.2BRM)MicrophoneIEEE1394 cableHard disk recorderDR-HD100/MR-HD100(focus enhancement)1/3" Zoom lensTh13x3.5BRMU (Fujinon)Th17x5BRM (Fujinon)Th17x5BMD (Fujinon)HTs4.2x18BRM (Fujinon)KT20x5BKRS (Canon)GY-HM700CHUAccessory mountSxS memorycard recorder1/3" Zoom lensKT14x4.4KRSJ (Canon)(provided for GY-HM700U)BatteryDionic 90(Anton Bauer)Batterycharger(Anton Bauer)1/2" Zoom lensS17x6.6BRM (Fujinon)S20x6.4BRM (Fujinon)Mountconverter(1/2" 1/3")ACM-12Batterymount(IDX)BatteryEndura-7S(IDX)Batterycharger(IDX)AC adaptorVL-2 PLUS, IA-60a (IDX)Titan70 (Anton Bauer)Mount2/3" Zoom lens converterA17x9BRM (Fujinon) (2/3" 1/3")A20x8.6BRM (Fujinon) ACM-17YJ20x8.5BKRS (Canon)Tripod baseKA-551USDHC memorycardSDHC cardreaderUSB cableRemote control unitRM-LP25/55/57Tripod13

Optional Accessories(Canon)(Fujinon)(Fujinon)(Fujinon)KT20x5BKRS1/3" High quality zoom lensHTs18x4.2BRMHTs18x4.2BERM (2x extender)1/3" High quality zoom lensTh17x5BRM1/3" Zoom lensTh17x5BMD1/3" MD Zoom lens(Fujinon)Th13x3.5BRM1/3" Wide zoom lensHZ-CA13U16mm film lens adapterACM-172/3" Bayonet mount converterACM-121/2" Bayonet mount converterMV-P615UMicrophoneHZ-ZS13BUManual zoom controlCannot be used for HTs18x4.2BRM lens.Use Fujinon ZMM-6: Module unit/CZH-14:Grip/CFC-12-990: Cable/MCA-7: Mounting clampHZ-FM13U (Fujinon)HZ-FM15U (Canon)Manual focus controlKA-551UTripod base V-mount adapterRM-LP25U (Desk mount)RM-LP55U (Handheld)RM-LP57U (Desk mount)Remote control unit6-pin DINEndura-E-7S (Battery)IDX V-mount batteryVL-2PLUS (Charger)IDX V-mount battery charger /AC adapterDionic 90 (Battery)Anton Bauer batteryTandem 70 (Charger)Anton Bauer battery charger /AC adapter(Focusenhancements)(Focusenhancements)KA-MR100GSxS memory card recorderDR-HD100GB100Hard disk drivesMR-HD100UHard disk drivesDT-V24L3U / V20L3U /V17L3U / V9L1ULCD HDTV monitor14

SpecificationsGY-HM700U[General]Power requirement: DC 12 V (11 V to 17 V)Power consumption: Approx. 23 W (during recording [when thecamcorder + standard lens + LCD monitor are in use])Mass: Approx. 3.4 kg (7.5 lbs.)Temperature:■ Operating: 0˚C to 40˚C (32˚F to 104˚F)■ Storage: -20˚C to 60˚C (-4˚F to 122˚F)Humidity:■ Operating: 30% to 80% RHImage pickup device: 3-chip 1/3" Progressive CCDColor separation prism: F1.4, 3-color separation prismSync system: Internal sync (built-in SSG)Lens mount: 1/3" bayonet systemND filter: OFF, +1/4ND, +1/16NDGain: 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, 18dB, ALCElectronic shutter: 1/6 to 1/10000, EEIMinimum illumination: 1.5lx (typical) (1920x1080/24p mode,F1.4, +18dB, with 10-frame accumulation)Variable scan: 10/30-60/30fps, 10/25-50/25fps, 10/24-60/24fpsLCD monitor: 4.3" LCD, 800 x 480 (WVGA, 410,000 pixels)Viewfinder: 0.45" LCOS, 1.22 Megapixels (852 x 480 x 3)Lens: Canon F1.6, 14x, f = 4.4-61.6 mm (35 mm conversion:32-448 mm)Filter diameter: 82 mmSupported media: SDHC (Class 6)Slots: x 2Recording time: Approx. 25 minutes (8 GB SDHC card, 35 Mbps,VBR mode)■ SDHC Class 6 recording time (Approx.)4GB8GB16GB32GB720p22 min.45 min.1 hr. 30 min.3 hr.SPMOV/MP41080i17 min.35 min.1 hr. 10 min.2 hr. 20 min.HQ720p/1080i12 min.25 min.50 min.1 hr. 40 min.[Video/Audio]Recording file format: QuickTime ‚ File Format for Final Cut Pro /MP4 File Format (w/KA-MR100)Recording format:Video: MPEG-2 long GOP■ HQ mode: VBR, 35 Mbps (Max) MPEG-2 MP@HL■ SP mode : CBR, 25 Mbps (1440x1080i)/19 Mbps (1280x720p)MPEG-2 MP@H14Audio : LPCM 2ch, 48 kHz/16bitVideo frame rate:NTSC settings■ HQ mode: 1920 x 1080/59.94i, 29.97p, 23.98p,1440 x 1080/59.94i (MOV only), 1280 x 720/59.94p,29.97p, 23.98p■ SP mode: 1440 x 1080/59.94i, 1280 x 720/59.94p, 29.97p,23.98pPAL setting:■ HQ mode: 1920 x 1080/50i, 25p, 1440 x 1080/50i (MOV only),1280 x 720/50p, 25p■ SP mode: 1440 x 1080/50i, 1280 x 720/50p, 25p[Connectors]Analog composite output (480i or 576i: Downconverted, 4:3/16:9):1.0 V (p-p), 75-ohms, BNC (unbalanced)Component output (720p/1080i): Y: 1.0 V (p-p), 75-ohms Pb,Pr: 0.7 V(p-p), 75-ohms, BNC x 3 (unbalanced)SDI output terminal (480i or 576i: Downconverted/720p/1080i:embedded audio), BNC (unbalanced)HD-SDI: Compliant with SMPTE 292 MSD-SDI: Compliant with SMPTE 259 MAudio input:[MIC]: -60 dBu, 3k-ohms, XLR (balanced), +48 V output (phantompower supply)[LINE]: +4 dBu, 10k-ohms, XLR (balanced)Audio output: -8+ - 1 dBu (when audio signal process output is -20 dB),1k-ohms, RCA x 2 (unbalanced)Headphone: 3.5 mm mini jack (stereo) x 2Remote: DIN 6-pinIEEE1394 output: 4-pinUSB: Mini USB-B type, USB 2.0, miniB, slave function (mass storageclass) only[Accessories provided]Microphone x 1Microsoft® and Windows® are either registered trademarks or trademarks of Microsoft Corporation in the United Statesand/or other countries. Apple, Apple logo, Macintosh, QuickTime, and Final Cut Pro are trademarks of Apple Inc. registeredin the United States and other countries. The SD and SDHC logos are trademarks of the SD Card Association. HDV andHDV logo are trademarks of Sony Corporation and Victor Company of Japan Limited(JVC). Product and company namesmentioned here are trademarks or registered trademarks of their respective owners.Simulated pictures.The values for weight and dimensions are approximate.E.&O.E. Design and specifications subject to change without notice.DISTRIBUTED BYJQA-0288Hachioji Business Center of Victor Company of Japan, Ltd.has received ISO9001 Certifications under the globalstandard for environmental management.Printed in JapanKCS-XXXX CEHDxxNKNxxxxx“JVC” is the trademark or registered trademark of Victor Company of Japan, Limited.

You have the DVD player and the expensive surround sound system. You’ve got the bass boosted and the treble tweaked to your satisfaction. But there is still something missing: The big picture.

You can’t recreate cinema experience at home with a 20in CRT (cathode ray tube) TV. The small picture doesn’t do the sound justice. So what exactly should you be aiming for? Well, today’s home cinema enthusiasts have more choice than ever. Depending on your budget and your personal preference, you can choose between a widescreen CRT TV, a projector system, LCD TVs or plasma displays.

Your choice all depends on what you are expecting from your visual technology. For example, if you are going for the big screen cinematic experience, a television or a small LCD TV is not going to give you the same effect. This is where projectors come into the mix. If you are going for occasional use, the plasma screen is a stylish, albeit expensive way to go.

The traditional CRT television has long been a fixture in our homes. Although it may be a bit on the bulky side, its quality and price has ensured that consumers — for the time being, anyway — still opt for the trusty CRT.

The Mitsubishi Black Diamond line-up offers five widescreen CRT TVs, 28in Superflat, 32in Superflat, 28in 50Hz PureFlat, 32in 50Hz and 32in 100Hz, to a 32in 100Hz PureFlat TV. The PureFlat technology gives less screen flicker, truer images and a wider viewing angle, while the 100Hz flicker-free processing displays a crisper, more defined image.

The Toshiba widescreen TVs also have Dolby Digital surround and Dolby Pro Logic surround. The 32ZT29 has a 76cm screen size, while the 36ZT29 bumps it up to 86cm. Both models are face flat, which means they use horizontally and vertically flat TV tubes and give a wider viewing angle with less reflection. Component video input, digital surround processing and 50W RMS audio output with extension speakers are all included in the package.

‘Front projectors can best deliver the cinema effect but until now, sales haven’t been high due to high costs, low picture quality, as well as handling and set-up complexities,’ says Ryan. However, today’s projectors are highly portable and affordable, making them a good choice for home cinema.

With projectors, you can get an image up to six metres in diagonal — pretty impressive for watching action films at home. And some projectors can be picked up for under EUR2000, a bargain when you compare it to some of the other more expensive technologies.

However, Moore also points out that a projector is not a replacement for a television. ‘It’s for the cinematic experience,’ he explains. ‘You’ll always need a TV for day-time viewing.’

So if you’ve decided to invest a projector, where do you go from here? There are different types of projectors available on the market. However, the most popular are LCD and Digital Light Processor (DLP) projectors.

LCD projectors have been around for some time; users can choose between standard LCD, with one panel of LCD glass controlling red, green and blue, or go for the more advanced polysilicon LCD, which has three panels to deal with colours. However, there is stiff competition between LCD and DLP projectors, which have a single chip with thousands of tiny mirrors that modulate the lamp’s light. Moore says the contrast on the DLP projectors outweighs the LCD version. This means that the blacks are darker on screen and there is better detail in the pictures. LCD panels usually have a typical contrast ration of 400:1 to 600:1; DLP have a contrast ratio of 2000:1.

Yet another thing to take into consideration: Although the bulbs last thousands of hours, eventually, they will need to be replaced. A bulb that last over 2,000 hours is quite good. It’s also worth taking into account how expensive the bulbs are, however, as this could be a hidden cost you may not have considered.

Games will also be produced in this format in the future; according to Moore, the first game with high definition graphics, Dragonbreath 3D, is due to be launched on Xbox before Christmas.

If you’ve decided that projectors are the way forward for your home cinema, there are plenty of products out there for you to choose from. HP has a new projector that, although originally aimed at the education market, may become a fixture for home cinema. The VP6110 is a digital projector with optical zoom and 24-bit colour. Its brightness is rated at 1500 ANSI lumens, while its resolution is 800 x 600 True SVGA. It automatically resizes images to full screen and supports connections such as S-video, composite and component. The HP projector also supports High Definition TV up to 1080i.

Another company that excels in the projector market is Epson. The company has just launched its new home projector, the EMP-TW10. The new projector uses a D3 LCD projection system with a polysilicon TFT Active Matrix and has the standard 16:9 aspect ratio for widescreen viewing. The image can be as large as 7.62m, but can also be downsized to just over two metres diagonally for smaller rooms. The EMP-TW10 has a contrast ratio of 700:1 and brightness of 1000 ANSI lumens. There are four preset colour modes: Theatre, Theatre Black, Living Room and Dynamic. The projector has all the standard connections so that you can use it with your home cinema equipment, including TVs, DVD players, VCRs and games consoles. Aesthetically, it doesn’t dominate the living room with its slim-line design, while the maximum fan noise if just 28dB.

If you are willing to spend a little bit more, then consider the Epson EMP-TW500. The company describes this projector as ideal for the ‘serious audio-visual equipment buyer’. Also rated at 1000 ANSI lumens, the projector produces an image as large as 7.62m without compromising picture quality. It has a wide-XGA resolution (1280 x 720 dpi) and combines 10-bit colour processing power and Epson’s colour management technology, ColourReality II Technology, to deliver crisp, clear images. The EMP-TW500 also has a cinema filter, lamp power and an electronic iris.

The Astaire line from Philips is also aimed at the home market. The Astaire Deluxe is an LCD projector with a contrast ratio of 600:1 and 1000 ANSI lumens brightness. The Crystal Clear technology built into the projector ensures a sharp picture, with six picture presets for movies, games, cartoons, sports, Internet and nature viewing. Picture-in-picture allows you to watch two different inputs at the same time. Teamed with optical and digital zoom, plus all the standard connection options, the projector is perfect for the home market. On top of that, the bulb lasts an impressive 6,000 hours, so you won’t have to replace it too often. The Astaire LC6281 is slightly less high-spec, with only 800 ANSI lumens and a contrast ratio of 400:1. It has no optical zoom, but does come with a digital zoom and has all the picture presets available in the deluxe model.

Philips also does a ‘Bogart’ projector: The LC7281. This projector has a contrast ratio of 1800:1; it’s a DMD device. It includes the six picture presets, picture in picture mode and colour tracking to automatically optimise the picture depending on the type of input. However, its lamp life is far shorter, at only 2000 hours.

Toshiba produces both LCD and DLP projectors. The S40 has a polysilicon TFT, with an S-VGA resolution of 800 x 600 pixels. Its brightness reaches 1,600 ANSI Lumens, with a contrast ratio of 400:1.

The MT8 is a DLP projector with a W-XGA resolution of 1280 x 720 pixels (16:9) and compressed resolution of 1280 x 1024 pixels (S-XGA). It has 1,000 ANSI Lumens brightness, a contrast ratio of 1,400:1 and only weighs 4kg, so it can be transported easily enough.

LCD TVs are becoming more popular in the home cinema market. Grainne Ryan believes that the technology will gradually take over from plasma screens as the panels become larger and more affordable for the mass market. Another issue to take into account is viewing life: LCD gives about 60,000 hours of viewing, while plasma has only 20,000, according to Ryan.

When purchasing an LCD TV, consumers should know what to look for. Most important is the picture quality of the unit, plus the sound technology it uses. Investing in an LCD monitor does not mean that you have sacrifice picture quality: Check out the viewing angle on the panel (the wider the better) and the contrast ratio. There should also be a range of connections, including Scart connections and SVGA inputs, with standard features of a CRT TV, like Teletext, also included. LCDs don’t use phosphors, so they don’t suffer from screen burn. The slow response times that dogged LCD panels in the past may now be solved, as many of the current high-end models have improved response times. The contrast ratio tends to be lower on LCDs, though, so some may look washed out.

‘Plasma and LCD TVs still can’t match the price of CRT TVs, but they look great and are a luxury item for which demand is increasing,’ says Ryan. ‘The idea of having a TV slim enough to hang on a wall has immense appeal and as technology matures and prices fall, the accessibility of these products will increase.’

There are plenty of LCD TVs out there; current manufacturers include JVC and Toshiba among others. Mitsubishi plans to introduce a 15in 4:3 and 22in widescreen LCD TV onto the market and predicts huge growth in the LCD TV market over the next five years.

The TVs have a silver design with a piano black frame, have a built-in tuner and a high-resolution W-XGA display panel (1280 x 768 pixels). The LT-32C31 and LT-26C31 have a number of new technologies, including Digital Image Scaling Technology, Super DigiPure, Motion Compensation, Digital Comb Filter and Auto VNR. JVC’s Colour Management allows users to adjust a selected colour and automatically compensates for colour washout in bright images. Both LCD TVs offer Progressive Scan-ready component inputs. On the audio front, the TVs have two front oblique cone speakers with 20W total RMS output, BBE Sound System and 3D Sound. The LT-32C31 won’t be released until January.

Toshiba’s Stasia range covers LCD and plasma TVs. The LCD TVS have Crystalline rapid response screen technology. This promises to minimise picture distortion or blurring. Toshiba have even produced a couple of widescreen LCD TVs: The 14VL43, with a 34cm screen and the 20VL43, which comes with a 50cm screen. Both models have Nicam Digital Stereo sound and SRS Wow virtual surround sound. The TVs come with the multi-standard tuner and have VGA resolution (640 x 480 pixels).

Plasma screens are extremely thin in design. They don’t contain cathode ray tubes; instead, they create pictures through cells between sheets of thin glass, creating the image using phosphors to generate light. The individual cells reproduce red, green or blue respectively and there are three cells to every pixel on the screen.

Toshiba offers a range of Stasia plasma TVs and screens. The Stasia Plasma TV 42WP36 has a screen size of 107cm, with a WVGA resolution (852 x 480 pixels), a multi-standard tuner, a contrast ratio of 700:1 and component video input. Other connections include three Scart (with two full RGB), audio output and PC input. The speakers are built into the unit, with 20W RMS audio output; it has Nicam and BBE high fidelity sound.

Another advantage plasma has over LCD is the viewing angle. Viewing images on an LCD TV from the side can be difficult, but plasma doesn’t suffer this limitation.

The terms ‘dead pixels’ and ‘screen burn’ may also sound familiar; plasma is susceptible to both. Phosphor burn isn’t covered by most (if not all) warranties; leave a static image on the screen for too long and you may find it burns itself on to part of the panel. ‘Dead pixels’ occur when some cells don’t produce light or stay lit after they should have turned off. If you don’t like the idea of spending a few thousand euro on a plasma screen that may need to be replaced in a few years time, your best bet is to not bother at all. And although the displays do produce good quality images, they aren’t necessarily the best quality pictures available.

But technology limitations are being worked on. ‘There are limits, however, consumer display technologies are benefiting from intensive R&D at the moment with the constant result of overcoming these technology limits,’ says Grainne Ryan. ‘LCD screens are getting larger, plasma becoming more affordable; even home cinema systems with Dolby Pro-Logic II are now able to decipher unformatted discs. Projector technology is improving all the time, with the advent of DLP projectors for superior picture quality and the price has decreased significantly in the last year.’