Canon HV20 |
Captures true 1920 x 1080 High Definition resolution video - 24p Cinema Mode - Enables video recording with "film look" and shooting in 24p - Easy previewing that lets you see the image that will be displayed on widescreen TV

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HV20 Review |

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HV20 Forum: http://HV20.com/ | DVI Info |

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Canon HV20 Camcorder
Called HV20 iVIS in some countries, including Japan

Canon extends its leadership role in the creation of feature rich, high-quality, High Definition (HD) camcorders for consumers with the introduction of the Canon HV20 HD Camcorder. With its proud professional pedigree plain to see, the HV20 HD Camcorder draws on decades of Canon’s proven excellence in optics and technological innovation, incorporating professional level HD video features in a handy, horizontal-style, user-friendly design.

Integrating Canon’s renowned optics and imaging technology, including a 10x HD video zoom lens with Super Range Optical Image Stabilization and a Canon True HD 1920 x 1080 CMOS Image Sensor, the HV20 HD Camcorder records true 1080 high definition video, making it an ideal companion to today’s HD televisions. In fact, both aspiring filmmakers and home movie shooters can give their video a truly cinematic look and feel with the addition of a 24p Cinema Mode.

Among the new features within the Canon HV20 HD Camcorder is an Advanced Accessory Shoe capable of accommodating such additional components as select external video lights or directional microphones. The HV20 HD Camcorder also features microphone and headphone input terminals with manual level control for professional quality audio recording and a 24p Cinema Mode - found previously only on professional video equipment - that offers the frame rate of motion pictures and imparts a film-like look to the video. The HV20 HD Camcorder also features an HDMI terminal for quick and easy one-cable transport of the High Definition video signal to a HDTV.

Shoot Like A Pro With 24p Cinema Mode

The HV20 HD Camcorder’s 24p Cinema Mode enables aspiring moviemakers to achieve a professional “film-look.” The camcorder’s frame rate can be changed to 24p, which provides the same frame rate as movie film. In addition, the HV20’s CINE setting, which changes the color and tonal characteristics, evokes the look and feel of a movie shown in a theater. For added flexibility, these settings can be used together or independently.

Smooth and Easy Does It

Adding to the professional look of the HD video captured by the HV20 HD Camcorder is Canon’s Smooth Zoom Speed Control. Offering users a choice of three pre-set zoom speeds, the zoom speed control helps ensure that no matter how hard the user may press the zoom button, the pace of the zoom will remain smooth and constant.

The HV20 HD Camcorder’s Advanced Accessory Shoe will accommodate a more powerful external video light and directional microphone without the use of additional power or wires. It also includes a built in Ultra Video Light, which enables users to capture subjects in color under low light conditions from nearly five feet away.

The HV20 HD Camcorder even helps the user with shot composition, providing an easy to read level marker that is superimposed over the camcorder’s wide and bright 2.7-inch widescreen LCD display. Similarly, the HV20 HD Camcorder offers an easy-to-read grid marker that assists the user in determining the shot composition and ideal placement of the subject.

Advanced Photo Features

As a digital still camera, the HV20 HD Camcorder excels with all of Canon’s best digital camera features. Users can accurately focus their shots with nine-point autofocus and then take vibrant 3.1 megapixel images to a miniSD card. While simultaneously recording HD video to tape, the HV20 HD Camcorder can capture two megapixel photos to card, or these two megapixel images can later be extracted from the video itself, allowing users a second chance to snap that once in a lifetime image. To adapt to different shooting situations, the HV20 HD Camcorder has 11 shooting modes, including Continuous Shooting, which allows users to shoot up to five (3.1 megapixel) still images per second, as well as a built-in flash for low light situations. In addition, users can also connect a PictBridge compatible device to the camera for seamless still image transfer or printing. A histogram function is also included on the camcorder, to check exposure levels while shooting.

The Canon HV20 HD Camcorder kit includes a compact power adapter, a wireless remote control, the new, and energy efficient BP-2L13 battery pack, a stereo video cable, a USB cable and a component video cable.  

Built-in Ultra Video light Increase your low-light capabilities even further by shooting with the HV20. Featuring an Ultra Video light, the HV20 enables you to shoot subjects in color in low-light at distances up to 4.9 feet away.

Mic/headphone terminal The HV20 features a microphone terminal for attaching an external microphone. The audio/video terminal doubles as a headphone terminal for monitoring sound while recording. The HV20 also offers manual audio level adjustment, giving the user precise control.

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Canon HV20
-- http://www.dvxuser.com/V6/showthread.php?t=98071 |
-- http://www.cinevate.com/phpBB2/viewtopic.php?t=537 |

Of note: That's the Canon HV20 in there, mounted upside-down. Before you hurt yourself pondering it (like I did), that does not provide a right-side-up image on the camera's inverted viewfinder — hence the external jobby. At Redrock there are fans of external LCD displays and fans of viewfinders, and this rig is designed to support either.

We've seen some Frankenhoopty-lookin' HV20 rigs here on ProLost. It's wicked smart of Redrock to create a compact, DV Rebel-friendly system around the HV20. As my friends on TWiM pointed out in episode 59, the mini Canon has serious limitations, mostly in the area of manual control. But with a setup like this you're divesting it of much of that responsibility, basically just using it for its awesome little sensor. If you're at Cinegear, check out Redrock at booth 30. Tell them Stu sent you. Then say, "Look, a blimp" and see what you can grab. I mean how much could that whole rig weigh? I intend to find out.

Hi, John!

Thank you for your email and interest. 
We only sell direct via our website. 
Can I answer some questions for you?

Best regards,

Brenda Baugh
Redrock Micro
c r e a t e    t h e    c i n e m a    e x p e r i e n c e
site: http://redrockmicro.com |
FAQ - send blank email to : faq@redrockmicro.com  | 
technical support : support@redrockmicro.com  | 
online catalog : http://www.redrockmicro.com/purchase_start.htm |

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It's hard to dis the HV20. It may not have the control that more expensive cameras offer, but the subset of controls it does offer might be OK for most DV Rebels. I knew we wouldn't have to wait long to see someone put an M2 on one, but Taylor Wigton has posted the first full-res before after stills that really sell this as a viable option.

Our experience and research has lead us to believe the hallmark look of professional 35mm film is in large part created through the use of 35mm lenses. The use of interchangeable 35mm lenses allows filmmakers the freedom to achieve varying angles of view, focus, and a shallow depth of field (DOF) ? an often-used cinematic technique where the objects the filmmaker wants to highlight is in focus, where everything else is blurred.

Although digital and HD video advances have solved many other challenges for moviemakers, the inability to use interchangeable 35mm lenses has left the depth-of-field problem elusive or too expensive to achieve.

That is, until now.

The Solution
The Redrock M2 cinema lens adapter for DV and HD cameras Redrock Microsystems introduces the M2 ? enabling you to achieve cinema-quality video at a revolutionary price. M2 allows 35mm lenses to be used with your DV or HD camera to create incredible depth-of-field, angle of view, and focus typically found in high-end film productions. The M2 works even with DV or HD cameras that have fixed lenses, such as the Panasonic AG-DVX100, HVX200, and the Sony HVR-Z1U.

M2 uses the same core technology as products cost ten times as much. This approach - known as the rotating ground glass method ? is completely transparent when translating the image from the 35mm lens to your DV camera. The M2’s revolutionary price point comes from our own product design philosophy that 100% of the critical features can be achieved for a fraction of the price ? without the extra fluff features that drive prices up.

At the heart of the M2 is our patent-pending Cinescreen (tm) technology, a specially formulated, proprietary image element that delivers the unique M2 film-look. The Cinescreen comes standard in all M2 adapters

Other approaches use a static or vibrating motion of the ground glass. While this approach has some merit, the image quality suffers from “grain” when moving the camera, or grain shows up when stopping the 35mm lens down past f5.6

The Redrock M2 adapter is the only adapter available in the market that enables you to use both large lens apertures for shallow depth of field, and smaller lens apertures to increase your depth of field. This revolutionary level of flexibility allows you to use a consistent 35mm look for all your footage, not just shallow depth-of-field shots. The following video clip helps illustrate this unique capability:

Unbeatable price-performance
We encourage you to look at other 35mm adapters and compare the quality, approach, and price.

We are confident you will not find anything close that gives you:

  Superior image quality

  The right mix of features

  A revolutionary low price

  Professional build quality   Benefits and features Works with the Digital video or HD camera you have today

The M2 is designed to work with just about every modern DV and HD/V camera available

  M2 has been tested with:

  Panasonic AG-DVX100, DVX100A, DVX100B

  Canon XL1, XL1S, XL2, GL1, GL2, GM2, HV20

  Sony Z1, FX1, FX7, V1, A1, HC1, HC3

  JVC HD100, HD110, HD200, HD250, HD10, HD20

  Panasonic DVC30, DVC60

  Panasonic HVX-200, 201, 202

  Sony PD150, PD170, PD100

  Sony PC9

  Canon XL-H1, XH-A1, XH-G1

If your camera is not on this list, read these technical requirements to determine if the M2 is for your camera.

If you’re still not sure, drop us a line at sales@redrockmicro.com.

Achieves cinema-quality depth-of-field

Create stunning images with shallow DOF using 35mm lenses

Use techniques such as racking focus and follow focus to enhance your look

Supports interchangeable lenses to get the exact angle of view and focus you want

Attach a 20mm wide angle lens for your master shots, switch to a 50mm for your standard scenes, then bump up to a 85mm for that shallow depth-of-field close-up.

Uses a wide variety of 35mm lenses ? even 35mm SLR camera lenses

Choose the type and brand of lens that works best for you and your budget

Mounts are available for Canon MF, Canon AF, Nikon, PL, and OCT-19, and Pentax.

Interchangeable mounts let you upgrade your lenses as your project or needs change ? start with inexpensive Nikon or Canon still lenses, and maybe for the big shoot rent some Cooke or Arri Ultra Primes (just make sure you have the correct M2 mounts ? check with us)

Works with the camera you will have tomorrow

DV camera owners desiring the M2 but are looking to upgrade to HD cameras in the future can feel confident their M2 investment.

The M2 is designed to be camera-independent, allowing you to preserve your investment in the M2 as you upgrade your camera. Make sure to check the list of M2 tested cameras to ensure compatibility

Compatible with popular accessories such as Matte Boxes and follow focus units

Uses industry-standard 15mm support rods.

Works with other Micro products

Redrock Microsystems is dedicated to bringing cinema-quality products at revolutionary prices.

The M2 will be compatible with future products from Redrock Microsystems including the microFollowFocus and microMatteBox. Please sign up for our newsletter and we will notify you of future product announcements.

Redrock Micro M2 - http://www.redrockmicro.com/micro35.html |
Prices: http://shopping.netsuite.com/s.nl/c.472981/sc.2/category.-102/.f |

M2 Cinema Lens Adapter

The M2 adapter (aka the micro35, version 2) allows 35mm lenses to be used with your DV or HD camera to create incredible depth-of-field, angle of view, and focus typically found in high-end film productions.

This standalone version is offered for customers who already have a 15mm rod support system.

Includes:

   M2 Cinema Lens Adapter

   M2 Rod mounting clamp

Note: You will need to select at least one 35mm lens mount and one achromat to have a functioning adapter. Also, the Redrock M2 adapter does not come with any 35mm lenses. The standalone adapter does not come with the 15mm rod support system. 35mm lenses not included
Lens Adapter $550 |

The HD bundle section includes items "bundled" together in order to maximize the cost benefit to the customer. Any item listed in a bundle can be purchased separately. All bundles include the Redrock 72mm HD achromatic lens. Rods are 18" long and are generally long enough to accommodate a follow focus and mattebox

M2 Cinematographer Bundle: HD Edition for PL Cinema Lenses

Includes:

  M2 Cinema Lens Adapter

  Special M2 HD Achromatic lens

  15mm Rod Support System - 18"

  Arriflex PL lens mount

  M2 Cinematographer's cap

  Power Supply

  Carrying Case

M2 Cinematographer Bundle: HD Edition for PL Cinema Lenses   Price: $1,750.00       
Suggested Accessories: These items may be helpful but are not required for all cameras.

The following cameras require the listed accessories, if your camera is not listed, then these accessories are not required.

HVX (M2 Shim Kit, 82-72mm step down ring)

Z1/FX1 (M2 Shim Kit)

HD100/200 (M2 Shim Kit, 82-72mm step down ring)

  M2 Cinema Lens Adapter

  Special M2 HD Achromatic lens

  15mm Rod Support System - 18"

  Canon EOS SLR lens mount

  M2 Cinematographer's cap

Redrock Microsystems, LLC was founded in 2004 by a group of avid digital filmmakers whose desire to produce high quality movie images without access to huge budgets lead them to start Redrock Microsystems: a company committed to the express purpose of bringing cinema-quality accessories to market at revolutionary prices.

Today, Redrock Microsystems designs and sells a line of high quality cinema accessories for independent filmmakers, film educators and students, and budget-conscious moviemakers. Our flagship product is the award-winning M2 cinema lens adapter, which allows DV and HD/V cameras to use 35mm cinema lenses to radically improve the quality of recorded images. The M2 brings the quality and technology of high-end solutions at a fraction of the price. We have subsequently released the microFollowFocus, microPod, microLensSupport, and other high quality, low cost cinema accessories.

Redrock’s strong commitment to the community of independent filmmakers has also lead to the release of the Redrock DIY (do-it-yourself) Guide, an inexpensive alternative that promotes hands-on learning of camera lenses, videography, and the art of cinematography.

Redrock Microsystems has offices in Dallas, Texas, and Hollywood, California. Redrock Microsystems can be reached at info@redrockmicro.com

Film and Digital Video

Filmmaking is rife with key moments in its history; perhaps none more so in recent years than the advent of Digital Video (or more specifically Mini-DV). For the independent producer, gone was the prohibitive cost of exposing silver nitrate on celluloid: the new format seemed to be a tremendous improvement over home-video of the 1980’s, and offered many inherent advantages, such as the ability to edit inexpensively on PC computer systems in a nonlinear fashion.

Nevertheless, it’s been a tough sell for distributors, film-festival submission committees, and personal tastes alike: no matter how good the lighting, or how perfectly the actors all hit their marks, projects shot on Mini-DV seem to be forever branded with the stigma of being “video” and not “film.” Not even George Lucas could escape the wrath of cinema traditionalists who scoffed at the idea of acquiring moving images digitally. And so began the effort to find ways to get video, especially Mini-DV, to look like “film.”

The “Cinema Toolbox” for Digital Filmmakers

Although there is no complete consensus, a number of characteristics have been singled-out as being crucial in giving digital formats such as HD and Mini-DV the “look” of film. These characteristics ? described in more detail below ? essentially boil down to the following:

  24p

  cinema gamma

  16:9 format

  High definition (HD) video

  Post-production tools

  Film-style cinematography (using the Micro35)

 24P (or twenty-four frames per second, progressive)

The most important to emerge of late has been “24p,” or 24-progressive, an algorithm that allows for the interlaced video signal to emulate the cadence of normal-speed motion picture film. Cameras and software solutions alike now offer “24p” modes in a direct appeal to the independent producer weighing the pros and cons of going Mini-DV. 24p caused a revolution among Mini-DV indie filmmakers, particularly with the introduction of Panasonic’s AG-DVX100 and DVX100A camcorders. Mini-DV was starting to get its due.

Sony has an article that goes into more detail on 24p here: SEE PDF White Paper
http://mediasoftware.sonypictures.com/download/step2.asp?DID=511
http://www.sonycreativesoftware.com/download/step2.asp?did=511

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HV20 Review |

You have designed a camcorder with superior video quality and 24P,
but you can’t tack on a decent zoom toggle?
If the HV20 had the handling of the HC7, a mega camcorder would be born.

We had high hopes for the Canon HV20, just as we did for the Sony HDR-HC7 (Review, Specs, Recent News, $1128.56), and at first glance they look like they are cut from the same cloth. These camcorders are nearly identical in size and shape, they both produce a beautiful image, and bring a strong core feature set to into the ring. As it turns out, the HV20s is an imperfect beast, and the physical handling of the HC7 puts it to shame. It’s also slightly weaker in terms of overall image adjustability without independent shutter speed and iris control, and fewer tweaks to attributes like sharpness and saturation. However, the Canon HV20 delivered in ways the Sony fell short. Despite it’s relatively stripped-down feature set, it’s built around the needs of a videographer like few consumer camcorders. And then there’s the 24P, which sets is apart in a big way. In this clash of the titans, the battle tilts back and forth but one camcorder does indeed emerge victorious. Read on for the definitive play by play…

The Front (7.5) The HV20 has an oddly shaped retractable lens cover that is slightly more finicky and frail than the Sony HDR-HC7’s. Over time, the lens cover could become one of the camcorder’s first casualties, so be nice to it. Than again, a retractable lens cover on a consumer cam is always a perk. Along the left side of the lens is a vertical panel that encompasses, from the top: flash, instant AF sensor, and mini video light.

Based on its position to the left of and behind the lens, the flash is not particularly placed for even lighting, and the lens barrel may cast a shadow. The instant AF sensor, located just below the flash, adjusts very quickly to changes in focal distance or fast moving subjects. If you use a wide or telephoto lens, make sure the AF mode is set to normal AF, as the instant AF sensor will be obstructed. The mini video light on the HV20 doesn’t really contribute more than any cheap LED light would, and its the same one on Canon’s entry-level ZR850 (Review, Specs, Recent News, $265), but it is certainly a convenient way to illuminate interviews conducted in a coat closet. The remote sensor sits next to the mini video light.

Structurally, the HV20’s front end is similar to the HC7. Sony chose to mount the mic jack on the front, which could lead to wires obstructing the viewing pane, but their retractable flash protects from nicks and scratches. The HV20 gives you more features, a bigger filter diameter, and is lower and wider than the HC7.

The Right Side (6.5) From afar, the right side of the HV20 has a familiar horizontal design akin to the Sony HC7, albeit with a fresh coat of silver paint. These camcorders have similar tape hatch designs. Only on the HV20, you’ll find the microphone jack, AV/headphone jack, and component terminal hiding behind a rubberized port cover toward the lens end of the camcorder. Although we’ve blasted Canon in the past for equipping their camcorders with flimsy plastic port covers, the HV20 proudly sports a burly, flexible enclosure. Mounting both the mic and headphone jacks in one location is easy on the memory. But because Canon condensed the headphone and AV jacks into one, make sure you manually select the correct mode, or you’ll be treated to a raucous surprise outlined in the Audio section.

The HV20’s hand strap is low strung and awkward. Its narrow band and cheap plastic construction do not greet the hand with Downy-like comfort. When the camcorder is released from the fingers, it flops to the side at a peculiar angle. The HC7 has the upper hand here (literally) with a padded, breathable mesh strap mounted higher on the body, providing more stability. Canon has not shown a great deal of strength in their consumer grade hand strap efforts, so this is not a monumental surprise.

The top loading tape hatch on the HV20 opens and closes at a faster rate than most camcorders in is class. This is great for filmmakers on a tight time schedule who can’t afford to sacrifice time due to a vexing bottom loading tape hatch. At the base of the tape hatch, there is a set of three wave-like grooves intended for additional grip. Although they may not prove to heighten the handling on the HV20, they provide the palm of the hand with a nice little massage.

On the top left side of the tape hatch there are two raised oval switches—the auto/P switch, and the tape/memory switch. You can access them by reaching around with your left hand, or sliding your right hand down and adjusting them with the index finger. The placement is awkward, but how many times are you going to need to access these controls on the fly? An avid videographer will want to keep the HV20 in P mode at all times while an SUV driving point and shooter will probably not even notice the switches even existed.

The Back (8.25) The first thing you’ll notice about the back of the HV20 is that it’s fat and wide. The battery is notably broader than the HC7’s, but the HV20’s battery chamber does not delve into the body as deeply. This is a shame because Canon really skimped on the HV20’s viewfinder—it’s short, has no rubberized eyecup, and cannot be extended or pivoted upward. If you upgrade your power supply, you will be greeted with a whole face full ‘o battery. In addition, the minute dioptric adjuster, to the left of the viewfinder’s lens, is nearly impossible to slide. The HC7’s viewfinder is wide, retractable, and has a rubberized ring. Are you taking notes, Canon? So far the Sony HDR-HC7 has trumped in the HV20 in design, and with little respite it only continues from here.

To the right of the battery is a strip containing the FireWire and HDMI terminals, housed by a thin, rubberized plastic enclosure. Unlike the sturdy port cover on the tape hatch, this enclosure is flimsy and difficult to snap back into place. It is attached to the body by two frail plastic strips. This way, it’s easier to rip the port cover out during a bout of frustration as a result of attempting to close it. The HC7’s port enclosures are stronger. The HV20’s DC input is also more susceptible to being yanked out or corroded.

Props to Canon for amending a small but irksome design flaw: the record start/stop button. They have finally added a red dot on it. Another accolade-worthy feature: the rear-mounted joystick atop its trusty sidekick, the ergonomic function menu button. Rather than wading through Sony’s murky swamp of touch screen menu options, all the power lies at your thumb with the HV20. The function menu button is right where it should be, right beneath the joystick, to ensure rapid menu selections. The joystick itself is a bit on the small side and has a bit of play, but it is highly responsive. Above the joystick is the mode dial, which can be switched into camera or play. The dial is more rigid than the HC7’s and is less likely to be inadvertently bumped into an undesirable mode.

If you can ignore the left side of the HV20’s back end, you will be very happy.

The Left Side (7.25)

Before we open up the LCD screen, let’s talk about style. On the runway, it’s a toss-up. The HV20’s metallic, two-tone body is rife with curves while the HC7 is all about bold, chunky lines. Either way, you’ll notice almost identical manual focus wheels toward the lens end, and like the HC7, the HV20’s focus wheel is equally as wretched. The focus wheel is the next step down from a focus ring, but that doesn’t excuse its trivial size and slippery interface. Vexation runs rampant while trying to focus the HV20, and owners of the HC7 will be able to empathize. The manual focus button to the right of the focus wheel is convenient for instant mode shifts, and the backlight correction button sits just above. Toward the battery end of the HV20, on top of the LCD screen, is the display button and mini video light/print button. It’s a good thing Canon threw a video light button on the HV20, because it would not be worth wasting the time questing through the menu to access it.

Once flipped open, the HV20’s 2.7” wide LCD screen reveals a panel of flattened playback buttons located on the bottom edge of the LCD panel. These are relatively standard on Canon camcorders, and can be a bit of a pain to press without using your fingernail ? but better that touch screen buttons. Inside the LCD cavity, you’ll find…barely anything. The HC7 based most of its existence within the LCD cavity. On the HV20, all you’ll find is a Mini SD card slot (which is protected by a hefty, hinged, rubberized door), USB terminal, and round playback speaker. Where have all the controls gone!? Canon has condensed and simplified the buttons, switches, jacks and dials on the HV20, excluding ancillary throwaways like some sort of Easy mode button or LANC jack equivalent found on the HC7.

The Top (6.0) A quick glance at the top of the HV20 will highlight the camcorder’s rotundity. Hold on tight! Toward the lens end is the built-in stereo microphone. Unlike the HC7’s front-mounted microphone, the HV20’s top-mounted microphone is designed to pick up less harsh, peaking sounds from action directly in front of the camcorder. The only downside is that it’s easier to inadvertently muffle the microphone while handling the camcorder. A point-and-shooter who uses two hands to hold the HV20 is likely to accidentally record the high-pitches scraping of fingers across the mic.

Next in line is a choice by Canon that we’re still trying to extract the logic, if any, from. Toward the battery end of the camcorder, there is a long, shield-like plastic cover. This is the door to the Advanced Accessory shoe. Great! Now let’s open it, and…the door falls off! Canon did not attach the plastic cover to the body of the HV20. If you don’t lose this cover during your first shoot, it’s only a matter of time, unless your name is Memory Jackson. Why? It would have been a snap to attach the cover to the body via two rubberized strips on the right side so it swings up over the tape hatch and out of harm’s way. This was a bad move.

While we’re on the subject of lacking design, check out the HV20’s zoom toggle. No plastic platform. No rigid grip. Just a tiny tab that sits flush with the body. This is the worst zoom toggle from Canon in years. Again, we ask “why?” This is silly, Canon. You have designed a camcorder with superior video quality and 24P, but you can’t tack on a decent zoom toggle? If the HV20 had the handling of the HC7, a mega camcorder would be born.

Home Page | Directory |

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JOHN LONGENECKER |

email: JOHN@JLemail.com | 800 470-4602

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also see: JOHN LONGENECKER | ~ VideoHostUSA ~