  Sony HVR-Z1U Review
If the FX1 is the camcorder that put HDV on the map, then the Z1 is the camcorder that secured its place there and put Sony out at the forefront of HDV capturing devices. The Z1 Camcorder is the professional version of the FX1 camcorder, in a similar fashion to the VX2100/PD170 relationship, so as you might expect there are a lot of similarities, but there are also some major differences.
Many professionals are comparing this camera favourably to DigiBeta, a startling comparison considering the price difference, but it shows the confidence that many have in this camera.
Interestingly, when the camera was first announced, and even after it had been around for awhile, numerous comments were posted on the various online forums that demonstrated an amazing lack of insight. The widely held view across those that posted to these forums was that the only major difference with the Z1 compared with the FX1 was that it had dual XLR inputs for audio rather than the mini jack on the FX1. These same people went on to say that they would not be parting with the approximately $1500 difference in price compared with the FX1, just to obtain XLR inputs. How misinformed they were.
Of course that’s not to understate the importance of the XLR inputs, they are crucial for a professional camera. In addition, Sony has provided two channels of inputs, each with the facility for phantom power, and each with independent gain controls on well designed thumbwheels at the rear of the camera. These are neatly protected by a removable cover to prevent al altering of levels once they are set. Another thoughtful detail.
While the XLR inputs are the most obvious cosmetic difference when looking at the external appearance of the Z1, there are many other valuable differences that are unseen. In fact, there are some 40 differences between the FX1 and Z1 models, so the price difference is definitely justified.
What seems most surprising is that in all the countless reviews of the Z1 that have appeared since its release, only a handful of reviewers pointed out the significance of the Z1’s capability to shoot both PAL and NTSC formats! This ability is truly unique, a first, and a major milestone in video filming. Anyone who travels to different countries to shoot video locally will find the Z1 to be an answer to a prayer. You will also benefit from this feature if you are located in the USA and intend to output your project to film. You can now record at 25fps at the higher line resolution that PAL affords.
So the Z1 allows you to shoot and playback DV and HDV in either 25fps or 30fps (50i or 60i), and in PAL or NTSC DV, all on one camera, simply by selecting the appropriate setting on the menu and then switching the camera off and on again (the whole process takes seconds). It really is like having two cameras in one.
The ‘CineFrame’ film-look modes of 24, 25 and 30fps are also included for even more versatility. As with the FX1, these modes aim to imitate the look of film. Should you use these modes? It depends. Bearing in mind that the camera discards some data when using these modes, if your intention really is to output to film then you should not use the cineframe mode. Specialist external processing at the editing stage will yield better results and you’ll have more data available to feed into the process. However, if you simply want to create a film look to your video then these modes produce acceptable results and certainly give the feel of film. Ultimately whether you use the Cineframe 24,25 or 30 mode is down to personal preference. Experiment to see what works best for you.
What are some of the other differences compared with the FX1 model?
In addition to the decent sized flip-out LCD monitor, a viewfinder monitor is included; in this case (unlike the FX1) it is selectable as color or black and white. The viewfinder can be on at the same time as the LCD screen, another feature not found on the FX1.
The Z1 also has the option to record both DV (short play only) and HDV in DVCAM mode. DVCAM mode is preferable to DV mode because the tape runs faster, meaning there is more tape to record the same amount of information, which in turn reduces the likelihood of errors or dropout. The downside is that you can’t fit as much footage onto the tape. For example, a 60 minute DV tape records about 43 minutes of footage in DVCAM mode.
The component output is more versatile with the Z1, allowing any format that can be recorded to be output as a component signal, with additional options to squeeze, letterbox or edge crop the image according to your needs and the type of monitor you are using. This is a very versatile and powerful feature.
Where the FX1 has three ‘assign’ buttons that can be user programmed to turn your favorite settings on and off literally at the touch of a button (white balance, backlight etc), the Z1 has a total of 6 of these buttons so you can really go to town in customising the camera to your liking.
The ‘Picture Profile’ menu also allows you to go wild with customisation. This is where you will gain access to the cineframe modes, plus a lot more. Although the FX1 has this menu, the options on the Z1 are more comprehensive. You can make changes to color level, color phase, sharpness, skintone detail, skintone level, auto exposure shift, AGC limit (automatic gain control), AT iris limit, white balance shift, ATW sensitivity, black stretch, and the cinematone modes previously mentioned. Obviously these options allow for creative shooting possibilities, and you can store, copy and paste several combinations of settings as personal presets within the picture profile menu.
On its release, this camera had a retail price of around $5950, and at the time of writing it was available for a street price of around $4500.
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