The hi resolution recording system HDV is capable of producing images in both 1080i and in that seems to be a very good compromise progressive, using the same tape speed as DV of one hour on a small (mini DV) tape.

This leads to the questions everyone is asking? What is the best way to use this camera. Do I shoot in DVCAM mode or HDV and use the excellent inbuilt down converter? HDV uses MPEG to compress the 1080 x 1920 pixels down to the required 25Mbs needed to record to tape. It can do this very well by introducing a few cheats along the way. Firstly the image is reduced to 1080 x 1440 pixels and then the GOP or frames grouped together are fixed at 12. This does lead to some shots terminating in a still for a few frames while the compression rounds out the group. This is not really a problem as you just cut them off in the edit. The HDV side is further complicated by the lack of software capable of editing the format. At present all the systems we have tried, failed to produce a meaningful programme.

The down converter works well, producing a DV stream which all editing software seemed to deal with. I have been happy with the results using this method and unless you need the security of the increased tape contact or are shooting 4:3, I would tend to stick with the HDV recording. The compatibility of HDV in DV decks is non existent, so the smart little HVR-M10E portable deck gives you all the interfaces needed to work in a non-linear (Firewire) environment. Its seems to be the camera bits less the CCD block put in a box and at about 2/3s the price of the camera is well worth considering.

My experience so far with the camera is one of great pleasure. Even though the camera is one stop slower than the DSR-PD170P, its megapixel block has very good signal to noise allowing gain to be used with confidence. Having volunteered to film at a sail training event for the IC class and with all Visual Impact's various cameras to choose from, this seemed to be an ideal test for the new HVR-Z1E. The decision was made to shoot HDV 1080/50i with the optional 'Cineframe' progressive look with fast shutter, primarily to see if we could use the frames as stills for publicity purposes. I also applied the 'Cinematone 1' setting to give the images a lesser clinical TV look. In fact we have run a similar test the year before in less than ideal conditions with an HDW-F900. Experience shone through and the lessons learned were applied.

The HVR-Z1E worked a dream; the 'steadyshot' was set to standard and the weight saving helped as you are standing in the back of a speed boat bouncing off every wave! In these conditions, the classic viewfinder soon becomes difficult to use and eye strain is evident. The flip out LCD screen is well placed and was the preferred way of shooting.

One problem you always have in this type of situation is the location of the controls. Last year I managed to knock the back focus out of alignment (try resetting that on the back of a speed boat doing thirty miles an hour!) This time it was the record button that got my attention. All the controls are well placed, but the physical size of the HVR-Z1E makes it difficult to hold for long periods. The other control causing concern was the zoom switch which jumps to the last electronic rocker point when you switch it over to lever/remote setting.

The training at Grafham Water near Cambridge, gave a good work out for the HDV and its MPEG2 compression. The camera and the subject were constantly moving, often in different directions, so with a fast shutter and progressive mode the codec would be tested. Subjective viewing of the images showed no signs of softening, water droplets or spray stayed sharp and well defined, with no squaring, found in other compression systems. One issue did come to the fore, with four of the boats painted various shades of orange, the one colour all video seems to have problems with, HDV was no different.

The audio side of the camera can be frustrating with either the on board stereo microphone or the XLR's selectable, you cannot combine the two, forcing you to use more microphones to get even sound. The on board microphone is well matched to the camera, but its lack of direction caused problems with too much ambiance and a lack of direction.

The other issues found with the HVR-Z1E included a big plus for the 'Vocas' derived lens shade with trap doors, very handy when running in to the wind and waves. Battery life is another area of delight, I ran all day recording over three hours and playing back all the tapes, on just two NP-F960 batteries and these are the older type with approximately 20 percent less than the new NP-F970. Life is a little difficult at present finding accessories for the camera as third party manufacturers have been slow to release product.

A debriefing for the sailors, again showed the versatility of the camera, setting the down converter to 576 the footage was played straight out on to the club's domestic TVs. Later selected frames were imported in to 'Photoshop' and forwarded to the yachting magazine for class publicity. Well done Sony, thanks for making my life easier.