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JVC GY-HMQ10U 4K COMPACT HANDHELD CAMCORDER (Discontinued by Manufacturer)
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- AC Adapter - SSL-JVC50 Battery - Lens Hood - Eye Cup - Manual
- 1/2.3" back-illuminated CMOS sensor (8.3 million active pixels)
- Ultra high resolution F2.8 10x zoom lens (F2.8 - 4.5) (6.7 - 67mm)
- 35mm conversion is 42.5 - 425
- Built-in optical image stabilizer
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|Package Height||10.2 x 12.1 x 13.7 inches|
|Shipping Weight||6.9 pounds|
|Video Capture Resolution||4K|
The JVC GY-HMQ10U 4K Compact Handheld Camcorder is a one-of-a-kind camera that employs 4K imaging. It features the Falconbrid high-speed processor for advanced video applications. There's one Falconbrid engine for de-matrixing raw data in real time, while another handles H.264 encoding and formatting into the required MPEG4 format. The GY-HMQ10 uses a single 1/2.3" CMOS 4K sensor, which provides 3840 x 2160 images that are four times the resolution of Full HD cameras and monitors. With single sensor sensitivity, the camera works well over a wide range of lighting conditions. It also simplifies the optical design, which results in more precise images with minimal aberration. Plus, the 3840 x 2160 resolution supports a widescreen 16:9 aspect ratio as well.The GY-HMQ10 uses 4K progressive recording at 144Mbps in the MPEG-4/H.264 format. 4K recording separates the image into four different quadrants and then each quadrant is recorded onto its very own SDHC memory card. After you've finished your shot, all four memory cards are accessed in sync so you can view back your footage in the ultra high-resolution 4K mode. You can also use the software to combine the four separate quadrant files into a single file that is compatible with 4K editing systems. Ideally, you want to play back 4K footage on a native 4K monitor or projector. There are even a few LCD panels that support 3840 x 2160 resolutions through 4K inputs.Usually, 4K monitors have four inputs - one for each
Top Customer Reviews
I own a production company that specializes in scenery and I've used a RED One crew to film scenes as simple as an aquarium tank or yule log. While the frames from the RED seem sharper, the color from the HMQ10U has better color reproduction. I don't usually use FCP X. I use FCP 7 due to the vast number of plugins I already own, and one thing I'd like to dispel is the idea of having to own FCP X. I'm pretty sure that once you ingest the video, you can use it in any NLE that will support 4K ProRes files.
I've been shooting 60p so far. I will see if shooting in 24p improves the compression even more. You'd think it would.
I'm happy to answer any questions that you might have, or to shoot test footage. For now, though, I'm very pleased with the results. Basically, I bought a really solid 4K camera for less than it cost me to hire a RED One crew for ONE DAY 3 years ago.
I was motivated to post this review by the utter uselessness of the one star review given for the camera apparently arriving without a charge. If you want the battery to come pre-charged, I recommend buying used, like I did. :)
Modified 11/2/13 I would like to add some more feedback based on continued use:
The focus assist is very good. The image stabilization is very good (obviously with no zoom, otherwise all bets are off). A lot of people try to make comparisons to RED cameras, and since I still use them on projects, I'll share my feedback.
RED cameras use a very different codec. More like a ProRes or Cineform for acquisition. The codec doesn't have any of the artifacts that we typically associate with H.264. If you look at a RED one frame, it looks pretty close to a photo -- even close up.
If you look closely at a frame from this camera, it looks like an extremely sharp 4k video, but it still experiences the kind of artifacts you see on any 1080p camcorder. I think that the color saturation is better on this than the RED, but the the REDCODE codec definitely has advantages. They claim that REDCODE is visually lossless, but I've seen proof of generational loss. Perhaps "imperceptibly lossy" is more accurate.
That said, it is highly likely that consumer formats within the next 20 years will be based off h.264 or h.265, so the end result in the final production is probably minimal. If I were shooting for projection in theaters, though, the RED would be provide a more filming look.
(Also, I was worried about low light performance, but I find that even when I use high gain, the grain is not an unpleasant grain).