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In general, most if not all mini-DV camcorders (digital tape) have Firewire. Most, if not all camcorders, only come equipped with a USB cable. Buy and use a Firewire cable. If your computer does not have a Firewire port, install an inexpensive Firewire card to support this method of download.

DVD or Hard Drive camcorders may or may not have a Firewire port. Generally, downloading video from these camcorders will require special software to extract video from a pre-recorded DVD.

Most camcorders have an option of recording audio in either 12bit or 16bit. Use 16bit. For some reason, 12bit audio loses sync after a few minutes when the video is loaded into an edit program.

You know what you can afford. You can set a budget then find the camcorder or build your wish list and find the camcorder... Please keep in mind that the camera itself is only one part (yes, a large part) of the budget. Other items to consider:

Tripod or monopod: The screw hole on the bottom of the camcorder is for mounting on a tripod or monopod. It is a standard size. Keeping the camera steady can be a challenge - especially if you are recording something for longer than 10 minutes or so. Consumer camcorders are small and relatively lightweight - but staying in one position for anything longer than about 5-8 minutes will get painful.

Rechargeable high capacity batteries: There is no battery included with the camera in the box that will last longer than about 30 minutes. Whether you get an external charger or not will be up to your power requirements.

Sturdy case: You just made an investment in electronics. Camcorders are supposed to be portable and used all over the place. Getting the camera to and from those places safely is what this is about. This can be a soft-sided travel case or a hard-sided pro-grade case like a Pelican or SKB (or others - there are lots of manufacturers out there). You know your use/travel requirements. Remember to protect your investment.

External microphones: This can be an entire post on itself. Not all cameras have a mic-in jack. Some Sony cameras use a proprietary accessory shoe that allows Sony-proprietary mics to be used. For this post, suffice it to say that the closer the microphone is to the audio source, the better your audio will be. If it is possible, get a camcorder that can connect external microphones. You may not use an external mic immediately, but when you want to, you will need the audio-in jack. Better to have it and not use it than need it and not have it.

Video light: If you are doing a lot of low-light shooting - and your subject(s) don't mind, consider a video light. There are lots of options on these; local battery vs camcorder battery vs belt-pack, brightness, camera mounted or external mount... another option - if you are shooting indoors - turn on a lamp or two so you are no longer in low light...

There are many other accessories that you can get (LANC, lens filters, lighting, etc), but the items above are probably the most common you should consider during your initial budgeting activity. This does not mean you will get them all when you get the camera - but at least consider their merits and your ongoing video capture activities. A few of what I consider the "higher runners", due to postings in this forum, are listed below:

Lenses: Some camcorders include screw-on threads for optional lenses. Typically, these lenses are either "tele" to increase zoom or wide-angle to increase nearby field of vision. Not all cameras have these threads for mounting lenses.

Harsh environment protection: If you think you (and the camera) will be getting wet, lots of dust, extreme cold or heat, or any other harsh environment, you may need to get some sort of housing for the camera. These can be very expensive - sometimes more than the cost of the camera.

Helmet cams: These external cameras connect to the video-in on the camcorder. Not all camcorders allow for this connection (have video-out only). Do your homework and be sure you know the helmet cam and camcorder will actually work together - when in doubt, ask the helmet cam manufacturer before you buy.

This will not be too detailed - but will cover the typical microphones used with camcorders and how they can connect.

In the previous post, camcorder internal mics were discussed at a high level. They have advantages and disadvantages. If your camcorder has no mic-in jack, this "External mics for camcorders" post does not apply to you. If your camcorder has a mic-in jack, or you are shopping for a new camcorder and your are developing your requirements list, this section applies to you. Sony proprietary "active accessory shoe" microphone connectivity may happen in another post and will not be covered in this post - though some of the principles may apply.

When a consumer-level camcorder has a mic-in jack, it is typically a 1/8 inch (3.5 mm) stereo jack. This allows either a stereo mic or a mono mic to be used. If a stereo mic is used, the spatial qualities of stereo audio separation will be included with your video. If a mono mic is used, those stereo spatial qualities will be lost. Some cameras may require an adjustment on a menu somewhere that selects a mono mic so that the same sound goes to both the left and right channels. In these cases, if this selection is not made, it is possible that the captured audio will be on only one (left or right) side. This will be specific to your camera model. If your mono-audio ends up on only one channel, there are ways to fix this in the edit process once your video is in your computer (but will not be covered in this post).

We also know mic placement can play a big role in the quality of audio captured with video. When the mic(s) is/are built-in to the camcorder - or mounted/attached to the camcorder - the camera being closer to the subject is better.

Within the broad categories of stereo or mono mics there are many different sub-categories. Not all microphones will be discussed - only those (I think) commonly used with camcorders.

Shotgun: Typically, shotgun mics are relatively slender (~3/4 inch diameter), cylindrical tubes - one end has the cable, the other end has the mic element which picks up the targeted audio. These mics have a useful characteristic of "picking up" the audio source at which they are pointed better than hearing audio sources to the side of the mic body. Generally, these mics have some method of hearing the audio coming from the sides of the mic and rejecting that audio - so it is not picked up very well. Generally, shotgun mics are mono mics, but there are (very expensive) stereo-shotgun mics available. This is an example of a shotgun mic:
http://en.wikipedia.org/wiki/Image:Shotgun_microphone.jpg

Stereo: For camcorder use, an external stereo mic essentially replaces the built-in camcorder stereo mics. A stereo mic is two different microphone pick-up elements contained in the same space and they both pick up audio on their separate channels - much like your ears do. Since they record in stereo, they provide a richer audio experience than a single mono-mic can provide...

Clip-on or lapel or "lavaliere": This very unobtrusive mic is small and light enough to clip on a shirt, jacket lapel or other piece of clothing (closer to the audio source, i.e., speaking person's mouth, is better). In some cases, taping the mic to the person's chest - with appropriate skin-sensitive tape/adhesive - might be needed. lavaliere mics are generally mono, but stereo versions (very expensive) are available.

Hand-held: Generally with a "cardioid" pick-up pattern, this would be like the hand-held (mono) mics you would see being used by newspeople or field reporters or in some documentary situations. Notice that the mic element is located pretty close to the sound source.

Specialty mics like those used in recording studios, headset mics, boundary mics and others, the differences between various mic technologies and discussion regarding polar patterns will not be covered here. If you are interested in additional detail, start with http://en.wikipedia.org/wiki/Microphone

Many camcorders have a cold-shoe accessory mount on top of the camera. For those which do not, it is easy to add one by adding an accessory bar or bracket. These can be a straight bar or be angled - and can be found at most camera supply shops (brick/mortar and online). They are between US$9 and US$16 or more. They mount to the tripod screw mount on the bottom of the camera. The mounting screw on the bracket also has a mounting screw hole so you can mount the tripod quick-release plate to it.

Examples of these brackets:
http://www.adorama.com/FABS.html
http://www.adorama.com/FABL.html

(This is not a recommendation for a particular vendor or manufacturer - this is for example purposes only.)

Shotgun, stereo and hand-held mics can be mounted to the cold shoe adapter with an appropriate mic-mount. To reduce the potential for picking up camera noise, it is recommended that a "shock-mount" be used in place of the normally included (with the mic) hard-plastic mic clip.

Example of a shock-mount (check out the SMM-1):
http://www.transaudiogroup.com/sabra_som.shtml
(This is not a recommendation for a particular vendor or manufacturer - this is for example purposes only.)


A couple of posts regarding wired vs wireless microphones and 1/8 inch (3.5 mm) vs XLR connectors will follow...

In most cases, good audio is the key to good video. Camcorder mikes have issues due to their location. However, being tied to a microphone by a wire drastically limits mobility, and wireless means knowing where the audio will be occurring in advance, and is typically limited to one location. And some cameras don't have an external audio input.

In the "good old days", having an external recorder implied having some complex electromechanical linkage to maintain synchronization between the two devices. However, these days, each device generally has a crystal controlled (very accurate) internal source of timing, comparable in accuracy to a quartz watch. As a result, they can operate independently at record time. They can synchronized once during editing, and there is a reasonable expectation that they will maintain synchronization over a usable period.

This normally means starting all of the video and audio recorders at about the same time, then doing something to make later synchronizing easy (such as a clapboard, or just clapping once in a position visible to the cameras). If recorders are to be stopped and restarted, remember to clap each time.

This approach allows scattering audio recorders wherever audio input might be anticipated, or setting up for multichannel recording. It also allows recording with multiple camcorders even when working alone, with locked off wide shots or area coverage. When all tracks are aligned for editing, editing can resemble a multicamera realtime shoot. But it doesn't have to be that elaborate -- it can be used for a single audio recorder and single camcorder.

As for the recorders, some inexpensive mp3 players with voice recording capability can produce very good results. You need to test the quality and nature of the encoding, as most are very poor (e.g. wav encoding at low bit rates, or noise and internal interference). The old iRiver IFP 7XX and 8XX series (now an eBay item) offered good pickup quality, along with the ability to encode the audio at high bit rates with MP3 compression. This allowed a 256MB MP3 player, "useless" as a player due to its limited recording time, to record high quality audio for several hours! These can typically be purchased for about $30. The best I've found is the Zoom H2 at about $200. Audio from the iRiver has to be uploaded and converted (fast), while with the Zoom its just a matter of moving the SD Flash card (faster).

If you do go wireless, remember you want the receiver to be small and battery operated if you are to remain mobile with your camcorder. Most wireless setups are the opposite, with an AC powered large clunky receiver. Also, if the transmitter has an external input, it can be driven from a mixer with multiple wired mikes. This is great, for example, if you are shooting a band and want the best audio quality (subject remains in a relatively fixed position), along with the freedom to move. Use at least one locked off wide camera for cover between moves, and remember to not stop your mobile camera between shots so sync is maintained during editing.

If you are going with wireless, look for the term "diversity" on the receiver, and go that way if you can afford it. The receiver has two separate RF channels, and whichever is stronger at that instant is the one used. This helps considerably to avoid fades and interference, which can happen over very short distances.

A big thanks to whizkid454 and boya84, who have both given lots of excellent advice and information. I'm very impressed and grateful.

Aloha,
Steve

I moved techie12345's tip to here.

Kees

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You dont need to buy a big expensive adapter to get XLR connections. there is a very cheap impeadance adapter at BH Photo for 20 bucks. one end is a xlr plug and the other is a standard mic jack. its a good low budget solution and works great for voice-overs in editing with out a pricey mixer.

http://www.bhphotovideo.com/bnh/controller/home?O=Search&A=details&Q=&sku=423360&is=REG&addedTroughType=search

The key to choosing the right camcorder is to pick one that is best suited for the environment in which you are going to be shooting. Try to include which environment you will most likely be shooting, but don't leave out the other environments you will be shooting in because those are important too.

For example, if you are going to be doing a lot of indoor parties or school plays, you will want a camcorder that produces good video under low-light situations. If you are doing outdoor sports, you want a camcorder that captures bright and clear colors without "blowing out" the subject(s) or surrounding areas with a bright white.

Remember, the more details you provide in your original post, the easier it is to find the best camcorder for your needs.

ANY QUESTIONS PRESENTED IN THIS THREAD WILL NOT BE ANSWERED! This includes buying questions and troubleshooting. If you have buying questions or need troubleshooting help, please create a new discussion by clicking the "Create a New Thread" button in the top right hand side of the Camcorders Forum main page.

Thank you!

Since so many ask for the Dew sensor disable procedure I've added it to our forum sticky. I will not email this to anyone. As usual, all the responsibility for this is disclaimed by all.

by R. Proffitt Moderator - 6/10/07 10:55 AM
In reply to: Request for info on the condensation problem.

Only for the brave. Please read http://www.pechorin.com/m/2007/03/08/Re_Panasonic_PVL600D-286355.html

"Panasonic PV-L600D
Ed - 7th Mar 2007 19:17

ok the dew error sensor on the pv-l600d is located on the flex cable that control the on and off one's you remove the rigth side cover you will have to remove the power switch to see it since the sensor is on the cable there is no way you can jump it or add a resistor, all you can do is follow the flex cable and add a resistor of 3.4k ohms at the connector FP3 PIN 3 AND PIN 13 that will fix the dew error the connector is located under the chasis on the control board you will have unsolder two legs from the chasis to get to it. remember that you will need a soldering iron with sharp tip and a magni-glass good luck."

THANK YOU SOO MUCH!!! I have been trying to get my camera fixed and couldn't find a number that wasn't "voice mail jail". I called the number you posted and got right thru. They gave me an address to send it and they are going to fix it for free. Thanks again!

Note: You can either read what I typed here or just see this handy video that I uploaded to Youtube that explains in detail what I have done.
Video: http://www.youtube.com/watch?v=clQWfa4fUwo

When I was searching for an HD video camera to purchase, I did some very thorough research. The one difficulty that I had when doing this research though, was the need to know what video quality an AVCHD video camera would produce. After scouring the internet I ended up with no videos that showed what the camera had to offer in terms of video quality. I eventually ended up taking a leap of faith and purchased the HDR-UX1 from Sony's AVCHD lineup of cameras. It ended up being a very solid camera.
In my desire to fix the difficulties that I faced when buying an HD video camera, I have created several (18 to be precise) test videos with my new
camera. Each of these will showcase the various quality settings of the camera.
The Sony HDR-UX1 came with four quality settings:
-HDHQ+: 12 Megabits-per-second recording quality.
-HDHQ: 9 Megabits-per-second recording quality.
-HDSP: 7 Megabits-per-second recording quality.
-HDLP: 5 Megabits-per-second recording quality.
The camera records at a native 1080p 1440x1080i but with Sony Vegas it can be re-rendered to any quality that you prefer.
I recorded 8 clips outside my house, each of varying quality from the HDHQ+ to HDLP and rendered them in both AVI and WMV for quality and size purposes.
There are also two clips that I resized to 720p and uploaded to Vimeo for HD streaming.
Overall the shooting for the clips only took 30 minutes, but the editing itself took hours because it required constant rendering of each video. Its finally finished though, I hope you like it!

You can find all 18 of the various video clips taken with my HDR-UX1 at: http://whoismatt.com/index.php/Videos/The-Sony-AVCHD-Quality-Test.html