Sony XDCAM PDW-530

The Beginning of the End of Tape

By Erik Holsinger

January 1, 2005    Source: Studio Monthly

The World of Tomorrow was delivered to my studio recently, neatly packaged in two massive blue shipping crates. Inside was a new XDCAM PDW-530 system, Sony’s shining disc-based camcorder that leaves behind the limitations of tape. The PDW-530 is the top of the XDCAM line, offering both DVCAM and IMX MPEG recording.

Overall Rating: SWEET

As a firmly entrenched videotape user, I was very skeptical about the viability or advantage of XDCAM media. Yet after weeks of testing the PDW-530, I found the XDCAM system both impressive and eye opening. This review will focus on the features of the PDW-530, while my adventures in production with the PDW-530 are documented in the article "Going Tapeless," on page 34. Sony’s XDCAM technology may not ultimately be The Next Big Format, but one thing is clear: For me, XDCAM is officially the beginning of the end for tape-based video.

Impressive Imagery

While it can record DVC25/DVCAM signals, the PDW-530’s CCD puts it squarely in the professional camcorder range. Using three 2/3-inch Power HAD EX CCDs, the PDW-530 is a standard definition camera with a resolution around a million pixels. This gives the camera a vertical resolution around 450 lines EVS. The PDW-530 uses 12-bit A/D conversion, so image processing—especially contrast control—is more precise.

Techno babble aside, the image quality on the PDW-530 is impressive. According to Sony, the 16 x 9 native (but switchable to 4 x 3) XDCAM series uses newer and more sensitive CCD’s than even its HD camera line (although, no doubt those cameras will see CCD improvements at this year’s NAB). Under the close scrutiny of a video engineer, the IMX signal tends to be noisy, although the IMX 50 mode has far less signal noise than the IMX 30 format. Also, even in the IMX 50 setting, we saw ringing around our main subjects, so the XDCAM wouldn’t be a great camera for greenscreen work.

The PDW-530 is also flexible, as it can record in either 4 x 3 or 16 x 9 (its native format) in either interlace or progressive scan formats at 30 frames per second. A $2,500 24p (well, actually 23.976 frames per second) option board is also available that gives a very clean "film" look to the image.

Camera Control

The PDW-530 has a look and heft like Sony’s DigiBeta camcorders, but there are some new additions to the camera control features.

Let’s start with the Paint menu section, which provides software control that’s usually only found in the higher end Sony cameras. The PDW-530 has 15 different Paint "pages" with over 80 individual settings for controlling everything from Gamma settings to Knee levels. With this paint menu you can get stunning visual "looks" in camera, from finely tuned color temperatures using the White controls, to deep lustrous blacks using the Gamma and Black/Flare settings. There are even three levels of Detail control, including a Skin detail control to help electronically smooth over a talent’s complexion.

Next you’ll find not two, but four assignable user controls: two on the side of the body, and two on the handle. One of the two on the side is a slider switch; you can feel where the setting is even if you can’t initially see it on screen. You can assign one of 16 different functions (such as adding a starting Record, zooming out the lens, and so on). These are great for quickly adjusting the camera to different shooting situations.

Audio Processing

Amazingly, the audio implementation on a video camera is not an after thought. On the PDW-530 you get four channels of 48 kHz audio that you can record at once, in either 16-bit or 24-bit formats. Wait, it gets better.

There are three XLR jacks built into the camera; a mic input in front and two XLR jacks in back.

And now for the frosting—the PDW-530 has a built-in space for a wireless receiver, so you don’t have an external receiver box that you need to strap on the camera.

Before You Leap

The PDW-530 is a remarkable camera, but like all bleeding edge technologies, it has some notable drawbacks. First and foremost, the PDW-530 is the first generation of Sony’s XDCAM camcorders. Historically, you can bet that there will be other versions to come, as Sony has proven over and over that they just can’t stop tinkering with things.

Next is the cost which, like the PDW-530’s feature set, is impressive. The camera body alone is $34,000, which adds up to well over $60,000 when you add in a decent lens, and other options. You’ll also need to invest in an XDCAM deck (so you don’t tie up your camera in your post suite), which will set you back an additional $7,000 for the PDW-V1 Mobile Deck or $15,000 for the PDW-1500 Studio Deck. So your entry cost is about $67,000.

Finally, the ProDATA PFD23 discs are not exactly something you’ll find in your local video supply house; you’ll need to order well in advance of your shoot. PFD23 discs are also limited to 45 minutes of recording time at the high-resolution IMX 50 data rates. But this is a temporary limitation, as storage capacities continue to increase.

The Future is Here

The PDW-530 may be a harbinger of XDCAM things to come, but it is definitely a great camera to work with. Still, XDCAM is not the only non-tape based system out there, as Panasonic continues to push its P2 flash memory-based video products. Which format will ultimately win out is a Betamax versus VHS debate that the market will ultimately decide.

Yet the value of a nonlinear video recording medium can’t be denied. I’ve been ready for years to skip the whole digitizing step in post-production, and now I have a solution that is reliable enough to trust with my productions.