Review: Sony DSR-PD170 DVCAM Camcorder


Designed to appeal both to the serious enthusiast and professional users, but is the VX2100's big brother DVCAM model worth the additional expense?


Image of Sony DSR-PD170 3CCD DVCAM Camcorder
Unveiled in late 2003 at Amsterdam's IBC exhibition, Sony's DSR-PD170 DVCAM camcorder was designed to succeed the DSR-PD150P - a model which has seen huge popularity not only among serious video producers but also many TV documentary programme makers who have opted for the camcorder's ease of single-operator use and portability that lighter models bring.

This model sits in the middle of the company's range of professional-quality DVCAM products and uses the higher-specification DVCAM format which takes advantage of specially-formulated tape to record a track-pitch of 15 microns as opposed to Mini-DV's 10 microns (SP). The increase in this track pitch brings about a reduction in recording time, and for that reason the PD170 will record only 40 minutes on a tape which can be used to record 60 minutes of Mini DV footage.

Prior to the introduction and subsequent widespread adoption of Sony's HDV format, DVCAM was used in preference to Mini-DV by broadcasters, not least because the models in the range offer proper balanced XLR audio inputs and a higher degree of manual control over how they're managed. Here's how we reviewed the DSR-PD170 when it was launched back in 2003.

Design and Layout


Both camcorders share similar physical characteristics and handling, though a short-barrelled directional mono microphone is provided in place of the VX2100's built-in stereo microphone, with the whole of the carry-handle's front assembly being taken over by the PD170's audio facilities. All other aspects of the camcorder's design and layout are virtually identical to the DCR-VX2100 (see our exclusive review), with the exception that the body is a darker shade of grey. Compared to the average single-chip consumer DV camcorder, the PD170 is much heavier and sports many more features as befits its professional status. The large non-detachable f1.6 zoom lens features free-spinning focus and zoom rings as well as a new lens hood with a built-in shutter-style lens cap, which is activated by a switch to the rear left of the lens hood itself.

The main left side of the body houses a 2.5" 211,000 pixel colour LCD screen, in addition to a selection of manual switches controlling focus (manual, auto, infinity check), two-step ND (Neutral Density) filter, manual iris (exposure) thumbwheel, an index marker button as well as a Push Auto which gives the operator instant Auto functionality in an emergency. Fader, Back Light and Spot Light buttons sit snugly on the lower left of the body near the tripod plate level. At the rear of the main body can be found a range of manual controls for Gain, Shutter Speed, White Balance and AE Shift. These are modified using the now-familiar menu thumbwheel, once the Menu function has been selected by the button that nestles among other buttons that hide behind the recessed LCD screen. It's here where the Display on/off, Data Code, Title and Timecode/U-Bit buttons are found along with a range of Memory Stick related functions, too. It's here where the button to activate the PD170's Zebra pattern generator is found, too.

Supplied with the camcorder is a Sony NP-F330 InfoLithium battery which looks lost in the deep battery recess that is provided on the PD170 (as it is with the VX2100, too). The viewfinder is a definite improvement over that of the PD150, and now sports a larger cupped rubber eyepiece which can be adjusted to suit the operator's preferences. The camcorder's viewfinder is B&W – which professionals tend to prefer – as opposed to the VX2100's colour viewfinder (which appears pixellated and less well defined by comparison). The viewfinder can be moved from a horizontal to a near-vertical position. One thing we should comment upon at this point is that the rubber eyepiece isn't rigid enough to be of any use if the operator needs to hold the camera tight to the eye (for stability). The eyepiece simply collapses, and is pretty useless in this respect.

The large zoom rocker switch is positioned above the tape-compartment and hand-grip, with almost all the external connectors being found behind a rubber flap just before the lens on the body's right side. An additional smaller zoom rocker is positioned on the top of the carrying handle along with the second of three Record buttons to be found on the camcorder. VCR playback controls can be found on the upper side of the body underneath the rigid carrying handle.

A Memory Stick slot is provided at the rear of the camcorder (although, strangely, it isn't Memory Stick PRO capable, and no media comes with the camcorder). Audio levels can be set to auto or manual using the menu system, with manual level control being administered by use of the tiny menu thumbwheel at the back of the camcorder. A range of audio input functions are selected using a control panel on the inner front of the carrying handle. These include switchable Mic and Line inputs, independent input channel assignment and microphone 48-volt Phantom powering. Two XLR inputs are provided on the outside right of the main handle body, with a bracket to hold the supplied microphone in addition to other appropriate microphones.

Features


Not only does this model offer a Colour Bar generator, but it also has a Zebra pattern generator (75%, 100% switchable) which provides a visual guide to peak white exposure, and the all-important ability to manually set Timecode in both Rec Run and Free Run modes. The former sees timecode being generated in the familiar sequential mode, and running only when the tape is rolling. The latter mode, also known as Time of Day mode, means that the timecode runs all the time, with the relevant time being recorded to tape when it's running. This is particularly useful when more than one camcorder is being used to record an event and where the timecode start points have been synchronised. The editor can synch the cameras by comparing and synching the relevant code for any given sequence. Also available is a U-Bits (User Bits) function, which enables the operator to embed additional alphanumeric information to tape as a means of identifying and tracking the source tape.

We shouldn't go much further without mentioning the PD170's image features, of course. 16:9 widescreen is now offered as an alternative to the conventional 4:3 aspect ratio shooting. It should be noted that the camcorder doesn't possess one of Sony's newer wide CCDs, but instead uses anamorphic lens techniques to squeeze a 16:9 aspect ratio picture into the 4:3 format recording. Played back on a conventional TV screen the picture will appear vertically stretched, though it will display as intended on a suitable widescreen TV. When some test footage was captured via FireWire into Adobe Premiere Pro, the resulting image size was 1024 x 576 pixels, which we successfully edited and burned to DVD. As with the VX2100, the PD170 also has Progressive Scan, but don't get too excited; although it combines the otherwise interlaced fields that make up each PAL frame at 25 fps, it's best used as a means of grabbing sharp still frames from video. Neither the PS nor variable electronic shutter can be used with the widescreen recording mode, it should be noted.

We found the Guide Frame feature useful, too. This superimposes a rectangular framing box into the centre of the viewfinder and LCD frame, making it useful for the framing of features that must sit in the safe area of the frame. It's also a rough guide to the positioning of subjects in frame when shooting 16:9 but where footage might later be ARC (Aspect Ratio Conversion) modified to play back on 4:3 screens.

The cam also has a Spot Light (known, mysteriously as Back Light on other Sony camcorders) which over-rides the exposure in favour of foreground objects when framed against strong background light. The 2-step ND filter is very useful, especially when shooting in bright light. It has the effect of reducing the overall light level whilst maintaining image quality. Setting 1 effectively reduces light levels by 1/4, whereas Setting 2 gives a reduction of 1/32. An indication of the mode is given in the viewfinder. The addition of a Sony VCL-HG0758 0.7x wideangle conversion lens will also be a welcome addition to many serious and professional users of the PD170.

At its most useful when shooting in confined spacious and where not only a wide field of view is required but also an increase in depth of focus is required (such as when shooting a conversation between people in a small room), the WA lens sits in place of the lens hood, although the casing which holds the lens element itself also acts of a lens hood.

Performance


The PD170 is not without its faults. For a start, the rubber eyepiece mentioned earlier can be a major niggle when needing to get hand-held shots quickly. Many serious users won't like having to operate the tiny thumbwheel every time a fairly basic function required changing, either. This was the case with the colour bar utility, which proved to be difficult to access when the LCD screen wasn't in use and when we were forced to navigate our way through the menu system. Switching audio, wide recording, and timecode generation modes requires a similar knowledge of the menu system – and that's where the PD170 (and, for that matter, its predecessor) doesn't match the performance of its bigger cousins. That said, picture performance is stunning for a camcorder of this calibre. Shooting on a crisp winter's morning beside a frozen lake under a blue sky, the PD170 gave us pictures that bore very accurate colour representation and whose general resolution was impressive when recording under fully auto as well as manual control.

Although the PD170 is aimed at professional users, it should be noted that there are some aspects of this model's design that betray its consumer roots. It's difficult to comprehend why Sony continues to feature such little-used (or perhaps even useless) functions as featured on its consumer models. Neither professional users nor serious enthusiasts use the title, fader or digital effects functions, so why does Sony continue to offer them? Don't all professionals use computer editing packages to add this stuff anyway? We'd like to see the Fader button being replaced with a Colour Bars button for a start. Two functions lead to a lot of fiddling and fumbling, namely the setting of Timecode and User Bits, which have to be done within the menu system. We had a great deal of trouble getting the U-Bits entry to work properly, and we couldn't set the Rec Run Timecode to run from 01 hours (a common method of identing a roll) for love nor money without it resetting to zero. Neither do we like the means of regulating audio input manually by use of the thumbwheel. Sure, the pro operator will probably take a stereo sound recordist's feed via twin XLR and fix the input levels accordingly, but if you're looking to manually control the mic onboard whilst looking through the viewfinder, forget it. Sony should really take a leaf out of Canon's book as with the XL1S and XM2 in this respect.

If you're serious about this cam, set aside some extra funds for higher-capacity batteries because the F330 won't give you more than 40 minutes recording. Even with the niggles, the DSR-PD170 is still a lovely beast that handles well on the tripod and in hand-held mode, and will undoubtedly gain a substantial market.

Conclusion


The DSR-PD170 doesn't come with sufficient new features to persuade existing users of the PD150 to trade up. Placed side by side with the latter, it would be hard to tell the difference at twenty paces - and only the enlarged rubber eyepiece is an immediate giveaway as to its identity. The camcorder itself is a joy to use and produces images and sound to a quality that will satisfy many users. The presence of balanced, switchable, audio inputs and other professional features like colour bars, zebra, ND, user-definable timecode and U-Bits means that the PD170 represents excellent value for money for the serious video producer.

Reviewed by CB (2003).