JVC GR-HD1 User manual

GR-HD1
High-Definition
Digital Video Camera

No image can tell a story in all its grand presence, minute detail
and sheer reality like digital High Definition. High Definition transports you into
a big new world of uncompromising quality — where textures and colors
come to life with startling and dynamic realism and the subtlest of nuances.
You can see the forest, and the trees, see the leaves, feel them move.
That’s power. The power of imaging. The unprecedented power of HD.
Experience
Unprecedented Power! 720p HD

720
16 : 9
1280

1080/
60i
HD
720/
60p
HD
480/
60p
SD
480/
60i
NTSC
Digital
HD 720/30p 16:9
SD 480/60p 16:9
DV 480/60i 4:3/16:9
Up-convert Output
Down-convert Output
Unconverted
MPEG-2
DV
IEEE-
1349
i.LINK
Analog Component + Y/C and
Composite
*
*
**
* Widescreen or Letterbox
** 16:9 DV is Widescreen
JVC Puts the Power of HD
within Your Grasp
Now, JVC lets you capture Hi-Def images yourself. With the solid, compact, ergonomically
balanced, enormously easy-to-use GR-HD1, you can go where no Consumer or HD camera has
gone before. And at a fraction of the cost of current HD cameras with a signature look different from
anything else. Then, with a multitude of avenues for creating, editing, enjoying and sharing your images,
you can easily distribute your works to a worldwide audience by HD or regular DVD. HD quality,
built to go places. With the GR-HD1 HD CyberCam from JVC, you too can join the world of HD and make
digital movies on a level only accessible to cinematographers and broadcasters until now.
Recording Playback

Multi-Format
Recording and
Playback
Up-converter and
Down-converter for
Versatile Viewing:
Component Outputs
(Y/PB/PR), Y/C and
Composite Outputs
i.LINK and USB for Digital and
PC Connectivity

JVC’s Definitive Solution for 3-CCD Performance in a Single CCD
The “retina” of this camera’s eye is a
powerful combination of a 1.18
Megapixel Progressive Scan CCD and
JVC’s patented progressive digital filter
technology, both the result of JVC’s
years of research in the field.
Designed for a true 16:9 pixel wide array
of 1280720 (for moving images) and
4:3 1280960 (for stills), and
progressive scanning to sample the
entire picture at once, this CCD has an
uncanny ability to capture detailed
images without interline motion blur
resulting from interlace scanning.
HD Mode MPEG-2 16:9 Image size:
1280 x 720, 840,000 pixels
Recorded Horizontal resolution: 700 16:9 TV lines*,
Vertical resolution: 650 TV lines
SD Mode MPEG-2 16:9 Image size:
940 x 480, 460,000 pixels
Recorded Horizontal resolution: 400 16:9 TV lines*,
Vertical resolution: 480 TV lines
DV Mode
16:9 Image size: 940 x 480 (Anamorphic Squeeze
mode) 460,000 pixels
Recorded Horizontal resolution: 400 TV lines*
4:3 Image size: 720 x 480 standard (360,000
pixels)/940 x 646 wide-angle 30psf (D.Wide)
(610,000 pixels)
Recorded Horizontal resolution: 540 TV lines
Vertical resolution: 360 TV lines
edge color purity across the entire zoom
range. Demanding Hi-Def images need
to be rock solid, so performance is
supported by on-demand Optical Image
Stabilization — Optical so as to avoid
any loss of resolution — and enthusiasts
can take full control with manual
focusing and zoom rings on the lens
barrel. It’s a crystal clear entry point for
breathtaking Hi-Def images.
Hi-Def F1.8 – F1.9 Optically Stabilized
Zoom Lens
What matters is that the GR-HD1 lets
you record, preserve and playback high
quality 700/650 Horizontal/Vertical-line
resolution (close to the achievable limit of
the format) component Hi-Def video in a
reasonable price range.
To those who still believe that the
number of CCDs is the factor in
determining picture quality, think again:
JVC’s GR-HD1 is ready to challenge and
overwhelm preconceptions.
JVC puts high quality up front, at the
lens. With almost no variance in
brightness from F1.8 at full wide to
F1.9 at full telephoto, it is able to offer
the fundamental image-gathering
performance a Hi-Def system requires.
High-precision multi-coated all glass
optics ensure low-distortion, ghost-free
images with high peripheral resolution
and brightness, as well as high edge-to-
Hybrid Complementary-Primary Digital Filter
Optical Stabilization
*See note facing page.
Hi-Def color purity and discrete
reproduction allows you to see full detail
without being obscured by low-
resolution color smearing. The Hi-Def
standard colorimetric range takes in
more colors than NTSC as well. Things
simply not possible to see with regular
TV, like fine designs on a jersey, are
clearly visible. Pictures have texture!

HD CyberCam
The Hybrid Complementary-Primary
progressive color filter system developed by
JVC employs a filter matrix overlaying the
CCD’s picture elements including two
complementary colors Yellow and Cyan (Ye
and Cy), one primary color Green (Gr), and
clear. Shifting one pixel at a time across the
CCD and combining these together in pairs
for brightness and blocks of four for color
delivers maximum resolution. This system’s
superior ability to sample both Y Luminance
and RGB Chroma information results in color
performance nearly identical to using three
CCDs, proving that it is possible to deliver
Hi-Def performance with a single CCD.
Aside from the number of Luminance and
RGB Chroma samples, the die-hard 3-CCD
enthusiast may wish to point out a higher
ratio of Chroma pixels to Luma pixels offered
by 3-CCD (1:1 vs 0.75:1). However, this
actually turns out to be a moot point since
4:2:0 DV or MPEG-2 encoding inevitably
reduces Chroma detail in the R–Y and B–Y
color difference components. Both record
just one sample each of color for every block
of 4 Luma samples. So instead of expending
resources on Chroma detail never used in
the recording process, JVC concentrated on
providing 3-CCD level performance with a
single CCD system tailor-made to provide all
the color sample and resolution requirements
of Hi-Def recording in MPEG-2 format.
Another remarkable aspect of this video
camera is that it records 60 minutes of HD
signals on conventional MiniDV cassette.
The benefits are obvious: MiniDV
cassettes, “the defacto standard”,
are widely available and affordable
compared to other formats used in
professional systems, and by using
a common cassette mechanism with
DV, it was possible for the GR-HD1 to
offer regular DV recording as well.
I B B P B B I
GOP=6
time
MPEG-2
In HDTV, high power MPEG
encoding eliminates redundant
information over time.
I : I Frame (Intra Coded Frame)
B : B Frame (Bi-directionally
Predictive Coded Frame)
P : P Frame (Predictive Frame)
Hi-Def MPEG-2 on MiniDV Cassette
This was made possible since the “Hi-Def
MPEG-2 on MiniDV” encoder and
decoder developed by JVC together with
NTT records Hi-Def Component MPEG2-
TS signals in the same track format as DV.
Digital MPEG-2 Hi-Def and SD Recording
While the picture is encoded one frame at a
time for DV, the time axis is encoded as well
for MPEG-2, conforming to the HD Digital
VCR Conference’s Part 7 (DVB) and Part 8
(ATV) standards. The GR-HD1 uses a GOP
(Group Of Pictures) of 6 for HD and 12 for SD,
with a frame order of IBBPBB. The “I frame” is
Subcode Video Audio
Tape low edge (Reference edge)
High-Speed Search Playback Possible
The “I frame” can be played back without
using any other frame and is recorded in
the appropriate variable-speed playback
area on the tape, allowing high-speed
search during playback.
All “TV line” standard measurements are relative to the diameter of a circle the same size as the
picture height. HDTV 16:9 Horizontal TV lines figures appear to be 75% of what the equivalent
4:3 Horizontal TV Lines would be if the measurement was relative to the whole picture width,
since the image is wider. (For example, for the GR-HD1 HD mode would be around 1244 TV
lines per picture width, while the count would be about 933 TV lines per picture width for a 4:3
camera if both had 700 TV lines counting by standard horizontal resolution). DV has a practical
recorded horizontal limit of 540 4:3 TV lines, 1280x720p HD has a practical recorded limit of 720
16:9 TV lines using the standard measurement method.
a complete frame without reference to any
past or future frames; the “P frame” is
encoded relative to the past reference frame;
and the “B frame” is encoded relative to the
past reference frame, future reference frame,
or both.
C (Chroma) information is generated by
combining blocks of four picture elements:
R = (W+Ye) – (G+Cy)
G = (G+Cy+Ye) – W
B = (W+Cy) – (G+Ye)
Y (Luminance) information is obtained from
pairs of picture elements:
Yodd = (W+G) = (R+2G+B)
Yeven = (Cy+Ye) = ((G+B)+(R+G)) =
(R+2G+B)
performance renders 3-CCD unnecessary
*The difference between HDTV TV lines and regular TV lines.
1280x659 CCD(s) CCD Elements Luma Samples RGB Chroma Samples
JVC Single CCD 843,520 843,520 843,520
Similar Three CCD 843,520 842,861 841,582
Sample Count Comparison between Single and Three CCD

Capture Your HD Footage and Captivate Your Audien
JVC Hi-Def camcorder users don’t just
film digital movies, they create them! The
HD revolution is carried on the shoulders
of a new wave of creativity unleashed by
today’s high powered production
software. The GR-HD1’s capture, editing
and DVD authoring software provides
capabilities only Pro’s could take for
granted until now, and fills out an equally
important part of the basic low cost
system. And compatibility with well
accepted industry standard production
software is already possible, with greater
integration on the way.
i.LINK interface. One can also record
MPEG2-TS images back to tape. It also
automatically stores data in separate files
should it detect different data types or
unrecorded sections during capture.
Seamless Frame-Accurate Digital
Editing with MPEG Edit Studio™
Pro LE
This NLE (Non-Linear Editing) application
allows frame-accurate MPEG-2 editing
with intuitive drag-and-drop operation.
Coupled with the search functions
accompanied by sound, you’ll be able to
make frame-accurate cuts with precise
voice timing so you won’t cut off a crucial
comment or quote prematurely.
Video and audio can be edited separately,
and combined from different clips.
In addition to the incredibly easy drag-
and-drop interface, you’ll find numerous
features that enable easy project
management so you can store and revise
your past work whenever necessary. And
thanks to the edit spooler function, edits
can be done in the background, freeing up
you and your computer for other jobs and
letting you use your time more efficiently.
HD Capture Software
Hi-Def footage recorded with the
GR-HD1 is easily transferred to your
computer’s hard disk using on-screen
camera control buttons, via IEEE1394
Audio
Converter
Still
Picture
HD
Capture
Utility
HD
Capture
Utility
MPEG2-TS MPEG2-TS
MPEG2-PS
Image
Mixer
DVD
GR-HD1
GR-HD1
MPEG
Edit Studio
®
Pro 1.0 LE
i.LINK
i.LINK
i.LINK
i.LINK
Editing
Capture Recording
D-VHS
DVD-R/RW

Your edited HD Movies make the
best possible DVDs
Progrssive HD looks great converted to
interlace NTSC DVDs. And DVD
Authoring is easy with ImageMixer DVD.
The software handles MPEG2-PS files
created in MPEG Edit Studio™ Pro 1.0
LE without the need for re-encoding.
Down-converted MPEG-2 files can be
authored to DVD simply by dragging and
dropping the files onto the menu. Just
choose from the variety of ready-made
frames and graphics, and it
ce with a Hi-Def Edited Movie
USB for transfer of digital still images to and from
a PC.
SD or MMC Memory Card for storage of
digital stills and transfer of data to PC with
appropriate slot or external reader.
Web-Camera Function
Communicate via web-camera by running third
party applications such as Windows®
Messenger for teleconferencing, video
phoning, webcasting or surveillance.
i.LINK (IEEE 1394) is primarily for transfer
of MPEG-2 and DV video data to and from a
PC or other compatible device like a D-VHS
VCR. (Dubbing is not possible from analog HD
sources). You get lossless digital dubbing of
both pictures and sound in one cable.
Connected to JVC’s HM-DH40000/DH30000,
it allows 4 hours of dubbing onto a D480
D-VHS tape (DV MPEG max. 25Mbps →
DVHS MPEG max. 28Mbps).
Full Digital Interfaces The GR-HD1 is
excellent at getting the images and sounds
you need to the location where you need
them.
Live HD images at 720/30p can be
monitored digitally via the i.LINK
connector (Analog output is also possible
for playback from tape)
automatically creates a main menu for
DVD playback. ImageMixer DVD discs
can be played on most ordinary home
DVD units depending
on the player and disc.
Editing of both HD and SD material is
possible, so you can export edited HD
videos back to the GR-HD1 or to a JVC
HM-DH40000/DH30000 Digital HDTV
Video Recorder in native MPEG2-TS
Hi-Def format, as well as convert edited
HD videos to NTSC MPEG2-PS for
authoring to DVD using the provided
ImageMixer DVD software.
Import Soundtracks with Audio
Converter 1.0
Lets you import MP3 files, as well as
other audio file formats (WAV, WMA, MP2),
with full sound mixing and editing
support, for use in your movie soundtrack
in the MPEG-1 Audio Layer 2 format
used by MPEG Edit Studio™ Pro LE.
The predictive encoding nature of MPEG,
and thus the lack of complete picture
information for each frame, has long been
considered a factor making frame-accurate
MPEG edits impossible. But MPEG Edit
Studio Pro LE uses highly efficient coding to
make handling and editing of high data rate
HD signals possible, and solves the issue of
addressing each frame individually by
synthesizing frame data based on
surrounding frames to complete the picture.
With MPEG Edit Studio Pro LE, edit cuts
can start with any type of frame, without any
image freeze even if an “I frame” isn’t used.

Rotating Grip
Transition from a high to low angle shot
without removing your hand from the
grip or taking your eyes off the action.
Find that most comfortable and stable
shooting position. Get HD footage in
places and angles that bulkier cameras
just won’t allow.
Removable Carrying Handle and
Accessory Shoes
Aluminum die-cast carrying handle for
high action mobility; upgrade camera or
handle shoe with options like MV-E100
microphone.
Lens Hood
Cuts lens flare for superior results.
High Resolution LCD Color
Monitor and Color Viewfinder
With the rotating 3.5” high-resolution 2
Megapixel LCD monitor, you can shoot
at angles and positions where the
viewfinder isn’t comfortable or practical.
The LCD monitor can be viewed
simultaneously with the viewfinder
including comprehensive menu and
camera condition information, especially
convenient when working with others.
The crisp, brilliant color viewfinder has a
diopter to adjust for eyesight.
Power-Linked Operation — with
Tally Lamp, Beep or Melody
Pull out the viewfinder or open the LCD
monitor and the camera automatically
powers up so you’re ready to shoot.
Close — power automatically shuts off
to save energy.
If needed, beep or melody sounds
signify power-on and recording signaled
by the tally lamp as well as a beep or
melody. A shutter sound can indicate still
shooting.
Manual Focus Ring & Zoom Ring
Individual lens barrel rings adjust focus
and zoom. Auto focus and power zoom
can be activated at anytime.
Manual/Auto Shutter Speeds,
Iris, White Balance
Shutter speeds range from 1/15 and the
filmic 1/30, all the way up to 1/1000 sec.
Iris ranges from F1.8 through F22.0 with
an Iris Lock function. In addition to One-
touch manual white balance; Halogen,
Cloudy and Sunny settings finely tune
colors for a more natural look. All are
directly accessible by conveniently
mounted buttons.
Manual Exposure, Back Light
Compensation and Program AE
You have total control over image
exposure in ±10 steps using the
exposure dial, and can instantly
compensate for backlighting via the
BLC button. Program Auto Exposure
includes Sports, Snow, Spotlight and
Twilight to best match the scene.
Full Auto Modes
Just set to cruise control and let the
camera take care of all critical settings.
HD and SD mode MPEG-1
Layer2 16bit Digital Stereo
Audio/DV mode PCM Digital
2 or 4 channel Audio
Record wide dynamic range 48kHz
digital audio with the camera’s stereo
microphone or via external stereo
mini-plug mic input. HD and SD modes
record at 384 kbps. DV mode also
records in 2 channel 48kHz or the
32 kHz 4 channel mode for post audio
dubbing. Wind cut mode helps cut
down wind created noise. Monitor by
stereo headphone jack.
HD/SD/DV/Digital Still 10x Zoom
plus SD/DV Mode Digital 40x/
200x Zoom
Get close with the stabilized all glass 10x
optical zoom, plus for SD and DV mode
40x/200x digital zoom with spline
interpolation to minimize jagged edges.
DV Mode 16:9 Anamorphic Wide
In DV mode, 16:9 “Squeeze wide” uses
a wider view of the CCD (941x483 pixels)
to create a full 16:9 image. This is then fit
into the regular 4:3 NTSC signal to make
a natural electrical anamorphic
“squeezed” image to play back on a
16:9 TV at 60i.
DV Mode 4:3 Digital Wide
Digital Wide’s broader pixel area
(941646) generates a high-resolution
wide-angle image equivalent to a 0.7x
wide conversion lens. The frame rate is
30psf output on 60i, with increased
sensitivity.
HG Digital Stills
Progressive CCD recording captures
digital stills a frame at a time so they
have less motion blur and 1.5 times the
vertical resolution of conventional field
stills from an interlace camera. The
Optical Image Stabilizer also helps
shooting without blur from camera
motion when zoomed in.
• Four sizes are captured to SD memory
card or MMC MultiMediaCard; VGA
640480, Panorama 16:9 848480
or 1280720, and Megapixel
1280960 still pictures.
• Progressive pictures captured from
tape to PC also make high quality
stills; HD at 1280720, SD 848480.
DV stills; 640480.
• For Index playback and file viewing,
File information includes Folder, File,
Date made, Image size, Picture quality,
and Protect mode. On screen display
is possible.
• Digital Print Order Format (DPOF)
ready.
Pro Performance
in Style
Aluminum Diecast Body
Whole body frame is strengthened
for the rigors of HD recording.