Pricing (17 January 2007)
while on location (whether filming, or just waiting).
Plus any transportation and/or other expenses.
Does not include cost of blank tapes.
Minimum ½ day booking period.
These cameras (I have two of them) are really only suited to
something like low-budget community
television productions. They are old, not as good in image quality
as most current video cameras, but are available cheaply, have proper lenses
and view finders, and can be connected to proper vision mixers.
- Three tube (½ inch), 500-line resolution, dichroic-mirror-based
colour separation, professional industrial video camera (1980s vintage)
- Large eyepiece CRT viewfinder with waveform white level
indicator, and record and battery status LEDs around the
outside of the CRT.
- Focus: · metres – ∞ (as well as macro)
- Zoom: ·– mm servo zoom (1:1)
- Iris: F·– ( lux minimum illumination)
- Genlockable to composite video source
- XLR mic socket (no phantom power)
- Four-pin XLR 12 Volt DC power input
- Plus the usual professional camera features (auto-white
balance, white balance presets, colour correction and neutral density
filters, three-step gain switching, colour bars, etc.)
- Composite video output
- Composite video monitor output (follows the viewfinder selector,
for registration, etc.)
- CCU rack-unit provides RGB video output
connectors (allows for chromakeying with the
JVC KM-2000 video
mixer), line view input, intercom & audio outputs
- Multipin recorder cables for various types of recorders
- 1 Manfrotto aluminium tripod (black) with claw ball leveller,
fluid variable-friction pan/tilt head designed for a camera of
this weight or greater (with reliable tilt locks),
90–140 mm leg length
- Floor level spider
- Fold-up spider dolly
- Zoom servo remote, with record/pause remote, for the tripod pan
- 12 Volt DC mains power supply.
- Several battery packs that last approx 1·5–2 hours each
- Nakimichi CM-300