As you would expect from a professional camera, the AG-3DA1 has manual controls a-plenty; for a novice user these would be overwhelming  and I urge anyone to sit down with the manual for a period and become acquainted to get the best out of the camera.

Basic functionality is pretty straight forward, and in truth, anyone who has used a camcorder can be up and running within minutes – with the SD card caveat I mentioned in Part 1. But that is not the aim of a camera such as this, any more than buying a top notch surround sound receiver with all the bells, whistles and Boeing 747 dashboard controls should be used to play Duff-Duff music.

Early in the manual, a very good guide to the various parts and controls of the AG-3DA1 point to page numbers with a further explanation is a fabulous assistance and encourages ‘playing’ to see what can be obtained.

Some examples that ‘old hands’ will understand but baffle (on the surface) the newbie include:

·        EVF DTL

·        MIX

·        EXEC

·        BARS

·        WFM

In fact, there are over 30 buttons and switches on the body of the AF-3DA1!

Don’t be daunted by this though; once you have an idea of what each of these does, then in operation the AG-3DA1is rather fun to use. Despite the elongated nose holding the twin lenses, it is fairly balanced albeit a tad heavy and I wouldn’t like to shoot a stunt pilot for a three minute period for example. In fact during review, I used a camera brace most of the time and I would encourage this at least and a tripod at best.

Audio

Audio input is either from the handle mounted built-in mic, or alternatively, there are twin XLR inputs on the front right of the same handle. There is no option for a 3.5” mic connection (without using an adaptor). An external mic (or light) adaptor is on the top of the handle, and a standard threaded screw hole is further back for other accessories eg using a radio mic as well as top mounted external for ambience. Two audio channels are available.

I spoke in Part 1 of the importance of understanding “convergent points”. The rear of the AG-3DA1 has a port where you can connect a accessory for controlling this . Other remote ports exist for focus/iris and zoom. And there is of course a headphone jack.

The power mode switch is in the normal right hand rear of the camera behind the battery compartment in a sort of indent in the camera’s main body. This was the only thing I could really fault with the AF-3DA1 as it is of the type that a button has to be pressed in and then a rotating “lever” turned to the right one stop. This almost makes it a two handed operation, whereas on my old Sony TRV21 that has a similar setup, I can it one handed easily. When in a hurry to start shooting, this is a definite drawback, made worse in the week of testing after sticking my right thumb and forefinger into a spinning fan while playing Nintendo Wii tennis. (Don’t ask – but I still won the point! Getting splattered blood off a 50” Tv is a drama though.)

The flip out LCD is a cracker and can be used in conjunction with the eyepiece. In fact, as a left eye dominant person, this is one of the very few cameras where I can use the viewfinder comfortably without a bit of neck twisting (and I detest framing via an LCD). And for those wondering at this stage, the EVF DTL button mentioned above is used to improve focus in the LCD by emphasizing outlines of images on the screen. The LCD can open to 90 degrees, swivel through a further 90 and then if desired, laid back on the body of the AG-3DA1.

Zoom and focus

There are two ways to zoom thee AG-3DA1; a proper zoom ring (as one would hope on a camera of this nature) is available and there is a supplementary rocker on the handle of the camera. The maximum zoom factor – optically driven – is approximately 5.6. When zooming, one odd thing may manifest itself is that the image may appear to ‘jump’ horizontally in small motions. This is not an error and is in fact the camera resetting the convergent point. See I told you understanding what that is important …

A true pro never shoots in auto focus mode does one?  But if you do need help, there is an auto mode as well as a nifty auto assist and a single button to switch immediately to a focus set to infinity. Another helpful control (again for the newbie) is the IRIS/CONV to adjust image brightness

Convergent Point

Here’s that pesky convergent point again. As described in Part 1, you need a way of setting it optimally for the shoot at the time. It’s actually quite an easy thing to do in principle, using a combination of the Conv setting on the dial and the Iris/Conv dial. The MIX button can also be brought into play to, you guessed, mix the two images together (one from each lens) and there are further  3D guides to show you how to, as the manual describes it, shoot a “comfortable 3D image”.

Thankfully, if you are still confused, the manual does go into some serious depth on the details of Convergence, Parallax and Parallactic angles (no, not the position you end up when drunk!) But nothing assists like a good play with different settings and playing them back to see the differences on a proper 3D screen.

The rest of the camera settings are pretty much as you would find on any good prosumer/pro camcorder.

Clip Metadata

As an aid to editing and production, it is possible to embed into the video/audio data written to the SD card(s) a huge range of optional data called metatdata. This can be as simple as the name of an individual clip, the operator of the camera, the location (Lat/Long/Altitude) and for ENG purposes, three special areas called Scenario, News 1, News 2 and Memo. These can hold the reporter’s name, the subject’s name, text, scene number and take number. Others exist for various data that is useful under differing circumstances. A top idea this.

Conclusion

The jury is apparently still out when it comes to 3D in anything apart from a movie theatre. The drawback of course is the need (and price) for the special glasses needed. The aim for all the TV manufacturers therefore is to bring out Glasses-les 3D sets in a decent size. Small sets have been released in Japan, but the market, understandably, has bombed in this 20” range. Whether we like it or not, Avatar set a benchmark, and people want to see 3D on big screens.

So it remains to be seen whether commercial 3D is viable at the AF-3DA1 level (and below with most of the major manufacturers now having consumer 3D camcorders and even pocket sized units such as the Sony 3D Bloggie).

It probably needs another ‘Big Event’ to kick it over the edge. And as sad as that may be, that probably means another major catastrophe that just happens to be caught via a 3D camera and only a 3D camera.

We’re a fickle lot.

As an aside, I was asked some weeks back if I would shoot a wedding in 3D. A wedding is bad enough (I tend to run screaming from them at the best of times), but the actual 3D option left me gibbering and attempting to politely decline without dribbling too much.

But someone will do it one day, and I suspect it is not that far off.

So what of the AG-3DA1? It’s a great camcorder at the semi-pro/pro end. There are a few niggles and it does take a bit of getting used to the quirks of 3D, but doing what it is designed to do, it does very well. It just remains to be seen if we have a brave set of shooters prepared to grab the mettle I suppose. If and when they do, they won’t be disappointed I suspect. But give it time to learn its foibles when you do.

 

 

 

 

 

 

 

By David Hague

David is the owner and publisher of AusCam Online. He has a background in media dating back to 1979 when he first got involved with photojournalism in motorsport, and went from there into technology via a 5 year stint with Tandy Computers. Following that, he ran a software distribution company on the Gold Coast and was one of the first to recognise the potential of Microsoft Windows.

Moving back to WA, David wrote scripts for Computer Television for video training for the just released Windows and Office 95 among others, and was then lured to Sydney to create web sites for the newly commercial Internet in 1995, building hundreds of sites under contract to OzEmail including Coates Hire, Hertz Queensland, John Williamson, the NSW Board of Studies and many, many more.

He went back into full time journalism as the Managing Editor for Channel 7's 'Gadget Guy', Peter Blasina's publications VideoCamera and Pixelmag, before starting Australasian Camcorder magazine when these publications were shelved. He lives at Sydney's Avalon Beaches nearly on the ocean front with dog Budweiser and in his spare time is a nut for motor sport, road safety, fishing, science fiction - especially Dr Who - and technology.

David can be contacted via david@auscamonline.com 

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