My experiences with this camcorder and stabilizer.
Subjective opinion regarding general image quality and video performance.
While the image quality of the Toshiba SK-3D7K is very good, it
is important to remember that it is an older generation VHS-C
camcorder, and as such does not have the resolution of the
today's latest units. This is irrespective of the fact that it
is a 3D device. In fact in 3D mode, the added information
provided by the stereo image depth actually seems to enhance the
apparent resolution. Overall I have found the results to be
quite satisfactory when viewed on my Sony XBR 25" TV (of about
the same vintage but definitely state of the art for its
time). I have found that the biggest shortcoming in
this camcorder's video performance is in the area of low light
image quality. That could be a problem if you like doing a
lot of available light indoor filming.
The sound quality is acceptable but certainly not HIFI since it
is recorded on a linear track. I also find it ironic that the
audio is recorded in mono.
Note, by-the-way, that the Toshiba's lenses are fixed focus and
fixed focal length. Not doubt this was done not only for cost
reasons, but also to avoid some technical complexities. For
example, if the lenses could be zoomed in tandem, what, if
anything, should be done about also making a corresponding change
in the inter-ocular spacing between the lenses? I would imagine
that if this spacing were to remain constant while the lenses
were zoomed, a very odd, and possibly disturbing, change in depth
perception would result. (But that's just a guess on my part.)
In any case I personally have never missed the lack of focus or
zoom although I would guess that the fixed focus lenses, with
their emphasis on depth of field, probably is a contributing
factor in the camera's poor low light performance.
Operational considerations.
While filming in 3D mode, the image in the view-finder is that of
both video camera pickups alternating back and forth. In other
words, the image flickers rapidly back and forth between the left
and right views. This means that you see a slightly offset
double image -- much like looking at an anaglyph image without
the red/blue glasses. Surprisingly I do not find this to be a
problem. The image is fine for composing and framing and since
there is no focusing involved (automatic or manual) it doesn't
cause any problems in that regard. In fact I have found that
seeing this double image is useful since the degree of offset
between the two images actually provides the videographer with
useful depth information allowing the prediction, to a large
extent, of where the subject will appear in relationship to the
"stereo window". (In 2D mode, the viewfinder works like any
other convential camcorder.)
Since the camcorder provides a video output whenever it is on, it
is also possible to use a head mounted display, such as the
Virtual I/O i-glasses, as 3D view-finder. I have done this with
some success. While it does provide an actual realtime 3D image
and gives you a good indication of the quality of the image being
recorded, there are still some limitations.
- In the case
of the Virtual I/O i-glasses in particular, while they are
designed to be powered by an AC to DC Adapter -- and thus accept
a DC input -- they require a great deal of current and a constant
voltage. Because of this I have had only a limited amount of
success in adapting them to run on batteries. At one time there
was a rechargable battery pack available from a third party
vendor for the I/O glasses, but I don't know if it is still
available.
- Even with the light shield in place, there is
a problem with the image being washed out in bright sun light
reflecting off of the face and around the edges of the shield.
In low light this, of course, is not a problem. But then you
begin to bump into the camera's poor low light performance.
- I found it difficult to move around and orient myself to the
world using just the image in the glasses, so I found myself
having to often lift them up to orient myself for the next shot.
Perhaps this would just be a matter of more practice with this
configuration. (Part of the genius of the Steadicam Jr. (see
below) is that you have the full use of your peripheral vision
when using it, so it is easy to orient yourself when filming on
the move.)
- Because the Virtual I/O i-glasses are connected to the
camcorder with a cord, this pretty much rules out the use of the
Steadicam since the weight of that cord, hanging off of the
camera/Steadicam assembly, as well as any force accidently applied to
it, would upset the Steadicam's balance. I have found that even
having loose wires between the camera and the Steadicam alone
is enough to upset the balance -- it is that sensative. The
Steadicam manual warns that all cables between the camera and the
Steadicam unit must be `dressed'. Nothing must hang free from the
assembled pair. (Again, see below.)
Using the Steadicam Jr.
For filming while walking, the
Steadicam Jr. is a must. I have tried a number of tests of
trying to hold the camcorder freehand while walking as smoothly as
possible and then comparing the results against doing the same
with the Steadicam and the difference is simply astounding.
Having said that, however, it must be noted that using a
Steadicam is a real skill that requires quite a bit of practice
to gain any proficiency.
Everyone that I have spoken to that has one has found this to be
true. (The demo/training tape that comes with the
Steadicam Jr. shows it being used in the hands of professionals and
makes it look easier than it is. But even the
inventor admits on that tape that some practice is required.)
I have found that Steadicam Jr. cannot be used in windy
conditions -- or at least I have never been able to successfully
use it when there is any more than the lightest of breezes. I
have also found the monitor on the Steadicam of limited use. It
has an extra bright back-light so it can be used outdoors, but the
image itself has very little detail. It helps in framing the
picture but does not give you any real indication of the quality
of the image being recorded.
Because the Steadicam is very sensitive it can take several
minutes to setup and balance it each time the camcorder is re-mounted
to it. For this reason I make it a point to leave it
mounted whenever possible. This is not a problem, however since
when folded with the pistol grip
attached (a custom accessory), I find it very convenient and
comfortable to use -- even more so than using just the camcorder
without it. Of course used in either mode, with this rig you are
hardly inconspicuous!
One last thing to be aware of; the Toshiba seems to be just about
at the limit in terms of the heaviest camcorder the Steadicam
Jr. can handle. I wouldn't be surprised if adding an accessory,
such as a wireless mic transmiter or a video light, would put the
Jr. over its limit and thus be impossible to bring into balance.
So how's it look when played back?
A problem with field sequential NTSC is that there is a
noticeable flicker on playback when viewed with conventional
shutter glasses. I believe this is true for all
sequential NTSC 60Hz video viewed in this manner. The glasses
that come with the Toshiba have a dark lens covering the
shutters. This is suppose to help reduce the apparent flicker.
I have tried them with and without this filter and still can't
decide if the darkening of the image is worth the trade off.
Adjusting the TV and room brightness can also help mitigate the
flicker (or make things worse). In general, however, I have
found that very quickly I don't notice the flicker at all.
The Virtual I/O glasses, on the other hand, have no visible
flicker. This would be an ideal way to view tapes recorded with
this camcorder (and other field sequential tapes) if it were not
for the unfortunate limited resolution of the LCD chips used. To
me there is a big difference in apparent resolution as compared
to a conventional Television set. I find the image has a
noticable grainy appearance and so in general I prefer to watch
tapes using shutter glasses.
The 3D image itself has very good depth although just as with a
1950's stereo still camera, the effect is best for relatively
close objects.
Personally my biggest frustration is not with the limitations of
the camcorder, but my own limitations as a videographer. The camcorder
has convenient features for doing in-camera editing. For
example, a review feature allows you to, while in record/pause
mode, automatically rewind the tape and play back the last few
seconds of your last recorded scene, and then return to
record/pause mode to cleanly continue recording from that point.
But even so I find it difficult to edit in-camera and get results
that I am happy with. The logical solution is to purchase some
editing equipment and do assembly edits from raw footage. The
lack of time and money have prevented me from going on to this
next step. If you do not already have experience with
videotaping, this is an important limitation to consider.
I think one of the reasons I do not use this camcorder as much as I
could is because of my dissatisfaction with not being able to
produce well edited tapes that I would be proud to show to other
people. The 3D has a real wow factor, but it still does not
totally make up for the amateurish quality of my camera technique
and editing (or lack thereof).
Of course perhaps I'm just too fussy and just can't be happy with
the quality of a typical home movie. Your mileage may vary. :-)
From what I understand, there is
no problem editing field sequential video tapes on conventional
videotape editing gear, but I have not done this myself other
than to make simple copies.
If you have any questions...
I'll be happy to answer any questions, as time, experience, and
knowledge permit.
Questions and comments can be directed via e-mail
to: Bill.Costa@alumni.unh.edu
When writing, please let me know if you would like me to append your
comments to the end of this article for others to read.
[ Return to Toshiba Index Page ]
[ Return to My Lame Home Page ]
