Both the Panasonic AK-HC3900GJ and the AK-UC3300GJ have great features for live production, like intercom integration and a large optical connector, which allows the picture control, intercom, and I/O to all be available at the CCU.
The last several months have been big ones for camera releases in the pro AV industry, so it should come as no surprise that Panasonic is releasing some new studio cameras. I have always been a fan of Panasonic’s studio cameras, they were the cameras I spec’d for the video upgrade at my home church. And based on the spec sheet, the new AK-HC3900GJ, AK-UC3300GJ are designed to be live production powerhouses.
Studio cameras are a live production mainstay; they have features that make them better suited for live production than, say, cinema, mirrorless or DSLR cameras, in my opinion. While the other cameras can produce great results, they have some limiting factors that make them less than optimal for live production. Studio cameras are unique. I once heard someone describe them as "video cameras without a record button." While that's not always an accurate statement, the sentiment; that these cameras perform best in a more extensive infrastructure than as a standalone, is dead on.
Some of the features that make studio cameras perform well in the live production space are the CCU (camera control unit) and the B4 lens mount. The CCU serves many functions in live production, mainly allowing long-distance transmission and interfaces multiple functions in one connector rather than one cable per function. For example, the Panasonic cameras allow for intercom, return feed, power, iris, and color control, all connected from the camera's body to the CCU through a single optical cable. Both of these new cameras also utilize the same remote operation panel options: AK-HRP250GJ, AK-HRP1000GJ, AK-HRP1015GJ.
The Panasonic AK-HC3900GJ (above) is a native HD studio camera that can be upgraded to 4K when the situation or budget allow.
Both of these cameras utilize the same basic body style, the standard studio camera we have all come to know and love. Like most studio cameras, both the 3900 and the 3300 utilize B4 mounts and are servo zoom lenses. This means there is a small servo motor driving the zoom function of the lens, which allows for far smoother zoom compared to the manual zoom found in photography or cinema lenses. This makes servo lenses great for volunteer-driven teams. The variable-speed servo studio controls are intuitive; it's the video equivalent of a gas pedal and is another reason these cameras are an excellent option for live production.
These new cameras also feature excellent support for B4 type lenses, including a 2X extender achieved by digital signal processing. This is an exciting addition because many B4 lenses have a standard 2x drop-in extender. So the obvious question is can you stack the optical 2x extender on the lens and the digital 2x extender on the body? If so, the bang for the buck in the telephoto department would be impressive. The extra extension could come in very handy for many churches with the cameras positioned at the back of the main auditorium. We look forward learning more about this feature when we receive our review units. While all this zoom extension is great, without standard focus assist functions, utilizing an extended telephoto lens becomes difficult. To combat this, the 3300 and 3900 both feature focus in red and magnification focus assist functions.
Both the AK-HC3900GJ (List Price: $22,000) and the AK-UC3300GJ (List Price: $30,000) have great features for live production, like intercom integration and a large optical connector, which allows the picture control, intercom, and I/O to all be available back at the CCU. However, the resemblance doesn't end there. Both cameras feature an 11.14-megapixel image sensor leading me to believe they are using the same image sensor.
While these cameras have a lot in common, there are some distinct differences between the 3300 and the 3900. The first is the reason I hedged my bet on the sensor, the 3300 is 4K native, and the 3900 has a 4K optional upgrade. So if you need 4K out of the box, the 3300 is the way to go.
Editor’s Note: Just before publication, we learned that the 4K upgrade kit to the AK-HC3900 has an MSRP of $5,700, and the CCU needs to be sent to Panasonic to make the change. However, it should be noted that even with the 4K upgrade, the 3900 still has a lower cost than the AK-UC3300.
While the sensor and the chassis shape are similar from the backside, the cameras really couldn't be more different. The 3900 features a mic input and intercom out and some intercom and mic controls. By contrast, the 3300 has more ports and dials than should be legally allowed on a single camera, including; two intercom outs, two mic ins, with controls for each, as well as DC out 12V 1A, Ext I/O, remote, trunk, ret ctrl, and a prompter out.
If your church is looking to take your live production to the next level, these cameras will likely make excellent options. With the same megapixel sensor and remote operation panels these cameras might match well enough to use the more expensive one as a main camera while using the cheaper model as a second or third camera. With all the available options for monitor, EVF, CCU, and shade boxes, the possible configurations will cover a wide gamut, meaning there should be a configuration that works for your church and budget. I look forward to seeing how these cameras are fair in the real world because they look really good on paper.
