Posted on Tuesday, January 18, 2022
Every Marshall Electronics camera that I have used in production (and/or reviewed) has always lived up to the Marshall reputation for building great looking cameras that are also rock solid, reliable units. Marshall cameras I have used stand up to the rigors of harsh weather and challenging placements. This winning streak for Marshall and for me extends way back to my days as a remote sports truck guy.
I appreciate Marshall cameras without any embellishments because it’s been my production experience that Marshall cameras don’t fail. Kind of important for most productions, right? I'm willing to bet that if you were to ask the majority of remote production professionals, they would most likely agree.
Before I go over some of the specifications and features of the CV568, I would be remiss if I didn’t spend some time talking about the exceptional build quality of the camera. The CV568 with Global Shutter is just a beast, only with a smaller footprint.
With a solid aluminum alloy body, an all-star lineup of connections and weighing a scant 280 grams, the CV568 was and is poised to take on just about any production that might have ended up with a high level of location abuse—the day in, and day out grind of hard nose remote production.
When I picked it up, it was no worse the wear, minus the somewhat minor mud bath. I'm also pretty sure the CV568 would have done ok in that rain, but not so sure what the result would be if it had taken that almost dive in the Pawcatuck.
In case you need weatherproof, Marshall also sells two weatherproof models. The CV503-WP and the Lipstick CV226. For this review, just to be totally honest, I’m glad I didn’t find out how weatherproof the CV-568 can be! Maybe next time?
Putting the CV568 to the Test
After the previously mentioned mud bath, I moved back into a warmer and drier set up. The CV568 was easy enough to set up and shoot with. There were several take aways from this session. Most prominent was the exceptional low light capabilities of the camera. I didn’t use any additional lighting and the images were still as clear as day. Secondly the created images were broadcast quality, period. I DO love the 12-pin tether with the toggle controller built in! The on-screen menus are easy to read and the fact you can have that interchangeable M12 lens? Well, those are some pro features I can really appreciate.
The simplicity and layout of the menu controls, and the toggle on the 12-pin tether I won’t stop talking about, make the CV568 a compelling choice for tabletop miniature work or almost any kind of racetrack or other sports production out there using the global shutter and genlock capabilities.
Features and Specifications
Alright, so far you have heard me wax poetically about the Marshall CV568, but what about the features and specifications, and the image quality? Let’s start with the Global Shutter.
As Marshall stated on their website: “When users are challenged to capture ultra-fast motion within the field-of-view, motion anomalies become more of a challenge.” From my racing experience and watching my driver go by more than 200mph, you need a camera with that can keep up, so this statement to me totally holds water!
The Sony Global Shutter sensors perform better in these conditions as all pixels are exposed (start to finish) simultaneously. Additionally, those larger physical pixel sizes allow for greater accuracy of color and clarity even in low-light applications. The CV568 utilizes a Sony Exmor 1/1.8" sensor with larger physical pixels to deliver broadcast quality images from a miniature camera size.
Why Gen Lock Matters
Bottom line, I want all my cameras and sources to be in lock step, and the Marshall CV568 Tri-level sync via 12-Pin Hirose allows multiple cameras to be plugged into HD workflows already in sync (genlock). This allows for seamless transitions between cameras with minimal amount of delay. Tri-level sync (genlock) runs at a higher frequency, which makes the HD60 signal sync more accurate and more seamless.
If you are mostly live or even live to post, don’t you just want all of your cameras to look the same and the transitions from camera to camera just to work? I do. Having the CV568 with genlock means not having to post footage from those cameras in later. Makes sense, right?
Some Other Features and Specifications
Simultaneous HDMI & 3GSDI outputs Interchangeable M12 Lenses - comes with a 4.4mm (84°) SMPTE 424M (2.97Gbps) - 3GSDI: 1920x1080p @ 50, 59.94, 60fps SMPTE 292M (1.485Gbps) - HDSDI: 1920x1080p @ 23.97, 24, 25, 29.97, 30fps; 1920x1080i @ 50, 59.94, 60fps; 1280x720p @ 50, 59.94, 60fps Low Light sensitivity (0.05 Lux) with ability to capture IR wavelengths Image Mirror/Flip, Digital Zoom, Digital Image Stabilizer Microphone/Line Level input with 2.5V Mic bias Environmental: -10°C ~ 50°C Power Consumption: 6W Positive Reviews
“I’m truly impressed with the ability of the Global Shutter models to capture fast motion effectively,” says Tod Musgrave, Director of Cameras at Marshall, “and with larger pixels laid out in a larger sensor area, our CV568 cameras captures more light in challenging environments such as eSports, low-light sets, cloudy days and really anywhere light is less than perfect.”
The Final Verdict (and Closing Thoughts)
The Marshall CV568 is a great choice for those productions that require a professional broadcast grade camera built incredibly well, but in a very small package and at a most reasonable price point. I have never had one fail in production (including the previously mentioned mud bath). If you are in sports production or other productions and want to take it up a notch? The Marshall CV568 with Global Shutter and Genlock is your camera.
When we get back into racing season, I want to get a whole bunch of the CV568s and rock out around the circuit. Hoping that would be Isle of Mann (on my bucket list for sure); now if we can just manage to stay on the track!
About Mark Foley Mark J. Foley, MBA BA is an award-winning producer and director and the Technology Editor for ProductionHUB.com. He is on a mission to provide the best in new equipment reviews, along with exclusive analysis and interviews with the best, the brightest, and the most creative minds in the entertainment and production business. Have a suggestion for a review? Email Mark at firstname.lastname@example.org.
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