Media
Operating a camcorder
Camcorders have found use in nearly all corners of electronic media, from electronic news organizations to TV/current-affairs productions. In locations away from a distribution infrastructure, camcorders are invaluable for initial video acquisition. Subsequently, the video is transmitted electronically to a studio/production center for broadcast. Scheduled events such as official press conferences, where a video infrastructure is readily available or can be feasibly deployed in advance, are still covered by studio-type video cameras (tethered to "production trucks.")
Home video
For casual use, camcorders often cover weddings, birthdays, graduation ceremonies, and other personal events. The rise of the consumer camcorder in the mid to late '80s led to the creation of shows such as the long-running America's Funniest Home Videos, where people could showcase homemade video footage.
Politics
Political protestors who have capitalized on the value of media coverage use camcorders to film things they believe to be unjust. Animal rights protesters who break into factory farms and animal testing labs use camcorders to film the conditions the animals are living in. Anti-hunting protesters film fox hunts. Tax protesters provide live coverage of anti-tax demonstrations and protests. Anti-globalization protesters film the police to deter police brutality. If the police do use violence there will be evidence on video. Activist videos often appear on Indymedia.
The police use camcorders to film riots, protests and the crowds at sporting events. The film can be used to spot and pick out troublemakers, who can then be prosecuted in court.
Entertainment and movies
Camcorders are often used in the production of low-budget TV shows where the production crew does not have access to more expensive equipment. There are even examples of movies shot entirely on consumer camcorder equipment (see Blair Witch Project and 28 Days Later). In addition, many academic filmmaking programs have switched from 16mm film to digital video, due to the vastly reduced expense and ease of editing of the digital medium as well as the increasing scarcity of film stock and equipment. Some camcorder manufacturers cater to this market, particularly Canon and Panasonic, who both support "24p" (24 frame/s, progressive scan; same frame rate as standard cinema film) video in some of their high-end models for easy film conversion.
Even high-budget cinema is done using camcorders in some cases; George Lucas used Sony CineAlta camcorders in two of his three Star Wars prequel movies. This process is referred to as digital cinematography.
Formats
The following list covers consumer equipment only. (For other formats see Videotape)
Analog
8 mm Camcorder
Lo-Band: Approximately 3 megahertz bandwidth (250 lines EIA resolution or ~333x480 edge-to-edge)
BCE (1954): First tape storage for video, manufactured by Bing Crosby Entertainment from Ampex equipment.
BCE Coloer (1955): First color tape storage for video, manufactured by Bing Crosby Entertainment from Ampex equipment.
Simplex (1955): Developed commercially by RCA and used to record several live broadcasts by NBC.
Quadruplex (1955): Developed formally by Ampex, and this became the recording standard for the next 20 years.
Vera (1955): An experimental recording standard developed by the BBC, but was never used or sold commerically.
Umatic (1971): The initial tape used by Sony to record video.
Umatics (1974): A small sized version of Umatic used for portable recorders.
Betamax (1975): Only used on very old Sony and Sanyo camcorders and portables; obsolete by the mid/late-80s in the consumer market.
Type B (1976): Co-developed by Sony and Ampex and this became the broadcast standard in europe for most of the 1980s.
Type C (1976): Co-developed by Sony and Ampex.
VHS (1976): Compatible with VHS standard VCRs, though VHS camcorders are no longer made. Obsolete.
VHS-C (1982): Originally designed for portable VCRs, this standard was later adapted for use in compact consumer camcorders; identical in quality to VHS; plays in standard home VCRs. Still available in the low-end consumer market (JVC model GR-AXM18 is VHS-C; see page 19 of the owner's manual}. Relatively short running time compared to other formats.
Betacam (1982): Introduced by Sony as a 1\2 inch tape for professional video recorders.
MUSE (1983): Commercial system for analogue 1080i broadcasts developed
Video8 (1985): Small-format tape developed by Sony to combat VHS-C's compact palm-sized design; equivalent to VHS or Betamax in picture quality, but not compatible. High quality audio as standard. Obsolete.
Hi-Vision (1985): MUSE renamed Hi-Vision and players started appearing on the market that could playback 1080i analogue video.
Hi-Band: Approximately 5 megahertz bandwidth (420 lines EIA resolution or ~550x480 edge-to-edge)
Laserdisk (1978): Marketed originally as LaserVision.
Umatic BVU (1982): Largely used in high-end consumer and professional equipment. The introduction of Umatic BVU spelled the end of 16mm film recordings.
Umatic BVU-SP (1985): Largely used in high-end consumer and professional equipment. The introduction of Umatic BVU spelled the end of 16mm film recordings.
Betacam-SP (1986): An minor upgrade to the Betacam format, but because of the upgrade, it became a broadcast standard.
MII (1986): Panasonic's answers to Betacam-SP
S-VHS (1987): Largely used in medium-end consumer and prosumer equipment; rare among mainstream consumer equipment, and rendered obsolete by digital gear like DigiBetacam and DV.
S-VHS-C (1987): An upgrade to provide near-laserdisc quality. Now limited to the low-end consumer market (example: JVC SXM38). As per VHS-C, relatively short running time compared to other formats.
Hi8 (1988): Enhanced-quality Video8; roughly equivalent to Super VHS in picture quality, but not compatible. High quality audio as standard. Now limited to low-end consumer market (example: Sony TRV138)
W-VHS (1994): Short lived 1080i tape format that had the ability to record.
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