Sony Camcorder Hdw 730S Users Manual 750,730 User Guide V1,3
HDW-750P to the manual 2314174d-b57b-4eba-80c7-b78c5e4f6427
2015-01-23
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The HDW-750P is a high definition camcorder recording to the HDCAM format. It can operate in either 25P progressive scan mode, or 50i interlaced. It’s designed for the European HD for TV market, but has found many other applications, from corporate to commercials and movies. The HDW-730S can operate at either 50i or 59.94i and is designed mainly for TV applications for the European or American / Japanese / 60Hz market. This guide is designed for people using the Sony HDW-750P or HDW-730S camcorder who need some practical advice when preparing for a shoot. It’s pitched at a level that will make most sense to people coming from a Digital Betacam background, but will hopefully still be of use to those coming from film or other formats. 1 Neil Thompson January 2006 As usual with these guides, the general philosophy is to record as much information as cleanly as possible to the tape. There are many ways you can change the look of your pictures in camera, but unless you’re sure you’re going to get exactly the final effect you want, then you’re probably better spending time on lighting and composition. There are some important settings you need to get right, but after that, the ‘750 probably needs less ‘fine tuning’ than equivalent standard def. cameras. 1. Quick Start 2. Differences between the 7590P and 730S 3. Files and Menus 3.1 Menus 3.2 Files 3.3 Layers 3.4 File Structure 3.5 Loading Files 4. Camera matching 5. Frame Rate 6. Shutter 7. Gain 8. Outputs and monitoring 9. Options 10. Audio 11. Filters 12. Detail 13. Matrix and gamma 14. Lenses 15. Back focus 16. Viewfinders 17. Menu list If you’re asked to use the ‘750 or ‘730S at short notice, and don’t have the luxury of preparation time, here’s a very short list of things to check to get you in the right ball park for getting sensible pictures: • • • • • If you have a memory stick you wish to use: load an all file. The all file overwrites all previous settings in the camera with your preferred settings. If you don’t have a memory stick, go to the file menus and set user file, reference file and all file to ‘ALL PRESET’ This is effectively a factory reset. If you’re putting everything to all preset, after doing so, you may wish to turn on the preset matrix and set it to matrix 2 (ITU-709). You should turn the detail level down to about –30. These two adjustments will get you from the factory preset condition which is a little desaturated and over detail corrected, to a useful general purpose shooting condition. Choose a frame rate. Set the shutter to 50Hz if shooting at 25P. All these operations are covered in more detail in the following sections. 2 !! " # In most respects the two camcorders are identical. The following are the important differences: HDW-750P 25P or 50i 2x optical filter wheels FIT CCDs Concealed accessory connector at rear $% HDW-730S 50i or 59.94i 1 x optical filter wheel IT CCDs No connector & The explanation in the manuals of how the files and menus work is a little confusing to say the least. This is an attempt to clarify what happens and when. • • • • • There are menus, which allow you to access and adjust a parameter. The values for each parameter are stored in files. There can be a value stored for a parameter in each of several layers of information. The end result can be the sum of the data values in several layers (Relative Data) The end result can be the value of just the top layer of data. (Absolute data) The terminology used in the manuals is possibly the most confusing aspect. For instance the word ‘USER’ is applied to menus, layers and files…user menu; user file; user layer. The difference between these three terms is important. & The access point to groups of adjustable items. • User Menu Normally accessible whenever the camera is switched on. Stuff from any of the menus below can be added to this menu, so that it could become the only menu you need. You can’t really say what the user menu does, as it depends how many items and pages from the rest of the menu are allocated to it. • Top menu This is the menu of menus…Normally when you turn the menu on, you get the user menu as described above. If you turn the menu on whilst holding the front scroll button pressed in, you get the following extra menus to pass the time with in airport departure lounges: • User Customize This is where you go to customize the user menu described above. Here you can add and delete items to the user menu. You can create 5 pages of 10 items chosen from the menus below, plus any whole pages you like, to create your user menu. • All menu 72 pages of settings. As the name suggests it contains all the available pages. These 72 pages are then split into more manageable chunks, comprising the operation, paint, maintenance, file and diagnostic menus described below. • Operation Menu Things that affect the way switches, outputs and displays are configured. Not items that directly affect pictures, but affect the way the controls work. 3 • Paint Menu Picture control. ‘The look’. Detail, Gamma, Knee etc. are all adjusted in this menu. Also has access to scene files to store and recall different ‘looks’. • Maintenance Menu Format switching (25P/50i ) is here, plus more obscure technical stuff. Includes the things that used to be in the menu accessed via the button on the timecode panel on digital betacam camcorders. • File Menu Save, load, store and recall all the different file types. (You can also access some files from within each individual menu. For instance you can load a lens file from within the operation menu, or from within the file menu…it’s the same result.) • Diagnostics In the unlikely event of a problem! This menu can help isolate a fault to a particular board. Also tells you software versions of the various boards in the camera, and drum running and operation hours. • (Service Menu) Not normally accessible. You need to set internal switches to gain access to this menu. $% ' Stored information about groups of adjustable items • User Holds whatever values have been allocated to the user menu. • User Preset The user file can be stored as a default setting, by moving it from the user layer to the preset layer. See layers below. • Scene Mostly items from the paint menu. Use this as a sort of ‘scratchpad’ for holding picture set-ups. • Reference Stored separately to the other files, this is only accessed during an ‘auto level’ operation. Auto level is a function normally associated with systems cameras, and is only accessible from RCPs designed for this kind of work, so is not really relevant to the ‘750. During auto level the camera reads the reference file, and copies the items held in it to the preset layer of the camera. All Overwrites all the user and preset layers, except for items held in the lens file. This is the one to use for matching cameras. • • Lens Shading, flare and colourimetry info specific to the lens or camera. ( ) ' Where the files are stored • User This layer is added to the preset, service and factory layers to produce the final output of the camera. Any values you tweak via the menu are changed in this layer, and if you recall a file you will see the results here. 4 • Preset A default setting where you can decide what the default should be. When you hit the STD button on an RCP, or ALL PRESET in the menus, you are deleting various values held in the user layer, leaving the camera at its preset value. Use STORE USER PRESET or STORE ALL PRESET to change the default settings. • Service Think of this as the factory reset level (though factory level is actually another layer down). If you clear the user and the preset layers, this is where you end up, as the camera came out of the box. (This is done using CLEAR ALL PRESET in the ALL FILE page of the file menu.) • Factory What it says. • Memory Stick You can store 100 user files, 100 scene files, 100 all files, 100 lens files and a reference file on a memory stick. That’s probably enough. *$% MENUS USER USER CUSTOM OPS PAINT MAINT FILE SERVICE DIAG. LAYERS USER Scene File x5 User File Lens File x5 All File PRESET . Preset User File Reference File SERVICE FACTORY MEM. STICK User files x100 Scene files x100 Lens files x100 All files x100 Ref file x1 Best not to use the reference file. You can delete it using REFERENCE CLEAR, though loading an ALL file will overwrite all the values created from it. (The reference file itself is not overwritten.) 5 ( + $% Load and save operations relate to file transfer to and from memory stick. Store and recall relate to file transfer within the camera. If you have a memory stick with setups already stored on it: Open the side panel and insert the memory stick. The red LED will light if the memory stick is recognised. No files are loaded until you go to the menus and tell the camera to load a file. Press the front rotary control in, and keep it pressed while you use the toggle switch on the side of the camera to turn the menu on. You should now see the ‘TOP MENU’ displayed in the viewfinder. Turn the rotary control, and select the ‘FILE MENU’ Turn the rotary control and select the ‘USER FILE’ page. If you have a ‘USER’ file stored on your memory stick, this is probably the best one to load first. • • • • If you’ve customized the user meu it will now contain the pages you need to use, so you don’t need to find the ‘TOP MENU’ and navigate through to the page you need. It will set up the camera monitoring outputs the way you want and display the menus on the downconverted composite output if required. It will set up the viewfinder displays the way you like to see them. It will configure the buttons and switches the way you like to use them. Select ‘USER FILE LOAD’ and choose the file you wish to use. If you don’t have a file stored, select ‘USER PRESET’, which returns the user menu to the factory preset settings. Turn the rotary control and select the ‘ALL FILE’ page. Loading an ‘ALL’ file is like wiping the slate clean before using a camera. All settings that will affect the way your pictures look will be overwritten, and you can be sure of starting from a known point. If you haven’t created an ‘ALL’ file, then you can select the factory preset file. Select ‘LOAD ALL FILE’ If you have a suitable file on the memory stick, select and load it. If you don’t have a memory stick, and you want to clear any existing set up from the camera: From the ‘ALL FILE’ page, select ‘ALL PRESET’ This is the equivalent of hitting the factory reset button. Finally, go to the ‘SCENE FILE’ page, and confirm that none of the check boxes next to the scene files have been selected. (Click on the scene file to de-select.) Think of the ‘ALL’ file as the base level for the camcorder that you wish to start from for a particular shoot. If you have some scene files stored on your memory stick, load them as well, but it’s not essential. Use the scene files to store adjustments and tweaks to that initial setup. If the camera already has some scene files left in it, labelled ‘Oscar Winning Cinematographer V1.0’ or similar, it’s probably best to ignore or overwrite them. Even if they were your files originally, they could have been modified and re-saved. Check the camcorder is set to the correct frame rate. Frame rate cannot be selected by loading files, as changing frame rate requires power down and power up. You can however store the frame rate you wish to use in a file, and you will get a prompt to change the frame rate during the file load process if it’s not set to the one associated with the file. If you’re shooting at 25P, set the shutter to 50Hz 6 * , & - + Use the same ‘ALL’ file for all cameras on a multi-camera shoot. Easiest method of keeping things colour matched is to use preset white balance and the same filter on all cameras. (Unless of course colour temperature changes during the shoot, and you want the white balance to stay the same.) Ideally, all cameras should be checked against a reference camera, on the bench before the shoot begins (yes,yes…I know). If there is any small difference in preset colour temperature, it can then be offset electronically or VA gains can be tweaked to match. When genlocking cameras, the ‘750 and ‘730 will read SD sync pulses in order to lock to timecode. If doing a live HD mix, then tri-level sync must be used. $ , . The HDCAM format allows for many different frame rates. With the HDW-750P, things are a little simpler, as you can record at either 25P or 50i. Put very crudely, you’ve got film mode and video mode. 25P will give you similar motion artefacts (flicker and blur ) to film acquisition (see also the next section on use of the shutter.) In 50i mode you will have the same motion artefacts as with Digital Betacam, but at a much higher resolution of course. Shooting at 25P doesn’t mean you’re excluded from the 24P world of theatre projection and international distribution. 25P originated material can be played back 4% slow at 24P, in a kind of inverse way to a 24fps movie going through a telecine at 25fps. The ‘730S also offers two frame rates: 50i and 59.94i There’s no progressive scan mode, so if you’re looking for a filmic look, ideally you’d use the 750P, or F900. That’s not to say you couldn’t use the film effect process on 50i pictures from the 730S, in a similar way to digi-beta….but with 1080 line source material you’ll get a much better result than you would with digi-beta. The 730s has a useful advantage if working for productions coming from the NTSC world, as it can work at 59.94i (people often think of NTSC as 60Hz, but it’s actually 59.94Hz) Most HD VTRs can be set to play back at a wide range of different speeds. If for instance you’ve shot at 25P and you’re scanning back to 24fps film, your programme duration will be 4% longer, and audio will be pitch shifted half a semitone down (though it can be electronically shifted back again and re-layed if necessary). / - Use of shutter on an HD camcorder is a little different to Digi Beta. The progressive scan mode (25P) that is the most popular mode of operation on the HDW-750, really needs to be used with the electronic shutter switched on. (Unlike Digi Beta, where it is rarely used). In 25P mode, the camera takes 25 pictures per second (similar to a film camera) each one exposed th for 1/25 of a second. This is quite a long exposure, and results in a significant blurring of moving th images. If you use the shutter to expose for only half this period (i.e. 1/50 of a second) you get a more acceptable compromise between blur (no shutter) and flicker (fast shutter). This isn’t really very surprising, as you are acquiring images in the same way as a film camera normally would, with a 180 degree mechanical shutter. As a general rule, a shutter speed twice that of the frame rate is equivalent to a 180 degree film camera shutter and gives good results. You can still tweak the ‘angle ‘ of your shutter if required, e.g. to eliminate flicker from 60Hz lighting, use a 60Hz shutter; or to eliminate flicker from a computer CRT monitor, use the clearscan facility. 7 At a frame rate of: 24 fps 24 24 24 24 25 25 25 25 A film shutter angle of: 200 degrees 180 172.8 144 120 200 180 150 120 Is equivalent to: 43.2 Hz 48 50 60 72 45 50 60 75 With software version 1.7 and above it is possible to change the display of shutter speed to angular notation. This can be done from the service menu (see your dealer for to get this feature enabled for you.) 7.0 The gain selections available from the switch on the side of the camcorder can be programmed in the user menu just like other camcorders. A further option, available via the service menu, is to have the gain level displayed as an ISO / ASA sensitivity rating. Useful if you’re from a film background, but this feature should be used with care, as the displayed ‘speed’ of the camera does not take into account other factors affecting sensitivity: • • • • Shutter ND filters Range extender Transmission factor of the lens These should all be added into the equation before attempting to expose pictures purely by using a light meter and the ASA rating of the camera. 0 / 3 1 1 ** / 22 2 2 Note that if you’re shooting at 25P you will probably choose to use a 50Hz shutter, and should therefore rate the cameras speed at half the above figures, 8 2 4 5 & + HD will not fit into a PAL monitor. Too many lines, too high line frequency. This can make things a little awkward for location monitoring and viewing. The HDW-750P / 730S however,comes with a number of standard and optional output signals that should give you what you need. Firstly there’s an HDSDI output. HDSDI is a similar idea to the SDI signal that is the de-facto digital interchange for standard definition. It just sends a lot more bits per second. (1500 Mbps as opposed to 270Mbps for SDSDI.) Unfortunately we’re going to have to get used to the fact that there are now two flavours of SDI, and they don’t mix. Use the HDSDI output to connect to an HD monitor with an HDSDI input card. This is the signal you should use for critical picture monitoring, or to send to a separate HD VTR or disk recorder for a parallel recording or copying. HDSDI is a very high frequency signal, so it doesn’t go very far down an ordinary BNC cable…about 40m maximum. The test out BNC supplies an analog luminance (Y) HD signal that can be fed to an HD monitor with a component input. It will only show a monochrome picture, as it’s only luminance, with no colour components, but you can use it to check framing or view menus. However…most camcorders are fitted with a down-converter option, that gives you several SD monitoring options. How do you tell if the down-converter option is fitted? • There will be an extra BNC connector fitted in a ‘bulge’ in the bottom right hand corner of the side of the camcorder, pointing out of the back next to the 12V DC XLR connector. From this connector you will be able to get either of the following, as chosen from the user menu: • Composite PAL signal, that can be fed to any SD monitor with a composite input, • SD SDI signal for good quality SD monitoring, or perhaps a Digi Beta At the same time the test output can also now supply a composite video signal, so you could have for example: • Composite video from the test output feeding floor monitors. • SDI from the down-converter output feeding a digi beta or DVCAM offline VTR • HDSDI feeding an HD directors monitor. 9 3 4 - 4 5 These are the optional boards that can be fitted internally to the HDW-750P or 730S: • HKDW-702 Down-converter for SD SDI or VBS outputs. • HKDW-703 Cache recording for time-lapse or loop recording. • HKDW-704 GPS support (TBA) • HKDW-705 Slow shutter option. Up to 64 frame exposure times. You can check which options are installed on the final page of the diagnostic menu. 1 Similar to Digital Betacam, but here are some points to bear in mind: • • • • • The supplied front mic. is stereo, and uses a 5 pin XLR connection to the camera body. The optional internal radio mic. option is the WRR-855 model, as used previously on SX and IMX camcorders. It’s a single channel diversity unit. There’s an extra 3.5mm monitoring jack connection at the front of the camcorder. All those difficult to access menu items that you used to have to get to via the timecode panel on Digi Beta are now in the main camera menus, in the maintenance section. If you are using the HDVF-C30W colour viewfinder, there is no attachment point for the front mic. (You can use mic. mounting bracket CAC-12 ) $% As this camera provides such a lot of natural resolution, and you’ve probably paid a lot of money for an HD lens, it seems kind of perverse to put softening filters in front of the lens unless there’s a particular dramatic effect you’re after. Otherwise internal filters are the same as Digital betacam. Alternative internal filters can be provided by Tiffen or Calmar. Contact your dealer to have them fitted. The 750P has a dual filter wheel, the 730S having a single wheel with a mix of colour correction and ND filters. % As mentioned above, there’s a lot of natural detail available, and even with the detail switched off entirely, you’ll still get very good pictures. The camcorder is often used in this mode, particularly if there will be a final print to film. Leaving a small amount of detail correction in will not cause any visible ringing or overshoots on edges. Some things to be aware of: • The HDW-F900 and the ‘HDW-750P / 730s are very different in the way the detail works. There’s much less range available on the F900, and if you wind the detail up to the end stop, it still won’t make the pictures very hard edged or unpleasant. • The ‘750 / 730 is different. If you wind the detail right up you can get very hard edged pictures indeed. • Beware of winding detail level down too far. Below about –50 it will start to apply negative detail, and artificially soften edges. (i.e. softer than just turning detail off.) 10 & • 6 + ,, Key to the matrix and gamma curve numbers used in the paint menu: o EBU matrix is recommended, or ITU-709 preferred by BBC R&D. o Matrix off will give an acceptable but desaturated look. o Standard Gamma curve 4 has a high initial gain, and is useful if going through a grading process during post production. 1 2 3 4 5 6 * Matrix SMPTE-240M ITU-709 SMPTE Wide NTSC EBU ITU-609 Std. Gamma Digi Beta (3x) MPTE 240M (4x) ITU 709 (4.5x) BBC (5x) Film Gamma 5248 5245 5293 5296 ( The lens mount is the standard 2/3” bayonet mount, and all the main manufacturers provide a range of HD lenses, in film style and EFP variants, plus several sets of primes. You can of course use SD lenses on HD cameras, and they’ll function perfectly well. It does seem a bit like buying a very expensive hi-fi system and using some cheap speakers though. 0 ! There is no particular problem with back focus on the ‘750 / 730, or the ‘F900. It’s a slightly more precise adjustment, because of the smaller circle of confusion of HD, but the principle is the same as SD. / #! There are three options available: • HDVF-20W Monochrome tube monocular. (Flicker / blur in progressive mode can be exaggerated in the viewfinder.) • HDVF-C30W Colour LCD monocular (Needs version 1.70+ AT and SS software. No mounting point for front mic.) • HDVF-C750 Colour LCD 6.5” (Useful sidemount bracket which attaches to VCT-14 tripod plate is available from Dowling Design: http://ddesign.co.uk/) & ( A complete list of menu items is attached. The ops manual and volume 1 of the maintenance guide will tell you what each item does, but you may find the list useful to note down your preferred settings. A suggestion is offered where something other than the factory preset will give good results. Values in square brackets [ ] are suggestions that will give a set up appropriate for film transfer when using the pre-knee ‘fix’ option in the DCC page of the maintenance menu, which is available with software V2.0 onwards % , Whilst every effort has been made to ensure the accuracy of this document, no responsibility can be accepted for consequential loss resulting from any error contained in it. Software versions change regularly. Please check that your pictures look the way you want them to on a properly set up monitor when entering new settings. 11 OPERATION MENU 01 OUTPUT SELECT HD SDI OUT on/off REAR BNC OUT VBS/SDI/off TEST OUT SELECT HD/SD DOWN CON MODE SQEZE /LETTR/CROP SQEZE Highest quality output for critical monitoring, or recording to external device. Max cable run approx 60m. Uses power, so turn off if you need to conserve batteries. Composite video (VBS) or SDI selectable from this output, as long as the downconverter option is installed. Test output can deliver composite with menus superimposed, if downconverter installed, or one of the HD components if HD selected. (Y, R-Y or B-Y) The downconverter will also do aspect ratio conversion, and crop or letterbox the SD signal for you. SQEZE is just standard 16:9. 02 FUNCTION 1 ASSIGN SW 1 EZ-FC ASSIGN SW 2 F.Mic FRONT MIC SEL Mono/stereo DF/NDF DF END SEARCH Off LOOP/INTVL REC Off Lens Ret VF markers NDF Various functions can be assigned to the button and switch on the side of the camera. Front mic on/off: Loop record: test out chc: Vf markers: easy focus: Re-take: ATW: Return video: Lens RET: Record: Turbo gain: Telemark: Zebra. Front mic on/off: Loop record: test out chc: Vf markers: Zebra Drop frame mode for NTSC timecode sync. LOOP REC TIME 1 - 8 secs (0) The loop recording and interval recording (timelapse) features are only enabled if the memory cache option is installed. You can choose to start recording what happened up to 8 seconds ago when you hit the REC button TAKE TOTAL TIME 5min When using timelapse mode, set the total real time duration of the event to be captured here. REC TIME 5sec Set the duration of the event once ‘timelapsed’ here. NUMBER OF FRAME 1 If in manual timelapse mode, you can set the number of frames to be recorded at each interval here. TRIGGER INTERVAL 5 MIN If in manual timelapse mode, set the interval between frame captures here. PRE LIGHTING Off In timelapse mode, the camera can turn on the power to the anton bauer light connector a set interval before the frame is grabbed. 03 FUNCTION 2 The memory B position of the white balance switch can be re-configured to be the auto tracing white balance switch. (or you could allocate ATW to am assignable button.) You can set a ‘soft’ transition from white balance mem. A to mem. B WHITE SW B Mem/ATW SHOCKLESS WHITE Off/1/2/3 ATW SPEED 4 The speed of the above transition is set here. LOW LIGHT Off/on Turn off that annoying warning message… LOW LIGHT LEVEL -99 to 99 (0) ….or set the level at which it appears. BATTERY WARNING 10% - 20% Sets the amount of battery warning for Anton Bauer batteries. 3 04 VF DISPLAY 1 VF DISPLAY On/off DISPLAY MODE 1/2/3 Mode 3 shows all warnings, and switch changes in VF, mode 2 shows some, mode 1 shows none. EXTENDER On/off Following items determine how much information is displayed in your viewfinder: FILTER On/off WHITE On/off Off Displays white bal. A/B/Preset GAIN On/off Off Displays gain selected SHUTTER On/off AUDIO On/off Off Displays audio level meters TAPE On/off Off Tape remaining time IRIS On/off Displays which optical filters selected. Useful to turn this one ‘on’ if in progressive scan, to remind you to use shutter. Displays F stop 05 VF DISPLAY 2 Off Numerical display of zoom position. Useful for reframing shots ZOOM On/off COLOUR TEMP On/off White balance info. VOLT On/off Battery voltage DC IN On/off DC power input WRR RF LEVEL On/off If you have the internal radio mic fitted, this will give you a signal strength reading in the viewfinder. TIMECODE On/off TC in viewfinder, and on test out if characters enabled on test output. GPS On/off Future option 06 ! LED GAIN On/off SHUTTER On/off Off WHITE PRESET On/off Off ATW RUN On/off EXTENDER On/off FILTER On/off OVERRIDE On/off There’s a warning ! marker that will appear in the viewfinder according to the way this page is set. If you set an item to ‘on’ , then the ! will appear if that function is Off 07 MARKER 1 MARKER On/off CENTRE On/off CENTRE MARK SAFETY ZONE 1 to 4 (3) On/off SAFETY AREA 80 /90 /92.5 / 95 % ASPECT ASPECT MASK On/off 14:9, 13:9, 4:3, Vista, Scope On/off Turns on / off the ‘greyed out’ side panels outside the aspect ratio mask selected . ASPECT MASK LVL 0 to 8 Sets the degree to which areas outside the aspect markers are greyed out 100% MARKER On/off ASPECT SELECT 12 08 MARKER 2 USER BOX On / Off USER BOX WIDTH 240 USER BOX HEIGHT 135 USER BOX H POS 0 USER BOX V POS 0 You can draw a box cursor in the viewfinder, any size and position. CENTER H POS CENTER V POS ASPECT SAFE ZONE Turns ON/OFF the SAFETY ZONE MARKER display with respect to the ASPECT MARKER. ASPECT SAFE AREA Selects the ranges of the SAFETY ZONE MARKER display with respect to the ASPECT MARKER. 09 GAIN SW LOW -3 to 42dB (0) MID -3 to 42dB (6) HIGH -3 to 42dB (12) TURBO -3 to 42dB (42) TURBO SW IND On/off [-3dB] -3dB Generally leave at ‘0’. Dynamic range slightly reduced at –3dB. Unlikely to use 42dB…you could set this switch to –3dB. 10 VF SETTING Only use if you have a viewfinder without a front on/off switch ZEBRA On/off ZEBRA SELECT Zebra 1, 2 or BOTH ZEBRA1 DET LVL 1 to 100% (0) 0=70% Usually set zebra 1 at 70% and 2 at 95%. Gets a bit busy if you use both. Don’t try and rationalize the numbers below. We know it should be a direct % equivalent, but it isn’t. Sorry. Maybe future software version will sort it out. -15=65%, 0=70%, +19=75%, +90=95%, +110=100% (subject to small variations between cameras) ZEBRA2 DET LVL 1 to 100% (0) 0=98% -72=90%, -25=95%, 0=98%, +20=100% ASPECT Off VF DETAIL LVL -99 to 99 (0) VF DETAIL H LVL -99 to 99 (0) VF DETAIL V LVL -99 to 99 (0) 11 AUTO IRIS OVERRIDE Off SPEED 2 CLIP HIGH LIGHT Off WINDOW 1 WINDOW IND Off VARIABLE WIDTH 240 VARIABLE HEIGHT 135 H POS 0 V POS 0 12 SHOT ID ID-1 Four different sets of characters can be saved here, any one of which can be selected to be ID-2 recorded in meta-data. Selection of which ID you want to use is via the next page. ID-3 ID-4 13 SHOT DISP On/off On/off On TIME MODEL MODEL NAME On/off On SERIAL NO. On/off On ID SELECT On/off DATE On SHOT BLINK CHCTR 14 SET STATUS STATUS ABNORML On/off Pushing up the toggle switch on the side of the camera pages through a number of status display STATUS FUNC. On/off pages. [useful for checking frame rate or audio inputs]. You can delete some of these pages if you STATUS AUDIO On/off don’t find them useful. STATUS GPS 15 TEST OUT MARKERS On/off On VF DISPLAYS On/off On MENUS On/off On ZEBRA On/off OUTPUT SELECT Y/R/G/B Sets what you see out of the ‘TEST’ BNC connector on the side of the camera. 16 OFFSET WHT OFFSET WHITE A On/off You can tell the auto white balance to always add an offset to its result. WARM / COOL A Kelvin reading (3200) A bit like putting a ¼ blue gel in front of the camera and then removing it after white balancing. COLOUR FINE A -99 to 99 (0) Off/on OFFSET WHITE B WARM / COOL B Kelvin reading (3200) COLOUR FINE B -99 to 99 (0) 13 17 SHUTTER ENABLE On/off 1/33 On/off Electronic clear-scan. Continuously variable shutter used for example to eliminate flicker from CRT computer monitors You can eliminate any shutter speed options you never use. 1/50 On/off (Saves time when selecting a shutter speed with the toggle switch on the front of the camera.) 1/60 On/off 1/125 On/off 1/250 On/off 1/500 1/1000 On/off ECS 18 LENS FILE LENS FILE SELECT 1 F. ID F. STOP 1.7 19 UMID SET Unique material Identification information. Recorded in meta data to uniquely identify all recordings. EX OWNERSHIP REC COUNTRY CODE ORGANIZATION CODE USER CODE INSTANCE NO. TIME ZONE MACHINE 20 GPS SETUP There is a GPS option for these camcorders that will record location of all recordings in meta data. GPS GPS RELOAD(MS) GPS TRACE TRACE INTERVAL TIME ZONE GPS DATUM GPS 8 PIN FORMAT PAINT MENU 01 SW STATUS GAMMA Off/on BLACK GAMMA Off/on MATRIX Off/on KNEE Off/on Off/on WHITE CLIP DETAIL Off/on APERTURE Off/on FLARE Off/on EVS Off/on TEST SAW Off/on Switch various functions on and off. Generally leave them as factory set, …. except for matrix, which is usually switched on. See main matrix page in paint menu. 02 WHITE COLOUR TEMP A Temperature (3200) Tells you the colour temperature of the white balances stored in memories A and B COLOUR FINE A -99 to 99 (0) You can manually adjust these values on this page. R GAIN A -99 to 99 (0) B GAIN A -99 to 99 (0) COLOUR TEMP B Temperature (3200) COLOUR FINE B -99 to 99 (0) R GAIN B -99 to 99 (0) B GAIN B -99 to 99 (0) 03 BLACK MASTER BLACK -99 to 99 (0) R BLACK -99 to 99 (0) B BLACK -99 to 99 (0) MASTER FLARE -99 to 99 (0) R FLARE -99 to 99 (0) G FLARE -99 to 99 (0) B FLARE -99 to 99 (0) FLARE Off/on OUTPUT SELECT Y/R/G/B [-1] Master black lifts or darkens low luminance areas of the picture. Also known as pedestal. Individual colour blacks change the colour balance in low luminance areas. 04 GAMMA GAMMA Off/on MASTER GAMMA -99 to 99 (0) Master gamma lifts or darkens mid luminance areas of the picture. R GAMMA -99 to 99 (0) Individual colour gammas change the colour balance in mid luminance areas. G GAMMA -99 to 99 (0) B GAMMA OUTPUT SELECT -99 to 99 (0) Y/R/G/B GAM SELECT STD STD/FILM [2] 3 GAM SELECT FILM 1 to 4 (3) 3 Engineering control for looking at individual channels during lineup. 1 Digi Beta (3x), 2 SMPTE 240M (4x), 3 ITU 709 (4.5x), 4 BBC (5x) 1 5248 2 5245 14 3 5293 4 5296 05 BLK GAMMA BLACK GAMMA Off/On BLK GAMMA RANGE Low/l.mid/h.mid/high MASTER BLK GAMMA -99 to 99 (0) R BLK GAMMA -99 to 99 (0) G BLK GAMMA -99 to 99 (0) B BLK GAMMA -99 to 99 (0) OUTPUT SELECT Y/R/G/B [on] Black gamma changes the initial slope of the gamma curve , only in the blacks. [High] [22] 06 KNEE Usually leave the knee switched on. KNEE Off/on KNEE POINT 50 to 109 (95) KNEE SLOPE -99 to 99 (0) KNEE SAT. Off/on [on] KNEE SAT LEVEL -99 to 99 (0) [70] WHITE CLIP Off/on WHITE CLIP LEVEL 100.0 to 109.5 (105) [50] 90 [-136] -10 [109.5] Sets where, as a percentage of the luminance scale, the knee starts to act. Sets how much compression is applied by the knee circuit. Increases colour saturation in picture areas compressed by the knee, in proportion for RGB Normally set to about 104 for BBC / ITV preferred levels. 07 DETAIL 1 DETAIL Off/on APERTURE Off/on DETAIL LVL -99 to 99 (0) APERTURE LVL 0 to 15 (0) H/V RATIO -99 to 99 (0) CRISPENING LEVEL DEP -99 to 99 (0) Off/on LEVEL DEP LVL -99 to 99 (0) DETAIL FREQ -99 to 99 (0) -20 Factory setting of ‘0’ is a bit harsh. Normally turn down to between –20 and -30 (don’t turn detail level below –70…it starts to look artificially soft.) 08 DETAIL 2 KNEE APERTURE Off KNEE APT LVL 0 Knee aperture adds detail edges only to highlight areas compressed by the knee circuit. DETAIL WHITE LIMIT 0 [-175] Limits positive going (white halo) detail overshoots DETAIL BLACK LIMIT 0 [-142] Limits negative going detail overshoots DETAIL V-BLK LIMIT 0 [34] 09 SD DETAIL SD DETAIL Off/on SD DETAIL LVL -99 to 99 (0) SD CRISPENING -99 to 99 (0) SD DETAIL WHITE LIMIT 0 to 15 (0) SD DETAIL BLACK LIMIT -99 to 99 (0) SD LEVEL DEP -99 to 99 (0) Off/on SD LEVEL DEP LVL SD DETAIL FREQ -99 to 99 (0) SD H/V RATIO -99 to 99 (0) There is a separate detail circuit for the down-converted SD output. Doesn’t affect recorded pictures. -10 +50 10 SKIN DETAIL SKIN DETAIL ALL Skin detail can key out a particular colour tone and reduce detail levels in that area. Off Position the on screen marker over the colour to be corrected and select the auto detect function. SKIN DETECT SKIN AREA IND Off Displays a zebra type pattern over the areas selected for correction. SKIN DTL SELECT 1 3 different settings can be remembered. SKIN DETAIL On SKIN DTL LVL 0 Set the amount of detail to be removed (or added) here. SKIN DTL SAT 0 Manually select the colour saturation to be targeted. SKIN DTL HUE 0 Manually select the colour hue to be targeted. SKIN DTL WIDTH 40 Manually select the width of the range of colours to be targeted. 11 LINEAR MATRIX MATRIX Off/on MATRIX ( USER) Off/on [On] MATRIX (PRESET) Off/on [Off] On MATRIX ( PRST SEL) 1-2-3-4-5-6 MATRIX ( USER) R-G -99 to 99 (0) MATRIX ( USER) R-B -99 to 99 (0) [0] MATRIX ( USER) G-R -99 to 99 (0) [-5] MATRIX ( USER) G-B -99 to 99 (0) [-6] MATRIX ( USER) B-R -99 to 99 (0) [-1] MATRIX ( USER) B-G -99 to 99 (0) [-9] 2 [-53] 1 SMPTE-240M, 2 ITU-709, 3 SMPTE Wide, 4 NTSC ,5 EBU, 6 ITU-609 12 MULTI MATRIX MATRIX Off/on . MULTI MATRIX Off/on The multi-matrix can pick up on a particular colour in a scene and change its hue and saturation AREA IND Off/on A zebra type pattern can be superimposed on targeted areas of colour COLOUR DETECT AXIS B/B+/MG-/MG/ MG+/R/R+/YL-YL/YL+/G-/G/ /G+/CY/CY+/B- HUE -99 to 99 (0) SATURATION -99 to 99 (0) 15 13 V MOD VMOD Off/on MASTER VMOD -99 to 99 (0) R VMOD -99 to 99 (0) G VMOD -99 to 99 (0) B VMOD -99 to 99 (0) OUTPUT SELCT Y/R/G/B 14 LOW KEY SAT LOW KEY SAT Off/on Used to increase colour saturation in low luminance areas of picture. LEVEL Use with care, as effect on one scene may not look good for a different scene. RANGE -99 to 99 (0) Low/l.mid/h.mid/high Y BLK GAMMA Off/on Y BLK GAMMA LVL -99 to 99 (0) Y BLK GAMMA RANGE Low/l.mid/h.mid/high LOW : 0 to 3.6 % L.MID : 0 to 7.2 % H.MID : 0 to 14.4% HIGH : 0 to 28.8 % [On] [31] [H.Mid] 15 SCENE FILE This is the same scene file page that can also be accessed from the FILE menu. 1 TO 5 STANDARD SCENE RECALL SCENE STORE FILE ID MAINTENANCE MENU 01 WHT SHADING SHADING CH SELECT R/G/B OUTPUT SELECT Y/R/G/B RGB WHITE H SAW -99 to 99 RGB WHITE H PARABOLA -99 to 99 RGB WHITE V SAW -99 to 99 RGB WHITE V PARA -99 to 99 WHITE SAW/PARA Off/on 02 BLK SHADING SHADING CH SELECT R/G/B OUTPUT SELECT Y/R/G/B RGB BLACK H SAW -99 to 99 RGB BLACK H PARABOLA -99 to 99 RGB BLACK V SAW -99 to 99 RGB BLACK V PARA -99 to 99 BLACK SAW/PARA Off/on MASTER BLACK 0 MASTER GAIN (TMP) 0 03 LEVEL ADJ -99 to 99 Y LVL -99 to 99 SYNC LVL -99 to 99 Pr LVL -99 to 99 Pb LVL -99 to 99 TEST SAW Off/analog/digital OUTPUT SELECT Y/R/G/B 04 SD LEVEL ADJ SD VBS LVL -99 to 99 SD VBS SETUP LVL 0% / 7.5% SD VF Y LVL -99 to 99 SD VF R-Y LVL -99 to 99 SD VF B-Y LVL -99 to 99 05 BATTERY BEFORE END 1 5% END 1 0% BEFORE END 2 11.3V END 2 11.0V BEFORE END 3 11.8V END 3 11.0V 06 VTR MODE 1 10.5 to 11.5V VIDEO OUT (F/R) EE/PB AUDIO OUT (F/R) CUE/EE REC AUDIO OUT EE/SAVE CAMERA ADAPTER ENBLE/DISABLE AUDIO CH 3/4 MODE CH 1/2 or SW REAR XLR AUTO Off/on FRONT MIC REF -60dB REAR MIC 1 REF -60dB REAR MIC 2 REF -60dB Automatically records the input from a rear XLR if here is anything connected. 16 07 VTR MODE 2 AU REC EMPHASIS Off/on CUE REC Off/on AU REF LVL -18dB/-20dB AU REF OUT 0dB/+4dB/-3dB AU SG 1KHz Off/on/auto MIC CH1 LVL Side1/front/f+S1 MIC CH2 LVL Side2/front/f+S2 REAR1 WRR LVL Side1/front/f+S1 REAR2 WRR LVL Side2/front/f+S2 08 VTR MODE 3 TC OUT Auto/gene DF/NDF DF/NDF EXT-LK DF/NDF Int/ext EXT-LK UBIT Int/Ext LTC UBIT Fix/time VITC UBIT Fix/time WATCH AUTO ADJ Off/on UBIT GROUP ID 000/101 09 VTR MODE 4 REC TALLY BLINK Off/on REC START STOP Off/on MODE SELECT Sel/off/cont TIMER SET 1h/3h/8h Off/5min/10min/30min/60 min Dsabl/frame /field STBY OFF TIMER STOP KEY FREEZE 5 min 10 VTR MODE 5 LTC UB MARKER set/all/off REC START MARKER Off/on SHOT MARKER 1 Off/on SHOT MARKER 2 Off/on SHOT TIME DISP Md:hm/dm:hm/d:hms 11 PRESET WHITE COLOUR TEMP3200 COLOUR FINE
-99 to 99 (0) R GAIN
-99 to 99 (0) B GAIN
-99 to 99 (0) AWB ENABLE Off/on Dial in a value for the PRESET white balance setting. 12 DCC DCC FUNCTION SELECT DCC/adaptive knee /fix DCC RANGE 600% DCC POINT -99 to 99 (0) DCC GAIN -99 to 99 (0) DCC PEAK FILTER 0 to 3 (0) DCC DELAY TIME -99 to 99 (0) FIX / AUTO PRE-KNEE POINT Fix [FIX] Set to FIX if setting up for film transfer mode, and then enter the rest of the [ ] settings. 13 AUTO IRIS 2 IRIS WINDOW 1/2/3/4/5/6/ variable IRIS WINDOW IND Off/on IRIS LEVEL -99 to 99 (0) IRIS APL RATIO -99 to 99 (0) IRIS VAR WIDTH 20 to 479 (240) IRIS VAR HEIGHT 20 to 269 (135) IRIS VAR H POS -480 to 479 (0) IRIS VAR V POS IRIS SPEED -270 to 269 (0) 0/1/2/3/4/5 CLIP HIGH LIGHT Off/on 14 FUNCTION 3 RM COMMON MEMORY Off/on SMPTE/100%/ 75%/ 100% (4:3) SMPTE (4:3)/ 75% (4:3) Off VTR STOP/START RM USER AND ALL ONLY OFF WHITE FILTER INH COLOUR BAR SEL SMPTE bars have the advantage of a simple PLUGE signal for monitor lineup. 15 GENLOCK GENLOCK Off/on RETURN VIDEO Off/on GL H PHASE COASE -99 to 99 (0) GL H PHASE FINE -99 to 99 (0) 17 16 ND COMP ND OFFSET ADJUST Off/on CLEAR ND OFFSET Exec ND ADJUST MODE 17 FORMAT CURRENT NEXT 50i / 25p 18 VANC RX UMID LINE 1 0 UMID LINE 2 0 FILE MENU 01 USER FILE USER FILE LOAD Off/on USER FILE SAVE Off/on F ID Off/on USER PRESET Off/on 02 USER FILE 2 STORE USER PRESET CLEAR USER PRESET CUSTOMISE RESET LOAD CUSTOM DATA Off LOAD OUT OF USER Off BEFORE FILE PAGE Off USER LOAD WHITE Off 03 ALL FILE ALL FILE LOAD ALL FILE SAVE F ID ALL PRESET STORE ALL PRESET CLEAR ALL PRESET 3SEC CLR PRESET Off 04 SCENE FILE 1 2 3 4 5 STANDARD SCENE RECALL SCENE STORE F ID 05 REFERENCE FILE REFERENCE STORE REFERENCE CLEAR REFERENCE LOAD REFERENCE SAVE F ID SCENE WHITE DATA Off 06 LENS FILE 1 LENS FILE RECALL LENS FILE STORE F ID F STOP 1.7 LENS NO OFFSET SOURCE MEMORY 07 LENS FILE 2 LENS M V MOD -99 to 99 (0) LENS CENTRE H -480 to 479 (0) LENS CENTRE V -270 to 269 (0) OUTPUT SELECT Y/R/G/B LENS R FLARE -99 to 99 (0) LENS G FLARE -99 to 99 (0) LENS B FLARE -99 to 99 (0) LENS W-R OFFSET -99 to 99 (0) LENS W-B OFFSET -99 to 99 (0) 18 08 LENS FILE 3 SHADING CH SEL R/G/B OUTPUT SEL Y/R/G/B LENS RGB H SAW -99 to 99 (0) LENS RGB H PARA -99 to 99 (0) LENS RGB V SAW -99 to 99 (0) LENS RGB V PARA -99 to 99 (0) 09 MEMORY STICK FORMAT Off/user/all/ scene/lens refer MS IN > JUMP TO 10 TELEFILE TELEFILE CLEAR TELEFILE MARK OK ID SIZE REMAIN STATUS DIAGNOSTICS MENU 01 HOURS METER RESET METER DRUM RUNNING TAPE RUNNING OPERATION THREADING DRUM RUNNING 2 TAPE RUNNING 2 OPERATION 2 THREADING 2 02 TIME / DATE ADJUST Worth setting the clock, as it makes setting the timecode to time of day HOUR very easy. MIN SEC YEAR MONTH DAY 03 ROM VERSION AT VER: XXX The AT version is the main software version. SS VER: XXX FP VER: XXX EQ VER: XXX 04 DEV STATUS I/O EEPROM LSI 05 OPTION BOARD DOWN CONVERTER Means you’ve got the option installed Means it’s not installed HD SDI OUTPUT Always installed as standard. PICTURE CACHE Does the timelapse and loop recrding SLOW SHUTTER Blurry long exposure effect. Also works well in conjunction with timelapse. 19
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