Learning Curve - Sony Camera Guide

Learning Curve - Sony Camera Guide
CAMERA PRODUCT SALES GUIDE
Simply put, a camera is nothing
more then a device that takes light
and translates it into an electrical
signal, this electrical signal can
then be stored or transmitted where
your television translates it back
from the electrical signal to visible
light.
The brain of any camera is the
CCD (charged coupled device)
which is a sensor array that has
many individual photosensitive
elements called pixels. Optics in
front of the CCD, focus light from
the scene unto the CCD where
each individual pixel creates an
electric charge proportional to the
received light intensity.
Useful information
This is your comprehensive
introduction to the world of Video
Acquisition, along with the full
lineup of Sony Cameras and
camcorders. It includes detailed
information about each particular
model, a review of terms & FAQs
and a comparison chart including
what makes each model unique
from others. We hope that this will
be a valuable tool for you in helping
you grow your camera business as
well as your overall video business.
If you find something that is not
covered in this publication, please
lat us know and we will most
certainty include it in future
releases.
Since the CCD is the most
important part of any camera, it has Features, Functions & Foundational terms
Number of CCD’s
the most affect on the cameras
Professional cameras usually have three CCD’s one for each
performance and of course, the
better the CCD the higher the price. color that is recorded Red, Green, and Blue, every color inbetween is just a combination of these three, while basic
camcorders will have just one CCD capturing all colors.
Of the main features presented in
CCD Size
this guide that determine a
Size does matter when it comes to CCD’s since the larger the
camera’s price and attractiveness
CCD the more light is captured. A larger CCD operates more
in the market, most of the factors
effectively in low light conditions.
derive from the CCD level. The
Aspect ratio
rest are in the electronics of the
processors in the camera head and 4:3 is the conventional TV image height and width, while 16:9 is
the widscreen format. CCDs can be either size. Some 4:3
the lens optical capabilities.
CCDs can output part of the chip in 16:9 and likewise 16:9
chips can use a 4:3 ratio inside their full surface.
CONTENTS
Camera types
p.2 Horizontal Lines of Resolution
DVCAM advantage
p.4 Like it sounds, the approximate total of horizontal TV lines that
Model comparison chart
p.5 the Camera is capable of producing. Standard NTSC video is
Features, Functions +
p.1-4 capable of providing about 470TVL
Model profiles
p.3-14
Camera PACs
p.9 & 13 S/N Signal-to-noise ratio
VTRS
P.13 The ratio between the desired signal output and the noise level
Wireless recvrs
P.15 in the electronics. This is measured by dB, the higher number;
FAQs
p.16 the lower the noise.
Continued>
CAMERA TYPES
Features, Functions & Foundational terms cont.
Low light Sensitivity (Lux)
The brightness of a scene is measured in “Lux” (the amount of
light a candle disperses in a foot =10.76 Lux) The lower the Lux
rating on the camera the better, since it means that it doesn’t
need to be as bright for the camera to do its job. Not too long
ago very bright lights were needed whenever video was
recorded. Nowadays some Sony cameras will record in a fraction
of one LUX or even in “0 LUX” in pitch black with IR (infrared).
When the first Video camera was
released it consisted of two
separate pieces, the camera which
included the CCD and a recording
device which included the tape
drive and recording heads which
was usually carried over the
shoulder. The video signal was fed
to the VTR (Video Tape Recorder)
via a bulky cable.
Gain
Gain is an amplification of the signal. Which is useful in low light
situations. The higher the number; the greater the added
gain. Gain increases also add noise. Some cameras have
AGC (automatic gain control) which automatically compensates
when changing from a well lit area to a darker area or when the
sun goes behind a cloud etc. Gain is also measured in dB
(decibels), the higher the number, the better the capability.
Smear (very bright situations)
Smear is a negative artifact of CCD’s. When they are exposed to
too much light they create white vertical lines off the very bright
light sources. Sony has many different technologies to reduce or
suppress smear. HAD, Hyper HAD, Power HAD. EX HAD, and
FIT are all different generations of CCD’s, each better then the
other in reducing smear among other things. Smear is measured
in dB (decibels), the lower the number the better the CCD.
White Balance
Different color temperatures reflect different colors. Low color
temperatures shift toward red, while high color temperatures shift
towards blue. Therefore, incandescent (tungsten) lighting will cast
a yellow/orange color, while florescent lighting will cast a bluish
hue. Our eyes and brain compensate for this, and we don’t
notice it in our day to day experience. The camera however
simply translates what it sees, and when watched thru the
cameras eye the color imbalances become quite evident.
The original cameras used filters to block out the orange or blue
hues; the later generation of cameras have introduced a concept
called “white balance”. It is a reference that tellsl the camera what
object in the scene is really supposed to be white. The camera
can calculate the difference of the current color temperature of
that object and the color temperature the white reference and
change all colors in the lighting environment by that difference.
Continued
page 2
The next step in the evolution of
video cameras allowed the user
to connect the VTR to the back of
the camera thru a multipin
connector making it virtually one
single unit, these Cameras were
called “Dockable Cameras”. With
this technology as well as with the
original technology, it was
possible to connect one
manufactures VTR to another’s
Camera.
Dockable VTR
The last step was the introduction
of the Cam/Corder, which is
essentially
a camera
head and
VTR
combined
into one unit
allowing the
manufacturer to produce them
smaller lighter and more cost
effectively.
Today all three production camera
types are made since they each
have their own advantages.
“Camera Heads” also called
“block cameras” are still widely
used in applications where
either a recording device is not
needed
(traffic,
internet,
machine
vision,
microscopic,
point-of
view POV in live production) or
for applications like security
where the recording takes place
at a central location.
The PTZ motorized
camera of (for pan,
tilt,zoom control
capability) is in th camera head
family with the addition of a a
mechanism that allows
positioning the camera by
remote control.
This issue Copyright 2005.
Editor: Bill Mullin
Contributing writers:
Rich Hoffman & Issac Stein
Since not all scenes have a pure white object, cameramen have
carried around a white sheet which they constantly use to adjust
the cameras.
“Preset temperatures” was introduced later; the camera had a
handful of color presets, (Tungsten. Florescent, sunny, cloudy,
etc.) This made it easier on the cameramen. Some cameras
include a feature called “AWB” yes, Automatic White Balance.
That way any camera handles different lighting situations is a
significant factor in determining which camera to purchase
especially for ENG (Electronic News Gathering)
Progressive vs. Interlaced
Progressive scanning is the latest in CCD technology. NTSC
Video which is the format used in the US is refreshed at 60 times
a second, AKA 60 fields. (This correlates with the electric signal
AC-alternating current- in the US which is not a direct continuos
stream.) In video, there are two fields to a frame. Back when
processors could not produce the video signal fast enough, the
image was divided in two. The processor first scanned the even
lines and a sixtieth of a second later the odd lines, and together,
when interlaced, they make up 30 frames per second. Since it
is constantly changed from even to odd so fast it is not
perceptible to the human eye. However at any split moment that
video is viewed, only half the information is there. That’s the
reason when you pause a picture it is not as detailed. In PAL
Video (for Europe or Asia) it is recorded in 50 fields correlating to
their AC current of 50hz, and thus giving them 25 frames instead
of 30 frames per second
Progressive scan is the way some new CCD’s and processors
are designed which allows them to capture and produce the
even lines and the odd lines simultaneously in one pass. This
yields a higher resolution since at any given time the whole
image is seen.
Another feature that some cameras have is 24PsF which stands
for 24 Progressive, frames per second. Movie Film is recorded at
24 frames per second. Since film is progressive, with the 24Pfs
feature, the video looks as if it was shot with a film camera.
Sony HDV fits 24 frames into a 60i framework by using a process
called 3:2 pull-down.
Genlock
Since any video signal is a series of 30 frames, it means that
there are 30 black spots in between the 30 frames. It happens
so fast that our eye, which readjusts 18 times a second cannot
pick up the black spots. However, imagine a live shoot with two
Continued
page 3
Features, Functions & Foundational terms cont.
cameras,where the producer switches live from CAM 1 to
CAM 2. It is possible that CAM 1 would be in the black
blanking between frames, while CAM 2 would be half way
through a frame. When switched together, a visible black
area glitch will appear as long as a fifteenth of a second! This
hiccup in the video is remedied via genlock. “Genlock”
syncs up all the cameras assuring that are beating with the
same pulse and turning frames and fields together.
SMPTE Time Code
In order to lock video tape recorders in sync with each other
audio recorders and time-based control units, a time code is
imprinted on the tape for reference. TIme code can be in 24
fps for film or 30 fps for video. Standard time code went one
step further to create a 29.97 fps reference to fit the color
signal. This may also be a drop-frame variety. This was
created to fit timecode into a complete day. At 30 fps, it
would run too long. Think of leap year at the video frame
level.
The Lens
The other main factor in differentiating between cameras is
the Lens, since the lens controls the zoom, focus, iris, f stop’
etc. The quality of the lens will have a significant impact on
the final picture all consumer camcorders come with a lens
attached, with the only option being a wide converter or teleconverter adaptor available. Most professional cameras,
especially the more expensive ones, don’t come with an
attached lens.
There are different types of lenses and mounts. Primarily,
mounts belong to these major categories:
½” for cameras with ½” CCD’s
2/3" for cameras with 2/3" CCD’s
C-Mount- a 1' x 32 thread employed usually for smaller CCD’s
Bayonet- is an easy to move clamp-on style of mount usually
associated with professional cameras
VISCA
This is a version of RS-232 serial control that Sony uses to
control PTZ cameras.
Multicore or Triax adapters
As camera cables are required to run distances, signals are
often bundled into multiple conductors (26 for Multicore and
3 conductor for Triax).
Mbps
Mega bits per second is the data transfer rate a digital tream.
In the DV format it is 25MBps.
for mor see FAQs on page 16
page 4
DVCAM ADVANTAGE
The DVCAM format is the
professional extension of the
worldwide standard DV format,
using 8-bit digital component
recording with a 5:1 compression
ratio and a sampling rate of 4:1:1
(for NTSC). The DVCAM format has
a wider track pitch of 15 µm
(compared with 10 µm for the basic
DV format) which gives higher
reliability for professional editing.
It also offers superior digital audio
performance. Alternative audio
channel modes can be selected.
What is Sony’s DVCAM
advantage over
Panasonic’sDVCPRO?
DVCAM has the ability to provide
true editing playback capability of all
DVformats: DV-SP, DV-LP,
DVCAM and DVCPRO with all the
same professional performance in
Playback, Jog Audio, and Slow
Motion (from -100% to +100% with
the DSR-2000) — a DVCAM
Exclusive Feature.
The DVCAM Master Series VTRs
automatically sense the format and
size of the tape and adjust
accordingly. No menu setting
changes are needed.
Pre-Read Editing and Double-Scan
Playback capability — a DVCAM
Exclusive Feature.
DVCAM has over 20 models in the
product line-up, from low-cost
solutions to high-performance
products.
Provides analog-like Jog audio
capability to find in-points with audio
very easily.
Camera comparison chart
SD Cameras List
DXC-390
$2,995
DXC-990
$4,310
SD PTZ Cameras
EVI-D70
$1,599
EVI-D100
$1,200
BRC300
$5,499
CCD
Resolution Aspect
(3) 1/3” Exwave HAD 800 TVL
4:3
(3) 1/2” Exwave HAD 850 TVL
4:3
Sensitivity
S/N
Lens
F8 @ 2000lx 62 dB C
F11 @ 2000lx 63 dB Bayonet
(1) 1/4” Exview HAD 470 TVL
(1) 1/4” Super HAD 470 TVL
(3) 1/4.7” Adv HAD 600 TVL
F1.4 @ 1lx*
F1.8 @ 3.5lx*
F1.6 @7lx*
4:3
4:3
4:3
(4:3-16:9)
SD Studio Cameras
DXC-D50
$13,388 (3) 2/3” Power HAD 920 TVL
4:3
DV Camcorders
DSR-PDX10 $2,395 (3) 1/4.7” Adv HAD 530 TVL 4:3-16:9
DSR-PD170 $3,940 (3) 1/3” Adv HAD
530 TVL 4:3-16:9
DSR-250
$5,330 (3) 1/3” Power HAD 530 TVL
4:3
DSR-400L
$10,800 (3) 2/3” Power HAD-EX 800 TVL 4:3
DSR-570WSL
$18,000
(3) 2/3” Pwr HAD-WS 850 TVL
63dB
Bayonet
HD Cameras
HDC-X300
$15,000 (3) 1/2” Pwr HAD HD 800 TVL 16:9
HDV Camcorders
HVR-Z1U
$5,946 (3) 1/3”Super HAD HD 800 TVL4:3-16:9
50 dB 18X
50 dB 10X
>50 dB 12X zoom
*(50 IRE)
F11 @ 2000lx 65 dB Bayonet
F1.6 @ 7lx
50dB 12X zoom
F1.6 @ 1lx(+18dB) 55dB 12X zoom
F1.6 @ 2lx (+18dB) 55dB 12X zoom
F13 @ 2000 lx 65dB Bayonet
4:3-16:9
F11 @ 2000 lx
F10 @ 2000 lx 54dB Bayonet
F1.6 @ 3 lx (+18dB) TBA 12X zoom
STANDARD DEFINITION CAMERAS
DXC-390
The DXC-390 is a 10-Bit, three 1/3" CCD Camera with 800 lines of
horizontal resolution and a S/N ratio of 62dB. In addition to
surveillance, microscopy, and industrial inspection applications,
laboratory experiments and live sports action are applications to which
the DXC 390 is well suited. The DXC 390 incorporates many amazing
features like strobe function technology, long term exposure setting,
and computer control (RS-232C making it the most flexible camera in its
class.
DXC-990
The DXC-990 is a 10-Bit, three 1/2" CCD
Camera. In addition, instead of C-mount lenses,
it uses ½” bayonet mount lenses allowing the use
of higher quality lenses. The DXC 990
incorporates all the same features as the DXC390 while adding higher resolution and lower light
capabilities.
· High sensitivity of f11 @ 2000 Lux and a minimum
illumination of 1 Lux @ f1.4 (with hyper gain)
·
RGB as well as Composite or Y/C (S-Video) output
Required: Power supply, 10.5-15V DC Bayonette-mount Lens
Optional Accessories: Same as the DXC 390
page 5
Features of the DXC-390 and DXC-990
·10-Bit DSP (Digital Signal Processing) this enables a variety of enhancement features like;
DCC+ (Dynamic Contrast Control Plus), avoids signal washout or distortion when subjects
are to bright (the light reflecting off the hood of a car) Black Stretch and Dynalatitude, both
help capture clear images when part of the scene is very bright while another part is dark (an
afternoon baseball game where the pitcher is in the sun and the hitter is in the shade)
Digital Detail, Adjusts the sharpness of a objects outline Linear Matrix, Enhances Color
Reproduction By adjusting the color saturation and hue Partial Enhance, allows the
enhancement or softening of a specific color by accessing the Hue and Saturation levels.
·On Screen Menu, allows for quick and easy picture adjustments while viewing the image
·Long term exposure, the shutter speed can be manually selected from 0.1 to 8 seconds,
(astronomy is one application that comes to mind)
·Clear scan, since video is at 30 frames a second and computer monitors are not, the appearance
that the computer image is rolling or scrolling appears when you attempt to capture a computer
screen on video. Clear scan avoids that by allowing the matching of shutter speeds to match the
scanning frequencies of computer monitors.
·RS 232C Control, allows the operation and control of the camera by computer.
·Remote Control , an optional remote control (RM-C950) is available with full control of the camera
as well as the zoom, focus and iris functions of the lens (since the lens is electronically connected
to the camera)
·A slew of different automatic white balance options are available on this camera as well as a
manual white balance option.
·Genlock for seamless integration with other cameras
· RGB as well as Composite or Y/C (S-Video) output
·AGC (Automatic Gain Control) is switchable to either STEP, AUTOMATIC or HYPER GAIN “30dB”
helps to capture images in less then ideal lighting
·TEN levels of electronic shutter speed from off to 1/100,000 allowing the camera to capture blur
free images of very high speed moving objects.
·High 62 dB signal/noise ratio.
Required: Power supply, 10.5-15V DC C-mount Lens
Optional Accessories:
CMA D3 acts as a power supply as well as a transmitter for the
RM-C950 Remote Control Unit
CMA-D2 acts as a power supply as well as a
transmitter for the video signal from the camera to its
destination. (25 meter maximum distance)
CCMC-12P02 Multi-core 12 pin cable 2 meters
CCMC-12P05 Multi-core 12 pin cable 5 meters
CCMC-12P10 Multi-core 12 pin cable 10 meters
CCMC-12P25 Multi-core 12 pin cable 25 meters
MVA-15 Microscope adaptor
MVAC-33-N Nikon Adaptor
MVAC-33-O Olympus Adaptor
MVAC-33-SM Adaptor
PTZ CAMERAS
video signal from the camera to its destination. (100 meter
maximum distance)
CCDC-5 Multi-core 12 pin cable 5 meters
CCDC-10 Multi-core 12 pin cable 10 meters
CCDC-25 Multi-core 12 pin cable 525meters
CCDC-50A Multi-core 12 pin cable 50 meters
CCDC-100A Multi-core 12 pin cable 100 meters
CCMC-9DS
CCXC-9DBS
CCMC-3MZ
>
Integrated pan, tilt, zoom (PTZ) motorized cameras offered by Sony include the EVI-D100,
EVI-D70 and BRC-300 models. These are ideal for distance learning, web and
videoconferencing, house of worship, courtrooms, hospitals, special event and concert hall
installations where high video quality is required in a remotely operated unit.
page 6
EVI-D100
The EVI-D100, using a ¼” Super HAD™ CCD chip, is a standard with
auto focus and automatic exposure control with backlight compensation,
easily coping with difficult lighting conditions. Since the drive motor is
gearless, these features operate much more quietly than other
conventional PTZ cams. There are 6 pre-set shot positions that can
be stored and recalled. When not in use, there is an auto-sleep
function to save wear and tear. Direct drive motors account for the
gear-less structure of the camera, reducing the noise of pan/tilt
motion drastically compared to conventional models.
·Built-in Conversion Lens for Wide Angle View (65 degrees)
·40x Zoom Ratio (10x Optical + 4x Digital
·Six Position Presets with Battery Back-up
·Horizontal Resolution- 460 TV Lines Effective Pixels- 752 x 582
·Remote Controllable via RS-232C (VISCA)
·Quiet Operation
Required & supplied: Multi-function
IR Remote Commander® unit
Optional Accessories: RM BR300
Remote
EVI-D70
The EVI-D70 uses a recently developed ¼” Exview HAD® imager which greatly
increases the visible and IR sensitivity and reduces the tendency for vertical
smear on bright objects. Other new features of the 70 include e-flip, which allows
the unit to be ceiling mounted, greatly increased pan tilt speeds, and a horizontal
range of view of 340 degrees. EVI-D70 camera incorporates a wider pan/tilt range
with an 18x optical zoom lens and a faster pan/tilt mechanism.
·Wide Range Pan/Tilt: 340 degrees Pan / 120 degrees Tilt
·Excellent Low Light Sensitivity: less than 1 Lux
·37mm Mount for Optional Conversion Lens
·Upright or upside-down ceiling mount ·Alarm Function
·Remote Controllable via RS-232C (VISCA)
·In white and black
RMBR300
Required & supplied: Power supply DC 10.8 to 13.2 V
Optional Accessories:EVIFDP8C3 Outdoor Clear Dome
Housing; EVIID8C1 Indoor pendant mount, clear dome
housing; EVIID8T1 Indoor pendant mount, tinted dome
housing; EVIOD8T3 Outdoor Pendant Mount, tinted
dome housing; EVIRD7 Indoor vandal resistant,
pendant mount, tinted dome housing; EVIRDP7C3
Outdoor Vandal Resistant pendant mount, clear dome
housing; SNCWM20G Gooseneck Wall Mount;
SNCWM30G Parapet Mount Bracket; SNCACA2
Corner Mount Adapter Bracket; SNCAPM3 Pole Mount
Adapter Bracket
The stylish RMBR300 is a controller for the
EVI or BRC family in an ergonomic, easy-touse design. It can control seven cameras
through daisy chaining the VISCA serial
connections(RS-232C and RS-422 ), auto
addressing each camera. All major camera
functions, including access to the menu and preset functions
are addressable, with the ability to save 16 camera pre-sets,
functionally replaces the Telemetrics CP-ITV-D100.
Optional Accessories:SVCC25 VISCA Control Cable (from controller to first camera) 25FT; SVDC10
VISCA Daisy-chain control cable 8PIN Mini-8PIN Mini DIN 10 FT; SVDC25 VISCA Daisy-chain control ca
8PIN Mini-8PIN Mini DIN 25 FT; SVDC50 VISCA Daisy-chain control cable 8PIN Mini-8PIN Mini DIN 50
SVDC100 VISCA Daisy-chain control cable 8PIN Mini-8PIN Mini DIN 100 FT
page 7
BRC-300
When even higher image quality is needed in a PTZ camera, the
new BRC300 is in a category by itself. This camera uses three
1/4.7” 1 megapixel 16:9 native Advanced HAD™ imagers to provide
600 lines resolution in 4:3 mode and even higher resolution in 16:9.
The remarkable video quality of this camera is just the beginning.
It outputs native NTSC and S-video, but a range of option cards
make it easy to interface with any video system from RGB,
iLINK™ DVCAM to SDI (Serial Digital Interface) or to remote the
whole thing on fiber if the installation requires it. Fast, wide PTZ
response, eflip for ceiling mount and flexible remote control of up
to seven BRC300 cameras with the RMBR300 joystick controller.
An Optical Multiplex Unit (BRU-300) converts non-compressed digital raw data from a camera (with the
optical multiplex card) into any video output and has two interface card slots.
·E:Flip Function
·Horizontal Resolution - 600 TV Lines
·Built-in Auto Focus 48x Zoom Lens
·4:3 / 16:9 Aspect Selectable
·Pan angle: -170° to +170° Tilt angle: -30° to +90°
Optional Accessories- BRBK301 Analog RGB/Component Card; BRBK302 SDI Card; BRBK303 Optical Multiplex
Card; BRBK304 Ilink Card; BRCSDP12 12" Outdoor Dome Housin; BRU300 Optical Multiplex Unit; CCFCM100
100m Optical Fiber Cable; RMBR300 Remote Control Unit
IP PTZ CAMERAS
SNC ZR30N
Combining network functionality with Pan/Tilt/Zoom (PTZ) capability,
to see almost anything within the camera’s range and field-of-view over an
ordinary TCP/IP network by simply using a popular web browser. Ther’s a
pan range of 340°, a tilt range of 115°, plus a 25x optical / 300x digital zoom
capability. The full 340° pan range can be covered in 2 seconds, and the -90°
to +25° tilt range can be covered in 1.5 seconds.
·Sony’s “RealShot Manager” allows viewing multiple cameras.
·9Mbps is the largest bandwidth used
·Image quality can be set by adjusting the compression ratio; camera uses motion JPEG compression.
·Memory stick storgae of stills set by alarm or periodic
·“Area” setting can display a select portion of an image
·Supports both FTP and SMTP protocols
·Analog composite output
·Generally a high resolution image can be captured by selecting “Frame”. However, because an
interlaced CCD is used in the camera, the subject can be difficult to see if it is moving. “Field” images use
a lower still resolution, which are more suited to moving subjects. “Auto” images use the internal motion
detection function to automatically select between “Field” images for moving subjects and “Frame”
images for still subjects.
Supplied Accessories- Ceiling mount kit, AC power adaptor, AC power cable, Ethernet cable (UTP category 5 cross cable),
CD-ROM (setup program and user’s guide) Option: Memory Sticks
page 8
STUDIO CAMERAS
DXC- D50
The DXC-D50 camera is the top of the DXC line
and offers all of the capabilities and automation
expected of a truly professional camera system.
Featuring exceptional image quality, sensitivity,
low noise and FIT level vertical smear
characteristics, the DXCD50 can be configured to
meet the needs of Studio, Field and Portable
applications by using the wide range of optional cable
adapters, CCUs and dockable VTRs.
·3CCD imager using 2/3" PowerHAD EX CCDs
·12 bit A/D and DSP 30 bits for superior contrast, & processing- Knee
Saturation, Adaptive Highlight Control and Skin Detail.
·High Sensitivity of [email protected] with FIT level vertical smear of -140dB and high
horizontal resolution of 920 TVL.
·Advanced, one-button operational controls include EZ mode for quick camera setups, EZ
focus for quick, precise focus adjustments and Auto Tracking White Balance.
·Both Multicore, (for wired CCU operation up to 150m), and Triax configurations, (for wired
CCU operation up to 1500m), can be created with the appropriate adapters.
·Dockable Betacam and DVCAM VTRs can also be used for stand-alone camcorder
Required: BPGL series Graphite-Lithium Ion Batteries and BCM series charger or ACDN10 AC Power Supply; 2/3"
Lens – Canon YJ19X9BKRSD or Fujinon A20X86BRM
Optional Accessories:CCUD50/CAD50 - Multicore CCU and camera adapter; CCZAD Multicore cable. 2, 5, 10, 25, 50, 100 or 150m lengths available; CCUTX50/CATX50 - Triax
CCU and camera adapter; RCPD50 Joystick or RCPD51 Dial type Shader control; RMM7G –
Miniature remote control (uses CCA7 cables up to 50m); DSR1/1- DVCAM dockable VTR;
PVV3 – Betacam SP dockable VTR; DXF801 – Eyepiece viewfinder (included in some models);
DXF-51 – 5" B/W Viewfinder; VCTU14 – Tripod mounting plate (included in some models);
LC424 – Hard Carrying Case LCR1 – Rain Cover
CCUTX50
Camera Packages DXC-D50L or H---- See page 9
FORMATS
U-matic- a 3/4” analog workhorse still used but no longer being manufacturer
Beta SP- Analog using 1/2” tape
D-9 (Digital S) use two DV codecs in parallel. The tape data rate is doubled to 50 Mbps (video) and the compression work is split
between the two codecs uses the 1/2" SVHS tape
DV Consumer / DV Pro- 8 bit, 4:1:1, intra-frame DCT coding using 5:1 video compression. DCT is similar to Motion JPEG. Data
rate is 29Mbps onto 1/4" tape.
DV Cam- Sony professional DV format using wider track width, faster tape speed and special 1/4" tape
DVC PRO- DVCPRO50 and DVCPRO100HD are higher quality variants of DV using multiple codecs and data rates of 2 and 4
times that of DV respectively. 4:2:2 coding is used on DVCPRO50 and 100.
Digital BetaCam- Sony’s 10-bit, 4:2:2, intra-frame DCT coded, professional format on 1/2" tape
HDV / JVC- JVC’s version of HDV which only yields 720p
HDV / Sony- Sony’s advanced format 8-bit MPEG 1440x 1080 format that yields 1080i and plays JVC’s 720p
MPEG IMX- Sony 50Mbps MPEG format on 1/2" tape
HD CAM SR- (SMPTE D11) – Sony 140Mbps DCT format.
D-5 (10-bit uncompressed digital) 10
D-1 (8-bit uncompressed digital) 9.9
HD CAM SR- Sony “Super Reality” line of VTRs. Capable of 4:4:4 sampling for RGB inputs. Uses parallel DPCM (Differential Pulse
Code Modulation) and DCT coders for compression to tape data at 440Mbps
page 9
page 10
X
X
X
X
X
X
X
X
X
X
DXCD50WSL
X
X
X
DXCD50L
X
X
X
X
DXCD50H
VCTU14
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
DXF51
X
X
X
X
X
X
X
X
X
CAD50
X
X
X
X
X
X
X
X
X
CCUD50
X
X
X
X
X
X
CCUTX7/1
PVV3 Beta SP dockable
LCR-1 rain cover
PH8S head set
x
X
X
X
X
X
CCA7 cable
X
X
X
CCZAD cables
X
X
X
BCM150 4 battery charger for BPGL65/95 batteries
BCM50 2 battery charger for BPGL65/95 batteries
AC550 ac adapter (if not using batteries, power needs to come from CCU config or AC550)
X
X
X
X
Optional Accessories (also see optional accessories above. DXCD50 cameras are NOT SUPPLIED WITH POWER OR LENS.)
DXCD50LPAC
DXCD50SDPAC1
DXCD50SDPAC2
DXCD50SDPAC3
DXCD50SDPAC4
DXCD50SDPAC5
DXCD50SDPAC6
DXCD50WSPAC1
DXCD50WSPAC2
DXCD50WSPAC3
DXCD50WSLPAC
DXCD50WTXPAC1
DXCD50WTXPAC2
DXCD50WX19PC1
DXCD50WX19PC2
DXCD50WX20PC1
DXCD50WX20PC2
CAMERA PACK CONTENTS
DXCD50WSL- 16:9/4:3-----------------------DISCONTINUED
DXCD50L- 4:3 2/3" CCD Camera (Head, 1.5 viewfinder, vctu14, ext. mic included)
DXCD50H-4:3 2/3" CCD Camera (Head only)
VCTU14-Tripod Plate
DXF51-5" Viewfinder
CAD50-Multicore Adapter
CCUD50-Multicore Control
CCUTX7/1-Triax Control
CATX7-Triax Adapter
DXBK701-SDI out board
RCPD50-Joystick Remote
RCPD51-Dial Remote
A20X86BRM-2/3" Fujinon Lens
YJ19X9BKRSD-2/3" Canon Lens
CAMERA PACK ITEMS
X
X
X
X
X
X
CATX7
X
X
X
X
X
X
DXBK701
X
X
X
X
X
X
X
RCPD50
X
X
X
X
X
X
X
RCPD51
X
X
A20X86BRM
X
X
YJ19X9BKRSD
Camera packages may be referenced on order as the PACs shown below, however ALL PACS SHIP AS INDIVIDUAL LINE ITEMS OF THE
COMPENENTS IN THE PACS
DXC-D50 CAMERA PACS
DV CAMCORDERS
DSR-PDX10
The DSR-PDX10 provides high quality acquisition in the smallest
professional DVCAM package, allowing up to forty minutes
recording on one tape Mini DVCAM tape or 60 minutes in the DV
mode; This camcorder offers true 16:9 acquisition in a compact,
feature-rich package.
·Mega pixel 1/4.7-inch type 3-CCD camera system
·Compact and lightweight: 2 lb 5 oz w/ battery and tape.
· Switchable 4:3 and 16:9 image acquisition and recording modes
(native 16:9 extraction)Precision 16:9 technology and wider angle of
view in 16:9mode
·Optical super SteadyShot function
·Manual adjustment :Audio levels, Exposure, Shutter speed, White balance
·Program AE (effects) :Soft portrait, sports, beach & ski, sunset & moon, landscape
·Compact and lightweight: 1050 g (2 lb 5 oz) with a battery and tape.
·LCD Touch panel operation for adjusting frequently used camera functions
·XLR 2-ch audio adaptor for professional microphones
Supplied::Battery, 8MB MemoryStick, wireless remote, battery charger, PC software
DSR-PD170
The DSR-PD170 is a 1/3-inch type 3CCD Digital Camcorder
that like its acclaimed predecessor, the DSR-PD150,
addresses a broad spectrum of applications where
quality, reliability, and mobility are prime concerns.
·3CCD System - 1/3-inch type CCDs, each with
380,000 pixels that contribute to the high
sensitivity and high signal-to-noise ratio. These
CCDs are capable of interlace scan to acquire
moving images and progressive scan to capture still
images. Advanced HAD™Technology reduces fixed
pattern noise and vertical smear.
·Low Light Shooting- minimum illumination improved from
2 to 1 lux
·Widescreen Acquisition Mode - produces true 16:9 images.
·Manual Functions – For the flexibility required in professional
applications; Zoom, Focus, Iris (with smoother and more sensitive iris control), Shutter
speed, Gain, AE(Auto Exposure) Shift, White Balance, Custom Preset (Color Level, Sharpness,
White Balance Shift, AGC Limit), ND Filters (1/4 and 1/32), Spotlight Button, Backlight Button,
Digital Effects (Still, Flash Motion, Luminance Key, Trail, Old Movie), Audio Recording Level
(Separate or Linked adjustment of CH1 and CH2), Zebra Patterns(100% or 70%).
·Index Marking - When a Cassette Memory-equipped DV tape is used, an Index can be marked
while recording with the camera or recording from an external video source.This function allows
quick access to the marked tape position in subsequent operations..
·Time Code Preset - The time code can be preset for accurate tape-positioning information. The
time-code mode can be selected between “rec-run” or “free run”. User bits can also be set.
Title Function - When using a Cassette Memory-equipped tape, titles can be set and stored in the
Cassette Memory for superimposition during playback. This information is not part of the video
signal, but is overlaid only during the playback.
Supplied: AC-L15 AC Adaptor, ECM-NV1 Microphone, NP-F330 InfoLITHIUM Rechargeable Battery VCL-HG0758 Wide
Conversion Lens w/ LSF-S58 Lens Hood,, RMT-811 Remote Commander, Carrying Belt, i.LINK®Cable, Strap.
Optional Accessories:NP-F550/NP-F750/NP-F960 InfoLITHIUM Battery Packs, AV-V700A AC Adapter/Charger, VCLHG1758 1.7X Tele conversion lens, UWP-C1 UHF wireless mic package, ECM-670/ECM-672/ECM-678 Electret
Condenser Shotgun Mics (requires CAC-12 Mic Holder)
page 11
DSR-PD250
The DSR-250 is the entry level camera of the full size DVCAM lineup, offering many
professional features at an affordable price. It’s ability to use full size cassettes
allows recording times of up to 184 minutes (DVCAM mode) or 270 minutes (DV SP
mode) (w/ PDV-184ME cassette) or use mini-DV tapes for convenience.
·1/3-inch Power HAD type CCDs for accurate color reproduction
·12x lens with Super SteadyShot™ system
·16:9 recording mode available (electronically processed)
·Three XLR audio input
·Digital still camera functions with Memory Stick™
·Time code preset capability
Supplied::ECMNV1 Microphone, RMT-811 Remote Commander, MSA-4A MemoryStick, MSAC-US2 MemoryStick Adapter,
Picture Gear 4.1 lite, Lens Hood, Lens Cap.
Optional Accessories:678 Electret Shotgun Mic (req. CAC12 Mount) UWP Wireless Mic System
DSR-400L
The DSR-400 delivers superb picture quality by
utilizing the latest 2/3-inch Power HAD-EX IT 4:3
CCD sensors. Because the image capture process
is 100 percent digital from the CCD to the media, the
video signal remains in its native digital component
format throughout the recording process. The threeCCD array boosts sensitivity and S/N ratio while
lowering vertical smear ratio. Sensitivity levels to
increase to F13 (about 3dB), S/N ratio increase to
65dB, and smear ratio drops to an astounding “FIT
like” level of -140Db. The 400L is w/o lens and the
400K has a Fujinon 17X lens supplied.
DSR-400K with Fujinon 17X
The DSR-400 DVCAM camcorder will work with
hard- disk video recorder. Pairing the camcorder with
Sony’s DSR-DU1 through the camcorder’s i.LINK (IEEE 1394) digital video port can increase
recording options. Used in serial mode, the DSR-DU1 unit extends combined tape and HDD
recording time to a full six hours. In parallel mode, this creates a backup recording that reduces the
risk of missing an important shot. Workflow innovation can be achieved in ENG/EFP applications,
using the DSR-DU1 with an i.LINK-SBP2 protocol capable non-linear editing system.
DSR-400 includes Hyper Gain (36 dB), Black Stretch and Compress control functions, along with the
DynaLatitude process to minimize video level distortion. The TruEye process delivers faithful color
reproduction, including added accuracy in skin tone detail with auto detection of the active area. The
camcorder can be used in studio configuration with an optional CA-370 adapter to add full duplex
intercom capabilities and is remote (model CCU-D50) controllable. Get accurate F stop indication
feedback on the 1.5” viewfinder, 3.5” LCD panel, 3 tally lamp levels, new Memory Stick scene file
storage for camera settings to be recalled. VCT-U14 tripod plate supplied.
Optional Accessories:L-NEEDS LENS BCM50/BCM150 Battery Charger, DXF-51 5” VF (req. A-8274-968-B mount
included with CA370), CCUD50 Multicore CCU (req.CCZAD series multicore cable) , RMM7G Miniature Remote Control
Unit (req. CCA7 cable), CA370 Intercom Adapter, ECM-670/ECM-672/ECM-678 Electret Shotgun Micrs (req. CAC12 Mic
Holder), DSBK301A Index Picture Board, LC424TH Hard Carrying Case, LCR1 Rain Cover, LC400BP- Soft Bag,BP-L60S
60 watt hour LiIon battery, BP-GL65 65 watt hour intelligent LiIon battery, BP-GL95 90 watt hour intelligent LiIon battery,
RCP-D50 & RCP-D51 Remote control panels multi access w/Memory Stick scene file storage capability
page 12
DSR-570WSL
The DSR-570WS is the top-of-the-line DVCam that shoots
in both widescreen 16:9 and standard 4:3 aspect ratios.
Equipped with three 2/3-inch type Power HAD WS™ CCDs,
it achieves a high resolution of 850 TV lines in 4:3 mode or
800 TV lines in 16:9 mode. It delivers the superb picture
quality required to support virtually any creative shooting
environment. This camera offers the same functionality and
features as the DSR-390L mentioned previously, while
providing the improved image quality, sensitivity, signal to noise
ratio and widescreen capabilities of the larger CCD imager.
Supplied:1.5-inch B/W Viewfinder (DXF-801), Microphone with Wind Screen, Tripod Adaptor (VCT-U14), Shoulder
Strap, Lens Mount Cap, Flange Focal Length Adjustment Test Chart, Operating Instructions.
Optional Accessories:NEEDS LENS BCM50/BCM150 Battery Charger, DXF51 5" B&W VF (req. A-8274-968-B mount
included with CA370), CCUD50 Multicore CCU (req.CCZAD series multicore cable) , RMM7G Miniature Remote Control
Unit (req. CCA7 cable), CA370 Intercom Adapter, Wireless Mic package, ECM-670/ECM-672/ECM-678 Electret Shotgun
Microphones (req. CAC12 Mic Holder), DSBK301A Index Picture Board, LC424 Hard Carrying Case, LCR1 Rain Cover.
DSR 570 Camera Pacs
Camera packages may be referenced on order as the PACs shown below, however ALL PACS SHIP AS
INDIVIDUAL LINE ITEMS OF THE COMPONENTS IN THE PACS
DSR570ENGNPAC=DSR-570WSL, BP-M50 (2) NiMH 49Wh battery, BC-M50 Battery charger , LC400BP soft carrying bag
DSR570LGLPAC=DSR-570WSL 3 CCD DVCAM camcorder, BP-GL65 (x2) new Graphite 65Wh Li-Ion
battery, BCM-50 battery charger, & LC-400BP soft carrying case.
DSR570WENG19N=DSR-570WSL, YJ19X9BKRSD, BPM-50 (2)NiMH 49Wh battery, LC-400BP Soft
carry case, and BCM-50 Battery charger.
DSR570WSDPAC2=DSR570WSL, DXF515 inch Studio B/W Viewfinder, CA370 Intercom Headset and
CCUD50 Camera Control Unit, and RMM7G Miniature remote control.
DV VIDEO TAPE DECKS
lay
DV P
back
DSR-11
DSR-25
DSR-45
Great for NLE workstation transfer
Includes LCD panel
Similar to DSR-25
with RS-232/422 for control
dit
DV E
Dec
ks
DSR-1500A
DSR-1600
DSR-1800
Frame accurate editing recorder
Multi-format DV Player
Multi-format DV Recorder
DSR-2000
Fron panel edit control of other decks;
plays DVSP, DVLP, DVCam, DVCPro
Double scan playback
t
rma
lti-fo
u
M
DSR-DR1000
DV Cam Studio Disk Recorder
with vari-speed
J-10
J-30
Betacam , Betacam SP and
Betacam SX, player
Betacam , Betacam SP, Betacam SX,
MPEG IMX, and Digital Betacam player
page 13
HIGH DEFINITION CAMERAS
HDCX-300
For high definition camera applications, Sony offers the
HDCX300 and HDCX300K, which include an auto-focus lens.
Using three newly developed ½ inch, 1.5 megapixel Power
HAD CCD imagers, this camera offers a range of features
to professional high definition users unequalled by any
other camera on the market, including conventional
60i (interlaced) or 24Psf 24-frame progressive scan
modes (3:2 pulldown) and slow shutter modes for low light still
imaging. The HDCX300s make a great point of view camera for broadcast or venue
applications.
·Newly developed 1/2 type 1.5 Mega Pixel HD 3CCD
·Interlace or Progressive scan switchable 1080/59.94i, 29.97psf or 23.976psf at 59.94i output
1080/50i or 25psf at 50i output mode
·CCD efffective pixles 1,440 (H) x 1,080 (V)
·Shutter speed up to 64 frames; minimum illumination 0.003lx
·Outputs- SDI & YPbPr/RGB on D-sub (15-pin)
·Lens- Sony 1/2 type bayonet mount
Lens Package: The VCL-719BXS lens is supplied on the HDC-X300K package and is not sold
separately. Zoom Ratio: 19X Range of Focal Length: 6.7-127mm Maximum Relative Aperture:
1:1.6 (6.7-96.8mm), 1:2.1 (at 127mm) Angular Field of View (16:9 basis): W 55.0 degrees x 32.6
degrees; 61.7 degrees. T 3.14 degrees x 1.77 degrees; 3.61 degrees
Optional Accessories: RCP700 Remote Control Panel for BVP-700/500 Series Cameras; RMB150//A Handheld remote
control unit for BVP-950A, BVP-750A, BVP-570, BVP-550, HDW-700A, HDW-F900; RMB750 Remote Control Unit For
HDC and BVP Series
HVR-Z1U
It’s now possible for videographers to shoot hi-def with more affordable equipment on standard miniDV cassettes. Quality from this new HDV format is lower than from existing pro HD cameras, like
Sony’s HDW line, because the signal is compressed to MPEG 2.
Sony has built everything they know about
high quality, user friendly cameras into the first
HDV camera, HDR-Z1U. The camera features
a high quality 12X Zeiss Vario-Sonnar T lens
and three 1/3 inch, 16:9, 1.12 megapixel Super
HAD CCDs. The images are converted to
digital by a 14 bit A/D and processed by Sony’s
unique DXP (Digital Extended Processor). By
utilizing the world standard 25 Mbps DV data
transmission rate and their own MPEG2 Real
Time Encode engine, Sony has made a
system which is already compatible with much
cont. p.15
page 14
HIGH DEFINITION continued
HVR-Z1U
of the existing DV infrastructure, including computer-based
nonlinear editors like Sony’s Vegas 5. Besides the advantage
that it can record 1080I video and play 720p (where the JVC
only does 720p), there are a number of additional features that
set the HDR-Z1U ahead of the current JVC single-chip offer;
among them is a 16:9 viewfinder and a new shoulder brace. The
distinctive “shot transition” feature allows transitions from one
scene to another and “picture profiles” provide six pre-sets for
color brightness, color phase, sharpness, skin tone, auto
exposure shift, iris limit, white balance, gamma and CineFrame. CineFrame modes include 24 frame
(3:2 pulldown), 25 PsF and 30PsF.
Optional Accessories: ACV700A Ac Adaptor / Charger; ECM670 Short Shotgun
Microphone; NPF970 Infolithium L series battery; UWPC1/6264 Lav Mic, Bodypack
TX and Portable RX Wireless System (Channels 62 to 65); UWPC1/6668 Lav Mic,
Bodypack TX and Portable RX Wireless System (Channels 66 to 69)
HVR-M10U Deck
The companion HDV player deck to the HDR-Z1U called
the HVR-M10U. It is battery operated, so it can be used in
the field as well as in the edit suite. It has a built-in LCD
screen, down converter to SD, time code functions and all
the pro I/Os you’d expect.
Consumer HDV
HDR-FX1
The HDR-FX1 consumer version of the HDV camera
uses the same lens, CCD and image processing, but
sacrifices professional features like Timecode functions, DVCam record, variable white balance,
HyperGain, date record, EVF B&W display, XLR
balanced audio (w/48volt phantom), L & R
indepenedent record, peaking level, auto noise
reduction among 40 differences.
WORLD-CLASS WIRELESS MICROPHONES
WRR-862B unique 2
channels in
one pack
CAMERA MOUNT RECEIVERS
WRR-861B
WRR-855B
drop in receiver
for select Sony
Cameras
UWP-C1
Rcvr with lavalier
mic transmitter
pacakge
FOR MORE ON THE RIGHT WIRELESS FOR YOUR CUSTOMER, ASK FOR OUR WIRELESS MIC GUIDE
page 15
What do 4:2:2, 4:1:1, and 4:2:0 represent?
These notations represent the rations for different sampling structures of digital video. The first number
refers to the 13.5 MHz sampling rate of the luma. It is “4” because it is approximately four times the NTSC
subcarrier frequencies and as 4 the other numbers can be single integers versus decimals relative to it
(1:0.5:0.5) The other two numbers refer to the sampling rates of the R & B color signals. 4:2:2 systems (D1, D-5, DigiBeta, BetaSX, Digital-S, DVCPRO50) yield 360 color samples per scanline. 4:1:1 systems
(NTSC DV & DVCAM, DVCPRO) color data are sampled half as frequently yielding 180 color samples per
scanline.
Is it possible to upconvert 4:1:1 DV sources to HDTV? All SDTV source material will show some
degradation when upconverted to HDTV. A 4:2:2 original will be more forgiving, but yes it can be done.
However, if you’re starting a project and plan on ending up in HD, then the new HVR-Z1U HDV cam would
be a better acquisition camera.
What is IEEE 1394, “FireWire” or “i.LINK”?
IEEE-1394 is a standard communications protocol for high-speed, short-distance data transfer. I.LINK is
Sony’s implementation of it, while FireWire is Apple Computer’s. DVCPRO gear with 1394 connections can
not transfer data with other DVCAM systems, it requires that one deck “transcode” the signal. You can only
run about 15 feet with it, which makes it fine for transferring into a Non Linear Editing PC.
What about SDI connections?
Serial Digital Interface is intended for “broadcast quality” SDI is carried on one coax cable with a BNC
connector and can run hundreds of feet. SDI is a high-speed connection at 270 Mbps and 27 mHz clock
speed. It is sometimes referred to as 4:2:2 component video.
With an SDI connection, are audio connections necessary?
No. The SDI connection has imbedded digital audio that
accommodates up to 4 channels of digital audio. In addition, the user
can choose either analog audio, SDI imbedded audio or AES/EBU
audio when utilizing the SDI connection.
Then waht is the DVI connection?
Digital Virtual Interface can carry virtually any kind of data (video,
audio, graphic, or any computer files.). This is becoming the preferred
way to connect to near-by display devices. A major
draw-back is that it has limited range with a transmission distance
of 30 feet. It’s modestly fast at 25Mbps (165 mHz clock speed)
and uses a multi-pin D connector.
What’s the Best Mini DV Cam in the $2,000-$3,000 Category?
The VideoMaker Magazine award stated, “The Sony DSR-PDX10
is just about as small a camera as you can make and still have
XLR audio with gain control. It also has a superbly sharp, typically
-Sony image and an electronic, but truly anamorphic, 16:9 mode.
If you need an ultra-portable 3-CCD camera with features a professional will appreciate, it’s tough to beat the price of this winner.”
OTHER PRODUCT
SALES GUIDES
Display Products
Wireless Microphones
Sony Media Software
Switchers & Mixers
What’s the difference between DV, DVCAM, and DVCPRO?
The video data recorded in all three formats is essentially identical, following the DV standard, though there
are differences in the actual codec implementations. See page 4 for more.
What is the Super SteadyShot®System?
Unsteady horizontal and vertical camera movements are detected and corrected by the prism system
located behind the lens, while maintaining image quality.
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