Camera/VTR

Operating Instructions

Model No.

Before operating this product, please read the instructions carefully and save this manual for future use.

Printed in Japan VQT0D82

F0403T0 @

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER SERVICEABLE PARTS INSIDE. REFER TO SERVICING TO QUALIFIED SERVICE PERSONNEL.
FCC Note: This device complies with Part 15 of the FCC Rules. To assure continued compliance follow the attached installation instructions and do not make any unauthorized modifications. This equipment has been tested and found to comply with the limits for a class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. Replace battery with part No. CR2032 only. Use of another battery may present a risk of fire or explosion. CautionBattery may explode if mistreated. Do not recharge, disassemble or dispose of in fire.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (service) instructions in the literature accompanying the appliance.

WARNING:

TO REDUCE THE RISK OF FIRE OR SHOCK HAZARD, KEEP THIS EQUIPMENT AWAY FROM ALL LIQUIDS-USE AND STORE ONLY IN LOCATIONS WHICH ARE NOT EXPOSED TO THE RISK OF DRIPPING OR SPLASHING LIQUIDS, AND DO NOT PLACE ANY LIQUID CONTAINERS ON TOP OF THE EQUIPMENT.

CAUTION:

TO REDUCE THE RISK OF FIRE OR SHOCK HAZARD AND ANNOYING INTERFERENCE, USE THE RECOMMENDED ACCESSORIES ONLY.
TO REDUCE THE RISK OF FIRE OR SHOCK HAZARD, REFER CHANGE OF SWITCH SETTING INSIDE THE UNIT TO QUALIFIED SERVICE PERSONNEL.
ATTENTION: The product you have purchased is powered by a nickel cadmium battery which is recyclable. At the end of its useful life, under various state and local laws, it is illegal to dispose of this battery into your municipal waste stream. Please call 1-800-8-BATTERY for information on how to recycle this battery.
TO REDUCE THE RISK OF FIRE OR SHOCK HAZARD, REFER MOUNTING OF THE OPTIONAL INTERFACE BOARD TO QUALIFIED SERVICE PERSONNEL.
indicates safety information.

Contents

Chapter 1

1-1 1-2 1-3

General.. 5
Setting the time data. 31
Setting the users bit.. 31 Setting the internal clocks date and time 32 Setting the time code. 33 Externally locking the time code. 33 Setting the UMID information. 34 Menu configuration.. 35 Basic menu operations.. 35 Selecting the user menus. 36 Viewfinder lamp displays. 37 Viewfinder screen status display configuration.. 37 Selecting the viewfinder screen display items... 37 Display modes and setting changes/adjustment result messages. 43 Setting the marker displays.. 43 Setting the camera ID.. 43 Mode check screen displays (MODE CHECK button function). 44 Marker check screen displays (MARKER SELECT button function). 44 Checking the return video signal on the viewfinder.. 44 Setting the USER SW GAIN switching. 45 Selecting the video output signals. 45 Selecting the F.AUDIO LEVEL control function... 46 Allocating functions to the USER MAIN, USER1 and USER2 buttons.. 46 Setting the color temperature manually. 47 Handling the setup card.. 47 Setup card operations.. 48 How to use the user data.. 51 How to use the scene file data.. 52 How to return the menus settings to the user standard settings.. 55 How to return the menus settings to the factory standard settings. 55 How to use the lens file data.. 55

@ DC OUT (DC power supply) output socket
This normally serves as the DC 12 V output socket. A current of approximately 1 A can be supplied.
; MONITOR SELECT (audio selection) CH1/3 /
ST / CH2/4 selector switch
This is used to select the audio channels whose signals are to be output to the speaker, earphone and AUDIO OUT connector in tandem with what is selected using the MONITOR SELECT switch. CH1/3: The signals of audio channel 1 or 3 are output. ST: The stereo audio signals of either audio channels 1 and 2 or audio channels 3 and 4 are output. Using a menu setting, the stereo signals can be changed to MIX signals. CH2/4: The signals of audio channel 2 or 4 are output.
MONITOR switch CH1/3 ST CH2/4 MONITOR SELECT switch CH1/2 Audio channel 1 CH3/4 Audio channel 3
Stereo (*) signals of audio Stereo (*) signals of audio channels 1 and 2 channels 3 and 4 Audio channel 2 Audio channel 4
* Either STEREO or MIX can be selected as the setting for the MONITOR SELECT item by opening the <MIC/AUDIO2> screen from the VTR MENU page by performing a menu operation.
< MONITOR (volume) control
This is used to adjust the volume of the monitor speaker or earphone.
= ALARM (warning alarm volume adjustment)
This is used to adjust the volume of the warning alarms from the earphones which have been connected to the speaker > or PHONES jack ?. The warning alarms are not audible when this control is at its lowest setting.

/REW STOP

FF/ PLAY/PAUSE

: 3 ; 2 <567 > =

Shooting and recording/ playback function section
Shooting and recording (camera unit)
1 CC FILTER/ND FILTER (filter switching)
<Note> When white balance or black balance are being automatically adjusted and the switch is pressed again to either the AWB side or to the ABB side, the automatic adjustment for the side pressed will be stopped. The adjusted value in this case is the value before automatic adjustment was performed.

controls

These are used to select the filter in accordance with the subjects brightness and color temperature. CC FILTER knob (outside, large diameter) A: Cross filter B: 3200 K C: 4300 K D: 6300 K ND FILTER knob (inside, small diameter) 1: CLEAR (transparent) 2: 1/4 ND 3: 1/16 ND 4: 1/64 ND

3 SHUTTER switch

This is the ON/OFF selector switch of the electronic shutter. OFF: The electronic shutter does not operate. ON: The electronic shutter operates. SEL: This is used when the electronic shutter speed is to be changed. The switch is a non-locking type. The shutter speed changes each time it is operated. For further details, refer to 4-2 Setting the electronic shutter.

9 MARKER SELECT button

This is used to select the marker information displays on the viewfinder screen. Each time it is pressed, the two marker information display screens set by the menu are switched in the following sequence: A (A marker display) > B (B marker display) > OFF (no marker display) > A, and so on repeatedly. Note that when the power is switched ON, the display on the viewfinder screen immediately before the power was switched OFF will appear. For details, refer to 4-7-8 Marker check screen displays.
: USER MAIN, USER 1 and USER 2 buttons
A user setting can be allocated to each of these buttons using the setting menu. When a button is pressed, the user setting mode allocated to it is selected. When the button is pressed again, the selected mode is released.
Shooting and recording (VTR unit)

; VTR START/STOP button

When this is pressed, recording starts; when it is pressed again, recording stops. This button functions in the same way as the lens VTR button.
7 WHITE BAL (white balance memory selector)
< VTR SAVE/STBY (tape protection) switch
This is used to select the power supply mode when the VTR has temporarily stopped recording (REC PAUSE mode). SAVE:This is the tape protection mode. The cylinder is stopped in the half-loading status. Less power is consumed than at the STBY position, and the operating time provided by the battery is prolonged. Compared with the STBY position, it takes longer for recording to commence after the VTR START button ; has been pressed. When the switch is set to this position, the VTR SAVE lamp inside the viewfinder lights. STBY: At this position, recording is commenced as soon as the VTR START button is pressed. <Note> When the prescribed amount of time has elapsed in the STBY mode, the unit is automatically set to the SAVE mode. To return the unit to the STBY mode, set the VTR SAVE/ STBY switch to SAVE, and then again to the STBY position.

switch

This is used to select the method used to adjust the white balance. Set the switch to this position at times when, for instance, there is no time to adjust the white balance. The factory setting for the white balance is 3200K, but this can be changed to any other value by a menu setting. For details, refer to 48-5 Setting the color temperature manually. A or B: When the AUTO W/B BAL switch 2 is set to AWB, the white balance is automatically adjusted, and the adjusted value is stored in memory A or memory B. For details, refer to 4-1-1 Ajusting the white balance. As the factory setting, the settings are to be allocated to the memory. Using a menu setting, it is also possible to allocate the setting for the auto tracking white balance (ATW) performed with the automatic tracking system to memory B or allocate the color temperatures of the user's choice to memory A and memory B. For details, refer to 4-8-5 Setting the color temperature manually. PRST:

Supply the time code which will serve as the reference to this connector when externally locking the time code.

8 SHIFT button

This causes the digit to be set to flash when the time code or users bit is to be set.

3 TC OUT connector (BNC)

To lock the time code of an external VTR to the units time code, connect this connector to the time code input (TC IN) connector on the external VTR.
9 TCG (time code selector) switch
This is used to set the running mode of the built-in time code generator. F-RUN: Set here to have the time code run all the time regardless of the VTRs operation. This position is used to align the time code with the time or externally lock the time code. SET: Set here when the time code or users bit is to be set. R-RUN: Set here to have the time code run only during recording. The time code on the tape with sceneto-scene continuity is recorded continuously.

4 HOLD button

The time data display of the counter display section which was on the screen at the moment when this button is pressed is held. (However, the time code generator keeps running.) When the button is pressed again, the hold status is released. It is used, for instance, to find out the time code or CTL counter value at which a particular scene was shot.

5 RESET button

This is used to reset the time data on the counter display section to 00:00:00:00. If it is pressed while the TCG switch 9 is at the SET position, the time code data and users bit data are respectively reset to 00:00:00:00.

6 DISPLAY switch

This is used to display the time code, CTL or users bit on the counter display section depending on the setting positions of this switch and the TCG switch 9. UB: The users bit is displayed. TC: The time code is displayed. CTL: CTL is displayed.
2-6 Warning/status display section

5 Remaining tape display

The remaining tape time is displayed using 7 segments. The remaining tape time indicated by each segment is set to 3 minutes or 5 minutes using TAPE REMAIN/ on the VTR MENU BATTERY/TAPE screen. Each time the number of minutes set for the segments elapses, one segment is cleared.
Display window and its displays
Remaining tape and remaining battery charge and audio channel level displays
NDF SLAVE HOLD W GPS CTL VTCG TIME DATE P-iREC

TAPE BATT

RF SERVO HUMID SLACK 13
Remaining battery charge display

1 Back tally lamp

When the back tally switch 2 is set to ON, this lamp serves the same function as the front tally lamp in the viewfinder.
If a battery with a digital display (% display) is used, all 7 segments up to the F position light when the 70% or more of the battery charge remains. When there is less than 70% of the battery charge remaining, the segments go out one by one in sequence every time the remaining charge drops by 10%. It is also possible to set all 7 segments to light at a 100% battery charge by selecting 100% as the setting for BATT REMAIN FULL on the <BATTERY/TAPE> screen of the VTR menu.

2 Back tally switch

This is used to control the units back tally lamp 1 and rear tally lamp 6. ON: The back tally lamp and rear tally lamp operate. OFF: The back tally lamp and rear tally lamp do not operate. Audio channel level meter
When the MONITOR SELECT CH1/2 / CH3/4 switch is set to CH1/2, numbers 1 and 2 indicating the audio channels appear, and the CH1 and CH2 audio levels are displayed. Conversely, when it is set to CH3/4, numbers 3 and 4 indicating the audio channels appear, and the CH3 and CH4 audio levels are displayed.

3 WARNING lamp

When a problem of some form or other occurs within the VTR unit, this lamp flashes or lights.
Displays relating to the VTR units operations and modes
Error code display (for details, refer to 6-3 Warning system)

4 LIGHT switch

This controls the lighting of the display window. Each time is it pressed, the lighting of the display window 5 is set in turn from on to off or vice versa.

5 Display window

This displays the alarms, remaining battery charge, audio levels, time data, etc. relating to the VTR unit.

h Y minM s D frm

6 REAR TALLY lamp
When the BACK TALLY switch is set to ON, this lamp operates in exactly the same way as the back tally lamp.

Warning displays

RF: SERVO: HUMID: SLACK: Clogged video head Servo disturbance Formation of condensation on the head drum Problem in tape take-up
For details, refer to 6-3 Warning system.

Mode displays

W: GPS: Lights when the 16:9 aspect ratio mode is established. Lights when signals cannot be received during GPS operation. GPS : Lights when signals are being received during GPS operation. P-REC: Lights in pre-recording mode and flashes during the time set for pre-recording after the tally lamp for recording has turned off. iREC: Lights during recording when the interval recording mode is established; flashes during recording standby. i: Flashes when the interval recording mode has been selected.
Time code-related switch settings and display items
TCG switch position DISPLAY switch position TC or CTL SET UB Users bit Display item

Time code

F-RUN or R-RUN

Users bit

Displays relating to the time code
NDF: DF: SLAVE: HOLD: CTL:
Lights when the time code is in the non-drop frame mode. Lights when the time code is in the drop frame mode. Lights when the time code is locked externally. Lights when the time generator/reader value is being held. Lights when CTL is selected by the DISPLAY switch and the CTL count value is displayed. TCG: Lights when TC (or UB) is selected by the DISPLAY switch and the TC (or UB) generator value is displayed. TC: Lights when TC (or UB) is selected by the DISPLAY switch and the TC (or UB) reader value is displayed. VTCG: Lights when UB is selected by the DISPLAY switch and the VIUB generator value is displayed. VTC: Lights when UB is selected by the DISPLAY switch and the VIUB reader value is displayed. TIME: Lights when UB is selected by the DISPLAY switch and the values of the hour, minutes and seconds in real time are displayed. DATE: Lights when UB is selected by the DISPLAY switch and the values of the year, month and day are displayed in real time. No display: Remains off when UB is selected by the DISPLAY switch and the real-time values of the hour and minutes in the time zone are displayed. Time counter display: The time code, CTL, users bit and real time are displayed.

This section describes the basic steps for shooting and recording. Before actually departing to shoot scenes, carry out inspections to ensure that the system is functioning properly.
* For details on how to perform these inspections, refer to 6-1 Inspections prior to shooting.
From providing the power supply to loading the cassette
Attach a fully charged battery pack. Set the POWER switch to ON. Now check that the HUMID display is not showing and that at least 5 segments of the remaining battery charge display are lighted. If the HUMID display is showing, wait until it goes off. When five or more segments of the remaining battery charge display have not lighted, first check the battery setting. If there is nothing wrong with the battery setting, replace the existing battery pack with a fully charged battery pack.

TCG: F-RUN or R-RUN

Aperture: Automatic
GAIN: Normally set to 0 dB; change to a more suitable value if the picture is too dark.
Check that there are no cables around the cassette holder or top panel, and then press the EJECT button to open the cassette holder. After checking the following points, insert the cassette tape and close the cassette holder. Position of the accidental erasure prevent tab Tape slack

Procedure for shooting

From adjusting the white balance and black balance to stopping the recording
Select the filter to match the lighting conditions.
2-1 If the white balance has been stored in the memory ahead of time:
Set the WHITE BAL switch to A or B. white and/or balance have 2-2 If the stored balancememory blackthere is no timenot been in the and to adjust the white balance: Set the WHITE BAL switch to PRST. The white balance for the filter is achieved in accordance with the setting position of the FILTER control (outer).

5, 6 2-3 2-1, 2, 3

2-3 When adjustingtothe white balance on the spot:set the Select the filter match the lighting conditions,
WHITE BAL switch to A or B and adjust the white balance as follows: 1 Press the AUTO W/B BAL switch to the AWB position and adjust the white balance. 2 Press the AUTO W/B BAL switch to the ABB position and adjust the black balance. 3 Press the AUTO W/B BAL switch to the AWB position and adjust the white balance again.

The black balance needs to be adjusted in the following cases: When the unit is used for the first time When the unit is used after it has not been used for a prolonged period of time When the unit is used in an ambient temperature which has fluctuated significantly When the value selected for the gain switch has been changed When the super gain setting has been performed using the USER MAIN, USER1 or USER2 button When the gamma ON/OFF setting has been changed
Black balance memory The values stored in the memory are retained even after the units power has been turned off.
AUTO W/B BAL switch: Use this to execute ABB. OUTPUT: CAM
Set the AUTO W/B BAL switch to the ABB position, and then release it. The switch returns to the center, and the adjustment is performed. While the adjustment is in progress, the following message appears on the viewfinder screen.

A B A TV B C I E

<Note> While the adjustment is in progress, the lens aperture is automatically set to CLOSE.
Adjustment is completed in several seconds. (A message similar to the one shown in the figure below now appears.) The adjustment value is automatically saved in the memory.

A B O B K

4-2 Setting the electronic shutter
#< SHUTTER SELECT > SUPER V MODE POSITION1 SEL POSITION2 SEL POSITION3 SEL POSITION4 SEL POSITION5 SEL POSITION6 SEL :FRM1 :1/100 :1/120 :1/250 :1/500 :1/1000 :1/2000
This section describes the units electronic shutter, its settings and operations.

Shutter modes

The table below lists the shutter modes in which the units electronic shutter can be used as well as the shutter speeds which can be selected.
Mode Shutter speed Applications

Standard SYNCHRO SCAN

POSITION1 - 6 Within the 60.3 Hz to 249.7 Hz range
For shooting fast-moving subjects clearly. For shooting monitor screens with a vertical scanning frequency exceeding 60 Hz in a way that minimizes the pattern of horizontal lines. For improving the vertical resolution.
Press the SHUTTER switch from ON to SEL.

SUPER V

<Notes> No matter in which mode the electronic shutter is used, the higher the shutter speed, the lower the cameras sensitivity. When the aperture is in the automatic mode, it will increasingly open and the depth of focus will become shallower as the shutter speed is increased.

Set the DISPLAY switch to UB. Press the HOLD button to cause DATE to be displayed in the display window. Set the TCG switch to SET. Set the date (year/month/day) using the SHIFT button, UP (+) button and DOWN () button. Press the HOLD button to cause TIME to be displayed in the display window. Set the time (hour/minutes/seconds) using the SHIFT button, UP (+) button and DOWN () button. Set the TCG switch to F-RUN or R-RUN. The internal clock starts marking time as soon as the switch position is changed. Press the HOLD button to cause TIME ZONE (difference from the world standard time) to be displayed in the display window. Set the TCG switch to SET. Set the time difference (hour/minutes) and whether it is ahead (no display) or behind ( display) the world standard time using the UP (+) button or DOWN () button. Example: When the time difference is 5 hours behind (New York) Set 05:00. The time zone is always stored along with the date and time in the memory as memo data. While referring to the table on the right, set whatever applies to the local time.
06:00 07:00 08:00 09:00 10:00 11:00 12:00 + 13:00 + 12:00 + 11:00 + 10:00 + 09:00 + 08:00 + 07:00 + 06:00 + 05:00 + 04:00 + 03:00 + 02:00 + 01:00
11 Set the TCG switch to F-RUN or R-RUN to fix the time zone.
<Notes> After the date has been set in step 4, the internal clock starts marking the time as soon as the switch position has been changed even when the TCG switch is set to F-RUN or R-RUN. To cancel the setting in the course of setting the date, time or time zone, set the TCG switch to F-RUN or R-RUN while holding down the SHIFT button. The clock is accurate to a monthly error of approximately +/30 seconds in the power OFF status. If a more accurate time reading is required, check the time and set it again when the power is turned on. When the AJ-GPS900G GPS unit is installed and the time can be received, the internal clocks time (local date/time) is kept accurate on the basis of the received time (world standard time) and time zone. If the date or time display has deviated from the local time, the time zone setting may be off. Check the time zone setting again. (There is no need to set the date and time again.)
4-5-3 Setting the time code
Example 2: When connecting a multiple number of units and using one of them as the reference unit
Set the DISPLAY switch to TC. Set the TCG switch to SET.

MON OUT

Open the <TC UB> screen from the VTR MENU page by performing menu operations, and select DF or NDF as the TC MODE item setting. To advance the time code in the drop frame mode, select DF; to advance it in the nondrop frame mode, select NDF. The NDF setting is always used for operation in the 24P or 24PA mode. Set the time code using the SHIFT button, UP (+) button and DOWN () button. Select the TCG switch position. Select F-RUN to advance the time code in the free-run mode or select R-RUN to advance it in the rec-run mode.

TC OUT Reference unit

TC IN GENLOCK IN MON OUT

TC OUT

TC IN GENLOCK IN MON OUT TC OUT To the next camera
<Note> When the unit is used in the 24P or 24PA mode, the time code setting is adjusted to 5-frame increments. Moreover, it is not possible to set the time code while recording is in progress.
Operating procedure for external locking
Follow the steps below for external locking.
Time code when the battery is replaced
The backup function works even when the battery is replaced, and the time code generator continues to operate for a prolonged duration (approx. 1 year). <Note> If the POWER switch is turned on, then off, and then on again, the free-run time code backup accuracy is approximately 2 frames.
Set the POWER switch to ON. Set the TCG switch to F-RUN. Set the DISPLAY switch to TC. Supply the reference time code and reference video signal which are in a phase relationship that satisfies the time code standard to the TC IN connector and GENLOCK IN connector respectively.
Externally locking the time code
The units internal time code generator can be locked to an external generator. In addition, the time code generator of an external VTR can be locked to the units internal generator.
Example of connections for external locking
As the figure shows, connect both the reference video signal and reference time code. Example 1: When locking onto an external signal
The built-in time code generator is now locked to the reference time code. About 10 seconds after locking, the external lock status will be retained even if the connection of the externally supplied reference time code is disconnected. However, the servo lock will be subject to disturbances if it is connected or disconnected during recording. <Notes> When the external lock operation is performed, the time code is instantly locked to the external time code, and the same value as the external code value appears on the counter display. Do not set the unit to the recording mode during the few seconds it takes for the sync generator to stabilize. When the external lock operation is to be performed in the 24P or 24PA mode, be absolutely sure to input the time code in the non-drop frame mode. External locking cannot be performed in the drop frame. The images may be disrupted during the instant when external locking is performed. This happens because the 5frame period is adjusted, and it does not mean that the unit is malfunctioning.

< CARD READ/WRITE > R.SELECT READ W.SELECT WRITE CARD CONFIG TITLE READ # :1 :1
When the title has been input, turn the JOG dial button to move the arrow (cursor) to the : position.
< CARD READ/WRITE > R.SELECT READ W.SELECT WRITE CARD CONFIG TITLE READ
When the JOG dial button is pressed, the arrow (cursor) moves to the title input area, and the input mode is established.
JOG dial 10 When the the TITLE:button is pressed, the arrow (cursor) returns to item.
11 Turn the JOG dial button to move the arrow (cursor) to the WRITE item.
JOG 12 When theappears.dial button is pressed, the following message
Press the JOG dial button again and turn it until the character to be set is displayed. When the button is turned, the character displayed is switched in the following sequence: Space: 7 letters: AZ 7 numbers: symbols: , >, <, /, Press the JOG dial button to enter the character. Turn the JOG dial button to move the arrow (cursor) to the next position (right), and repeat steps 6 and 7 to set the characters (maximum of 8).

WRITE? YES NO

TITLE:
If one of the following messages appears when the JOG dial button is pressed, the data cannot be saved. Error message WRITE NG NO CARD (setup card has not been inserted) WRITE NG FORMAT ERROR (formatting error) WRITE NG ERROR (the data cannot be saved) WRITE NG WRITE PROTECT Remedial action Insert the card. The card was formatted by a device other than the unit. Replace the card. The card may be defective. Replace it. Remove the card to cancel write protect.
to move 13 Turn the JOG dial buttondial button.the arrow (cursor) to YES, and press the JOG When the data saving is completed, the following message appears. Loading the data of the selected file
Turn the JOG dial button to move the arrow (cursor) to the READ item.
< CARD READ/WRITE > # R.SELECT READ W.SELECT WRITE CARD CONFIG TITLE READ :1 :1

WRITE OK

the MENU button to exit operations. 14 Presssetting menu is cleared, the menudisplays showing The and the the units current statuses appear at the top and bottom of the viewfinder screen.
When the JOG dial button is pressed, the following message appears.
Loading the data saved on the card
Perform the menu operations, and display the CARD READ/WRITE screen. If the data is given a title when it is saved, the title will also be displayed.

READ? YES NO

Selecting the file No
Turn the JOG dial button to move the arrow (cursor) to the R.SELECT item and press the JOG dial button.
< CARD READ/WRITE > # R.SELECT READ W.SELECT WRITE CARD CONFIG TITLE READ 1 1
Turn the JOG dial button to move the arrow (cursor) to YES, and press the JOG dial button. When the data loading is completed, the following message appears.

READ OK

Attach the wireless receiver when a wireless system is to be used.
Remove the slot cover, insert the wireless receiver, and screw it down.
Attach the wireless receiver to the camera attachment. Align the grooves in the camera attachment with the pins on the battery case, etc. to attach the wireless receiver.

Audio output connectors

Wireless receiver
Set the AUDIO IN switches to WIRELESS for the audio channels whose audio signals are to be recorded.
When using an audio component

Camera attachment

Connect the AUDIO IN connectors on the camera with the audio component using the XLR cable. Set the AUDIO IN switch or switches for the channel or channels to which the audio component has been connected to REAR. Set the LINE/MIC/+48V selector switch on the rear panel to LINE.
XLR cable AUDIO IN connectors AUDIO IN switches
Connect the AUDIO IN connectors on the camera with the wireless receiver using the XLR cable. Set the AUDIO IN switch or switches for the channel or channels to which the XLR cable has been connected to REAR. Set the LINE/MIC/+48V selector switch on the rear panel to MIC. When detaching the wireless receiver, push up the lever on the bottom panel of the camera attachment to disengage it. <Note> For details on the operations and other aspects of the wireless receiver, refer to the operating instructions which accompany the receiver.
AUDIO IN switches LINE/MIC/+48V selector switch

AUDIO IN connectors

5-5 Mounting the unit on a tripod 5-6 Attaching the shoulder belt

Shoulder belt

Use the tripod attachment to mount the unit on a tripod.
Mount the tripod attachment on the tripod.

Tripod attachment

Tripod head The tab opens when it is pressed.
<Note> Take account of the center of gravity of the unit and that of the tripod attachment when selecting the attachment hole. Check that the diameter of the hole selected matches the diameter of the tripod head screw.
To disengage the shoulder belt, press the tabs. <Note> Check that the shoulder belt is attached securely.
Mount the unit on the tripod attachment.
Adjusting the position of the shoulder pad
The shoulder pad can be moved while the slide lever is held down. Its position can be adjusted in 3 mm steps (up to max. of 10 steps or 30 mm) in either the front or back direction. While holding down the slide lever, move the shoulder pad toward the front or back to the optimum shooting position.
Slide the unit along the groove toward the front until it clicks into place.

Slide lever

Detaching the unit from the tripod attachment

Red lever

Black lever

CAMERA ID

FRAME MARK FRAME LVL

BAR CAM ALWAYS OFF

ID POSITION
UPPER R UPPER L LOWER R LOWER L
Item USER BOX USER BOX WIDTH

USER BOX

DATE/TIME Variable range ON OFF 001
ON OFF ON OFF ON OFF ON OFF
Remarks For setting whether or not to display the user box. For setting the horizontal width of the user box. ZOOM LVL COLOR TEMP CAMERA MODE For setting the vertical height of the user box.

100 USER BOX HEIGHT 001

121 USER BOX H POS 50
For setting the horizontal position of the user box center.

+50 USER BOX V POS 121

For setting the vertical position of the user box center.
Item TAPE BATTERY AUDIO LVL TC

VF INDICATOR2

Variable range ON OFF ON OFF ON OFF TCG TCR TCG/TCR OFF Remarks For selecting ON or OFF for the remaining tape amount display. For selecting ON or OFF for the battery voltage display. For selecting ON or OFF for the audio level meter display. For selecting the time code which is to be displayed. TCG: The time code generator value is displayed in the E-E mode. TCR: The time code reader value is displayed in the V-V mode. TCG/TCR: The time code generator value is displayed in the E-E mode, and the time code reader value is displayed in the V-V mode. OFF: The time code is not displayed at any time. For selecting how VTR warnings are displayed. ALWAYS: It is displayed every time a warning has occurred. NORMAL: It is displayed for 3 seconds when a warning has occurred and also for 3 seconds after recording has started and after recording has finished. OFF: It is not displayed at any time. For setting the operation of the SAVE lamp. SAVE&TAPE: The lamp lights up when the VTR SAVE/STBY switch has been set to the SAVE position. It is off during recording. As the tape is approaching the end, it starts flashing in tandem with the warning alarm. SAVE: The lamp lights up when the VTR SAVE/STBY switch has been set to the SAVE position. It is off during recording.

Item STATUS !LED

MODE CHECK IND

Item NP-L50 /

Remarks For enabling or disabling the selection made for the BATTERY SELECT item. : The selection is enabled. /: The selection is disabled. For selecting how the voltage at which the battery charge is considered nearly depleted is to be set. AUTO: The voltage is set automatically. MANUAL: The voltage is set manually. For selecting, when MANUAL has been selected as the setting for the menu item above, in 0.1 V steps the voltage at which the battery charge is to be considered nearly depleted. For enabling or disabling the selection made for the BATTERY SELECT item. : The selection is enabled. /: The selection is disabled. For selecting how the voltage at which the battery charge is considered nearly depleted is to be set. AUTO: The voltage is set automatically. MANUAL: The voltage is set manually. For selecting, when MANUAL has been selected as the setting for the menu item above, in 0.1 V steps the voltage at which the battery charge is to be considered nearly depleted. For enabling or disabling the selection made for the BATTERY SELECT item. : The selection is enabled. /: The selection is disabled. For selecting how the voltage at which the battery charge is considered nearly depleted is to be set. AUTO: The voltage is set automatically. MANUAL: The voltage is set manually. For selecting, when MANUAL has been selected as the setting for the menu item above, in 0.1 V steps the voltage at which the battery charge is to be considered nearly depleted.

15.0 HYTRON50 /

15.0 ENDURA50 /

15.0 HYTRON100 /

15.0 ENDURA80 /

15.0 BP-H120 /

Item BP-L60/90 / Variable range Remarks For enabling or disabling the selection made for the BATTERY SELECT item. : The selection is enabled. /: The selection is disabled. For selecting how the voltage at which the battery charge is considered nearly depleted is to be set. AUTO: The voltage is set automatically. MANUAL: The voltage is set manually. For selecting, when MANUAL has been selected as the setting for the menu item above, in 0.1 V steps the voltage at which the battery charge is to be considered nearly depleted. For enabling or disabling the selection made for the BATTERY SELECT item. : The selection is enabled. /: The selection is disabled. For selecting how the voltage at which the battery charge is considered nearly depleted is to be set. AUTO: The voltage is set automatically. MANUAL: The voltage is set manually. For selecting, when MANUAL has been selected as the setting for the menu item above, in 0.1 V steps the voltage at which the battery charge is to be considered nearly depleted. Item DIGITAL14 /

24p and Panasonic AG-DVX100 and AJ-SDX900 camcorder support in Vegas and DVD Architect Software
Revision 3, Updated 05.27.04
The information contained in this document is subject to change without notice and does not represent a commitment on the part of Sony Pictures Digital Media Software and Services. The software described in this manual is provided under the terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. Sound Forge, ACID, Vegas, DVD Architect, Vegas+DVD, Acoustic Mirror, Wave Hammer, XFX, and Perfect Clarity Audio are trademarks or registered trademarks of Sony Pictures Digital Inc. or its affiliates in the United States and other countries. All other trademarks or registered trademarks are the property of their respective owners in the United States and other countries. Copyright 2004 Sony Pictures Digital Inc. This document can be reproduced for noncommercial reference or personal/private use only and may not be resold. Any reproduction in excess of 15 copies or electronic transmission requires the written permission of Sony Pictures Digital Inc.
Table of Contents What is covered in this document?
Background...... 3 Vegas...... 5 DVD Architect..... 7 Questions and Answers..... 8 Additional Sony Pictures Digital Resources.... 11 Additional Online Resources..... 11

Background

While NTSC video runs at about 59.94 interlaced fields per second, film runs at 24 full frames per second. When film is transferred to video, a process known as 2-3 pulldown is used. The first film frame is copied into 2 video fields, the second film frame into 3 video fields, and then the process is repeated for the entire film. Every 4 film frames become 10 video fields, or 5 video frames. Due to the 59.94 field rate, the playing time of the video is about 0.1% longer than the original film.
Similarly, when film is transferred to PAL video, each film frame becomes 2 video fields. Because PAL video runs at 50 fields per second, the playing time of the video will be 4% shorter than the film (and the audio needs to be repitched or everyones voice gets higher!). 24 fps really is a universal format that can (with these conversions) be shown in any theater or video broadcasting system. No other format enjoys so many conversion options. Nearly all theatrical films and most prime-time television shows are shot on film and transferred to video using pulldown, and they have a very different look in their frame cadence than soap operas, news programming, and home video shot in 60i (interlaced) video. Most people subconsciously associate this look with high-budget productions. Of course, good lighting, directing, and acting help, too. Many people using desktop editing systems want to achieve this film look and have tried using many processes, including expensive software plug-ins, to get it with some success. The ultimate solution, however, is to shoot and edit at 24 frames per second without using complex and slow plug-ins. Finally, many budget-conscious independent filmmakers want to shoot on lower-cost video equipment and then have a way to transfer to film should their production be successful (i.e., picked up for theatrical release). While there are processes that can do this for 60i, 30p, and 25p video, the results are not as good as they could be had the video been shot and edited at 24p to begin with. The problem was, until recently, there were no low-cost cameras that shot video at 24p. Note: The information in this document applies to Vegas version 4.0 or later or DVD Architect 1.0 or later.

The Panasonic AG-DVX100

The Panasonic AG-DVX100 is a prosumer camcorder that, in addition to being able to shoot 60i and 30p video, can shoot 24 fps film rate progressive video. Since the DV format is not able to store 24 fps directly, the camera does pulldown on the fly and records 60i video to tape. Even before the 4.0b update, Vegas was able to edit this video; however, the editing was in 60i, so all titles, transitions, and effects were rendered at 60i and did not have the same frame cadence look as the video that had pulldown. More importantly, if the final video was going to be transferred to film, there were pulldown cadence breaks that needed to be dealt with by the transfer house with added expense. Starting with the 4.0b update, Vegas is able to remove pulldown from the source media on the fly, edit in 24p, and reinsert pulldown when rendering to DV. This solves the cadence break issue, the title / transition / effects cadence issue, and has the added bonus of being able to render those elements 2.5 times faster! With native support for the Panasonic AG-DVX100 in Vegas software, you can shoot, capture, edit, and render 24p DV with no external conversion programs, and you can render 24p MPEG-2 for DVD delivery. The Panasonic camera actually has two pulldown modes, standard 2-3 pulldown and what they call Advanced mode (24pA), which is 2-3-3-2 pulldown.

While 4 film frames are still converted into 10 video fields (5 video frames), the beauty of 2-3-3-2 pulldown is that the 4 film frames exist in their entirety in video frames 1, 2, 4, and 5. With 2-3 pulldown, film frame 4 is split across video frames 3 and 4, making more work for the reader. You should use the standard pulldown mode when shooting for direct playback or 60i editing and the advanced pulldown mode when you plan on editing the video with Vegas 4.0. The camera writes metadata in the DV headers to indicate which pulldown mode was used. Vegas is able to remove either, but 2-3-3-2 is more efficient. While in 24p mode, this camera also changes the light response curves and has various vertical filtering mode switches. We will not be discussing these here; for the purpose of this document, were talking about the frame rate issues only.

The Panasonic AJ-SDX900

Because it uses the same method of encoding 24p, the Panasonic AJ-SDX900 works equally well with Vegas 4 in the DVCPRO25 mode, 4:3 or 16:9 widescreen. The DVCPRO50 mode is not supported.
Vegas has always been able to edit 24p, but previously did not offer reading or writing 24p DV format files. The 4.0b update added 24p support to the AVI / DV format, including specific support for the Panasonic 24p cameras, as well as a new ruler format and project frame rate to make workflow even smoother. The external monitor and printto-tape features have also been updated for 24p DV support.

Project settings

When pulldown is removed, 24p in NTSC runs at about 23.976 fps. Vegas software added this frame rate to the list of frame rates in the Project Properties dialog, although you could also just type it in with previous versions. Its called 23.976 (IVTC Film). IVTC is an abbreviation for Inverse Telecine (a telecine machine converts film to video and inserts pulldown), and is more or less synonymous with pulldown removal. New project templates called NTSC DV 24p and NTSC DV 24p Widescreen have been added for working with 24p DV projects.

Ruler settings

A new SMPTE Film Sync IVTC (23.976, Video) ruler format has been added. It is to SMPTE Film Sync (24 fps, Film) as SMPTE Non-Drop (29.97 fps, Video) is to SMPTE 30 (30 fps, Audio). In other words, it runs about 0.1% slower than wall-clock time but has perfect frame number alignment with 23.976 fps media frames and project frames. You should use this ruler format if you will be transferring to film, as it will show film run time accurately. Use one of the wall-clock synchronized formats (such Film Sync or SMPTE Drop) to see video project run time.

Reading DV with 24p

When you select a 24p clip captured from a Panasonic 24p camera (or rendered from Vegas) in the Vegas Explorer or in the File > Open or File > Import Media dialog boxes, it will show the frame rate of 23.976 in the display of the files properties. The pulldown method is shown after the codec name (e.g., DV (removing 2-3 pulldown)). To turn off the ability to decode 24p DV, there is a switch on the General tab of the Preferences dialog called Allow pulldown removal when opening 24p DV which defaults to on. If you turn this switch off, Vegas will read 24p DV footage as 60i without removing the pulldown. You would want to turn this preference off if you are editing in 60i mode.

Writing DV with 24p

When rendering a 24p project, there are four 24p AVI / DV templates: NTSC DV 24p (inserting 2-3 pulldown) and NTSC DV 24p (inserting 2-3-3-2 pulldown) as well as NTSC DV Widescreen 24p (2-3 pulldown) and NTSC DV Widescreen 24p (2-3-3-2 pulldown) for widescreen 24p. These will insert pulldown during rendering, creating a standard DV file that may be printed to tape and played back on any DV device. You should use 2-3 pulldown when the file will be used for playback or other use and the 2-3-3-2 pulldown if the file is intended to be brought back into Vegas as source material (since the pulldown removal will be more efficient). In the AVI Custom template editing page, when the Video format is NTSC DV or NTSC DV Widescreen, you can choose the 23.976 frame rate and pulldown method in the Frame rate combo box.

Prerenders

The same 24p DV templates are available for prerenders. You should match the prerender format to your project format and use the 2-3-3-2 pulldown mode for 24p projects for efficiency.

External Monitor

The external monitor feature will automatically insert 2-3-3-2 pulldown for 24p projects.

Print to Tape

The print video to DV tape feature offers the new 24p templates during the conform step. This selects which pulldown will be inserted during printing. However, since we recommend 2-3-3-2 pulldown for prerenders, and because the conform step also selects the pulldown for any prerenders that will be done before printing to tape, you should fully prerender your project using 2-3-3-2 pulldown before using the print to tape feature to avoid creating prerenders with 2-3 pulldown. Then, print to tape using 2-3 pulldown for smoothest motion.

DVD Architect 24p on DVD

Putting 24p instead of 60i on DVD offers up to 20% more efficiency, which can be used for storing more video on a DVD or for a higher bitrate (and therefore better quality) video. For these and other reasons, many people are interested in putting 24p on DVD, just like the movies you can buy or rent on DVD. While the MPEG-2 standard supports progressive frames at arbitrary frame rates, the DVD specification does not allow it. NTSC DVD MPEG-2 is strictly 60i. However, due to a pair of MPEG-2 flags called top field first and repeat first field, only four frames need to be encoded for every 10 fields of video (just like pulldown). The player effectively creates the 2-3 pulldown to 60i while decoding these flags. The Vegas 4.0 MPEG-2 encoder can create these flags during encoding of 24p material for DVD. The final DVD is completely compatible with any standard DVD player, and so-called progressive output DVD players can use the TFF/RFF flags to decode the original 24p material. Most theatrical movies released on DVD use this method of encoding.
Writing 24p MPEG-2 for DVD from Vegas
The MPEG-2 DVD Architect 24p NTSC video stream or DVD Architect 24p NTSC Widescreen video stream template will render 23.976 fps progressive video from Vegas and will use the TFF and RFF flags to create DVDcompliant MPEG-2. When you bring the rendered file into DVD Architect, it will detect it as a DVD-compatible file and will not recompress it.
Production workflow for 24p DVD
Here are the things to know when planning for and executing a production for 24p DVD: 1. 2. 3. 4. 5. With the AG-DVX100 or AJ-SDX900, use 24pA mode (24p will work, but will be less efficient). Use the Vegas project template NTSC DV 24p (720x480, 23.976 fps). On the General tab of the Preferences dialog, select the Allow pulldown removal when opening 24p DV check box. Edit your project. For prerenders, use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template. If you need to create approval previews of your project use the following templates: For AVI/DV renders, use the NTSC DV 24p (inserting 2-3 pulldown) template. You can print these to tape using the Video Capture application. For print to tape from the timeline, use the NTSC DV 24p (inserting 2-3 pulldown) template. Before printing to tape, prerender the project using 2-3-3-2 pulldown so the conform step doesnt create any prerenders with 2-3 pulldown. Render 24p for DVD. 7. 8. 9. Render video to the MPEG-2 format using the DVD Architect 24p NTSC video stream template. Render audio to the AC-3 format using the Stereo DVD or 5.1 Surround DVD template, depending on your projects audio mode.
Open the MPEG-2 file in DVD Architect (it will automatically detect the associated AC-3 soundtrack). Author your DVD using menus, buttons and themes. In the Optimize DVD dialog, verify the 24p MPEG-2 is set for no recompression.

10. Burn your DVD.

Questions and Answers What do i and p stand for in 24p, 60i, 25p?
The p stands for progressive or full frames, where every pixel in the frame represents the same instant in time, just like a frame of film. The i stands for interlaced, a form of video where half of the scan lines (every other one) represent a moment in time halfway between frames. Each half-frame is called a field. 30p and 60i represent the same number of lines per second, but 30p has 30 whole frames per second and 60i has 60 fields (half frames) per second. A typical CRT television displays the first set of scan lines and then the second set. It does this whether the video is progressive or interlaced. Newer televisions and projectors can do line doubling and can draw a whole frame at a time. All of these progressive displays can deinterlace 60i material (with various levels of success), and many can do 2-3 pulldown removal to retrieve 24p video from 60i (a superior method of creating progressive frames from interlaced sources if it had pulldown inserted to begin with).
Should I be using 24p project and render formats for non-24p source video?
Typically, no. These templates should only be used for 24p source material. If used with 60i or other source material, Vegas will do frame-rate conversions, and the result will not have the 24p look. However, it is possible to convert your 60i material to 24p with reasonable success (see next question).
Can I convert video shot at 60i to 24p?
Follow these steps to convert 60i video shot with a regular camcorder to 24p. There will be some loss of vertical resolution or other artifacts. 1. 2. In the Project Properties dialog, set the template to NTSC DV 24p (720x480, 23.976 fps). Set the Deinterlace method to Interpolate fields (for fast-motion clips, but with decreased vertical resolution) or Blend Fields (for clips without fast motion, for increased vertical detail, but with double edges on moving objects). Place the 60i clip on the timeline. Right-click on the clip, select Switches and then select Disable Resample. Choose File > Render and render to the AVI format with the NTSC DV 24p (inserting 2-3-3-2 pulldown) template.

3. 4. 5.

The converted clips can now be used in a 24p project.
Why is pulldown required to store 24p in DV?
The DV standard only specifies how to store 30p/60i NTSC and 25p/50i PAL video. There is no way to store 24p directly in the DV format. By inserting pulldown, 24p can be stored as NTSC DV in a backward-compatible way and can be played on any DV device or television.
Why dont other formats do pulldown removal or insertion?
Most of the other formats can represent 24p material directly, without pulldown. For example, Windows Media 9, RealMedia, QuickTime, and MPEG-2 for HD all represent 23.976 fps directly. 24p for DVD creates MPEG-2 pulldown flags when using the DVD Architect 24p NTSC video stream template.
What about 24p 16:9 anamorphic widescreen?
Vegas and DVD Architect fully support anamorphic 16:9 widescreen. If you are working with 16:9 anamorphic widescreen 24p DV (perhaps you have the anamorphic adapter for the AG-DVX100 or are shooting widescreen with the AJ-SDX900), use the Widescreen templates in place of the standard templates.
How do I convert NTSC 24p DV into 25p PAL video?
If you want your project to be the same length, just render to the PAL DV template with no changes. Vegas will do field rendering and frame blending, which will look just fine. If you want to match the way feature films are transferred to PAL, follow these steps: 1. 2. 3. 4. 5. 6. 7. 8. 9. Render your 24p project using the NTSC DV 24p (inserting 2-3-3-2 pulldown) template. Start a new project using the NTSC DV 24p (720x480, 23.976 fps) template. On the General tab of the Preferences dialog, select the Allow pulldown removal when opening 24p DV check box. Add the NTSC 24p DV rendered clip to the Vegas timeline. Right-click the clip, select Switches, and then select Disable Resample. Set the ruler format to Absolute Frames. Navigate to the end of the clip by pressing Ctrl+End. Press Ctrl+G to highlight the time, and then press Ctrl+C to copy it to the clipboard. Press Esc. Change the project format to PAL DV (720x576, 25.000 fps).
10. Change the project property Field order to None (progressive). 11. Press Ctrl+G to highlight the cursor location time, and then press Ctrl+V and Enter to paste the previous value. The cursor should move to a location about 96% of the way through the clip. 12. Make sure Options > Enable Snapping is on. 13. Make sure Options > Ignore Event Grouping is off. 14. Ctrl+drag the end of the clip until it snaps to the cursor. Youve just sped up the clip by about 4%, exactly matching the 24p material to 25p frame locations and stretching the audio to match. 15. Right-click the audio, select Properties, and verify that the Time stretch / pitch shift method is set to Change length, preserve pitch. 16. Render using the PAL DV template, but click Custom and change the Field order to None (progressive). Optionally, save this template as PAL 25p DV for future use.

Why does my 24p video show as 29.97 fps in the Video Capture application?
The Video Capture application does not do pulldown removal, so it is showing the NTSC DV native 29.97 frames per second.
Can I mix 24p and 60i in the same project?
Vegas has always allowed you to mix and match your source media, and it does conversions to the preview or render format automatically. However, to get the best results, you should think through your options. There are two reasonable ways to do this: Option 1: Create a 24p project and let it convert your 60i to 24p with some loss of vertical resolution. All effects, titles, and transitions will be in 24p. 1. 2. 3. 4. With the AG-DVX100 or AJ-SDX900, for 24p shots, use 24pA mode (24p will work, but will be less efficient). Use the project template NTSC DV 24p (720x480, 23.976 fps). On the General tab of the Preferences dialog, select the Allow pulldown removal when opening 24p DV check box. Add 24p and 60i media to the timeline.

5. 6. 7. 8.

Select all 60i media and choose Edit > Switches > Disable Resample. On the Video tab of the Project Properties dialog, set Deinterlace method to Interpolate fields (for fast motion clips) or Blend Fields (for clips without fast motion, for increased vertical detail). Edit your project. Render your project: For prerenders, use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template. For final AVI/DV renders, use the NTSC DV 24p (inserting 2-3 pulldown) template. For print to tape, use the NTSC DV 24p (inserting 2-3 pulldown) template. Before printing to tape, prerender the project using 2-3-3-2 pulldown so the conform step doesnt create any prerenders with 2-3 pulldown. For DVD renders, use the DVD Architect 24p NTSC video stream template.
Option 2: Create a 60i project and use the pulldown inserted by the camera to treat your 24p footage as 60i. All effects, titles, and transitions will be in 60i. 1. 2. 3. 4. 5. 6. With the AG-DVX100 or AJ-SDX900, for 24p shots, use 24p mode (24pA will work, but will have slightly more motion judder). Use the project template NTSC DV (720x480, 29.970 fps). On the General tab of the Preferences dialog, turn off the Allow pulldown removal when opening 24p DV check box. Add 24p and 60i media to the timeline. Both with be added as 60i because of the above switch. Edit your project. Render your project: For prerenders, use the NTSC DV template. For final AVI/DV renders, use the NTSC DV template. For print to tape, use the NTSC DV template. For DVD renders, use the DVD Architect NTSC video stream template.
How do I know what version (build) of Vegas or DVD Architect I have?

From the Help menu, choose About Vegas (or About DVD Architect). The version and build number are displayed.
Additional Sony Pictures Digital Resources
Knowledge Base http://mediasoftware.sonypictures.com/support/supporthome.asp Access answers and articles from our technical support experts. Make this the first stop on your search for a solution. Customer Service http://mediasoftware.sonypictures.com/support/custserv.asp At your service: products, shopping, delivery, and more. Updates http://mediasoftware.sonypictures.com/download/step1.asp?CatID=2 Download bug fixes and new features for your existing product. Forums http://mediasoftware.sonypictures.com/forums/default.asp?siteid=1 Join discussions with other Sony Pictures Digital product users. Tutorials http://mediasoftware.sonypictures.com/tutorials/default.asp Master our software with these interactive presentations for users of all experience levels. Product Suggestion http://mediasoftware.sonypictures.com/support/productsuggestion.asp Share your feature requests or concerns with us. E-mail Support http://mediasoftware.sonypictures.com/support/supportmail.asp Cant find your answer online? Send us your technical support question. We will respond as soon as possible. Phone Support Options http://mediasoftware.sonypictures.com/support/phonesupport.asp Learn about our pay-for-support options.
Additional Online Resources
Panasonic AG-DVX100 FAQ: http://www.panasonic.com/PBDS/subcat/dvproline/DVworld_24qs.html For good information on MPEG-2: bmrc.berkeley.edu/frame/research/mpeg/mpeg2faq.html For anamorphic widescreen information: www.thedigitalbits.com/articles/anamorphic/index.html Creative COW Panasonic AG-DVX100 camera forum: http://www.creativecow.net/index.php?forumid=122 2-pop Panasonic AG-DVX100 camera forum:
http://www.2-pop.com/ubbthreads/postlist.php?Cat=&Board=PanasonicAGDVX100Camera&page=0&view=collapsed&sb=5&o=14