Digital HD Video Camera Recorder Digital HD Videocassette Recorder

HVR-Z1E

HVR-M10E
HD Acquisition, Recording and Playback
Compact and Cost-Effective
The rapid transition to HD programming in broadcasting and postproduction has created tremendous demand for an entry-level path into the HD world. Sony have responded to this demand with the introduction of two exciting new Digital HD products: the HVR-Z1E Video Camera Recorder and the HVR-M10E Videocassette Recorder. They adopt the all-new, 14 -inch HD format the HDV 1080i specification of the HDV format while maintaining the DVCAM/DV recording and playback capabilities provided on current Sony market-acclaimed DVCAM models. What's more, both the HVR-Z1E and HVR-M10E offer a downconversion capability of their 1080i recordings. These features allow the HVR-Z1E and HVR-M10E to be active immediately in current SD systems, while also providing a step-by-step migration to the HD world. Operators can continue to work in DVCAM
or DV and switch to HDV as needed, or work in HDV 1080i from the start and use the down-conversion capability as required. The HVR-Z1E and HVR-M10E are aimed at professional videographers, documentary makers and feature film makers working to tight budgets. HDV is also an increasingly attractive option for mainstream broadcasters and corporate programme makers needing to acquire HD content in restricted or hard-to-reach locations. HDV also serves as an ideal source for contributing HD content into an HDCAM production environment. The formats quality, versatility and low operational costs also extend its appeal to educational establishments and hire companies.
HDV CAMCORDER & VTR s 2
A New Addition to the HD Format that Broadens the Scope of HD Programme Production.
HDV 1080i Specification1 The HDV 1080i specification of the HDV format features 1080 effective scanning lines (interlace scanning system) and 1,440 horizontal pixels. It adopts the MPEG-2 compression format (MP@H-14 for video), which uses 8-bit digital component recording with a sampling rate of 4:2:0. MPEG-1 Audio Layer II is used as the audio compression format, allowing for two-channel recording with a sampling frequency of 48 kHz/16-bit. The HDV 1080i specification provides high picture quality that can be used for HDTV programme production.
1 The HDV format also defines the HDV 720p specification, which features 720 effective scanning lines (progressive scanning system) and 1,280 horizontal pixels.
Compatible with Existing and New DV Videocassette Tape As a member of the proven DV family of formats, the HDV format has, from the outset, been developed for compatibility with all grades of DV videocassette tape. This allows operators to use high-grade DV videocassette tapes for applications where high robustness is critical, or consumergrade videocassette tapes for more economical operations. For heavy-duty applications, a new high-grade Mini Cassette tape has been developed; the DigitalMaster PHDV-63DM. This tape is compatible with the HDV, DVCAM and DV formats. Long Recording Time The HDV format adopts the same track pitch and tape speed as the DV format, thus offering the same recording time a maximum of 63 minutes on a mini videocassette such as DigitalMaster tape.
Track Pattern of the HDV 1080i Specification
Direction of tape travel 10m Sub Code sector Direction of head motion MPEG-2 PES sector (Video + Audio + Search + AUX) ITI sector ITI: Insert and Track Information PES: Packetised Elementary Stream 6.35 mm (1/4 inch)
Designed for Professional Use
As a professional, Sony recognises that your needs are different to those of a consumer. As a result the HVR-Z1E incorporates more than 40 extra functions over the consumer camcorder HDR-FX1 to help support you and your production needs. The following are the key technical features and specifications only available on the Sony HVR-Z1E professional HDV camcorder.
s s s s s s s s s s s s s s s s 50Hz/60Hz (PAL/NTSC) Switchable Colour Correction DVCAM Support Versatile Time Code/Userbit Operation Multiple Assign Button Functions Viewfinder B/W and Colour Selectable Simultaneous Operation of LCD panel and Viewfinder All Scan Mode Auto Exposure Override Black Stretch 4:3 Output Edge Crop at 4:3 Setup Level Select AF Assist External Record Control White Balance Outdoor Level Shift s s s s s s s s s s s s s s s s Hyper Gain All Display Off Zoom Display Selectable Selectable Peaking Level and Colour Expanded Focus Off Mode Safety Zone and 4:3 Marker Date and Time Stamp XLR Connectors and Mic Power Supply Independent Audio Record Level Set Audio Monitoring Microphone Setting Audio Mode Audio Lock Audio Limiter Mic Noise Reduction Wind Noise Reduction s s s s s s s s s s s s s s Mic Select Internal Mic Sensitivity Cineframe Mode Additional Cinematone Gamma Settings Shot Transition Start Timer Skin Tone Detail Level control 576p/480p Output for SD Component Output Smooth Handle Zoom Audio Output Select Select Audio Mode at i.LINK Down-convert Selectable SMPTE Colour Bars Hours Meter AC Adaptor/Charger supplied as standard Silver Support with 2 year warranty

3 Select HARD to activate the SteadyShot functionality with stronger effect than STANDARD. Select SOFT to activate the SteadyShot functionality with softer effect than STANDARD. Select WIDE CONV for the most effective SteadyShot functionality when the optional VCL-HG0872 wide conversion lens is attached.
Carl Zeiss Vario-Sonnar T* lens
HDV CAMCORDER & VTR s 4

RECORDER FEATURES

Multi-format Recording and Playback Capabilities, Supporting HDV 1080i, DVCAM and DV.
Switchable Recording and Playback HDV 1080i/DVCAM/DV 4 and 50i/60i The HVR-Z1E can switch between HDV 1080i, DVCAM and DV recording, providing full flexibility to record in either Standard or High Definition depending on production needs. In addition, it can be switched between 50i and 60i modes (PAL and NTSC), allowing for flexible productions without the need for two separate camcorders with each standard.
4 The HVR-Z1E supports DV SP mode only; no support for DV LP mode.
16:9 Widescreen Acquisition in DVCAM and DV formats The HVR-Z1E is capable of native 16:9 widescreen image capturing, with a high-resolution of 720 x 576 pixels (PAL) and 720 x 480 pixels (NTSC) in DVCAM and DV formats and providing true 16:9 images in SD format. HD Codec Engine The HVR-Z1E employs the highly advanced HD Codec Engine which efficiently compresses base band HD signal data at approx. 25 Mb/s with MPEG-2 compression while maintaining optimal HD quality. Designed for reduced energy consumption, this powerful digital signal processor fits perfectly inside the compact and streamlined body of the HVR-Z1E. i.LINK 6 Interface The HVR-Z1E is equipped with a 4-pin i.LINK interface. This allows for on-cable digital transfer7 of audio, video, and command signals to a connected VTR or non-linear editing system in the HDV, DVCAM and DV formats.
6 i.LINK is a trademark of Sony Corporation used only to designate that a product contains an IEEE 1394 connector. Not all products with an i.LINK connector will necessarily communicate with each other. For information on compatibility, operating conditions and proper connection, please refer to the documentation supplied with any device with an i.LINK connector. For information on devices that include an i.LINK connection, please contact your nearest Sony office. 7 Insert and assemble editing using HDV material is not recommended with the HVR-Z1E. When video programmes in the HDV format are transferred via the i.LINK interface and edited, transitions from cut to cut may not be smooth.

Down-conversion Playback Capabilities The HVR-Z1E can convert material from 1080i down to 576i and 480i and output these video signals through its i.LINK interface. In addition, these signals can also be output via either analogue component, composite, or S-video connectors. This allows editing of recorded material with a nonlinear editing system using current DV editing software5 as well as recording SD signals to an external VTR, while simultaneously recording HDV signals with the HVR-Z1E. The HVR-Z1E can also downconvert to 576p and 480p and output these signals through its analogue component video connectors. When down-converting these signals, the aspect ratio displayed can be converted from 16:9 to 4:3. Display modes can be selected from Squeeze, Letterbox or Edge crop.
5 When using the HVR-Z1E down-conversion capabilities with your current DV editing software, please contact your nearest Sony office to confirm compatibility.

HD Codec Engine

HDV 1080i (16:9)

DVCAM/DV (4:3)

Built-in Stereo Microphone and 2-channel XLR Audio Input The HVR-Z1E provides a high-quality, built-in stereo microphone as well as two XLR audio input connectors for connecting professional microphones or feeding an external-line audio source. Phantom power of approx. 40 V 8 can be supplied for the external condenser microphone. INPUT 1 audio can be recorded on CH1 only, or on both CH1 and CH2 audio tracks, with easy selection via a switch.
8 When using the phantom power for an external microphone, the specification of the input power supply must be checked.
Built-in Stereo Microphone and 2-channel XLR Audio Input

Squeeze

Letterbox

Edge crop

Recording, Playback and Down-conversion Formats

50i mode

Recording Format 1080/50i Playback/ Down-conversion Format i.LINK Output Input Analogue S-Video Analogue S-Video Analogue Component Composite Composite q q s s
2-channel Independent Audio Record Level Control with Audio Level Meter
1080/50i 576/50p (16:9/4:3) 576/50i (16:9/4:3) 576/50i (16:9) 576/50i (16:9/4:3) 576/50i (4:3) 576/50i (4:3)
2-channel Independent Audio Record Level Control with Audio Level Meter Each input level for CH1 and CH2 can be independently adjusted using two audio level dials on the camera body and viewed with an audio level meter on the LCD monitor. The audio level meter can be recalled quickly and easily by a Status Check function.

60i mode

Recording Format 1080/60i Playback/ Down-conversion Format i.LINK Output Input Analogue S-Video Analogue S-Video Analogue Component Composite Composite q q s s

1080/60i 480/60p (16:9/4:3) 480/60i (16:9/4:3) 480/60i (16:9) 480/60i (16:9/4:3) 480/60i (4:3) 480/60i (4:3)
Available Either 1 or 2 connection is available. When both are connected to cables, the 1 connection has a priority.
5 s HDV CAMCORDER & VTR

Built-in Microphone

OPERATIONAL VERSATILITY
Advanced Features for Professional Results
Large, 16:9 Widescreen Colour Viewfinder The 0.44-inch type colour LCD viewfinder displays high-resolution colour pictures of approx. 250,000 pixels in a widescreen aspect ratio of 16:9. Operators can also select to display pictures in black and white. The size of the eyepiece has been increased to allow viewing of images even while wearing glasses. The supplied large-size eye-cup provides superior light-excluding capability, and allows easy focusing and comfortable use of the viewfinder. Large, 16:9 Widescreen Hybrid LCD Monitor The HVR-Z1E includes a 3.5-inch type colour LCD monitor with a high-resolution of approx. 250,000 pixels, which allows for viewing of the input source during recording, or checking the playback picture on location in a widescreen aspect ratio of 16:9. This large screen is also helpful in setting menus or audio recording levels, as well as monitoring the camera and audio status while mounted on a tripod. The hybrid LCD monitor combines the characteristics of both transmissive and reflective LCD panels. The transmissive LCD panel is well suited to dark conditions, such as those found in the studio, while the reflective LCD panel provides clear viewing in bright conditions, such as under strong sunlight. Simultaneous Operation of LCD Monitor and Viewfinder The LCD monitor and viewfinder can be used simultaneously. The LCD monitor is located above and in front of the handle, which places it on the same level as the viewfinder. This allows operators to perform focus adjustments on the subject with the LCD viewfinder, while adjusting the colour balance with the LCD monitor. Long Operating Time With the optional NP-F970 InfoLITHIUM Rechargeable Battery Pack attached, the HVR-Z1E can continuously record in HDV mode for up to 360 minutes, or up to 380 minutes in DVCAM/DV mode. On-handle Zoom Lever and Rec Start/Stop Button In order to facilitate zoom control and recording operation during low-angle shooting, an additional zoom lever and a rec start/stop button have been added to the carrying handle. Zoom speed can be selected from H, L or OFF via the three-position slide switch located on the side of the handle. The H and L settings can be selected from values of 1 to 8 via the menu. Variety of Zoom Operations In addition to two zoom levers on the carrying handle and on the side of the camera body, a motorised zoom ring, equipped with stops and barrel marking, is located on the lens body. Turning this zoom ring allows for fine adjustments in zoom position settings, providing operability and feeling comparable to manual zoom operations. Furthermore, the supplied wireless Remote Commander can be used for external control. These various zoom control functions enable operators to deploy various shooting styles.

Eye-cup

4:3 Marker
Zoom Ring Assign Buttons Iris Dial

Battery Life

Continuous Recording Time* NP-F570 (supplied) NP-F770 (optional) NP-F970 (optional) With LCD Viewfinder On HDV DVCAM/DV 115 min 120 min 235 min 250 min 360 min 380 min With LCD Monitor On** HDV DVCAM/DV 105 min 110 min 220 min 235 min 335 min 355 min With LCD Viewfinder and Monitor On HDV DVCAM/DV 100 min 105 min 210 min 220 min 315 min 335 min
* Continuous recording time, indoors at 25 C. ** With LCD backlight on
HDV CAMCORDER & VTR s 6
ECM-678 Electret Condenser Microphone (optional) Shot Transition Buttons
AE Override The AE (Auto Exposure) Override function allows operators to manually change exposure settings during the AE mode via an iris dial. This allows operators to set the desired exposure settings immediately, with no need to set all exposure settings modes to manual. This function can easily be recalled at the touch of an Assign Button. Hyper Gain The Hyper Gain function can automatically boost the gain level up to approx. +36 dB at the touch of an Assign Button. This makes it possible to shoot in extremely low-light conditions. Marker Three types of markers can be displayed on the LCD monitor and viewfinder simply by pressing an Assign Button:
CENTRE Displays a marker at the centre of the screen 4:3 Displays a marker in the shape of 4:3 when using a widescreen monitor SAFETY ZONE Displays a marker indicating the range that can be displayed on a standard TV (4:3 and 16:9) for home use (80%)

Zoom Levers

Audio Level Dials
All Scan Mode The All Scan Mode is similar to the Under Scan Mode of other camcorders, displaying all effective scanning lines in the screen. It is useful to check pictures for web applications. This function can easily be recalled at the touch of an Assign Button.
Six Assign Buttons Functions frequently used in the field can be assigned to six Assign Buttons (push buttons), allowing operators to make rapid changes under field conditions. The assignable functions include AE Override, Hyper Gain, All Scan Mode, White Balance Outdoor Level (+), White Balance Outdoor Level (-), Marker, Back Light, Spot Light, Rec Review, Fader (white fader/black fader), Steady Shot, Index Mark (index recording), Audio Dubbing (DVCAM only), Display, and Colour Bars (two types).
7 s HDV CAMCORDER & VTR
Expanded Focus At the touch of a button, the centre of the screen on the LCD monitor and viewfinder can be magnified to about twice the size, making it easier to confirm focus settings during manual focusing. Peaking

Expanded Focus OFF

Expanded Focus

LCD & VF

The Peaking function can perform an effect on pictures displayed in the LCD monitor and viewfinder that allows operators to easily adjust focus positions. It enhances the outline of the image, which the camera focuses on most, and colours the outline to make it more visible. Enhance levels can be selected from a choice of HIGH, MIDDLE, and LOW, and the outline colour from RED, WHITE, and YELLOW. Time Code Preset
Expanded Focus ON LCD & VF

Peaking

The time code9 can be preset using any number in H/M/S/F (hours/minutes/seconds/frames) to record desired tape-position information. The time-code mode can be selected between REC RUN and FREE RUN. In addition to the time code, user bits can also be set.
9 When recording video clips, which are transferred from other devices through an i.LINK interface, the time code should be preset because it is not copied.
External Record Control By connecting the HVR-Z1E to an HDV 1080i, DVCAM or DV compatible device such as a camcorder, VTR or HDD recorder with an i.LINK interface, operators can control the HVR-Z1E and its connected device externally, to perform simultaneous recording and sequential recording. Quick Rec.10 When operators do not want to miss a single recording opportunity, the time until the recording restarts from stop mode11 can easily be shortened.
Peaking ON 10 The transition from the last recorded scene may not be smooth. 11 When standby mode continues for more than three minutes, it is automatically switched to stop mode.

Peaking OFF

Status Check AF Assist The AF (Auto Focus) Assist function allows operators to focus on desired subjects when using the AF mode. Operators can manually change focus positions using a focus ring during AF mode, allowing AF reference focus positions to be shifted to manually changed positions. This is useful, for example, when operators want to focus on subjects far away through a window. With the touch of a button, operators can display settings menus for audio, output signal and camera, as well as Assign Button and Picture Profile functions, superimposed over the video on the LCD monitor, allowing for easy status or settings checks during recording, playback and feeding.
HDV CAMCORDER & VTR s 8

Cineframe 25 Cineframe 25 is used in 50i mode and can reproduce the picture movement like films of 25 frames/second in HDV, DVCAM and DV formats. Cineframe 24 and 30 Cineframe 24 and Cineframe 30 are used in 60i mode and can reproduce the picture movement like films of 24 or 30 frames/second12 in HDV, DVCAM and DV formats.
12 Using Cineframe 24 or Cineframe 30 respectively.
Normal Gamma Cinematone Gamma Type 1 Cinematone Gamma Type 2
Colour Correction Colour Correction Normal Colour extraction Colour revision The Colour Correction feature provides two functions for creative shooting. The Colour Extraction function can retain up to two desired colours of monitored pictures in the screen by designating colour hue, saturation and range, while making the other colours black and white. This provides interesting in-camera colour effects that can emphasise particular colours on the screen. In addition, the Colour Revision function can change the hue of only the colours designated by Colour Extraction, while retaining the hue of the other colours. This also provides interesting in-camera effects.
HDV CAMCORDER & VTR s 10
Digital HD Videocassette Recorder
Highly powerful yet cost-effective, the HVR-M10E Digital HD Videocassette Recorder provides HDV 1080i recording and playback capabilities for a variety of roles such as a simple playback viewer and a feeder for non-linear editing systems. In addition to basic VTR features inherited from the DSR-11, the HVR-M10E also provides easy monitoring capabilities, with a built-in, 3.5-inch type LCD monitor to display important information such as the recorded image, audio level and set-up menu.

MAIN FEATURES

Advanced Recording and Playback Capabilities for Diverse Non-linear Editing Needs
Switchable Recording and Playback HDV 1080i/DVCAM/DV 2 and 50i/60i The HVR-M10E can switch between HDV 1080i, DVCAM and DV recording, providing full flexibility to record in either Standard or High Definition depending on production needs. In addition, it can be switched between 50i and 60i modes (PAL and NTSC), allowing for flexible productions without the need for two separate VTRs with each standard.
2 The HVR-M10E supports DV SP mode only; no support for DV LP mode.
i.LINK4 Interface The HVR-M10E is equipped with a 4-pin i.LINK interface. This allows for on-cable digital transfer5 of audio, video and command signals to a connected VTR or non-linear editing system in the HDV, DVCAM and DV formats.

4 i.LINK is a trademark of Sony Corporation used only to designate that a product contains an IEEE 1394 connector. Not all products with an i.LINK connector will necessarily communicate with each other. For information on compatibility, operating conditions and proper connection, please refer to the documentation supplied with any device with an i.LINK connector. For information on devices that include an i.LINK connection, please contact your nearest Sony office. 5 Insert and assemble editing using HDV material is not recommended with the HVR-M10E. When video programmes in the HDV format are transferred via the i.LINK interface and edited, transitions from cut to cut may not be smooth.
Down-conversion Playback Capabilities The HVR-M10E can convert material from 1080i down to 576i and 480i and output these video signals through its i.LINK interface. In addition, these signals can also be output via either analogue component, composite, or S-video connectors. This allows editing of recorded material with a non-linear editing system using current DV editing software 3 as well as recording SD signals to an external VTR, while simultaneously recording HDV signals with the HVR-M10E. The HVR-M10E can also down-convert to 576p and 480p and output these signals through its analogue component video connectors. When down-converting these signals, the aspect ratio displayed can be converted from 16:9 to 4:3. Display modes can be selected from Squeeze, Letterbox or Edge crop.
3 Before using the HVR-M10E down-conversion capabilities with your current DV editing software, please contact your nearest Sony office to confirm compatibility.
Recording Format 1080/50i Playback/ Down-conversion Format i.LINK Output Input Analogue S-Video Analogue S-Video Analogue Component Composite Composite q q q q q
Recording Format 1080/60i Playback/ Down-conversion Format i.LINK Output Input Analogue S-Video Analogue S-Video Analogue Component Composite Composite q q q q q
Available Switchable Switchable (input)/available(output)
11 s HDV CAMCORDER & VTR
Compact, Unique Design The HVR-M10E is compact, with a small footprint that enables it to be unobtrusively added to existing work environments. The HVR-M10E is also unique it can be placed either horizontally or vertically. In addition, it includes a control panel lid and a cassette compartment lid on its front. Built-in, 16:9 Widescreen LCD Monitor The HVR-M10E includes a 3.5-inch type colour LCD monitor with a high-resolution of approx. 250,000 pixels, allowing operators to view the input source during recording or check the playback picture, in a widescreen aspect ratio of 16:9. This large screen is also helpful when setting menus or audio recording levels, as well as for monitoring the VTR and audio status. Status Check At the touch of a button, operators can display the menu settings, mode of operation, time code and audio level indications superimposed over the video on the LCD monitor, allowing for easy status or settings checks during recording, playback and feeding. 2-channel Independent Audio Record Level Control with Audio Level Meter Each input level for CH1 and CH2 can be independently adjusted using two audio level controls on the control panel and viewed with an audio level meter on the LCD monitor. The audio level meter can be recalled quickly and easily by a Status Check function.

3.5-inch Colour LCD Monitor
External Control The HVR-M10E comes equipped with the wireless Remote Commander, which provides control of basic functions. In addition, the HVR-M10E is equipped with a LANC terminal. Time Code Preset The time code6 can be preset using any number in H/M/S/F (hours/minutes/seconds/frames) to record desired tape-position information. The time code mode can be selected between REC RUN and FREE RUN. In addition to the time code, user bits can also be set.
6 When recording video clips, which are transferred from other devices through an i.LINK interface, the time code should be preset because the time code is not copied.
Battery Operation With the optional NP-F970 InfoLITHIUM Rechargeable Battery Pack attached, the HVR-M10E can continuously record in HDV mode for up to 545 minutes, or up to 630 minutes in DVCAM/DV mode with the LCD monitor off. Battery information, such as the current charge level and current remaining recording time, can be displayed on the LCD monitor at the touch of a button.
HDV CAMCORDER & VTR s 12

Rear panel

Control Panel Lid Open
Cassette Compartment Lid Open
Status Check Audio Level Controls
Noiseless Design, with No Cooling Fan The HVR-M10E requires no cooling fan, providing quiet programme-production environments. Other Convenient Functions In order to provide the flexibility required for professional recording, the HVR-M10E offers a variety of additional convenient functions:
Audio Dub (DVCAM mode only) Headphone Jack Index Marking Index Search
13 s HDV CAMCORDER & VTR

Optional Accessories

For both HVR-Z1E & HVR-M10E For HVR-Z1E only

2NP-F970/B

InfoLITHIUM Rechargeable Battery Pack

VCL-HG0872

Wide Conversion Lens

VF-72CPK

PL Filter Kit

HVL-20DW2

Battery Video Light

NP-F570/F770/F970

VCT-FXA

Shoulder Brace

VCT-1170RM
Video Tripod with Remote Control

LCS-VCB

Soft Carrying Case
VMC-IL4408A/IL4415/IL4435
i.LINK Cable (4-pin to 4-pin)

LCR-FXA

Rain Jacket

LCH-FXA

Hard Carrying Case

ECM-678

Electret Condenser Microphone

UWP-C1 VMC-IL4615/IL4635

i.LINK Cable (4-pin to 6-pin) UHF Synthesized Wireless Microphone Package

PHDVM-63DM

Mini Cassette
Some of the above accessories may not be available in certain countries. For details, please contact your nearest Sony office.

SILVER SUPPORT

2-year Support
The Silver Support Pack extends the support period from the standard 1-year warranty to 2 years. Not only that, extra features and services are also included.

Operational Helpdesk

Operational phone support is provided to give advice and help so that you can get the most out of your HDV equipment and maximise its performance. Our telephone support is available from Monday to Friday and in 5 languages: English, French, German, Italian and Spanish.

Collection Anywhere

In the event of equipment failure, Sony will arrange collection of the faulty unit directly from, and delivery of the repaired unit directly to your location anywhere in mainland EU, Norway or Switzerland. That makes it simpler, quicker and even more convenient for you.

Repair within 7 days

Sony will collect, repair and return the unit to your preferred location within 7 working days. So, minimum downtime, increased confidence and the ability to plan your business are guaranteed.
If the repair is likely to exceed 7 working days, Sony will contact you and offer to send a loan unit for the remainder of the repair.
HDV CAMCORDER & VTR s 14

Specifications

CAMERA SECTION Lens Carl Zeiss Vario-Sonnar T* zoom lens, 12x (optical), f = 4. 5 to 54 mm (316 to inches), f = 32.5 to 390 mm (to inches)* at 16:9 mode, f = 40 to 480 mm (to 19 inches)* at 4:3 mode, F = 1.6 to 2.8, filter diameter: 72 mm (inches) 1/6 ND, 1/32 ND Auto, manual (focus ring/infinity position), one push auto 3-chip 1/3-inch type CCDs Approx. 1,070,000 pixels (effective), approx. 1,120,000 pixels (total) Auto, one-push auto, indoor (3200 K), outdoor (5800 K 7 steps) 1/3, 1/6, 1/12, 1/25, 1/50, 1/60, 1/100, 1/120, 1/150, 1/215, 1/300, 1/425, 1/600, 1/1000, 1/1250, 1/1750, 1/2500, 1/3500, 1/6000, 1/10000 s 1/4, 1/8, 1/15, 1/30, 1/60, 1/90, 1/100, 1/125, 1/180, 1/250, 1/350, 1/500, 1/725, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000, 1/6000, 1/10000 s Auto, manual 0, 3, 6, 9, 12, 15, 18 dB (adjustable for H, M and L gain positions) 3 lx with F1.6 at 18 dB
RECORDING/PLAYBACK PERFORMANCE Recording format Playout/Down-conversion format Tape speed HDV/DV SP DVCAM Playback/ HDV/DV SP Recording time DVCAM Fast forward/Rewind time 1080/50i, 1080/60i, 576/50i (PAL), 480/60i (NTSC) 1080/50i, 1080/60i, 576/50i (PAL), 480/60i (NTSC), 576/50p, 480/60p Max. 18.812 mm/s with PHDVM-63DM cassette Max. 28.218 mm/s with PHDVM-63DM cassette Max. 63 min with PHDVM-63DM cassette Max. 41 min with PHDVM-63DM cassette Approx. 2 min 40 s with PHDVM-63DM cassette

Built-in filter Focus Imaging device Picture elements White balance Shutter speed 50i/PAL mode 60i/NTSC mode Exposure Gain Minimum illumination
INPUT/OUTPUT CONNECTORS/DEVICES Video input/output S-video input/output RCA pin x 2 Video signal: 1 Vp-p, 75 unbalanced, sync negative Mini-DIN 4-pin x 2 Y: 1 Vp-p, 75 unbalanced, sync negative C: 0.3 Vp-p (PAL), 0.286 Vp-p (NTSC), 75 unbalanced RCA pin x 3 Y: 1 Vp-p (0.3 V, sync negative) Pr/Pb (Cr/Cb): 700 mVp-p (100% colour bar), input impedance 75 4-pin Stereo minijack ( 3.5 mm), 8 loading Stereo mini-minijack ( 2.5 mm) RCA pin x 2 Input level: max. 4 Vrms, input impedance: min. 47 k unbalanced RCA pin x 2 Output level: 2 Vrms (full bit), output impedance: max. 1 k 3.5-inch type, approx. 250,000 pixels (1120 x 224), hybrid type

Component video output

i.LINK Phones LANC Audio input Audio output LCD monitor GENERAL Mass Power requirements Power HDV consumption DVCAM/DV Operating temperature Storage temperature Supplied accessories
* These values are calculated to be equivalent to 35mm film VTR SECTION Recording format 1080/50i, 1080/60i, 576/50i (PAL), 480/60i (NTSC) Playout/Down-conversion format 1080/50i, 1080/60i, 576/50i (PAL), 480/60i (NTSC) 576/50p, 480/60p Tape speed HDV/DV SP Max. 18.812 mm/s with PHDVM-63DM cassette DVCAM Max. 28.218 mm/s with PHDVM-63DM cassette Playback/ HDV/DV SP Max. 63 min with PHDVM-63DM cassette Recording time DVCAM Max. 41 min with PHDVM-63DM cassette Fast forward/Rewind time Approx. 2 min 40 s with PHDVM-63DM cassette INPUT/OUTPUT CONNECTORS Audio/Video input/output AUDIO/VIDEO jack x1 Video signal: 1 Vp-p, 75 unbalanced, sync negative Audio signal: 327 mV (at load impedance 47 k), input impedance more than 47 k, output impedance less than 2.2 k Mini-DIN 4-pin x 1 Y: 1 Vp-p, 75 unbalanced, sync negative C: 0.3 Vp-p (PAL), 0.286 Vp-p (NTSC), 75 unbalanced COMPONENT OUTPUT jack Y: 1 Vp-p (0.3 V, sync negative) Pr/Pb (Cr/Cb): 525 mVp-p (75% colour bar), input impedance 75 4-pin XLR 3-pin female x 2, 327 mV, -60 dBu: 3 k, +40 dBu: 10.8 k, power supply: approx. 40 V Stereo minijack ( 3.5 mm) Stereo mini-minijack ( 2.5 mm)
Approx. 1.8 kg (3 lb 15 1/2 oz) DC 8.4 V (DC IN jack), DC 7.2 V (Battery jack input) 6.5 W (playback mode with LCD monitor on) 5.7 W (playback mode with LCD monitor on) 5 to 40 C (41 to 104 K) -20 to +60 C (-4 to 140 K) Wireless Remote Commander, AC adaptor, power cord, stand, size AA batteries (2), cleaning cassette, operating instructions
S-video input/output Component video output

DIMENSIONS

352 (13 78) 155.4 (6 18) 99 (4)

Unit: mm (inches)

i.LINK XLR audio input Headphone LANC

194.5 (7 34)

LCD viewfinder LCD monitor Microphone GENERAL Mass Power requirements Power HDV consumption DVCAM/DV Operating temperature Storage temperature Supplied accessories
0.44-inch type, approx. 252,000 pixels (1120 x 225), hybrid type 3.5-inch type, approx. 250,000 pixels (1120 x 224), hybrid type Stereo type, noise reduction on/off

201 (8)

137.3 (5 12)

362 (14 38)

Approx. 2.1 kg (4 lb 10 oz) (camcorder only) DC 7.2 V (battery pack) Approx. 8.0 W (recording mode with LCD viewfinder on) Approx. 7.6 W (recording mode with LCD viewfinder on) 0 to 40 C (32 to 104 K) -20 to +60 C (-4 to 140 K) AC-VQ850 AC adaptor/charger, power cord, connecting cord, lens hood, large eye-cup, RMT-841 wireless Remote Commander, A/V connecting cable, component video cable, shoe adaptor, NP-F570 InfoLITHIUM rechargeable battery pack, size AA (R6) batteries (2), cleaning cassette, shoulder strap, operating instructions
6.1 (14) 219.4 (14) 1.9 (3 332) 180 (7 18) 69 (234) 143 (5 58) 116 (4 58) 3.7 (18)
15 s HDV CAMCORDER & VTR

246.7 (9 34)

BUILT-IN INPUT/OUTPUT DEVICES

SONY EUROPE

www.sonybiz.net/hdv
Sony 2005. Reproduction in whole or in part without permission is prohibited. Features and specifications are subject to change without notice. All non-metric weights and measures are approximate. Sony, DVCAM, DigitalMaster, SteadyShot, HD Codec Engine, i.LINK, InfoLITHIUM, Remote Commander, Picture Profile, Shot Transition, Cinematone Gamma, and Cineframe are trademarks of Sony Corporation. HDV and the HDV logo are trademarks of Sony Corporation and Victor Company of Japan, Limited. Vario-Sonnar T* is a trademark of Carl Zeiss AG. HDV CAMCORDER & VTR/GB-21/02/2005

Jon Fauer, ASC

OCTOBER 15, 2005

ISSUE 3

Survival Guides for Film, Video and Digital Production

Digital Intermediates

SONY HVR-Z1

Z1 Menu

Lighting with Paint

3D Digital Projection

SONY Z1 HDV Jumpstart
Heres a camera less than 15 inches long, about 5 pounds, that shoots HDV images looking better than almost anything broadcast in standard definition today, and rivals much of whats being sent out in HD. With a street price well under $5,000, the Z1 is a compelling introduction to High Definition and the transition from a 4:3 to a 16:9 world. More than 20 million High Definition, flat panel televisions have been sold. Yet broadcasters, ad agencies and clients still seem to be twiddling their thumbs, waiting to see receipts from sales of HDTVs this Christmas season. It reminds me of Bill Gates wondering whether the internet might be a possibility, or Thomas Edison proclaiming movies a small, passing amusement. Big HDTV sets will be selling at prices under $999 by years end. HD DVD will hit the consumer market in a few months. Sonys Z1 may be the killer ap thats jumpstarting this next big thing. Its one of those breakthrough products that usher in a new formatwhat the PD150 did for DV and DVCAM a few years ago. What happens next? Lots of visionaries come up with unintended, different ways to use it. The HDV format uses the same mini cassette as DV or DVCAM, and records at 25 megabits per second. Miraculously,
the Z1 produces gorgeous 1080i HD 16:9 images (4 times as much picture information as 480i standard def), no simple feat considering the compression for HDV at 1080i is 22.4:1. So heres a camera now being used for news, sports, documentaries and independent shows. It has crossed the Atlantic to cover a major sailboat race, worked in the Arctic and Sahara. In the next pages, well get started on how it works, how to use it, and why its an important tool to know about.

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Digital Intermediate

Sepember 21, 2005. At the NY Cine Equipment Show (great show, good food, fun party). A panel on Digital Intermediates including Tim Spitzer, Goldcrest Post Production; Billy Baldwin, president of Postworks; Christian Zak, Technicolor Creative Services NY; Scott Stevens, Eastman Kodak; and John Dowdell, Colorist, Grader and Guru. What does this have to do with HDV? Lots. As Larry Bridges of Red Car Editorial has said, Digital Intermediates are like the secret sauce into which all kinds of formats and media can be blended. Taking the iron-chef metaphor further, you can shoot on 35mm (3-perf, 4-perf), 65mm, Super8, Super16, scan it to data, mix it with HD, HDV, DV and videocolor correct it, clean it up, do effectsprint it back out to film, make masters for digital projection, DVD release and internet streaming. like the ARRIScanner, ARRILaser, Imagica Scanner, Spirit 4K and so on.
Whats the difference between a scanner and a telecine?
A scanner is slower and has mechanical pin registration. The film is threaded, and the data is scanned, usually unattended. Grading and correction is usually done later on a desktop (and soon laptop) computer. Telecine correction is done realtime. The film runs at its normal frame rate. Scanning was originally mostly used for effects work, where steadiness is critical. As the scanners got faster (now up to 4 frames per second), it became more economical for more films.
involved in the entire postproduction and DI process. If the cinematographer is going to save production money during the shooting, the cinematographer should be there to tell the grader how much to darken the background. A number of software tools are also being developed for the cinematographer to grade at home and send the results in to the post facility. Metadata can help. Metadata is the screen full of technical settings you see in Photoshop CS when you open file browser. It travels with each frame of film, identifying the shot, f-stop, frame rate, time of day, and anything else you want to import. All the script notes for the shot can be attached, along with the cinematographers notes on color, contrast, look and grading.

Benefits of DI?

You do NOT cut the negative. You have much more creative control, because you can change things, make different versions, and the negative is preserved. There can be cost savings with titles, subtitles, effects, image blow-up, and cropping. Image defects, scratches, and dust are easy to remove. Dust-busting cleans up annoying particles down to the microscopic level. There can be huge economic benefits. Its not just about pretty pictures: its about distribution to a worldwide market on film, video, DVD, HD, HD DVD, digital projection. Other benefits are when you have to do an unintended optical: like when B-camera managed to include the entire Technocrane in the shot. Rigremoval is easier.

Digital dailies

Fewer dailies are screened on film. More are done on a 2K telecine (or 4K downconverted to 2K) and output to HD tape. Were seeing more digital dailies done with secondary color correction. HD dailies can then be used as masters for testing preview audiences, before entering the DI process. More and more features now have a line item in the budget for DI. The line between production and post is shrinking: theyre all connected now.
What is a Digital Intermediate?
In simplest terms, a Digital Intermediate (DI) is like Photoshop for filmmaking. You scan the original camera negative and send the data onto a computer hard drive. The data is now a digital intermediate. The images are graded (color-corrected), titles and effects are created, and scratches, dust or mistakes are removed. Finally, the data is printed back to film with a laser printer, to tape or hard drive.
Why do a digital intermediate?
It is not just for film-originated material. It can integrate material shot on a variety of sources and formats: 16mm, 35mm, 3perforation, 4 perforation, 65mm, Super 8mm, digital, video. The technical jargon is hybrid workflow. All kinds of formats can be blended together, and all kinds of formats can be served. With a DI, you can print to film, make foreign versions with subtitles, deliver digitally to digital cinemas, create your DVD masters, and stream to internet Quicktimes and Windows Media. The jargon for that is video versioning.

What about Super16?

There is a resurgence of shooting in Super16. Its made possible by new, finegrain film emulsions like the Vision2 series from Kodak and digital blowup to 35mm that surpasses liquid gate blowup.
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Role of the cinematographer in DI
With a DI, using software from companies like Iridas, Lustre or Quantel, you can adjust color, brightness and contrast. You can do secondary color correction in separate grading of background and foreground. You can isolate colors. And that is why its so important for the cinematographer to be
Is it like telecine weve been doing?
Yes, its like doing a telecine and nonlinear post in the film world. The hardware that made it possible were tools

HDV: SONY HVR-Z1

The Z1 features so prominently in this issue, despite being a prosumer camcorder, because it points the way toward lighter, smaller, faster, cheaper design that democratizes the process of high definition acquisition. Over 35,000 Sony Z1 camcorders have been sold since it was introduced a few months ago. The Z1 has many clever design features that should inspire other camera manufacturers, both film and digital, to notice. The flip-out on-board color LCD monitor is postioned in your direct line of sight, to be used as a sport viewfinder. This is a handheld handycam style camcorder. It doesnt rest on your shoulder. A benefit of handholding is that your arm works like a Steadicam, absorbing the bumps. The disadvantage is eventual fatigue. You can have the best
of both with an aftermarket Steadicam Merlin, P&S or other shoulder bracket. Two 3-pin XLR receptacles provide balanced audio input. Whew. The handgrip is not attached to the lens: it is attached to the camera body where it belongs. I shudder whenever I see a camera handgrip attached to a lens; all that weight is directed right to the lens mount, where it can bend and change flange focal depth.

Quick Specs

lens: 4.5mm - 54mm f1.6-2.8 (72mm threaded front) 1080i: 1080 scan lines; 1440 horizontal pixels NTSC and PAL MPEG-2 encoding 60i or 50i capture; HDV, DV or DVCAM Three 1/3 inch 1.04 Megapixel 16:9 CCDs 12x fixed Carl Zeiss zoom lens with optical stabilization i.Link IEEE 1394 (Firewire) connection 7.4 V DC battery
SONY HVR-Z1: GETTING STARTED
One of Andrew Laszlo, ASCs favorite stories is the recipe for Hungarian chicken. He begins, First you steal a chicken. Like most cameras, the Z1 comes in a cardboard box. So, first you need a good, hard, protective case. At left, a Pelican 1600 (24-1/4" x 19-7/16" x 8-11/16") waterproof hard shell, with custom foam interior cut by A&J Cases. www.abelcine.com Everyone knows how to attach the battery, turn the camcorder on, and load tape, but in case you just returned from 20 years of isolation atop a mountaintop monastery in Bhutan, where no camcorder toting tourists dared go, heres a refresher course.
To record, push the Green button in, and turn the POWER switch to CAMERA. The blue LEDs above the i.Link receptacle tell you whether its output is HDV or DV. This is important. Its not the record mode. You change that from the MENU. Personal note: I found the image on this camera, recording in DV or DVCAM mode, looked sharper and more detailed than a PD170. The Z1 is about 1 stop less sensitive (minimum 3 lux at f1.6); not a big deal because thats about equivalent to the light of one candle 3 feet away. Also, the Z1 has three 1/3 16:9 CCDs; the PD170 has three 1/3 4:3 CCDs.

To load tape, slide the OPEN/EJECT latch to the right, and pull out on the door all the wayit does not pop open automatically. What does open electrically is the inner, shiny metal tray. Insert a Mini DV or Mini DVCAM cassette. Better yet, use tape that is specifically labelled for HDV use, like Sony PHDVM-63DM. Although you can certainly use regular DV tape, HDV tapes are manufactured to much stricter tolerances. Since one lost particle of metal oxide can show up as a total loss of picture area, I think its well worth the extra cost. The cassette goes in with its clear window facing out, and the REC-SAVE switch facing up. Like most of these shiny mini DV trays, push on the left side, where it says PUSH. After it retracts, close the outer door manually until it clicks. If its a rental camera, where has it been before? What settings have the previous users entered? The first thing I do is flip open the onboard LCD monitor to reveal a control panel. Turn the camera on. Stick a paper clip into the hole marked RESET. The camera is returned to its default, factory values. This has nothing to do with family values that politicians tell us we sorely lack. Personal Menu and Picture Profile settings are not wiped out. They must be deleted by accessing the P-MENU.

GETTING STARTED

After pushing RESET, the major default camera settings are: Record in HDV 1080/60i NTSC Time code is RECORD RUN, REGENERATE Steadyshot (image stabilization) ON Setup level 0% Audio recorded separately on CH1 and CH2 Audio recorded at 48K, 16-bit in HDV and 32K, 12-bit in DVCAM/DV SP. Built-in Stereo Microphone enabled, Audio Limiter OFF, Noise Reduction ON, Wind noise reduction OFF. Viewfinder shuts off when LCD monitor is on. Lets tweak the menu settings. Most of the camera functions are adjusted by pushing the MENU button. P-MENU is your Personal Menu for quick access to the settings you change the most frequently. PICTURE PROFILE is sort of a look up table with choices of 6 customizable ways you want the picture to look like. STATUS CHECK shows most of the settings youve made. PEAKING outlines an image as a focus aid, and ZEBRA shows where youre overexposed. I neglect both.
Lets make some changes. Push the MENU button. The main menu shows up on the LCD onboard monitor or in the viewfinder. When youre deep into the menus, and want to exit without making a selection, push the MENU button again.
To make selections, scroll up or down by rolling the SEL/PUSH EXEC jogwheel. Enter a value by pushing in on it. I contend the best menus in the world are on Nokia phones, and of course, at Paris restaurants. Navigating the Z1 menu takes a little exploration, and gets easier after a couple of uses.
1. CAMERA SET Menu. This is the home page that pops up when you first push the MENU button. The icon in the left column shows the page, the column on the right shows the choices within that page.

2. Scroll down to the bottom left icon: this is the OTHERS page. Below the page title on top are some of its choices. The 3 dots on the bottom right mean there are more choices lurking below. Push the SEL jogwheel to choose OTHERS.
3. Were in the OTHERS page. Scroll down. The bar on the left shows us were on the top of the page. As we scroll down, the bar moves down to show our relative postion.
4. Were finally there: 50i/60i SEL. Buried deep at the bottom of the bottom page is possibly the most important setting in the whole camera. Push SEL.
5. If were shooting 50i (PAL), wed change the setting. Some people shoot 1080/50i for film out, but depending on the facility, 60i may be better. So, for an NTSC country, select NO.
6. Lets look at recording in HDV or DV format. Unless you only need 4:3 DV, you might as well shoot in HDV, because it can downconvert to DV. Scroll to the IN/OUT REC page, and select.
7. Select to enter the REC FORMAT menu.
8. Heres 1080i, and it will be recorded in whatever setting you made in the 50i/60i menu. 1080i will always be 16:9. But what if you need to match a show thats 4:3, standard definition?
9. Or what if youre going to hand your tapes off to an editor who has a DV deck, but hasnt had the wisdom to get an HDV deck yet? Roll the jogwheel to get the cursor on DV. Select it.
10. Notice that DV is now listed next to REC FORMAT. Two more selections are now available: REC MODE and DV WIDE REC. They were previously grayed out when HDV was set.
11. Scroll down to REC MODE, and select it.
12. We now have the choice of DVCAM or DV SP. DVCAM is Sonys proprietary DV format, using a wider track pitch, faster tape speed and non-drop or dropframe timecode choices. Choose DVCAM only if you have a DVCAM deck.
(14, contd.) It will intercut with tapes shot on a PD150, PD170 or other 4:3 DV camcorder.
If youre watching on a 16:9 TV, with the OFF setting, youll see pillars on either side of your 4:3 image. 13. DV WIDE REC determines whether to squeeze the DV picture for 16:9 unsqueezed playback on your NLE or monitor. 14. OFF is my recommended setting for normal playback on a 4:3 standard definitvion television, without squeezing or letterboxing. DV WIDE ON will squeeze the picture onto a 4:3 set, unless you have a pro monitor with a dedicated 16:9 button, in which case it will be letterboxed top and bottom.
15. Lets go back to HDV. Select HDV 1080i for Record Format. This is the way things were meant to be: you dont have to worry about chopping or squeezing: you can delay that decision until playback. In HDV mode, youre recording a 16:9 picture, and there are many choices if you play back on an HDV deck (or camera).

16. i.LINK CONV gives you the choice of HDV or DV output through the IEEE 1394 connection on camera right. i.Link is Sonys name for it; Firewire is Apples. Use this connection and setting to monitor during recording or to feed into Final Cut Pro, Avid or nonlinear editor. Select HDV>DV CONV.
17. Select ON, for example, if youre sending the i.Link signal to a hard drive or backing up onto DV. Youre still recording the tape in HDV format: this setting just converts playback, now or later. Changes NOT allowed. Unplug i.LINK cable error message shows up even when nothing is plugged in. It seems to be a bugignore the warning.
18. DOWN CONVERT lets you select what to do with the HDV picture when you monitor or play it back as standard video, S Video, Component 480i/p or 576i/p, or DV. It does not affect recording.
19. LETTERBOX gives you a normallooking 16:9 picture on a 4:3 TV, with black bands on top and bottom.
20. EDGE CROP shows up as a fullscreen picture on a 4:3 TV, but the edges are cut off. Remember this when composing your shot.
21. SQUEEZE looks squished on most 4:3 TVs, letterboxed if you have one with a 16:9 switch, and true 16:9 if you have a 16:9 TV.
22. COMPONENT determines what kind of analog Y-Pb-Pr signal comes out of the multipin COMPONENT OUTPUT connector on the camera right side.
23. The Z1 comes with 2 cables for analog output: a 3-jack RCA red-green-blue for Component video (no audio), and a 3jack Composite Video/Audio (left & right). Supply your own S Video cable.

OPTICS

Eyepiece elements are plastic. Do not use traditional alcoholbased lens cleaners hereuse plastic eyeglass lens cleaners and microfiber cloths. Careful, it scratches easily. The diopter adjustment, to set your eye focus, is the gray plastic lever underneath the eyepiece. Slide it left or right. To remove the eyepiece for cleaning, push the RELEASE button in and slide the eyepiece up.

Diopter Adjustment

Its helpful to leave the eyepiece and LCD monitor on simultaneously. Go to the menu, and select: LCD/VF SET; VF POWER; ON. (OFF turns the eyepiece off when the on-board monitor is opened: saves battery but wastes time.) You dont have to take my word for it, but the Carl Zeiss lens really is good. Set up a Putora Lens Chart (uses concentric rings instead of having to count line pairs: available from www.zgc.com) and a good HD monitor. Even though the lens isnt interchangeable, there are some benefits of its permanence: no messing with back focus, no dust on the CCDs when changing lenses, huge cost savings because all kinds of electronics constantly compensate settings at any focal length, aperture and distance. The lens is glass. Clean it carefully with Pancro lens cleaner and a microfiber cloth. (www.pancro.com) The sunshade that comes with the Z1 is an absolutely brilliant design. No more lens caps. Every mattebox should have this. A lever shuts two flaps to protect the lens. To attach the sunshade, line up the index marks, rotate the shade about 45 degrees clockwise, and tighten the thumbscrew.

Lens setup. The zoom has a silky smooth feel that makes you wonder why all lenses cant be this way. Manual zoom is set by sliding the switch to RING. LEVER/REMOTE is for the zoom lever on the right side and on top. The lever above the right handgrip provides smoothly feathered starts and stops; the hand zoom on top is not as delicate. Unless youre running and gunning, set the FOCUS switch to MAN (manual). Use the PUSH AUTO button for momentary auto focus when you become discombobulated. The viewfinder shows focus distance in the lower left. ND Filter. If theres too much light, you can dial in one of two behind-the-lens optical neutral density filters. ND 1 reduces light by 1/6, equivalent to ND.75, cutting down about 2 1/2 stops of light. ND 2 reduces light by 1/32, equivalent to ND1.5, cutting down about 5 stops of light. When you see an ND warning flashing in the eyepiece, its urging you to use an ND filter. If you see ND OFF flashing in the eyepiece, its urging you to remove it. If you see ND1 or ND2, and its not flashing, the camera is telling you the filter is in and it thinks you made an excellent choice. AUTO LOCK is like auto pilot. It takes over, providing default automatic control of iris, gain, shutter speed and white balancethings you can adjust by pushing the buttons next to it. AUTO LOCK is like the Auto setting on the Nikon D70 digital still camerasort of a quick setting for dummies. Ironically, the engineers who designed it were no dummies, and I use it often, because most of the default settings really are quite good.

AUTO / MANUAL

WHITE BALANCE. 1. Slide the AUTO LOCK switch to the middle position. 2. There are two WHT BAL buttons. In an effort to clarify, lets call the one toward the cameras rear WHT BAL Auto or User. Well call the other button, below the icon WHT BAL White Card Set. Push the WHT BAL Auto or User button. This button cycles between Auto White Balance (the camera decides) and User-Set White Balance (you decide), displayed as A or B in the lower right corner of the viewfinder. 3. Flip the 3-position White Balance Switch to A. This is Manual White Balance Setting A. IRIS. For manual control of the exposure, highly recommended, push the IRIS button. Youll see the f-stop displayed at the bottom of the finder. Turn the shiny iris knob to adjust your aperture. GAIN. After the GAIN button is pressed, there are three selections available with the 3-position switch: H-M-L. The default values are 0 db (L), 9 db (M), and 18 db (H). These are good. If you want to change them, go the MENU; CAMERA SET; GAIN SETUP. SHUTTER. Press the SHUTTER SPEED to cycle between auto and manual shutter speeds of 1/4 to 1/10,000 second in 60i and 1/3 to 1/10,000 in 50i. Set the speed with the SEL/PUSH EXEC jogwheel at the rear of the camera. (Blue dots remind you). 1/4 and 1/8 are interesting for streaking movement, similar to filming and transferring at 6 fps. 4. Aim the camera at a white card. 5. Push the WHT BAL White Card Set button until the icon in the finder stops flashing. 6. When you want to store another manual white balance setting, flip the 3-position White Balance Switch to B and repeat #4 and #5 to store the setting. Write down which is which on a piece of camera tape, and stick it on the sunshade. 7. PRESET on the 3-position switch is set in the MENU. Go to CAMERA SET; WB PRESET, and choose OUDOOR (5600 K) or INDOOR (3200 K).

FUNCTION BUTTONS

There are 6 user-assignable buttons, labeled ASSIGN 1-6. Theyre like shortcut keys: label them with chart tape or PTouch labels. To set them, go to MENU; OTHERS; ASSIGN BTN (Button). I have set my buttons like this: 1. BACKLIGHT (opens aperture about a stop) 2. SPOTLIGHT (silly namebut closes aperture a stop) 3. AE OVERRIDE (lets you tweak exposure with iris knob) 4. STEADYSHOT (turn image stabilization on and off) 5. REC REVIEW (review the last 3 seconds of the last shot) 6. DISPLAY (turn viewfinder status info on and off) Other functions that can be assigned to buttons are: FADER (fade to black, fade to white) WB OUTDOOR LVL+ (warmer) WB OUTDOOR LVL- (cooler) HYPER GAIN (+36db) MARKER (frame lines, selected from CAMERA SET, MARKER SEL); ALLSCAN MODE (sort of an underscan) INDEX MARK (locate a select take later) AUDIO DUB (in VCR mode) BARS (duplicates button on panel under LCD monitor)

OPERATING HINTS

In a nest underneath the LCD monitor is a panel of controls for tape playback; on-board speaker volume; LCD brightness and backlight; display (camera status) information; timecode/user bit display; bars; and end search (in VCR playback only, when tape is stopped); and data code (press it during VCR playback to see date and camera settings info, not recorded on tape). Flip the monitor over for high eyepoint viewing. SHOT TRANSITION. Heres a new feature thats very good for rack focusing, precise zooms, as well as programmed changes to iris, shutter speed, gain and white balance. We use focus and zoom shot transition the most. For example, were on a tripod, locked off. We want to do a slow, precise rack focus from the Martini glass in the foreground, shaken (not stirred), to Mr. Bond in the background. FOCUS SHOT TRANSITION. Push the STORE-CHECK-EXEC button until the STORE LED glows. Youre ready to record the start point of your shot. Select MANUAL FOCUS (It works in AUTO FOCUS, but manual is easier). Focus on the first objectprobably in the foreground. Press the A button to store it. Focus on the second objectprobably in the background. Press the B button to store it. Next, to check your settings, press the STORE-CHECK-EXEC button until the CHECK LED glows. Press A and B to check if the focus marks are recalled. To see the transition in real time, press the STORE-CHECK-EXEC button until the EXEC LED glows. Push A to return to the beginning of the move. Push B to see the move from A to B. When youre ready to roll, start the camera, and repeat. Speed and smoothness of the move is adjusted in the MENU. Go to MENU; CAMERA SET; SHOT TRANS. TRANS TIME is the duration, from 2 to 15 seconds. SOFT TRANS provides nicely feathered starts and stops and the one I like most.

at left: A very helpful top handle bracket from VF gadgets has 1/4x 20 and 3/8 x 16 threads for underslinging the Z1 from remote heads or adding accessories. Made by a shooter, beautifully machined, www.vfgadgets.com
A Manfrotto 521 PRO zoom control clips onto your fluid head handle and ensures smooth zooms. It plugs into the Z1s LANC connector, located under a rubber cover at the rear of the handgrip. Not as good as a Microforce, to which we should all aspire, but still one of the best prosumer zoom controls out there. There are buttons for record/stop, power on/off, and auto focus. More than any other accessories, the zoom control and a smooth fluid head will ensure elegant moves. Pick a fluid head for the 10 to 20 pound payload range. Tripod choice is usually determined by the job; if youre carrying all the equipment in a backpack, get the smallest, lightest carbon fiber sticks. Check out the line of Manfrotto and Sachtler video heads and carbon fiber legs. A monopod is also useful: the SLIK Pro Pod 380 CF is only 20 inches long. Attached to the camera, it helps stabilize almost like a Steadicam. For a Z1 Steadicam, get the new Merlin. When folded, it doubles as a shoulder pad. Shooting underwater? Amphibicos VHFXZ105 housing is tested to 330 feet, has a domed front port, and has an accessory on-board monitor, ACFM0350.

ACCESSORIES, EDITING

Chrosziels 450-01 HDV mattebox attaches with baseplate and rods to the bottom of the camera. Optional eyebrows keep flares out of the lens. Manual follow focus is somewhat repeatable as long as the camera stays on, you pull focus at the same speed each time, and dont go past infinity or minimum focus. Once you power down, its best to check the focus marks. Theres nothing better to track an actress walking toward camera, or to make a smooth rack focus from the dangerously poisonous tree frog lurking in the foreground to the person its going to bite in the background. Its faster than programming the Z1s Shot Transition, the interesting in-camera alternative. www.chrosziel.com Alfred Piffl and his colleagues at P&S Technik never saw a camera they couldnt make better. P&S have come out with an arsenal of accessories for the Z1: shoulder pad, battery holder, handgrips, breakout box, baseplate, rods, eyepiece, handle, and a Mini35 adapter that accepts PL mount lenses. The Mini35 attaches to rods in front of the Z1s fixed lens. Why take a tiny camera and make it bigger? It gives you a choice, a modular system. One day your camera can be tiny and inconscipuous. The next day, you can have a system that looks and acts like the rest of the network press corps. Better yet, you avoid their envy should you show up with something too small or light. www.pstechnik.de or www.zgc.com Use lens lights judiciously. Just because you have one, even if its the latest LED from Lite Panels or Preston, doesnt mean its going to make pretty pictures out of the box. At best, they are Obie lights, putting a sparkle into the actress eyes. Dim it down, diffuse it, control it. Dont let the light look like local newsyou know, washed out faces, hard reflection of the light itself on the poor talents glistening forehead.

Where does it go? Were a few months from HD DVD and BluRay DVD, where this MPEG format is destined. Meanwhile, you can cut your masterpieces in HDV on Apple Final Cut Pro 5. Avid Xpress Pro HD v5.2 supports HDV on the PC. It should be coming to the Mac shortly. A Sony HVR-M10U deck records and plays back mini cassettes recorded in HDV, DVCAM, DV, and downconverts HDV to DV, with IEEE 1394, Component and Composite connections. Built in mini monitor, and uses same battery as the Z1 camera. Aha, you say, a good deck to replace the venerable combi8 deckmonitor. Yes it is. Camera Service is using them already.
The on-board shotgun mike is the audio equivalent of the onboard camera light. It works, but it works better when separated from the mother ship. A good boom operator aiming the mike just out of frame should be an essential member of your crew. Sony ECM-678 and ECM-674 are highly directional (supercardiod) mini shotgun microphones, under 11 inches long and weighing 7 oz. On-board microphones plug into the 3-pin XLR receptacle on the camera right side. Adjust the level with the controls at the rear of the camera. You might want to send the output to both channels, and record each channel at a different level for protection. The switches at the front of the camera do not turn the mike on or off: they control phantom powering to the mike. Phantom power is an external (coming from the camera) +48 volts DC used by some microphones and cartridges like the Sennheiser K6P. Many microphones are self-powered by internal batteries. To get the sound from the mike to the camera, you have to go into the menu. Go to MENU; AUDIO SET; MIC SELECT; XLR; XLR SET; XLR CH SET. Select CH1, CH2 to send the audio to both channels. Select INPUT LEVEL; MIC. Plug your headphone into the monitor jack (under rubber cover above main power switch.) At bottom left, XLR audio inputs. Note: you cannot mix internal and external microphones. In other words, youre using either the built-in left/right channel microphones or one or two external ones. What that means is, if you want to use an on-board microphone on one channel and a wireless lavalier on the other, you have to supply an additional top-mounted mini shotgun mike. Thats not a bad thing, because the quality will inevitably be better. At top left: S Video, Component and Composite / Audio outputs.
For less than the cost of a day and night at NAB, Sonys UWP-C1 kit provides everything you need for really good audio: wireless transmitter, lavalier, tuner-receiver and camera mounting kit. Hide the lavalier microphone on your talent and plug into the tiny wireless transmitter. Or, have your boom operator connect directly into the wireless transmitter using the supplied adapter cable. Clip the wireless receiver to the cameras top cold shoe receptacle (as shown at right) and plug into the audio input with the supplied 3-pin mini-plug to XLR adapter. The transmitter and receiver run about 6 hours with two AA batteries.

In an interview, Woody Omens, ASC playfully suggested that Johannes Vermeer would have been an excellent cinematographer.
Vermeer loved showing windows in the shot, showing his source and controlling the background. Its probably 2 oclock in the afternoon; not the best time to be shooting outside because the sun is high and the light is flat. But inside the Geographers studio, the light is beautiful. A dark curtain keeps the light from spilling all over the foreground. Our props department procurred a wonderful dark cabinet, nautical charts, a globe, and dividers. They got a Hudson sprayer at Delft Depot and coated the windows with dirty water to diffuse the light. Originally, the director wanted to stage the scene against the back wall. Vermeer was horrified. He said, we can do that, but then Im going to have to spend five hours lighting the room. If we do it by the window, well be ready in minutes. The director wasnt convinced, but the producer loudly began tapping his watch. The foreground table was bright, bouncing light all over the place, and distracting. Get me a dark fabric, Vermeer said to his stylist, and while were at it, can we borrow your dark blue robe to cover his garish white shirt?
The Geographer 1668-69 Stadelsches Kunstinstitut Frankfut am Main
A grip approached with a 4x8 muslin bounce. Vermeer guided him aside. We dont need any fillthe white charts are enough.
The Girl Reading a Letter was a tough one, a few years earlier.
The cut glass of the window cut down too much light. Not only that, the view outside the window was not a pretty sight. The grips gently freed three centuries of dried paint from the windows edges, and opened it into the room. Beautiful light, but.camera reflection. Carefully, millimeters at a time, Vermeer asked his prop master to position the window until it caught the reflection of the girl reading the letter. Perfect, he said, as it swung out of position in the breeze. Get me a red curtain, he asked. Now hang it up, and drape it over the window to hold it in position. The gaffer had just finished placing a 6K HMI PAR on two sections of parallels outside the window when the generator died. Sorry, boss, I dont think we can fix it today, he said. Vermeer didnt mind. Just give me one shiny silver reflector instead. Luckily, it remained sunny all day.

Girl Reading a Letter at an Open Window 1657 Staatliche Kunstsammlungen, Gemldegalerie, Dresden
with apologies to Woody Omens, ASC and Johannes Vermeer.
Chicken Little or the Egg?
Digital Projection and 3D. Chicken or Egg? What has to come first for movie theatres to convert to digital projection? The projectors or the movie? The answer is Chicken Little. Disneys animated 3D film will open soon at one of 85 theaters near you, with new 3-D digital projectors and polarized eyewear. It now costs about $85,000 to convert a theatre from film projection to digital. Studios figure they now spend about $1 billion a year making prints and shipping them. Increased gas prices add to the cost. 3-D has come and gone every ten years. This time the digital projection for Chicken Little uses a single projector, merging two data streams, one for each eye, at 144 frames per second, alternating left- and right-eye images through a lens that polarizes each stream. Audiences will use disposable polarized glasses. To overcome the light loss, the system requires a silver screen, which reflects more light back to the viewer. Screen size will limit theaters to no more than 300 seats. But its better than the old days where you had to use 2 cameras, put polarizers on the lens, or colored filters, and deal with all the optical/printing issues that made the image murky and muddy. Desperate measures for desperate times of shrinking movie theatre attendance? A highly-placed anonymous source said, movie theatres are going to have to show 4K or 8K pictures if they want you to get out of the chair where youre watching beautiful 2K images at home. And 3-D might be better at home, where you can have clean, new, high-quality, bluetooth, wireless optical 3-D glasses of your own. The players in digital projection are, among others, Christie Digital Systems USA, Access Integrated Technologies, Real D, Sony, TI, JVC, Technicolor, Dolby Laboratories, and Kodak. Meanwhile, MyBlinkx TV offers a glimpse of things to come: watching what you want, when you want.on a computer screen, with Google-like searching of any show ever made.

Credits in this Issue

For technical expertise and equipment, thanks to Juan Martinez of Sony; Kay Baker, Dean Schneider and Brian Ercek of Film/Video Equipment Service Company in Denver; Pete Abel, Jesse Rosen (guru) and Mike Ski of Abel Cine Tech in New York.