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digital cinematography camera system hd900f operation manual

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2. where needed Check and set all other MENU items section 5 9 Check VTR record and playback section 5 2 Set timecode on camera section 5 7 1 0 9 9 ILVHIdO VYAWVD 3NILNOY 3 IT S 112 5 12 PRE ROLL CHECKLIST The following is a checklist that should be done prior to shooting to insure proper imaging Perform an Auto Black Balance ABB section 5 4 Check the Gain is correct usually O dB sections 5 8 5 9 1 Check White Balance section 5 4 Check and or set back focus of lens section 3 4 Check frame rate with MENU switch held to STATUS position section 5 8 Check shutter speed with DISPLAY switch set to ON position section 5 8 Check OUTPUT switch is set to desired position Note DCC on may cause unwanted effects section 5 8 Load tape and reset timecode or regen timecode on existing tape section 5 1 5 7 Record color bars and tone on head of tape 4 75 0 Lo 5 13 PRODUCTION CONSIDERATIONS PANAVISION LS Are there are any locations where AC power is unavailable If so then a 9 monitor is required as it is the only one that runs from 12V DC You will potentially need extra batteries for camera and accessory power Are there any extremes of temperature or environments anticipated You may need a weather protector or a hair drier to dry out humidity inside camera Are you going to have any Steadicam crane w
3. FPANAVISION 15 16 ANAVISIDN LEA HD900F GENERAL SPECIFICATIONS 1 7 FRONT AND REAR CAMERA VIEWS 17 1 7 FRONT AND REAR CAMERA VIEWS r J2ANAVISIUN LS Static Interlaced Image consists of two fields Moving image appears to the eye as a blurred bro ken edge 18 Field 1 odd lines Field 2 even lines 1 3 5 etc 2 4 6 etc h m EB gt gt EEE m Y gt v re 60 field to 24 frame conversion requires the mixing of 3 fields resulting in additional motion blur e PANAVISION Ls 1 8 PROGRESSIVE VS INTERLACE PANAVISION L I The 24P HD Electronic Cinematographv Camera Svstem is a PROGRESSIVE capture device unlike older video cameras that capture the image in an INTERLACE manner INTERLACE A video scanning svstem where the odd numbered lines are scanned separatelv from the even numbered lines The odd numbered lines form field one the even lines make up the second field The combination of two fields comprises one frame PROGRESSIVE A video svstem in which all lines comprising a frame are scanned in sequence rather than interlaced The interlace mode of capture has inherent motion artifacts and is difficult to transfer to film The progressive mode of shooting captures the complete resolution at once at the same point in time and therefore allows a perfect one to one transfer to film 19 1 0 9 9 5 1 2 141
4. JJANAVISIUNM DIGITAL CINEMATOGRAPHY CAMERA SYSTEM OPERATION MANUAL HARDWARE VERSION 3 ULTRA PRECISION EQUIPMENT FOR THE MOTION PICTURE INDUSTRY photographs were shot using the Kodak Preview System with Primo lenses HD900F OPERATION MANUAL COPYRIGHT 2002 VERSION 3 0 May 2004 PANAVISION L U INTRODUCTION PANAVISION L I In 1997 Panavision and Sonv announced their collaboration on the development of a 24P digital high definition camera suitable for use bv filmmakers to create big screen motion picture image qualitv We knew from 45 vears of experience that a complete imaging system approach was the only way for traditional film crews to make a seamless transition into digital production With this in mind we made a number of modifications to the Sony HDW F900 24 camera For starters the Panavised camera received a heavy duty front plate and lens mount modified to work with our specially designed Primo Digital lenses The system now accommodates most of our standard film camera accessories as well as new accessories designed exclusively for digital cinematography In addition to the mechanical modifications to the camera a unique optical pre filter gives you better color matching with film emulsions and enhanced resolution for blue screen effects cinematography Last but not least we designed the new ULTRAVI EW viewfinder for studio and handheld cine style use
5. gt i gt z S3HOLIMS NIVW 8 5 82 CANCEL MENU DISPLAY Sample viewfinder display when MENU switch held to STATUS position See also Section 5 9 1 1B 048 1 48 Sample viewfinder display with DISPLAY switch in ON position See also Section 5 9 2 PANAVISION Ls 5 8 MAIN CAMERA SWITCHES CONTINUED PANAVISION L I OUTPUT WARNING WHITE BALANCE MENU DISPLAV Switches the output signal of the camera between color bars camera or camera with DCC on DCC is an autoknee circuit which will adjust the highlights in the image depending on their brightness Also see section 1 9 If the DCC is switched on and then off the KNEE circuit still remains Sets the white balance of the camera between either the PRST preset or the two saved switch positions A or B Leaving the switch on PRST and the CC filter wheel on B sets the camera to the factorv default tungsten white balance when using 3200K lighting Holding the switch up to the STATUS position shows the current frame rate of the camera in the viewfinder as well as warning indications and the programmed settings of the ASSIGNABLE switch Pushing down toward CANCEL when in the menus cancels a selection or reverses order through a menu list Used to turn on or off the preprogrammed DISPLAY indicators in the viewfinder set with OPERATION MENU page 1 or to enter into the MENUS
6. 61 SaldaLiva ITV e LLI a O lt L LLI c LC CAMERA OPERATI ON 64 mim PLAY ANAVISIDN LI 5 1 HDCAM CASSETTE The HDCAM cassette loads as shown with the window facing up and the tape cover facing toward the lens The eject button is on top of the camera exposed through the circular hole of the VTR control cover Simply push the cassette down until it seats and then close the cover until it clicks As with any tape after recording it is sensible to push in the red record protect tab on the side to prevent accidental re recording 1 0 0 T Upon insertion of a new tape reset the CTL track Then reset the timecode track if using R Run to zero and using the Hour number set a camera roll number for that tape Record color bars and tone at the head for future use in post See section 5 7 for more timecode information ILVHIdO VYAWVD 5 2 VIR CONTROLS Use these standard VTR controls to play rewind fast forward stop and eject the tape You can view the image in the viewfinder or on a monitor that is connected to the camera 3113SSVO Z T S FI PA AVISION 65 66 pe J2ANAVISIUN EA 5 3 VIEWFINDER CONTROLS Peaking Knob Used to emphasize edge frequencies in the viewfinder to judge focus Helpful with setting the lens back focus Contrast
7. It presents a 2 times larger image along with a greater diopter range Panavision is committed to continuously developing our Digital Imaging system in close collaboration with our clients just as we have done with our film systems over the last 45 years Now your HD project will benefit from the same dedication to customer service and superior image quality that is the hallmark of Panavision z 4 gt O 2 TABLE OF CONTENTS SECTION 1 0 GENERAL SPECIFICATIONS 1 1 CAMERA SPECIFICATIONS 1 2 CONNECTOR SPECIFICATIONS 1 3 FRAME RATES AND SHUTTER SPEEDS 1 4 CAMERA WEIGHTS 1 5 CAMERA MEASUREMENTS 1 6 SIDE CAMERA VIEWS 1 7 FRONT AND REAR CAMERA VIEWS 1 8 PROGRESSIVE VS INTERLACE 1 9 GENERAL IMAGING CONSIDERATIONS SECTION 2 0 PACKING AND SHIPPING 2 1 CAMERA BODY CASE 2 2 ACCESSORY CASE SECTION 3 0 PRIMO DIGITAL LENSES 3 1 PRIMO DIGITAL LENS DESIGN 3 2 FILM HD COMPARATI VE RESOLUTION 3 3 ASPHERI CAL AND FISHEYE ATTACHMENTS 3 4 PRIMO DIGITAL LENS EXTENDERS 3 5 SETTING BACK FOCUS SECTION 4 0 CAMERA ASSEMBLY 4 1 FRONT FACEPLATE AND FOLLOW FOCUS 4 2 VI EWFI NDERS 4 3 ON BOARD MONITORS AND BRACKET 4 4 LENS LIGHT 4 5 VOLTAGE UPCONVERTER 4 6 CARRY HANDLE 4 7 SIDE PANEL CONNECTORS 4 8 MIRANDA DOWNCONVERTER 4 9 REAR PANEL CONNECTORS 4 10 HD SDI ADAPTER 4 11 ON BOARD BATTERIES ANAVISIDN LE TABLE OF CONTENTS PANAVISION L I SECTION 5 0 5 1 5 2 5 3 5 4 5 5 5 6 5 7 5 7 1 5 7
8. PIANAVISION 35 INTERNAL FILTER SLOT BACK FOCUS LOCK BACK FOCUS ADJUST RING 36 PANAVISION LEA 3 4 SETTING BACK FOCUS PANAVISION L I In order to gain the maximum performance from anv lens it is necessarv that back focus be adjusted Using a lens that is not properlv adjusted will result in soft out of focus images While lenses for motion pictures have a fixed back focus that is adjusted by a service technician lenses for video employ an integral adjustment that is set by the user WARNING Be aware that extreme temperature changes can affect camera parameters such as black balance and back focus Check the lenses after every lens change and after they have warmed up on the camera Also you MUST check and or readjust back focus when switching lenses on different cameras Setting back focus is a simple process and once a few steps are practiced it can be performed quickly Test equipment It is helpful to have a chart that contains high frequency fine vertical lines information As an alternative look at a flat subject with fine detail newspaper and high contrast If you have a waveform monitor on the set observe a properly focused image in the green channel You should find this an aid to finding the proper setting If you will be judging focus from a monitor the 24 is best The 14 will suffice but do not use a 9 monitor for this procedure The following ste
9. av 119 ANALOG IN Y Pb Pr HD SDI IN MONITOR OUT IN 12V DC IN 120 pe J2ANAVISIUN Ls 6 2 9 HD SDI MONITOR INPUTS HD SDI Serial Digital Y Pb Pr HD Analog Power AC with adapter or 12V DC Framing 16x9 Transmission 4x3 Transmission To check the programming on a particular channel 1 Push the MENU button 2 Move the cursor using the UP and DOWN buttons until it is opposite the INPUT CONFIGURATION menu and the push the ENTER button 3 Read the FORMAT for what type of signal is programmed 4 Read the SLOT NO for which panel slot is used 5 Read the INPUT NO for which connector on the slot is used 6 To read other channels simply change the channel number on the keypad as you are watching this menu er T 0 e SUOLINON YOLINOW IGS 6 29 NTSCIN DO HD SDI IN LEE 9 WI MONITOR OUT 122 12 21 6 3 14 HD SDI MONITOR L 0 0 INPUTS HD SDI Serial Digital NTSC Power AC only Framing 16x9 Transmission 4x3 Transmission To check the programming on a particular channel 1 Push the MENU button Z 2 Move the cursor using the UP and DOWN buttons until O it is opposite the INPUT CONFIGURATION menu and the push the ENTER button a 3 Read the FORMAT for what type of signal is gt programmed 4 Read the SLOT for which panel slot is used
10. 75 83 103 111 112 113 Frameline 47 67 89 105 111 119 125 129 Frameline markings viewfinder 105 109 Framelines 24 monitor 128 129 Framelines monitors 119 Framing 113 121 123 125 F RUN 74 79 115 1 0 9 5 T G Gain 21 22 37 69 81 89 111 112 GAMMA 20 22 47 95 111 Genlock 9 54 60 Handle carry 8 53 68 114 501 9 47 58 61 119 120 131 HD900F 11 25 9 11 58 61 114 9 25 58 61 65 11 11 11 11 HDHR 11 HDHR 11 HDLM 11 HDPCM 25 HDPS 25 HDRP 25 53 68 69 HDSP 11 HDUC 11 51 HDVP 25 Highlight exposure 91 97 Hirose 9 47 51 55 57 Hoodman 113 Humidity 113 114 01 Image enhancement 97 Imaging 3 21 112 Input channel 119 123 125 Interlace 10 18 19 45 Iris 39 43 69 91 115 ITU 709 21 95 99 LNOD KNEE 83 97 avi 135 7 0 INDEX CONTINUED L Landing 114 127 Lens 3 8 11 31 33 34 35 37 39 43 65 67 69 93 112 115 116 Lens attachments 11 31 34 35 LENS FILE 93 Lens light 27 49 Lens mount 3 8 43 Line pairs 33 LOW KEY SAT 97 Magnetic field 127 MARKER 89 105 107 109 MATRIX 20 22 99 111 113 MBPC 11 MDC 55 Measurements 12 13 Memory Stick 8 72 73 93 101 Menu 10 21 55 67 69 73 81 109 111 112 114 119 122 Menu switch 55 83 85 89 103 112 MENUS 85 109 Metadata 58 116 MFF 11 Mic 9 42 69 115 Mir
11. 8 rods Steadicamo Plates Bottom Dovetail Plate for Regular Mode Top Handle Plate for Low Mode Sensitivity Minimum ISO 320 tungsten Cassette Tape HDCAM BCT 22HD BCT 32HD or BCT 40HD Running Times 22 min 9 30 fps or 27 5 min 24fps 32 min O 30 fps or 40 0 min 24fps 40 min 30 fps or 50 0 min 24fps Audio Quality 20 bit 48kHz Digital up to 4 channels Preset Storage Sony Memory Stick Eyepiece Panavision Ultraview 2 modes Extension and Intermediate Hand held or Ultraview Color Viewfinder SMARTLENS High resolution digital encoders to record Compatibility T stop focus and zoom positions PANAVISION LE 1 2 CONNECTOR SPECIFICATIONS PANAVISION L I DC DC out REM Audio In Mic In Audio Out Genlock In Genlock Out Timecode In Timecode Out Video Out Remote Control XLR 4 pin male 11 17 v Pin 1 ground Pin 4 positive Hirose 12V DC 4 pin 2 A max Lemo 10 pin 1B Pin 1 VTR Start Stop Pin 6 Ground VTR shutter menu controls HDRP 2 Channels XLR 3 pin female Pin 1 Ground 2 Input hi 3 Input low 2 additional channels with HDSDI adapter HDCAA 1 Channel XLR pin female 48 Pin 1 Ground 2 Input hi 3 Input low 2 Channel on 1 XLR 5 pin male E E Pin 1 Analog Ground shield 2 Ch 1 Output hi 3 Ch 1 Output low 4 Ch 2 Output hi 5 Ch 2 Output low 2 addition
12. Knob Used to adjust the eyepiece contrast for comfortable viewing It is helpful to use the internal color bars when adjusting Brightness Knob Used to adjust the eyepiece brightness for comfortable viewing It is helpful to use the internal color bars when adjusting Display and Aspect Switch Used to turn on and off the two independent frameline generators the viewfinder that are pre programmed OPERATION MENU page 3 Toggle the same direction for ON and OFF of each frameline Zebra Pattern Switch Used to turn on and off the zebra stripe exposure patterns that are preprogrammed in OPERATION MENU page 5 Additional functions on the Ultraview Color Viewfinder Magnify on off moment A amp B presets Menu jog knob and Cancel on off switch PIANAV ISION L I 67 O gt gt i gt z SIOHLNOD ES 68 The original camera Remote Control has been redesigned into a removable box which connects to the 10pin Lemo connector labeled REM on the side of the camera near the POWER Switch It can mount onto the carry handle or be removed when not needed e g for Steadicam or hand holding SHUTTER AUTO W B BAL WARNING If the shutter is switched off on this box HDRP and the HDRP is disconnected from the camera the camera will automatically return to the last shutter ON speed selected r PANAVISION ES 5 4 REMOTE CONTROL Rotary Encoder
13. Place the SMARTLENS Display on the matte box within sightline of the action or on the dolly track to follow marks or at the end of a crane 100 feet away SMARTLENS assists the Assistant SMARTLENS calculates and displays Focus Distance T Stop Focal Length and Depth of Field in real time Connect a Panatape ultrasonic ranging system to SMARTLENS and create a powerful focus assist tool Now you can see Subject Distance Focus Distance and Depth of Field all on the same scale SMARTLENS Reader fits onto ALL EXISTING Panavision Primo Lenses including the Panavision Primo Digital lens series Each SMARTLENS Reader has its own memory so no calibration is required in the field The Reader is connected to the SMARTLENS Display which is user configurable and comes in two sizes You can choose to display as much or little information as desired 5 10 METADATA Metadata consists of any data other than picture that can be recorded along with picture This can include focus T stop and zoom from Primo Digital lens pan tilt timecode dolly and crane information The Panavision SDI adapter has the ability to record Metadata on the 3rd and 4th audio tracks using our Panadata Hub This greatly simplifies visual FX work using CGI because every frame of the picture has the image information file with it on the tape that represents how the picture was captured The Panadata Hub along with the precision encoded
14. Primo Digital Datalenses will allow the encoding of many camera related parameters to be saved as data on the AES EBU digital audio channels of the HDW F900 camcorder Panadata includes accurately encoded values of Zoom focus and T Stop from the Panavision Primo Digital lenses n PANAVISION LE HD900F MONITORS 117 6 0 MONITORS que PANAVISION K 118 6 1 MONITORS Not all monitors of the same size have the same rear panel configuration but the following pages will describe the most common Not all monitors can accept all types of signals and some are limited on frameline choices NOTE Only the 9 monitor can accept a 12V DC power Source Input Channel Selection lt AJ On the rear of each monitor is the connector panel The panel slots start counting from the left and go right Even a card without any connectors is still counted as a slot Using the slot number and the input connector number you can program channels for the various signals on the monitor using the SET UP MENU on the monitors For example HD SDI is commonly programmed as Channel 1 using SLOT 2 INPUT 1 To select and view a channel simply push the corresponding number on the keypad on the front of the monitors For numbers above 9 you must push a zero 0 first e g for channel 12 push 012 NOTE Standard color temperature is 6500 K SUOLINON 9 tpw
15. Wheel MIC MENU jog control Used to enter and change values in the MENUS 1 Set the DISPLAY switch to the MENU position 2 Click the rotary wheel to enter a menu listing or to change the cursor from an arrow into a 2 3 Turning the wheel while the cursor is a changes the value of that field 4 Clicking the wheel locks in the value and changes the cursor back into an arrow that can be moved within the screens VTR Start Stop Switch Used as an On Off switch for the record deck Shutter On Off Select Switch Three position toggle switch sets electronic shutter speed either Off On and or selects the preset values In order to view shutter settings in the viewfinder the DISPLAY switch must be on Shutter speed can also be accessed through PAINT MENU page P12 See section 5 9 3 AWB Auto White Balance Switch Used to set the white balance 1 Select the appropriate filter wheel for the closest Kelvin temperature of the lighting 2 Selecteither A or B switch position on the WHITE BAL switch on the side of the camera this is used to save and memorize the setting It retains the values unless replaced with another setting 3 Seta white reference card paper to the proper size at least 7096 of frame and exposure and then push the switch to the AWB position and let go 4 Confirm white balance OK in the viewfinder 5 If white balance is NG select the next filter setting on the CC filter wheel and try ag
16. X3QNI 134 1 0 INDEX CONTINUED Calibration 24 monitor 127 Case accessory 27 Case camera body 25 Cassette 8 65 CBLE 12P 25 51 CBLE ABSU 25 51 CBLE AMPL 47 CBLE AMPX 47 CBLE IECNA 25 CBLE ZLP 27 CC 8 25 31 69 83 89 111 115 CC filter 8 69 83 89 115 CCD 8 21 31 33 CCNU 57 CCU 56 CDA 11 31 34 CGI 31 116 Channel 8 9 37 111 115 116 119 121 123 125 127 Charger 61 Close focus distances 31 Color bars 65 67 79 83 112 Color correction 21 71 Color saturation 97 Color temperature 119 Contrast 31 33 37 39 47 67 97 99 Contrast knob 67 CRT 45 Cycles mm 32 dB 21 69 81 89 112 DC power 9 25 119 DCC 83 112 Default settings 89 101 Degauss 114 127 DETAIL 21 37 39 89 97 99 DF 77 Digital Encoders 8 Display switch 55 67 69 76 77 79 83 85 103 112 Downconverter 47 55 57 59 113 114 115 Drop frame timecode 77 Dynamic range 81 ECS 10 113 Edge enhancement 67 97 99 Encoders 8 31 Encoding 116 Exposure 67 69 91 115 131 Extended Clear Scan 10 113 Extenders 11 31 35 Eyepiece 8 11 25 27 42 45 48 67 105 114 F Film 10 19 32 33 45 Film emulsion 3 Film negative 21 99 113 PANAVISION LE 7 0 INDEX CONTINUED Film output Shooting for 20 21 Filter 3 8 31 36 39 Filter wheels 69 71 83 89 111 115 Flickering 115 Focal length comparison 30 Follow focus 11 27 39 43 Footage counter 75 79 99 Frame rate 10
17. good images that can be manipulated with a much higher degree of control in the post environment In short you do not need to have a comprehensive knowledge of the paint menu to produce a good image Again there is no right or wrong way but this manual addresses those features that are necessary for a camera assistant to master Due to inherent differences in imaging characteristics between a CCD a monitor and the human eye certain translations are necessary The Gamma and Matrix settings interpret the CCD image so that the monitor image will approximate the actual subject Gamma should always be turned ON and set to COARSE 0 45 TABLE STANDARD 5 This references the ITU REC 709 standard This gamma correction is especially important for video output and can be manipulated for film output and so should be left on all the time see section 5 9 3 SNOILVYACISNOD DNIDVWI TVd3N39 671 r PANAVISION LS 21 1 9 GENERAL IMAGING CONSIDERATIONS Shooting 24P for Film output Since the HD monitor is much closer to the final video image but only an approximation of the film image there are some recommendations in order to maximize quality of final film output GAMMA ON as above MATRIX OFF GAIN set to 6dB or less to avoid adding excessive noise to final image Use less diffusion Consider using a filter of 1 2 the value used with film negative DETAIL OFF This is especially important because it will degrade the film
18. lt lt daldvav 105 60 HEADPHONE JACK TALLY LIGHT BATTERY RELEASE ABSU RELEASE GENLOCK IN REMOTE PAINTBOX CNU connector 12V DCIN Lithium Ion Endura 80 IDXB batteries and adapter IDXA ANAVISIDN LI 4 11 ON BOARD BATTERIES The on board battery mounts onto the adapter bracket ABGM that attaches either on the rear of the camera body itself or on the HD SDI Adapter HDCA or HDCAA 9 T There are several types of on board batteries available from Panavision e Anton Bauer Hytron 100 NiMH batteries AB100 are 14 4V DC 7 AH rated 100W and are charged on a quick charger station that allows up to 4 batteries to charge in order one after the other The charger also has a built in provision for battery discharging and analyzing to insure long battery life Each battery has a built in 12 5 amp 125 volt fuse Anton Bauer Dionic lithium ion batteries AB90 14 4V DC 6 25AH rated 90W and use the Anton Bauer Gold Mount e IDX Lithium lon Endura 80 IDXB batteries are 14 4V DC 5 6AH rated 80W and can be stacked to double the capacity They use the Sony mount or can be adapted to the Anton Bauer Gold Mount using the DXA 1 1455 Anton Bauer Dionic lithium ion battery NOTE Camera operating voltage range is 11 17 volts Nominal camera power voltage is 13 2 or 14 4 volts PANAVISION
19. toward 2 and let go to do a record review This cues up the tape 5 Continue recording from there m m FIANAVISION epi 79 80 FILTER CC CLEAR CROSS 6 ass 32K B 12 ENT CNN D MENU or be wm C DISPLAY ANAVISIDN LEA 5 8 MAIN CAMERA SWITCHES POWER This is the main switch that turns the power ON and OFF on the camera itself It is NOT a VTR record switch WARNING Switch the POWER switch to OFF whenever changing cables on the camera or re configuring the viewfinder to prevent possible damage ASSIGNABLE This switch is preprogrammed in the 1 2 VTR GAIN PANAVISION L I OPERATION MENU page 8 to the following settings Push UP to record push UP to stop Push DOWN to do a Record Review of the last 3 seconds on the tape Used to Check the Gate You must have recorded at least 3 seconds on the last take Also used when regenerating timecode see section 5 7 2 Changes the status of the VTR when not recording from SAVE to STANDBY The recommended position is SAVE which saves battery life and reduces wear on the record head Chooses between the three user settable gain positions Either These programmable from 3 dB to 18 in the OPERATION MENU page 4 It is a standard practice to have 1 0 dB Using negative gain reduces dynamic range 81 O gt
20. used to compensate for limitations of optics or electronics The detail circuits should NOT BE USED since our Us Primo Digital Lenses have very high contrast and resolution Consequently there is no need E for additional electronic detail and the use of detail can cause unwanted artifacts gt gt 4 lt m 2 PANAVISION LES 97 9 O MOLILl OQJO TLL MQ gt P10 gt P11 TOP GONE NLLHONDO LILO M0 a 0 a 4 IL 18 Or O ZZ 0000 ALL CLEAR MATRIX MATRIX MATRIX gt lt MULTI MATRIX gt lt SKIN DETAIL gt lt USER lt USER MATRIX gt 98 5 9 3 PAINT MENU CONTINUED 9 SKIN DETAIL e Disables detail circuitry for specified colors NOTE This circuit should NOT BE USED since the Primo Digital Lenses have very high contrast and resolution Consequently there is no need for additional electronic detail and the use of detail can cause unwanted artifacts 10 USER MATRIX e Used to set or adjust the linear matrix for an overall adjustment of the picture First picture shows Panavision recommended settings for film out or video finish Second User Matrix picture shows option for video finish only O gt gt a gt 2 11 MULTI e Used to change specific vectors of a color and their saturation WARNING DO NOT use the matrices unless you know the exact effect you want
21. you set the DISPLAY switch to the MENU position 85 O gt gt a gt 2 SANAW gt Mei HH X LEO gt FUNIDOO QadIDOrooag N H A AMO 0 00 au lt PAGE SELECT gt lt TOP MENU gt lt PAGE EDIT gt 86 5 9 1 USER MENU For quicker navigation frequently used menu pages can be organized according to preference in the user menus Selecting Menu Pages 1 From MENU choose USER MENU CUSTOMIZE 2 On page 01 choose item 1 USER PAGE 1 3 To add a custom page choose SELECT 4 On PAGE SELECT menu choose the desired function for the user page This menu will now be the first user page 5 Continue adding other custom pages as desired L 0 9 9 9 After adding the 9th menu another screen of 9 blank slots will become available 20 Moving Menu Pages gt 1 Onthe PAGE EDIT screen choose the item you wish to move ES 2 Choose MOVE 23 3 Select desired destination number on the MOVE gt screen O 2 lt MOVE TO gt m 20 m 2 E PIANAVISION gt 2 0 m u gt MESSAG ALL IL IL LUZZLZLZZ 000000000 XOQOCIDAII WNZOHZOGN lt MARKER gt ZOZOOOILWIL lt GAIN SW gt 88 5 9 2 OPERATI
22. 1 Sensitivity 8 Serial Digital Interface see HD SDI 59 Shooting monitors 113 Shooting outdoors 113 Shutter 10 69 89 101 111 112 113 115 SKIN DETAIL 99 Slot video card 119 125 SLZ11D 11 SMARTLENS 8 31 116 Spot meter 131 STANDARD file 22 100 101 Steadicam 8 11 27 53 55 59 68 113 SW STATUS 95 OL LNOD nere avi 137 138 7 0 INDEX CONTINUED T Tape 8 31 42 45 52 55 65 74 77 79 81 82 89 99 112 114 116 Tape remaining indicator 82 89 Temperature 37 69 113 119 Timecode 9 55 59 65 75 79 81 111 112 115 116 Timecode regenerating 77 Timecode setting 77 TOP MENU 85 Transmission 105 121 123 125 129 Troubleshooting 114 115 Tungsten 8 69 83 111 U Ultraview 3 8 45 Upconverter 51 USER MATRIX 22 99 VF DISPLAY 89 Video 9 19 21 37 47 55 59 95 114 125 Video inputs 47 VIDEO LEVEL 95 Video out 9 Video output Shooting for 21 Viewfinder 3 11 39 45 53 55 65 67 69 81 83 85 89 91 103 105 109 111 113 114 Vignetting 115 15 1 105 VISTA2 105 Visual FX 31 116 VTR 55 65 69 81 111 VTR start stop switch 69 Waveform monitor 37 39 91 95 130 131 Weights equipment 11 WFA 11 31 34 White balance see also AWB 47 69 83 95 111 112 115 White uniformity 127 XLR 9 57 115 Y Y Pb Pr 9 47 54 55 59 114 121 125 131 2 ZEBRA VF DTL 91 Zebra pattern 67 91 PANAVISION LE
23. 1 3 for the list of the possible frame rates Changing the Frame Rate 1 2 3 Turn on the MENU by moving the DISPLAY switch to the MENU position Go to page 7 of the MAINTENANCE MENU Move the cursor opposite the NEXT frame rate number and push in the rotary wheel to turn the cursor into a Scroll through the list until you have highlighted the frame rate you want and then push in the rotary wheel again to enter the frame rate into the field Turn OFF the Main Power Switch Turn the Main Power Switch back ON Verify the new frame rate by holding the MENU switch to the STATUS position 103 1 0 9 9 ILVHIdO VYAWVD 1 3HL ONILLAS v 6 S J2ANAVISIUN Ls 104 5 10 VIEWFINDER FRAMELINE MARKINGS Framelines are programmed in the OPERATION MENU page 3 There are two sets of framelines that can be generated in the viewfinder They work together when composing two different aspect ratios e g 16x9 and 4x3 or for composing theatrical widescreen formats If only shooting 16x9 for television broadcast then use only a Safety Zone with the Marker function the areas common center NOTE Framelines in eyepiece DO NOT go out to the monitors Set the monitors separately either with their built in generator or an external one 1 16x9 Marker with optional center crosshair O gt gt i gt z 16x9 Transmis
24. 2 5 8 5 9 5 9 1 5 9 2 5 9 3 5 9 4 5 10 5 10 1 5 10 2 5 10 3 5 11 5 12 5 13 5 14 5 15 5 16 SECTION 6 0 6 1 6 2 6 3 6 4 6 4 1 6 4 2 6 5 SECTION 7 0 CAMERA OPERATION HDCAM CASSETTE VTR CONTROLS VIEWFINDER CONTROLS REMOTE CONTROL FILTER WHEELS MEMORY STICK TIMECODE TIMECODE SWITCHES AND BUTTONS USING TIMECODE MAIN CAMERA SWITCHES MENUS USER MENU OPERATION MENU PAINT MENU SETTING THE FRAME RATE VIEWFINDER FRAMELINE MARKINGS TV 16X9 TRANS amp 4X3 TRANS SAFE TV 16X9 TRANS amp 1 85 THEATRICAL TV 16X9 TRANS amp 2 40 THEATRICAL PREP ROUTINE A C PRE ROLL CHECKLIST PRODUCTION CONSIDERATI ONS TROUBLESHOOTING SMART LENS METADATA MONITORS MONITORS 9 HD SDI MONITOR 14 HD SDI MONITOR 20 amp 24 HD SDI MONITOR 20 amp 24 MONITOR CALI BRATION 20 amp 24 MONITOR FRAMELINE SETTINGS HD SDI WAVEFORM MONITORS INDEX gt UJ m 2 m 2 HD900F 1 0 GENERAL SPECIFICATIONS GENERAL SPECIFICATIONS gt um ee 1 1 CAMERA SPECIFICATIONS Imager RGB 2 3 CCDs Effective Pixels 1920 H x 1080 V each 2 1 million pixels each 6 3 million total 378 x 212 Power 12 v DC range 11 17v Built in Filters ND Filters CC Filters 1 Clear A 5600K 2 6 2 Stops B 3200 3 1 2 4 Stops 4300 4 1 8 6 Stops D 6300K Lens Mount Panavision HD Mount proprietary Baseplate Panavision Dovetail with 5
25. 2 40 THEATRICAL OPERATION MENU page 3 Turn the MARKER ON and set a 95 Safety Zone and then turn the ASPECT MODE ON and set the VAR V at 764 The innermost box formed by these lines represents the 2 40 projection aperture which is the area which will be seen in a theater O gt lt gt lt MARKER gt a gt E 2 0772 9 481 PANAVISION CA 109 5 11 PREP ROUTINE The following is a list of the common items to check during your prep This list is by no mean exhaustive nor in any particular order PANAVISION L I Set up and power up monitors section 6 0 Build and power up camera Set up monitor channels and framelines section 6 1 6 5 Check and set camera frame rate section 5 9 4 Check and set shutter speed section 5 4 Perform an Auto Black Balance ABB section 5 4 Check Master Black Level section 5 9 3 Check GAMMA in PAINT MENU section 5 9 3 Check MATRIX in PAINT MENU section 5 9 3 Check and set Auto White Balance AWB redo before shooting section 5 4 Check and set viewfinder settings including framelines section 5 10 Set back focus on lenses and check focus scales section 3 4 Check camera filters section 5 5 Check and set all other camera switches section 5 8 Standard switch settings for tungsten light VTR save GAIN L 0 OUTPUT camera WHITE BAL preset DISPLAY off
26. 2345 9 SA 1553 20 1 9 GENERAL IMAGING CONSIDERATIONS The HD900F has a wide range of menu settings that allow the user to control the look of the picture These settings can be a powerful tool to change or modify the captured image Most components of the video signal can be manipulated Levels saturation gamma and matrix will have a major influence over the final video output be it for TV or film While there is no right or wrong way to approach how the camera is used you should be aware of the consequences of employing certain menu functions We do not determine who will make adjustments or when these functions will be employed but in most cases they are made at the behest of the DP While these features may prove useful for shows that are video out only TV if misused they can have irreversible consequences on a film out show feature Judicious use of these features can prove beneficial However minimum manipulation of the image that will result in a clean camera master is desirable It is better to leave the decision to alter the image for the less stressful environment of the post production suite Post production tools offer the ability to manipulate the image to a much higher degree than the camera allows The following list is not inclusive of every menu function but provides a brief explanation of why certain precautions should be heeded Detail The detail function w
27. 5 Read the INPUT for which connector on the slot is used 6 To read other channels simply change the channel number on the keypad as you are watching this menu Tajn Ww A a o 2 a a 22 lt lt 2 122 avi 123 HD SDI IN MONITOR OUT ANALOG IN Y Pb Pr NTSCIN 124 L 6 4 20 amp 24 HD SDI MONITOR INPUTS HD SDI Serial Digital Y Pb Pr HD Analog NTSC PAL etc composite video Power AC only Framing 16x9 Transmission and Safe Areas 4x3 Transmission and Safe Areas 16x9 Variable used for wide screen images 4x3 Variable To check or program the input on a particular 2 4 1 Push the MENU button O 2 Move the cursor using the UP and DOWN buttons until it A is opposite the SET UP menu and push ENTER 3 Move the cursor using the UP and DOWN buttons until it is opposite the INPUT CONFIGURATION menu and the push ENTER 4 Read the FORMAT for what type of signal is programmed 5 Read the SLOT NO for which panel slot is used 6 Read the INPUT NO for which connector on the slot is used 7 To read other channels simply change the channel number on the keypad as you are watching this menu A To check or program the frameline on a particular channel x 1 Enter the channel number on the keypad to go to that channel 2 Move the cursor using the UP and
28. A DTL Used to program the 2 zebra patterns The OFF setting here is the same as the toggle switch on the side of the viewfinder The zebra patterns are independent and can be used separately or together The zebra pattern is a convenient way to judge your highlight exposure when a waveform monitor is not available AUTO IRIS Not used BATT ALARM Displays the low and out battery voltage settings that are programmed in the MAINTENANCE MENU page M9 91 1 0 9 5 T ILVHIdO VYAWVD LNOD NNAW NOILVHIdO 26 lt OTHERS gt 0 A u L 18 x O 14 a O PRESET HDW F 900 2001709705 lt LENS FILE gt N 5 9 2 OPERATION MENU CONTINUED AS PANAVISION L I OTHERS Shows the programmed setting of the ASSIGNABLE switch OPERATOR FILE Used to read and write the OPERATION MENU file to and from a Memory Stick LENS FILE Not used 93 1 0 0 T ILVHIdO VYAWVD 1LNOO NNAW NOILVH3dO 6 5 a l N a 1 LZUULZUuiu ILOLLILOLLIL IL IL O 00 0000 STATUS gt lt SW lt GAMMA gt LOMLZOJOZ lt VIDEO LEVEL gt lt BLK GAMMA gt 94 5 9 3 PAINT MENU e The PAINT MENU is used to adjust the way in which the camera captures an image CAUTION Some image adjustments are not reversible in post See also section 1 9 1 SW STATUS e Used to conveniently turn ON or OFF various paint l
29. DOWN buttons until it is opposite the SET UP menu and push ENTER U 3 Move the cursor using the UP and DOWN buttons until it is opposite the INPUT CONFIGURATION menu and the push ENTER 4 Move the cursor to the MODE menu item and push ENTER 5 Read or change the SAD MODE the SIZE V SIZE a as well if needed See Frameline Settings 20 L 125 126 6 4 1 20 amp 24 MONITOR CALIBRATION The 24 monitor is the only one which is full resolution and can be considered a reference Test signals are available on channels 091 098 If the image does not appear uniform i e if a white field shows color in the corners Use channel 093 to check this press the degauss button If this does not correct it adjust the Landing as described in the following paragraphs When the 24 monitor is moved the image white uniformity may change due to the strength of the magnetic field around the monitor and its interaction with the Earth s magnetic field 1 press MENU 2 scroll down to SET UP press ENTER 3 scroll to WHITE UNIFORMITY press ENTER 4 select MANUAL by pressing ENTER 5 select DIRECTION Note The parameter being adjusted turns to yellow text Scroll UP or DOWN until the direction indicated is the same direction you are facing as you look at the monitor Press ENTER 6 Press DEGAUSS button above POWER button 7 f you still
30. ICK PIANAV ISION L I The camera uses the standard Sonv Memorv Stick to allow the user to save and recall the Operator File OPERATION MENU page 9 and up to 100 Paint Scene Files PAINT MENU page P13 See sections 5 9 l 5 9 3 Simplv insert the stick into the slot under the cover door with the notch facing upward and the label facing toward you NOTE DO NOT eject the stick when the red light eject button is on The sticks have a lock to prevent accidental erasure 73 1 0 9 5 T ILVHIdO VYAWVD NO ILS AHON3N 976 74 COUNTER BATTERY LEVEL F RUN R RUN e J2ANAVISIUN Ls 5 7 TIMECODE PANAVISION L I You have two basic choices for timecode either F RUN Free Run or R RUN Record Run The choice of which to use depends upon the requirements for Post Production Using the R RUN setting for timecode is equivalent to using the footage counter on a film camera It only rolls when the camera rolls The Script Supervisor may need to record the timecode number at the beginning of each take Free Run Used when syncing the camera to an external source using the TC IN connector on the side panel The numbers are always rolling Record Run Used with the camera s internal timecode generator as the source of the timecode It only rolls the numbers when recording NOTE The camera s recorded timecode MUST be the same as the frame rate of the camera F
31. NECTOR AND DOVETAIL ON BOARD BATTERY ADAPTER BATTERY RELEASE METADATA IN HD SDI OUTPUTS 11111717 y 9 PANAVISION Lm 4 10 HD SDI ADAPTER PANAVISION L I The HD SDI Adapter HDCA or HDCAA allows the camera to output an HD SDI signal HD SDI stands for High Definition Serial Digital Interface A serial digital signal is just that a serial stream of 1s and Os that represents the picture information The digital signal is then converted to a video signal by the external devices e g monitors downconverters etc The SDI signal also includes timecode and audio This one cable is the most useful and convenient way to output the video image Simply attach a 75 ohm serial digital video coaxial cable from either of the 2 outputs and then attach to an external monitor or other device The maximum recommended length is 100 meters NOTE High quality 75 ohm barrels may be used to connect multiple cables Do not use 50 ohm connectors The SDI Adapter can also be removed in order to allow the on board downconverter to be attached for Steadicam work see section 4 7 NOTE An SDI Adapter HDCAA that allows 3rd and 4th audio tracks is available upon request The camera body itself only supplies an HD analog color difference signal Y Pb Pr WARNING The On Off switch on the adapter must be on in order to function 59 gt lt m 23 gt
32. ON MENU PANAVISION L I ew en The OPERATION MENU is used to set up various attributes of the camera These attributes do not affect the image captured by the camera directly unlike the PAINT MENU VF DISPLAY Used to turn ON and OFF display indicators of various attributes of the camera in the viewfinder such as ND and CC filter status battery voltage shutter speed gain white balance and tape remaining IND Used to set the warning indicators Displays which warnings are active by holding the MENU switch to the STATUS position Any camera setting that changes from the NORMAL setting will turn on the I LED in the viewfinder MARKER Used to set the 2 framelines in the viewfinder See section 5 10 for details Turning the MARKER and the ASPECT MODE in this menu is the same as toggling them ON and OFF with the switch on the side of the viewfinder Picture shows example of TV 16x9 TRANS amp 4X3 TRANS GAIN Used to program the three settings for the GAIN switch on the side of the camera Note you can set any of the possible values to any switch position Usually L O The choices are 3 0 3 6 12 or 18 dB 89 1 9 9 T ILVHIdO V IdNVO NNJN 26 5 90 lt ZEBRA UF lt AUTO IRIS WINDOW OVERRIDE lt BATT ALARM gt gt 7 LITHIU RE END M 1 1 2 5V BV 5 9 2 OPERATION MENU CONTINUED PANAVISION L I Ui ZEBR
33. Prime Lens SD7 3 2 Primo Digital 10mm Prime Lens SD10 3 7 Primo Digital 14mm Prime Lens SD14 2 8 E Primo Digital 20mm Prime Lens SD20 3 6 UJ Primo Digital 35mm Prime Lens SD35 2 9 Primo Digital 6 27mm w Motor SDZW 8 0 20 Primo Digital 25 112mm w Motor SDZT 7 0 E Primo Digital 9 5 105mm w Motor SLZ11D 23 0 m Primo Digital 8 72mm w Motor SDZ9 8 6 gt 1 4X Extender for Primo Digital Zoom 1 4XSD 0 7 2X Extender for Primo Digital Zoom 2XSD 0 9 Double Asphere Attachment for 5mm CDA 1 2 Q Wide Angle Fisheye Adapter for 7mm WFA 1 4 c Hand Held Configuration 29 3 Hand Held Viewfinder SDI HDUC Follow 2 Focus w 1 HDHR Remote No Lens e E a PANAVISION 11 8 OR REMOVED S m ud FRONT VIEW 724 N HD900F GENERAL SPECIFICATIONS 1 5 CAMERA MEASUREMENTS Wid M S0 Wd 0 4 08 BI Cn JIONHH UN HIA 22 LLI 09 21 ac 2 E LLI 271 12117524 48314 87 296 au JIBVADHIA 80 NOILISUd 904 1050 0572 l 278 157 07 4740 4008 SL El 5 01 SL 9 L 13 r PANAVISION LS 14 AW NAME Tr J2ANAVISIUN LII 1 6 SIDE CAMERA VIEWS 1 0 5 SNOIL1VO 9345 9 SM3IA VHAWVD ACIS 971
34. SV SN31 77 50 12V OUTPUTS 24V OUTPUTS 7 SYSTEM SMARTLENS DISPLAY SMARTLENS INPUT 12V INPUT PANACLEAR OUTPUT ANAVISIDN LJ 4 5 HD VOLTAGE UPCONVERTER FIANAVISION L I The HD voltage upconverter HDUC provides 2 24V and 2 12V output accessorv ports as well as power for the Panaclear heated evecup The unit can be mounted to anv of the dovetails on the side of the camera In addition SMARTLENS input and display output ports are provided The HDUC receives power from either the Sonv Upconverter ABSU or ABGM with cable CBLE ABSU or a CBLE 12PUC Y cable from a 12V battery 51 1 0 9 5 T A18N3SSV diludANOOdf 4DVLIOA 52 HOOK REMOTE CONTROL MOUNT FRONT RELEASE LEVER REAR LOCK TALLY LIGHT AND SWITCH CEES QJJANAVISIUM a 4 6 CARRY HANDLE PIANAV ISION L I This custom Panavision carrv handle is removable and replaceable with the Panavision Steadicam Low Mode Bracket provided in the accessory case Simply unlock the rear thumb screw and push down on the front lever to allow the bracket to slide rearwards Replace and lock into the Steadicam Plate provided The handle also has a provision to mount the Remote Control HDRP Below the rear end of the handle is a tally light with on off switch that allows the operator or camera assistant to see when the
35. ail has been added to interface with the baseplate system which includes 5 8 PV iris rod collets for supporting lenses and holding the follow focus assembly Follow Focus Assembly The follow focus bracket consists of an iris rod bracket that mounts onto the bottom rods and a dovetail bracket that holds the Modular Follow Focus 1 Slide the bracket assembly onto the rods and adjust fore and aft for centering to the lens focus gear 2 Slide MFF Gearbox onto dovetail far enough to lock it 3 Then raise the follow focus until it engages the lens gear with proper gear mesh and lock the vertical adjustment lock 4 Fine tune gearbox position and lock fore aft using irisrod collet locks Each lens has its focus gear at a different position so you must reposition the follow focus assembly when changing lenses The bracket assembly must be mounted forward enough so that the zoom pin clears the gearbox 43 O gt m JI gt gt m lt 00 lt 0504 9 31V1d39V4J 1 4 44 LOCK LEVER SAFETY BUTTON J2ANAVISIUN LI 4 VIEWFINDERS PANAVISION L I The Panavision ULTRAVIEW Viewfinders are available in black and white or color versions Black and White Viewfinder HDEP The black and white viewfinder is convertible into two modes that allow it to function as an extension evepiece and an intermediate evepiece hand held evepiece Adjustments are prov
36. ain or re check exposure Continue this process until OK Perform an AWB as desired or needed for lighting conditions Or leave WHITE BALANCE switch on PRST and the CC filter wheel on B This sets the camera to Tungsten balance and should be color corrected as required ABB Auto Black Balance Switch Used to perform an auto black balance 1 Close the lens iris to C or cap it to ensure no light entering 2 Make sure the GAIN is at dB 3 Setthe DISPLAY switch to the ON position 4 Click the switch to the ABB position and let go it will return to the middle 5 Confirm ABB in viewfinder Perform an ABB before shooting and upon extreme temperature change from cold to hot conditions Black balance resets the black set PANAVISION L I 69 O gt gt i gt a z 1041 02 f G 70 6 2sTOPS 3 3 MET 4 6 STOPS ANAVISIDN LEA 5 FILTER WHEELS 1 0 0 5 T Internal filters for neutral density CLEAR ND 0 6 1 2 1 8 and color correction 5600K 3200K 4300K 6300K are built into the system These are manually rotated at the front of the camera WARNING Make sure filter wheels are firmly in their detents ILVHIdO VH3INVO S133HM 411114 PANAVISION 71 72 FILTER CLEAR 6 STOPS 12 451065 18 69702 5600 3200K IB 4300K E 6300K IB MAI J2ANAVISIUN LI 3 6 MEMORY ST
37. al channels with HDSDI adapter HDCAA BNC BNC using analog Y channel BNC BNC Y Pb Pr Analog HD SDI with HDCA adapter Hirose special 8 pin 1 0 9 9 T SNOIL1VO 12345 9 52445 5 IVHINID 2 T 10 1 3 FRAME RATES AND SHUTTER SPEEDS Frame Rates MAINTENANCE MENU page M7 Progressive Interlace 23 98 PsF 50i 24 PsF 59 94i 25 PsF 60i 29 97 PsF 30 PsF Shutter Angles PAINT MENU page P12 or with the Remote Control SHUTTER SPEED EQUIV SHUTTER ANGLE Shutter OFF 1 24 sec 360 00 degree 1 32 270 00 1 48 180 00 1 96 90 00 1 125 69 12 1 250 34 56 1 500 17 28 1 1000 8 64 ECS Extended Clear Scan 24 Hz 2200 Hz 24fps Used to set intermediate shutter speeds and or shoot practical monitors The equivalent shutter angle for a film camera is found by the following formula 360 fps Hz shutter angle PANAVISION 1 4 CAMERA WEIGHTS 1 0 9 9 Body without 501 HD900F 14 9 105 Body With SDI HD900F HDCA 17 2 SDI Adapter HDCA 2 3 Extension Eyepiece HDET HDEP 4 8 Intermediate HH Eyepiece HDEP 3 6 Follow Focus w 1 Knob HDFB HDFD MFF 1 9 Hand Held Rig HDHR 2 4 un Clip on Mattebox MBPC 1 0 Top Steadicam Plate HDLM 0 5 Bottom Steadicam Plate HDSP 1 2 Voltage Upconverter w cable HDUC 0 9 Anton Bauer Battery AB100 5 4 m T O LENSES xt O Primo Digital 5mm Prime Lens SD5 3 0 TA Primo Digital 7mm
38. always be a desired addition to the final look For a film out project testing is prudent Matrix The matrix is a series of mathematical calculations that are applied to the color output of the camera Its purpose is to match the color space of the camera to the final display device It is similar to certain equalization curves that are employed in the recording industry to ensure that the playback system will reproduce the original recording faithfully In the video world matrix is used to provide a set of equations that relate to the reproducing characteristics of various sets of phosphors that are used in TV picture tubes This function like others on the camera has roots in the early days of color television when technology and economics determined that some circuits would be placed in the camera and others in the receiver As with detail matrix can prove useful for a broadcast or video only production Use of the matrix for a film out production is cautioned since the film out device will not be able to recreate the proper color space from the camera to match the film emulsion the equation is no longer valid If color manipulation is desired it is recommended that one shoot a test using the matrix to create the appropriate look This test can be used as a guide for the facility that will be doing the film out O z 23 gt gt 7 ag Q au gt 2 Use of the camera in the preset modes will produce perfectly
39. anda downconverter 55 56 114 Monitor 21 37 39 46 47 55 59 65 91 95 111 113 115 117 131 Monitor 14 in 122 123 Monitor 24 in 124 129 Monitor 9 in 120 121 Monitor reference 127 Monitor waveform 130 131 Monitors shooting 113 MULTI MATRIX 22 99 N ND 8 39 71 89 111 113 ND filter 8 39 NDF 77 Neutral density see also ND 71 Non drop frame timecode 77 NTSC 47 54 55 113 121 122 123 124 125 On board monitor 47 OPERATION MENU 89 93 OPERATOR FILE 73 93 OUTPUT switch 111 112 P Paint 10 21 69 73 85 89 94 101 111 PAINT MENU 89 94 101 Paintbox see also Remote control 57 60 PAL 125 Panadata Hub 116 PARADE 130 131 7 0 INDEX CONTINUED Peaking knob 39 67 Phantom power 42 Pixel 8 31 105 115 129 Prep 111 131 Primo Digital DataLenses 116 Primo Digital lens design 31 Primo Digital lenses 3 11 29 39 97 99 116 Progressive scan 10 18 19 Projection aperture 5 47 105 108 109 129 PRST 69 83 115 1 0 9 5 T Real time 77 79 Rear panel 57 119 Reference 69 95 127 Remote control 9 10 53 68 69 85 101 Resolution 3 8 19 31 33 97 99 127 RGB 8 114 RMB150 57 Rotary Encoder Wheel 69 85 103 R RUN 77 Running time 8 5 Safe and Projection areas 105 108 109 129 Safety zone 105 108 109 129 SCENE FILE 73 101 SD10 11 SD14 11 SD20 11 SD35 11 SD5 11 34 SD7 11 34 SDI see HD SDI 11 SDZ9 11 SDZT 11 35 SDZW 1
40. camera is recording There are also red LED lights in the viewfinder to indicate the same 53 1 0 9 5 T A18N3SSV 9v ANALOG HD Y Pb Pr OUT GENLOCK OUT TIME CODE OUT TIME CODE IN NTSC COMP OUT Y OUT ANALOG HD LOOP OUT 1080i SETUP ON Last 2 unmarked switches must be set to the left position to PANAVISION 54 operate properly S 4 SIDE PANEL CONNECTORS On the rear of the tape side of the camera there are 5 BNC connectors Three are the HD analog color difference outputs Y Pb Pr These are used to send an analog HD signal to a monitor They can also be used to display the viewfinder character generator image out to an external monitor for convenient viewing This is done by e Hold down the MENU switch to the cancel position with your left hand as you push the DISPLAY switch down to the menu position The other BNCs are for Timecode IN and Timecode OUT 4 8 MIRANDA DOWNCONVERTER PANAVISION L I The Miranda on board downconverter MDC converts the camera s HD analog color difference signal Y Pb Pr on the side of the camera into a standard definition NTSC composite signal This allows the NTSC video image to be displayed on a Steadicam monitor be wirelessly transmitted to external monitors or be used on any standard video device monitors VTRs video playback systems etc Simply attach the dow
41. d to set the real time SNOLLNI 9 SHHOLIMS AGODAWIL 17 9 PANAVISION 77 DISPLAY SWITCH RESET F RUN R RUN 18 e J2ANAVISIUN Ls 5 1 2 USING TIMECODE Setting the Timecode With each new tape you must reset the timecode if using R RUN timecode 1 Set the DISPLAY switch to TC Set the PRESET REGEN switch to PRESET 3 Set the REAL TIME switch to ON or OFF user preference 4 Set the F RUN R RUN switch to SET 5 Push the RESET switch to clear the numbers 6 Using the SHIFT and ADVANCE buttons set the hours number to the roll number that you want m usually starting at 1 and going until 23 when you gt have to use number 1 again but it will be a different day 7 Set the F RUN R RUN switch to R RUN to act as a a footage counter that runs only when recording gt 8 Set the F RUN R RUN switch to F RUN if jamming from an external source 9 Set the DISPLAY switch to CTL and push the RESET button to clear the Control Track 10 Record Color Bars and Tone on the head of the tape Regenerating Timecode Used after a tape has been ejected and reinserted to make the timecode continuous 1 Set the PRESET REGEN switch to REGEN a Use the tape transport control buttons to play back N see section 5 2 3 Watching the playback find the end of the tape from which to continue recording and press the STOP gt button 4 Press the ASSIGNABLE switch down
42. dded to a scene it can lead to color desaturation in highlight areas Knee Saturation can automatically retain correct color in these areas and maintain the saturation in those picture areas compressed by the knee function Flare Electronically corrects for light transmission problems in a lens As light is transmitted through glass the rays are scattered and the image is perceived to have less contrast Flare can correct this by automatically balancing the black levels Because of the superior performance of the Panavision lenses flare control is not needed PANAVISION a 1 9 GENERAL IMAGING CONSIDERATIONS Clear Scan and ECS Extended Clear Scan This function eliminates the banding effect when shooting a monitor display by allowing the shutter speed to be adjusted so that it exactly matches the scanning frequency that are in use The Clear Scan shutter speed range is from 24 00 to 2200 1080 23 98psf 30 00 to 4300Hz 1080 59 94i mode The ECS function is especially effective under 60 Hz Black Gamma This circuit allows for stretch or compression of the toe black portion of the video signal This can be used to affect the contrast in the dark areas of the picture while not changing the mid tones or highlights Since this portion of the signal contains the highest amount of gain it is closest to the noise floor Consequently expanding the signal will also introduce more noise into the picture This may not
43. ge in viewfinder image on monitor 15 camera powered Is eyepiece cable connected No image through Miranda downconverter s power LED lit up Red light indicates no video Green indicates video ok If not check power cable connection If cable connection ok internal camera fuse could be blown not user servicable Call Panavision Check video cable connections Check power and DIP switches on Miranda Check video monitor Camera will not power up Check power cable and connections Check battery voltage or Check that power supply is on Did camera overheat and shut off let it cool down Make sure fan ports are unblocked near handle area and keep camera cool Won t record 15 camera powered up see above Is tape write protected Check red tab Humidity warning on display dry out camera Check diagnosis menu for indication of problem report to Panavi sion Other internal problem Monitor image too bright when using component Y Pb Pr inputs make sure inputs are terminated Monitor is green when using component Y Pb Pr inputs 15 monitor channel configured for RGB instead of Y Pb Pr Reconfigure 114 n PANAVISION Lm 5 14 TROUBLESHOOTING Monitor shows constant colored pixel Perform black balance repeatedly until pixel disappears Image vignetting on one side and or blue flickering band at top of screen Filter wheels are not in deten
44. icam Plate HDRB HD Rod Bracket CBLE ZLP 2 Zoom Lens Power Cable IRISROD Pair of 10 Irisrods hu N gt m 20 lt gt m PANAVISION L 1 27 HD900F 3 0 PRIMO DIGITAL LENSES PRIMO DIGITAL LENSES gt gt gt m PANAVISION DNIDVNWI TVLIDIO 1 NOLSIAVN Vcr EI n um 5 4 1 6 94 0H 092 6 2 1 92 uonaex3 _ aug wily SIHNLV34 SOILVY SHIDNIT 1 204 SN31 NOOZ INIHd 3 1 PRIMO DIGITAL LENS DESIGN Primo Digital Lenses were designed specifically for the 2 3 CCD imager to optimize image quality They are not modified cine lenses However Primo Digital primes and zoom lenses fully incorporate the optical mechanical and ergonomic characteristics of our Primo cine lenses with additional features to enhance electronic cinematography e High contrast and resolution for maximum sharpness 2 5 times that of our cine Primo lenses to accommodate the 2 3 imagers e Optimized for maximum image quality at fast maximum apertures of T1 6 1 9 f1 45 1 75 thus enabling depths of field similar to 35mm cine formats e Very low veiling glare ghosting lateral color and distortion e Dual expanded calibrated and accurate focus scales e Precision back focus adjustment on all lenses including Digital Primes e Internal filter slot to selec
45. ided for fore and aft position of the mount as well as side to side for left eve viewing The viewfinder assembiv also includes additional features such as an extended diopter range and marking ring a Panaclear evecup and a 2x larger image than a stock camera The evepiece retains the original black and white CRT but the adjustment controls are relocated to the side The CRT is interlace see section 1 8 which shows some exaggerated blur and strobing that is NOT on the tape e See section 5 3 for viewfinder controls WARNING DO NOT rotate the finder 180 degrees to the left to rest it on the mattebox as with a film camera as this will break the internal stops and wiring Color Viewfinder HDAF The Ultraview Color Viewfinder uses revolutionary new display technology to provide eye limited resolution and a color gamut exceeding all present video systems The color space can be set to SMPTE REC 709 or be defined by the user 45 gt lt m 23 gt m lt lt SHAQNIHMHIA 46 VMBM MMBD MONITOR BRACKET LOCK MONITOR DOVETAIL LOCK Astro HD Monitor HDAM 9 a 22252954 nile 1 00 d E LJ 0600757564 ADJ USTMENTS SCAN RATE INPUT r J2ANAVISIUN De 4 3 ON BOARD MONITORS AND BRACKET ANALOG INPUTS SDI INPUT r J2ANAVISIUN LS Slide the HD Auxiliary Light Bracket HDALB into the opposite side of the same d
46. ill provide artificial enhancement to the video image particularly around the edge of an object This feature like several others is incorporated into the camera for live TV broadcast productions Historically detail circuits were used to compensate for limitations of optics or electronics While this is useful for TV applications employing detail for a film output production will put unnatural edging around the subject In addition use of detail will make the quality of or mattes very poor since the matte process tries to avoid any appearance of edges DCC DCC is Dynamic Contrast Control or Auto Knee It is accessible through a toggle switch on the side of the camera body which also controls bars on and off This operation intelligently monitors the brightness of all areas in a scene and automatically adapts the knee point and slope for optimum reproduction at that particular scene location within the picture This is preferred to clipping or losing information the DCC can automatically pull the level down compress so the highlight will not blow out A classic example is shooting an interior scene which includes a bright sunlit exterior seen through a window Some breathing can still be seen using the DCC circuit if a bright object enters the frame if this is objectionable please use the manual knee Knee Saturation This function makes it possible to reproduce natural colors in a scene where knee is used When knee correction is a
47. nconverter to the three BNC connectors on the side of the camera and lock with the screw Connect the power cable to the 4 pin Hirose connector that supplies 12V DC OUT of the rear to power the unit Then attach a BNC cable to the COMP connector on the downconverter to any NTSC standard definition device All slide switches are usually to the left unless using a 16 9 NTSC monitor in which case the top switch should go to the right 55 1 9 9 T A18N3SSV HILHIANOD VGNVHIW 3015 8 56 12V DCIN REMOTE 12V DC OUT MIRANDA J2ANAVISIUN Ls 4 9 REAR PANEL CONNECTORS PIANAV ISION L I On the rear panel of the camera are the power and audio connectors See section 1 2 for specifications 4 pin power IN connector accepts a standard 4 pin XLR female REMOTE connector that connects to an external Paintbox RMB150 or CNU500 4 pin Hirose 12V DC OUT very limited current 2 only use for the on board downconverter 3 pin XLR Audio IN connectors 2 switchable 5 pin XLR Audio OUT connector WARNING External camera control box will override menu settings When disconnected the camera will retain the changes NOTE Camera operating voltage range is 11 17 volts Nominal camera power voltage is 13 2 or 14 4 volts 57 1 0 9 9 T A18N3SSV SuO LO3NNOO 13NVd 67 58 LOCK SCREWS ENGAGE CON
48. nd adjust back focus per step 6 9 Lock back focus ring making sure not to move back focus adjustment 10 Double check the lens after securing the lock You should be able to zoom in front focus and then zoom wide and maintain focus throughout the focal range 11 Confirm the distance scale on the front focus ring by placing the chart at measured distances and checking the engraved scale s O e 4 gt 2 m u Fixed focal length lenses 1 Set the chart and the lens at a precisely measured close distance that coincides with an engraved mark on the focus scale This mark should be no closer than the minimum focus plus 6 and no further than the ability to resolve fine detail on the chart 2 Follow steps 2 5 6 and 9 above Note on wide angle lenses it may be difficult to confirm the distance scale by eye due to the extreme depth of field of a wide angle lens 512034 ADVE ONILLAS TE PIANAVISION 39 HD900F 4 0 CAMERA ASSEMBLY CAMERA ASSEMBLY gt Hu EYEPIECE AND ACC DOVETAIL MIC IN BASEPLATE DOVETAIL FOLLOW FOCUS LOCK VERT ADJUST LOCK COLLET LOCKS 42 PANAVISION LI 4 1 FRONT FACEPLATE AND FOLLOW FOCUS PANAVISION L I Front Faceplate The front of the camera has been modified with a Panavision HD Lens Mount and a redesigned and strengthened faceplate A proprietarv Panavision bottom dovet
49. of the camera See Section 5 9 for description of the MENUS 83 O gt gt i gt z LNOD S3HOLIMS VHAWVI 8 S 84 lt TOP MENU gt gt 5 9 MENUS PANAVISION L I We will outline the commoniv useful pages in the OPERATION and PAINT menus Using the Menus 1 2 Set the DISPLAY switch to the MENU position and look in the viewfinder Move the arrow cursor opposite the menu to be displayed and push in on the Rotary Encoder Wheel To change pages in the menu set the cursor to the page number click the Wheel to make the cursor a 2 and turn the Wheel to change pages To change a setting value set the cursor to the item to be changed and press the Wheel The cursor turns into a and the value changes by turning the Wheel A fast turn changes the value greatly a slow turn changes it slightly To lock the change press the Wheel again To cancel a change press the MENU switch to the CANCEL position Every click of the MENU switch to the CANCEL position will revert up one menu level To exit from the MENUs turn the DISPLAY switch to OFF When re entering into the MENUs the camera will display the last menu page used NOTE If the TOP MENU list does not show when you set the DISPLAY switch to the MENU position do the following Return the DISPLAY switch to the OFF position Then hold IN the Rotary Encoder Wheel on the Remote Control while
50. or example if trying to jam in 24 frame timecode the camera must be set to 24 PsF exactly not 23 98Psf 75 1 9 9 T ILVHIdO IJODINIL Z S DISPLAY SWITCH RESET F RUN R RUN 76 e J2ANAVISIUN Ls 3 1 1 TIMECODE SWITCHES AND BUTTONS HOLD Temporarily holds the F Run display so it can be noted Pushing again releases it RESET Resets the time data on the display either timecode or control track DISPLAY Selects which data to display in window CTL Control Track TC Timecode U BIT User Bits ADVANCE Advances the digit selected by the SHIFT button SHIFT Selects the digit to be changed The selected digit flashes PRESET REGEN Selects whether to set a new timecode or to match the existing timecode on the tape O gt gt i gt z F RUN SET R RUN Sets the operating mode for the internal timecode generator F RUN Timecode generator keeps running Used to jam external code into camera or is set to the time of day SET Allows the timecode to be set using the ADVANCE and SHIFT buttons R RUN Timecode generator only runs while recording Used when not jamming from an external source DF NDF Sets Drop or Non Drop frame code Usually set in the NDF position REAL TIME Selects whether or not real time is recorded in the VITC track ON Real time is recorded as VITC OFF Real time is not recorded SET Use
51. ork or the use of any NTSC playback systems You will need the appropriate downconverter Do you need one stop of ND to shoot a wider aperture You will need an external ND 3 since the camera only has 2 stop increments built in What framing are you shooting Set viewfinder and monitors appropriately Are you shooting any monitors What are there frame rates Will they be synced to the HD camera How You may be able to use the ECS shutter mode to hide the scan bar but only if you do not move the camera Is the project EVER possibly getting recorded out to negative f so shoot with the MATRIX OFF If the project will NEVER see film then you can shoot with the MATRIX ON Are you shooting outdoors or in other bright areas You will want to get a Hoodman or other monitor shade and keep all extraneous light off of the monitors 113 O gt s m 20 gt U gt d 2 SNOILVH3GISNOO 9 LSIDIO3HO 3 14 TROUBLESHOOTING Possible problems and their solutions No image on monitor 15 SDI adaptor switched on Is monitor powered Is monitor set to appropriate channel Check cable connections Are BNC cables proper guage and barrel connectors 75 ohm Try another video cable Try output from Y Pb Pr on camera side If image is good exchange SDI adaptor HDCA Monitor shows coloring in corners of image Degauss monitor For 24 monitor set Landing See section 6 4 1 No ima
52. output FLARE OFF We caution against using paint menus for image manipulation if finishing on film because the monitor image and paint effects do not directly correlate to the film image and they are usually irreversible Shooting 24P for Video output No future film out foreseen or planned When shooting for video finish the HD monitor is in effect your final image Therefore adjustments can be made in the camera with more confidence in the intended results Standard recommended settings are GAMMA ON as above MATRIX ON PRESET ON ITU 709 USER MATRIX OFF MULTI MATRI X OFF GAIN set to 6dB or less FLARE OFF All the paint adjustments can be set for creative effect but the user must be aware that many settings cannot be undone in post On the other hand if the camera image is recorded clean many powerful creative manipulations are available in the color correction stage NOTE The MATRIX must be OFF for blue or green screen shots because it may create undesirable artifacts NOTE To restore the paint menus to their Panavision default settings recall the STANDARD file on menu page P13 by clicking on it twice 22 5 Lo HD900F 2 0 PACKING AND SHIPPING PACKING AND SHIPPING PANAVISION ES 24 2 1 CAMERA BODY CASE 1 0 9 9 T The HD900F camera system is comprised of 2 cases one containing the camera body and the o
53. ovetail that the eyepiece attached onto Then slide the Dual Modular Monitor Bracket MMBD into the receiving hole and lock Mount the monitor onto Video Monitor Ball Mount VMBM with the 14 20 screw using either top or bottom mounting hole on the monitor Slide the Ball Mount VMBM onto the Monitor Bracket MMBD The monitors are 12V DC using a 4 pin Hirose connector and are powered from the voltage Upconverter HDUC with cable CBLE AMPL or from a belt battery with cable CBLE AMPX Video Inputs HD SDI and or Y Pb Pr analog depending on model ERG HD Monitor HDEM CONTROLS UNDER COVER ERGVENTURES PORTABLE MONITOR 200 47 T 0 e 1 1 455 l35 5Vu8 SHOLINOIN AUVOI NO 48 EYEPIECE PIVOT LOCK MURS EYEPI ECE DOVETAIL LOCK KNOB EYEPI ECE FORE AFT LOCK EYEPI ECE CONNECT ACC BRACKET ANAVISIDN LI 4 4 LENS LIGHT FIANAVISION L I Anv Panavision lens light can mount onto anv of the side or front dovetails on the camera Just supplv power from a 24V DC source either from a batterv the AC power supply or from the on board power converter HDUC that can attatch to the side of the camera NOTE Although the 24 HD camera is 12V DC 11 17V system all of the standard Panavision accessories are still 24V and need the proper voltage to work 49 1 0 9 5 T A18N3S
54. ps describe the procedure for both zoom and fixed focal length lenses 37 s O e 4 gt 2 m n 512034 ADVE ONILLAS TE 3 4 SETTING BACK FOCUS Zoom lenses 1 Setup a chart or flat test subject at around 4 6 feet from the focal plane 2 Open the iris to the MAXIMUM aperture T1 8 etc Use the in camera ND filters if necessary 3 Set the zoom to the longest focal length zoom in and front focus the lens for the sharpest image At this point you will find it helpful to adjust the camera viewfinder peaking control to a minimal amount of peaking This will show very fine focus changes It is sometimes helpful to turn off or lower the brightness on the viewfinder to emphasize contrast Practice by observing the peaking while racking the follow focus slowly to find the sharpest point peaking just on 4 Now set the lens to the WIDEST focal length zoom out 5 Unlock the back focus lock just enough to move the adjustment ring The lock is the ring located in front of the back focus adjustment ring 6 Move the adjustment ring slowly while observing the viewfinder peaking or the waveform monitor or the picture monitor 24 preferably for the best focus Look at the finest detail that you can discern 7T Again set the lens to the maximum focal length zoom in and front focus for the sharpest image 8 Zoom wide If image is not sharp at the wide end repeat step 4 above a
55. see color in any of the corners choose the appropriate screen quadrant TOP LEFT etc and use the UP DOWN keys to remove the coloring Press ENTER to save the setting RESET will restore all parameters on this screen to 100 8 At this point the rotation may need adjustment Press MENU repeatedly until you get back to the SET UP menu Choose ALIGNMENT Select channel 95 crosshatch pattern to assist with rotation by pushing 0 9 5 on the keypad Choose ROTATION Press UP or DOWN keys until picture is rotated properly Note the picture position settings must be set separately for underscan and overscan modes Press ENTER to select setting and then press MENU repeatedly to exit the menus lt 4 AJ NOILVASIIVD HOLINOW 1729100 9 Le 127 SAFE AREA MODE SAD MODE 16 9 SIZE V SIZE H POSITION SHAPE 4 3 AREA MARKER 4 3 BLANKING SAFE AREA MODE BAD MODE 4 3 H SIZE V SIZE POSITION SHAPE 3 AREA MARKER BLANKING SAFE AREA MODE MSAD MODE 16 9 ANY SIZE H SIZE 095 V SIZE 091 H POSITION 000 SHAPE 4 3 AREA MARKER 4 3 BLANKING MSAD MODE 16 9 ANY SIZE H SIZE oss V SIZE 071 H POSITION SHAPE 4 3 AREA MARKER 4 3 BLANKING 128 6 4 2 207 amp 24 MONITOR FRAMELINE SETTINGS NOTE The entire underscanned picture is the full chip dimension of 1920 x 1080 pixels and represents the Transmission Area Safe Action Areas and Projection Apertures are set u
56. since it is NOT reversible in post WARNING f there is ANY future possibility of the footage getting recorded out to a film negative then you should shoot with the MATRIX turned OFF If the project will stay on tape then you can turn the MATRIX ON with the PRESET value set to ITU 709 JINOD NNAW LNIVd ANAVISIDN 99 lt SHUTTER gt 12 SHUTTER ON ECS FREQ 24 S EVS OFF lt SCENE FILE gt 1 5 9 3 PAINT MENU CONTINUED 1 0 9 9 12 SHUTTER e Used to adjust the shutter speed of the camera Changing the values here is the same as with the toggle switch on the Remote Control See Section 5 4 13 SCENE FILE e Used to read and write the PAINT MENU SCENE files to and from a Memory Stick The memory stick stores 20 groups of 5 scenes One group of 5 can be stored in the camera at a time NOTE To restore the paint menus to their Panavision default settings recall the STANDARD file on 43340 VHAWVI menu page P13 by clicking on it twice 1 02 NNAW LNIVd PANAVISION 101 102 MULTI FORMAT gt M7 RENT 23 23 SSPsF e5PsF 24PsF 5 9 4 SETTING THE FRAME RATE PIANAV ISION L I The current frame rate can be viewed by looking in the viewfinder while holding the MENU switch to the STATUS position See picture at left or section
57. sing the following values 9 9 16 9 Safe Action SAD MODE 16 9 90 16x9 Safe Action with 4x3 Safe Action SAD MODE 4 3 90 1 85 Projection Aperture for film out SAD MODE 16 9 ANY SIZE HSIZE 095 a VSIZE 091 gt 2 40 Projection Aperture for film out SAD MODE 16 9 ANY SIZE HSIZE 095 VSIZE 071 SANIIANVYS HOLINOW 9 0 9 PANAVISION 13 21 129 RESET PARADE HD SDI IN MONITOR OUT MODE HD SDI IN MONITOR OUT 130 L 6 5 HD SDI WAVEFORM MONITORS Tektronix WFM1125 Using the waveform monitor can be considered analogous to using a reflective spot meter It is useful for the determination of exposure and shows the relative values of the reflected light INPUT HD SDI OUTPUT HD SDI or Y Pb Pr NOTE The monitor is AC powered only and has a fan It may be necessary to turn off the monitor if it can be heard while shooting sync sound Resetting the Monitor lt 4 AJ It is useful to save the settings of the monitor on the Fl key during the prep This allows for an easy reset if the parameters get changed The standard mode is the PARADE mode with the channels shown in the order of G B R with the scale going from 0 100 1 Push MENU key several times until menus disappear 2 Hold the F1 key down until the monitor shuts off and then let go 3 The monitor will rese
58. sion Full Image in Viewfinder 16x9 Safe Areas 8096 9096 92 596 and 9596 2 Aspect Mode mask function 16x9 Transmission 15x9 Transmission 1 66 1 14x9 Transmission 13x9 Transmission 4x3 Transmission VISTA 1 1 85 Transmission approx VISTA 2 2 40 Transmission approx Use the following functions for Safe and Projection Areas VAR H horizontal 0 1920 pixels 4x3 Safe Action 1292 VAR V vertical 0 1080 pixels 1 85 Projection Aperture 984 2 40 Projection Aperture 764 105 SON HIANIAMAIA OT S 5 10 1 TV 16X9 TRANS amp 4X3 TRANS SAFE OPERATION MENU page 3 e Turn the MARKER ON and set a 9096 Safety Zone and then turn the ASPECT MODE ON and set the VAR H at 1292 to indicate the 4x3 safe area The innermost box formed by these lines represents the 1 33 TV safe action area O gt lt gt lt MARKER gt a gt E 2 J4VS SNVAL 9 SNVL6X9T AL T OT S PANAVISION avi 107 5 10 2 10 9 TRANS amp 1 85 THEATRICAL OPERATION MENU page 3 e Turn the MARKER ON and set a 95 Safety Zone then turn the ASPECT MODE ON and set the VAR V at 984 The innermost box formed by these lines represents the 1 85 projection aperture which is the area which will be seen in a theater lt MARKER gt ZONE MODE Y A WIDTH gt 9 108 PANAVISION 3 10 3 TV 16X9 TRANS amp
59. t switches They are duplicated in later pages m gt 2 VIDEO LEVEL e Used to manually set a white balance and black level ES 2 NOTE BLACK level is set so that the video gt signal is being recorded just above clip level on O the waveform monitor z 3 GAMMA e Used to adjust the video GAMMA Should be ON The normal setting is COARSE 0 45 STANDARD 5 These settings reference the ITU 709 standard 4 BLK GAMMA e Used to adjust the gamma in the black part of the picture Nominal setting is OFF em UJ U gt CAUTION Changing the black could adversely z affect noise in the picture A lt m 2 FIANAVISION 95 gt P5 TOP J m m om l lt gt P8 TOP OFF OFF 2 lt DETAIL 1 gt JJOTLU lt SATURATION gt SATURATION LOW KEY SAT KNEE DETAIL 2 KNEE APERTURE 96 5 9 3 PAINT MENU CONTINUED 1 9 9 T 5 SATURATION e Used to decrease the color saturation of the picture Can be used to acheive black and white Nominal setting is OFF e LOW KEY SAT adjusts the color sturation in the dark areas of the picture Nominal setting is OFF O gt 6 KNEE lt Used to adjust the highlight portion of the picture an Use as desired gt 7 DETAIL 1 ES e Used for electronic image enhancement 9 4 8 DETAIL 2 e Used for electronic image enhancement NOTE Historically detail circuits were
60. t position 1 9 9 T e Image has excessive blur while panning Make sure shutter is on and at proper shutter speed Image looks soft on 24 monitor Check lens back focus Footage marks on lens are not accurate Check lens back focus Camera will not accept external timecode Is timecode set to F Run If not switch to F Run No audio signal level on VU meter Check cable connections s input switch above XLR input set to proper setting mic line Check audio in switch front rear NOILVH3dO VH3INVO LENS RET aka REC REVIEW function on assignable switch not working Is tape write protected Check red tab Check programmed function of switch Was last take at least 3 seconds White Balance no good AWB NG in display LEVEL HIGH Exposure too high Close iris so that white level is about 70 COLOR TEMP LOW COLOR TEMP HI GH Wrong CC filter selected on wheel Try another filter LEVEL LOW Not enough light Open iris or add light AWB WHITE PRESET WHITE BAL switch is set to PRST setting Change to A or B Audio not in sync with downconverted image Audio delay box must be used to achieve sync due to downconverter delay O9NILOOHSITANOUL A av 115 116 5 15 SMARTLENS Panavision s SMARTLENS is a system for reading and displaying lens data For the first time camera assistants can control how and where they see critical lens information
61. t to the saved settings Leader LV 5700 The Leader waveform monitor can be powered with 12V DC via a 4 pin XLR for field use INPUT HD SDI OUTPUT HD SDI or Y Pb Pr SUOLINOW INHOJ3AVM IGS 49 131 10 INDEX IND 89 1 4SXD 11 31 35 1 66 105 1 85 Projection Aperture 5 105 108 109 129 12V DC 9 24 47 49 51 55 57 60 113 119 121 13x9 105 14 5 105 15x9 105 16x9 5 32 33 47 105 109 121 123 125 129 2 40 Projection Aperture 5 47 105 109 129 23 98 PsF 10 47 75 24 PsF 10 47 75 24P 3 19 21 49 24V DC 25 50 51 25 PsF 10 29 97 PsF 10 2SXD 11 31 35 30 PsF 10 4x3 5 105 107 121 123 125 129 50i 10 59 94i 10 60i 10 1 0 0 5 T 100 11 69 111 112 AC power 25 49 113 121 123 125 131 AES EBU 116 Anton Bauer 11 61 Aperture 31 33 39 105 108 109 113 129 Artifacts 22 97 ASPECT 67 89 105 107 108 109 Aspect switch 67 Assignable 79 81 83 93 115 Astro HD monitor 47 Audio 8 57 59 115 116 Auto Black Balance 69 111 112 AUTO IRIS 91 Auto White Balance 69 111 115 AWB 69 111 115 OL B Back focus 31 36 39 67 111 112 115 Baseplate 8 43 BATT ALARM 91 Battery 11 48 58 60 61 74 81 89 91 115 Black Balance see also ABB 69 111 102 Black level 95 111 BLK GAMMA 95 Blur 18 45 115 BNC 9 55 59 114 Brightness 39 47 67 83 Brightness knob 67 tpw avi 133
62. ther containing the camera accessories The camera is stored without the eyepiece attached Included with the camera is an AC to DC power converter HDPS with 2 24V DC 2 12V DC outputs for camera gt and accessory power CASE CONTENTS 5 gt HD900F Camera HD900F 2 HDEP HD Ultraview Viewfinder U HDET HD Extension Tube E HDVP HD Viewfinder Pivot HDCA or HDCAA HD SDI Cam Adapter data or audio HDUC HD Accessory Voltage Upconverter e HDRP HD Remote Control Panel HDPCM HD Camera Mount ABGM or IDXA AB Goldmount or IDX Battery Adapter HDPS HD 24 12DC Power Supply CBLE IECNA EC N America Mains Plug CBLE 12P 2 12V Power Cable XLR4 gt lt m 20 gt lt O gt m PANAVISION L 25 PIANAVISION 26 2 2 ACCESSORY CASE 1 0 9 9 accessory case holds 4x5 swing away matte box with mattes sunshade follow focus and knobs Panavision Steadicam plates eyepiece leveler lens light whip follow focus bracket and side rod adapter gt Clip on polarizer matte box is optional CASE CONTENTS 5 Modular Follow Focus Gear Box gt MFFSK 2 Modular Follow Focus Single Speed Knob MFFEX Modular Follow Focus Extension u FXHL Offset Handle FFX Follow Focus Extension 12 B EPL M Eyepiece Leveler Millennium gt PLL Panaflex Lens Light HDLM HD Low Mode Bracket HDSP HD Stead
63. tively control colorimetry resolution contrast e For use with the SMARTLENS system Panavision lenses are available with integral encoders for display of focus zoom and aperture position s O e 4 gt 2 2 n PRIMO DIGITAL LENSES SD5 5mm T1 8 Primo Digital Prime 10 CF SD7 7mm T1 6 Primo Digital Prime 12 CF SD10 10mm T1 6 Primo Digital Prime 12 CF 2 5014 14mm T1 6 Primo Digital Prime 12 CF ES SD20 20mm T1 6 Primo Digital Prime 13 CF 2 5035 35mm T1 6 Primo Digital Prime 20 CF SDZW 6 27mm T1 8 Primo Digital Zoom 22 SDZT 25 112mm T1 9 Primo Digital Zoom 32 CF 5 79 8 72mm 1 9 Primo Digital Zoom 3 CF SLZ11D 9 5 105 T1 6 Primo Digital Zoom 4304 CF 1 4SXD 1 4X extender for Primo Digital Zoom 2XSD 2X extender for Primo Digital Zoom gt CDA Double Asphere Attachment 5mm 4mm A WFA Wide Angle Fisheye Adapter for 7mm PANAVISION 31 3 perf 16x9 35 mm film area 2 3 HD CCD 20 cycles mm 50 cycles mm ANAVISIDN 32 3 2 FILM HD COMPARATIVE RESOLUTION PIANAV ISION L I The 2 3 CCD imager is actually only 11mm in diagonal as opposed to the 27 5mm diagonal of a 35mm motion picture film frame Therefore for any given screen size the 2 3 CCD will require 2 5 times more horizontal mag nification than a 35mm film frame This req
64. uired that our new Primo Digital lens series be designed to have 2 5 times the performance of our best cine lenses All of the new Primo Digital lenses provide their optimum per formance at their maximum aperture On the left side of this graphic is a 16x9 format 35mm film camera aperture On the right side is the image area of a 2 3 CCD drawn to the same scale In order to have the same performance as a Primo cine lens Primo Digital lenses achieve 80 contrast at 50 line pairs per millimeter on the 2 3 CCD 2 5 times better frequency response 33 1 0 9 9 545 31 s ON Id NOILN1OS3 Y JALLVHVAWOD ANTI 26 3 3 ASPHERICAL AND FISHEYE ATTACHMENTS 7 ASPHER CAL ATTACHMENT 250 0060 05 5MM HD PRIME BECOMES po um ADAPTER RING 250 0048 00 0 FISHEYEATTACHMENT WFA 25140070 00 4 FO PRIME ADAPTER RING 2500145009 1 PANAVISION 34 3 4 PRIMO DIGITAL LENS EXTENDERS T 0 e 25112 ZOOM LENS SUT 141 EATEN en 14150 TEL 35 5808 127 1708 Loss 1 25 4 120 ZOOM LENS 2X EXTENDER 2150 30 224NM 13 8 2 STOP LOSS 545 31 s ON Id 25 1129 ZOOM LENS 2X EXTENDER 14X EXTENDER 0150 14550 b y er manu _ STOP LOSS LH 2X amp 14 2 8 EXTENDER SHIAQNILXI 9 SLNAWHOVLLV v E

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