Home

Sony NEX-FS700E hand-held camcorder

1. Color adjustment After Before 00 00 03 56 7 A 00 00 10 45 IThe source data is displayed in the timeline window Three way color correction provides detailed contrast and hue settings for selected clips to achieve maximum usage of the color field and minimize problems such as white out and loss of black detail Go to Video Effects Color Adjustment Three way Color Correction In the example above the white lace pattern is more visible and the blue of the sky has been properly accentuated v TIPS Applying color adjustment across multiple clips In Adobe Premiere the adjustment layer can be used to apply the same effect to multiple clips on the timeline Any effect applied to the adjustment layer will be applied to all clips in the layer This is a simple and convenient way to color adjustment to multiple clips Consult the Adobe Premiere Help function on setting up the adjustment layer Adobe Premier is a trademark of Adobe Systems Incorporated Media Composer and Symphony are trademarks of Avid Technology Incorporated DaVinci Resolve is a trademark of Blackmagic Design Incorporated S D te gt Go 51 Post processing RAW Viewer for color adjustment and output conversion The RWV 10 RAW Viewer application performs four key functions on Sony RAW MXF files viewing trimming grading and output conversion m Installing the RWV 10 RAW Viewer The RAW Viewer is available for download
2. 3 Adjust the shift brightness in the range Press the SEL PUSH EXEC dial to enter the new setting This feature is available when auto control is enabled for the iris shutter speed and or gain AE SHIFT OK CAMERA SET WB PRESET WB OUTDOOR LEVEL WB TEMP SET BLACK BALANCE AE SHIFT ZOOM SET EESTEADYSHOT SLOW amp QUICK AUTO FOCUS function lets you control focus DRE SI adjustment automatically With focus automatic adjustments kick in when the FOCUS ki a AUTO switch is moved to AUTO be WAN FOCUS switch Using Manual functions for purposeful shooting Moving the AUTO MANUAL switch to MANUAL enables manual adjustments of the iris gain shutter soeed and white balance settings Please note using this switch will change the settings for all these exposure settings Regarding focus adjustment moving the FOCUS switch to MANUAL enables manual adjustment gt es ij m J TI Cc e Z m aasva INA samej eouewuoyieg J AUTOMATED FUNCTIONS White Balance WB To shoot images in correct colors you need to adjust your camera so that it can capture a white object as white under lighting conditions with different color temperatures At the same time white balance is sometimes used to shoot something that is not white as white for dramatic effects One Push White Balance lets you capture white subjects as white Selecting WHITE BALANCE MEMORY switch A amp A s
3. 4 Color Mid 165 1 Highlight 352 1 Saturation Grobal 49 Mid 66 Highlight 84 CA Camera settings ISO 2000 24p 1 48 F8 ND1 4 6 800 White t Grading settings kia Exposure Shadow 1 4 Mid 28 Highlight 4 ghlig 6 IN 100 White 7 o a 2 Color Mid 180 1 ca Highlight 228 2 S m D 18 Gray O Saturation Grobal t 58 kej F Mid 53 5 2 3 stop 6 1 3 stop O stop f 16 2 3 stop Highlight FATA 5 Black v TIPS The FS70OOR mimics the ITU709 gamma curve through to halftones while using the ITU709 800 gamma curve with 800 extended dynamic range for bright regions This is a good option for enhancing the dynamic range of bright regions with a minimum of color grading work x S Log2 has been designed specifically for 10 bit recording and therefore may not generate sufficient gradation in 8 bit AVCHD 45 RAW recording mode RAW recording on the FS7OOR The FS OOR supports RAW data recording when connected to a RAW recording device The RAW data is the sensor output signal at either 4K or 2K resolution RAW video recording like RAW still data is based on image data obtained from the sensor The volume of data is much larger because it contains much more image information such as color gradation The FS7OOR offers RAW recording in standard mode 24p 25p 30p 50p and 60p at 4K or 2K and super slow motion mode 100fps and 120fps at 4K up to four seconds and 1
4. 8 oO Paty a r m U gt ITI gJ SENSOR AND LENS Other assist functions SteadyShot SteadyShot is only available when a SteadyShot compatible lens is fitted How to set operate 1 MENU CAMERA SET STEADYSHOT 2 Choose from STANDARD and ACTIVE modes Press the SEL PUSH EXEC dial to confirm WB TEMP SET BLACK BALANCE AE SHIFT EESTEADYSHOT ZOOMISE ACTIVE SLOW amp QUICK OFF FOCUS TRANSITION SPOT FOCUS Y TIPS SteadyShot modes Standard For relatively stable conditions Active For situations involving considerable movement such as walking with a handheld camera Active mode is only available during video capture and requires a compatible lens Off When using a tripod or equivalent OSS compatible E Mount lens required Focus Transition using rack focus to transition between two points ASSIGN Focus Transition shifts the focus automatically between two pre defined points Focus Transition is only available during video capture and requires an E Mount lens How to set operate Register buttons 1 MENU OTHERS ASSIGN BUTTON FOCUS TRANSITION ON 2 When Focus Transition is on buttons 4 5 and 6 are allocated to the Focus Transition function Press button 4 to cycle through the four modes STORE CHECK EXEC and OFF Store focus points 3 Press button 4 to display the STORE scree
5. m Black DETAIL adds such impressions as power hardness and presence to the subject But it may bring undesirable results because it emphasizes wrinkles and pores m White DETAIL gives the subject clean and glossy impressions You can increase the proportion of white DETAIL and reduce that of black DETAIL when shooting jewelry and glass objects to stress their clear transparent nature LIMIT b m Restricts the amount of black DETAIL for low luminance areas and white DETAIL for high luminance areas by setting a maximum value The LIMIT setting cannot be set independently for black DETAIL and white DETAIL O Strongly restricted to 7 No restriction BLACK LIMIT WHITE LIMIT CRISPENING m Reduces DETAIL that is added to visual noise to prevent noise from being emphasized m You can use the CRISPENING function when you want to apply DETAIL to the subject while keeping noise as unnoticeable as possible m CRISPENING can be adjusted between Oto 7 A larger set value results in less DETAIL HI LIGHT DTL High Light DETAIL m Adjusts the DETAIL level for bright subjects m You can use this to emphasize the edges of a bright subject in front of a high luminance background O Smaller DETAIL amount to 4 Larger DETAIL amount Settings for correcting white balance WB SHIFT Fine tunes white balance or creates an effect that is similar to using a color filter Two types of adjustment methods LB CC a
6. 3000 2 1250 2500 guick guick guick guick guick 1 2400 3000 6000 1 2500 5000 guick guick guick guick guick v TIPS To slow down fast moving subjects such as sporting events we recommend a 24p 25p recording format with a frame rate of 60 5Ofps To speed up slow moving subjects such as clouds use a 60p 50p recording format with a lower frame rate 24 How to set operate Recording format 1 MENU CAMERA SET gt SLOW amp QUICK gt S amp Q MOTION 2 Scroll down to REC FORMAT and choose a recording format from the list um Frame rate 3 MENU gt CAMERA SET gt SLOW amp QUICK gt S amp Q MOTION 4 Scroll down to FRAME RATE and choose a frame rate from the list 60i frame rates 1fps 2fps 4fps 8fps 15fps 30fps 60fps 50i frame rates 1fps 2fps 3fps 6fps 8fps 12fps 25fps 50fps Pressing the S amp Q button on the camera body once default setting switches directly into slow and quick motion mode 1 Not available in AUTO mode 2 When filming in HD slow amp quick motion functions are available in progressive mode only 3 To preserve continuity the time code is recorded in REC RUN 4 Audio will be recorded only at normal playback speed settings 5 The frame rate setting cannot be altered while filming FRAME RATE S amp Q MOTION RETURN EXECUTE REC FORMAT FRAME RATE 6 Simultaneous recording to the memory card and f
7. For example if video compression leaves the image with poor contrast or block noise in some areas applying video effects often make the problems more noticeable Because PICTURE PROFILE processes video signals before compressing it changes the gamma curve and corrects colors before image quality is damaged by compression This makes What to do on the scene If you are working on a project with ample time for editing or a short piece you probably should record the image as flat as possible to allow for all kinds of post production image processing and color adjustments If you are working on a project with a tight deadline or a long piece on the other hand you can dramatically reduce the amount of post production image processing and enable highly efficient production by dialing in settings to record the video as close to the vision of the finished image as possible Showing the image being recorded to the director and crew as close to it possible to carry out highly precise image adjustments while keeping the quality of the subject intact It should also be noted that recording images with proper contrast is crucial If image contrast in dark and bright areas is not recorded right underexposed dark and overexposed white areas will have no gradations This means you cannot change image contrast properly later on with nonlinear editing software no matter how hard you try because there will be no gradations to work with Even if you in
8. SONY SNOILJNAA CILYWOLNY O Wireless and other external microphones Wireless microphones are often used by reporters who are constantly on the move The microphone is connected to a transmitter worn by the reporter The receiver is attached to the camera providing an audio output feed that is connected to the camera input How to set operate The wireless microphone is connected in the same way as the shotgun microphone When using a two channel system with separate microphones connect the left channel to INPUT1 and the right channel to INPUT2 For more information refer to the manufacturer s instructions for the microphone XLR SET SRETURN XLR AGC LINK INPUT1 WIND INPUT2 TRIM INPUT2 WIND R S 3 fe gt o oO D 2 P a m CU gt w m U Y TIPS Adjusting the input level for external microphones TRIM is used to adjust the microphone input level in accordance with the sound volume In the menu system navigate to AUDIO SET XLR SET INPUT1 2 TRIM then select the required trim value 18 dB 12 dB 6 dB O dB 6 dB and 12 dB xy For high sensitivity microphones or when recording very loud sounds reduce the trim value For low sensitivity microphones increase the trim value 31140e Audio distortion may be caused by input distortion at the microphone or recording distortion within the camera or a combination of both To reduce input distortion adjust the trim as describ
9. When the AUTO MANUAL switch is in the MANUAL position pressing the specific button for a particular parameter such as the GAIN button lets you switch between the AUTO and MANUAL modes just for that parameter gain in the case of the button The A icon next to a parameter indicates it is being controlled automatically Even when the AE function is used it cannot produce perfect AUTO MANUAL control display results under all lighting conditions But by also utilizing Support functions you can use the AE function effectively AE SHIFT for automatically shooting video a little brighter or darker The AE SHIFT function enables you to shoot at an exposure level that is a little higher or lower than the AE function normally selects Usage examples m When the subject is darker than the background such as when m When the subject is too bright compared to the brightness shooting a person against light a snowfield or another bright of the background If you want to tone down the subject s background using the AE function If you want to capture the brightness even if the background becomes darker you can subject brightly even if the background becomes extremely shift AE toward the minus side bright you can shift AE toward the plus side voy ON LEVEL 2 0EV LEVEL OEV LEVEL 2 0EV How to set operate 2 0 dark through O normal to 2 0 bright 1 MENU CAMERA SET AE SHIFT 2 Select ON OFF
10. point 100 600 Luminance should be set lower in combination with a steeper KNEE slope In practical terms you should move the KNEE point and the KNEE slope up and down in opposite directions to each other while checking the gradations in high luminance areas until you find the ideal settings aasyg J114 O Sainjeo JULWOJ d C Je O U m U U O m ro m PICTURE PROFILE Settings for adjusting coloring COLOR LEVEL COLOR LEVEL deals with saturation in the color space and makes washed out colors appear more vivid Settings can be adjusted between 7 Grow pale in color to 7 Grow rich in color There is also a 8 Shootin black amp white setting A higher set value results in more vivid colors while a lower set value presents faded colors COLOR LEVEL should be adjusted in tandem with contrast Bright and vivid settings produce video like images while dark and vivid settings result in film like images The combination of bright and light creates pastel tones whereas dark and light settings create artistic finishes COLOR PHASE COLOR PHASE 7 7 1 5degree step COLOR PHASE controls Hue in the color space A single step in Hue amounts to a roughly 1 5 degree rotation in the color wheel As you rotate the color wheel to the left or right the colors shift such as from red to yellow green aqua blue and purple Because this setting affects all colors it is difficult to use COLOR PHASE for a part
11. 00fps 120fps 200fps and 240fps at 2K unlimited Only RAW recording mode can fully utilize the power of the FS7OOR 4K sensor It is definitely worth the effort RAW recording modes 4K 4096x2160 2K 2048x1080 24p 25p 30p 50p 60p 24p 25p 30p 50p 60p motio 100p 120p ecording time 4sec Maximum clip recording time is 24 hours time code equivalent RAW vs AVCHD data m RAW data The image sensor output data is recorded virtually as is It is rich with image information such as color gradation Image sensor output AVCHD data Image sensor output data is converted to video signal and compressed to reduce the recorded data size HDMI VIDEO output Camera LCD Monitor output AVCHD recording H 264 compression RAW video data SDI RAW output v TIPS e 16 bit linear RAW data unlike ordinary still image RAW data has a white balance setting e Guide to recording times on a 512GB AXS memory card 4K 4096 2160 60 minutes at 23 98p 24 minutes at 59 94p 2K 2048 1080 240 minutes at 23 98p 96 minutes at 59 94p 46 System configuration The optional external RAW recorder system connects to the NEX FS7OOR via a single 3G SDI cable It can be attached directly to the rig or carried separately as required The power source is the BP FL 5 lithium ion battery pack or XLR4 pin wired DC12V m Components SN37 CNY 4OSNJS interface unit
12. 1 MENU gt DISPLAY SET HISTOGRAM 2 Select ON or ON ZEBRA POINT Press the SEL PUSH EXEC dial to confirm DISPLAY SET RETURN ZEBRA PEAKING MARKER EXPANDED FOCUS MAG CAMERA DATA DISPLAY O E mount Focus Assist PUSH AUTO for temporary Auto Focus AF When filming in manual focus mode press and hold the PUSH AUTO button to temporarily engage Auto Focus Release the button to revert to manual focus Switching temporarily to Auto Focus is a good way to ensure smooth focus transition when shifting from one subject to another How to set operate 1 Set the FOCUS switch to MAN Sh Ad F PU K AUTOS 2 Press the PUSH AUTO button to engage Auto Focus Release the button to revert to manual focus SNJI ONY 4OSNJS S9lNje9j DJUEWJOJJAJ C Expanded focus for precision focusing The display can be expanded by 4 x or 8 x for more precise focusing using the dedicated EXPANDED FOCUS button conveniently located on the lens ring Use the cursor keys to navigate within the expanded image G TI Fe ITI CU gt Ty m O How to set operate 1 Press the EXPANDED FOCUS button on the lens ring to cycle through the expanded display options 2 Use the arrow buttons at the top of the camera screen to move around the display or press the EXEC button to return to the center of the display Ki JlidOdd JYNLOId TV SCAN SLOW DATA CODE D POWER START Ga on i SENSOR
13. 8 has built in optical stabilization and a spherical iris for superior bokeh effect SEL1670Z Vario Tessar T E 16 70 mm F4 ZA OSS zoom lens The SEL16 0Z is a compact high performance Carl Zeiss standard zoom lens providing excellent contrast and definition with an advanced optical design comprising four aspherical lenses and one ED glass element One of the aspherical lenses is made with Sony s AA advanced aspherical lens forming technology used to produce compact lenses without compromising imaging performance The result is a high performance Carl Zeiss lens that is much more portable The black metallic exterior conveys a quality feel commensurate with the status of the Carl Zeiss lens Carl Zeiss E Mount lenses Carl Zeiss E Mount lenses are also available Touit lenses 32mm F1 8 12mm F2 8 The Touit is a compact lens designed to suit APS C size image sensors with T coating delivering improved transmissivity and less internal reflection for improved image definition As with the Sony E mount lens the dial on the camera body is used for iris adjustment Auto iris is also available Auto focus not supported on the FS700 100 or EA50 Compact Prime CP 2 15mm T2 8 18mm T3 6 21mm T2 9 25mm T2 1 28mm T2 1 35mm T2 1 50mm T2 1 85mm T2 1 100mm T2 1 135mm T2 1 Compact Prime CP2 lenses are entry level cinema lenses with a strong design emphasis on manual control The focus and iris
14. AND LENS Focus Assist Peaking to identify focus peaks ASSIGN The peaking display is used to check which areas of the image are in focus Areas in focus are denoted by accentuated outlines How to set operate 1 MENU gt DISPLAY SET PEAKING gt ON 2 Select the color and the level of accentuation required Press the SEL PUSH EXEC dial to confirm the settings DISPLAY SET PEAKING SD RETURN OK HISTOGRAM COLOR ZEBRA WHITE MARKER EXPANDED FOCUS MAG CAMERA DATA DISPLAY AUDIO LEVEL DISPLAY v TIPS When the peaking level is set to high the focused areas are easy to locate but there is also a commensurate increase in noise Peaking is not suitable for some types of images For best results use in combination with expanded focus Face detection to focus automatically on faces ASSIGN Face detection locates and focuses on faces within the field of view Face detection reguires an E mount lens How to set operate 1 MENU CAMERA SET FACE DETECTION Use the SEL PUSH EXEC dial to position the orange frame on the priority focus face then press the dial to confirm The orange frame changes to double lines to indicate that the face has been selected To select a different face press the SEL PUSH EXEC dial and repeat step 2 CAMERA SET ZOOM SET FESTEADYSHOT SLOW amp QUICK FOCUS TRANSITION AF MICRO ADJUSTMENT COLOR BAR v TIPS Face detection may not
15. ANUAL switch to MANUAL 2 Press the GAIN ISO button to display the gain or ISO value 5 6 3 Set the gain switch to H M or L as required MARKER LAST SCENE GAIN ISO WHT BAL SHUTTER SPEED AUTO E MANUAL Setting range seL PusH Exec 4 MENU DISPLAY Gain H 18 dB M 9 dB L O dB m sta Iso H 2000 M 1000 L 500 PRESET porune sme BATT RELEASE v TIPS The gain and ISO settings can also be modified via the menu system Navigate to CAMERA SET then either GAIN SET or ISO SET CAMERA SET SD RETURN GAIN ISO SEL GAIN SET OK M t ISO SET AGC LIMIT Gain range O dB 30 dB WB PRESET WB OUTDOOR LEVEL ISO SET IS05000 OK IS04000 IS03200 IS02500 CAMERA SET DRETURN GAIN ISO SEL GAIN SET M L AUTO ISO LIMIT WB PRESET ISO range 500 16000 WB OUTDOOR LEVEL Actual range varies depending on the picture profile SNJI ONY 4OSNJS Nea S E n s S G NI me ITI UJ gt Pe ITI w SENSOR AND LENS Controlling the brightness Iris In manual control mode the iris ring is used to adjust brightness by opening and closing the lens mechanically How to set operate 1 Set the AUTO MANUAL switch to MANUAL 2 Press the IRIS button to display the iris setting 3 Adjust the iris setting using the iris ring A lower iris setting opens the lens and increases the available light volume To engage auto control temporarily 4 Press and h
16. LOR TEMP CC MG GR R GAIN B GAIN LEVEL MANUAL SET gt gt gt gt v v v v v v v v v v v v V LOW MIDDLE HIGH 7 47 AUTO MANUAL MAX POINT SENSITIVITY POINT SLOPE STANDARD STILL CINEMATONE1 CINEMATONE2 PRO ITU709 MATRIX 18 7 7 7 7 7 7 7 7 7 7 7 7 LB CC R B 9 9 9 9 9 9 9 9 7 7 ON OFF V H BALANCE B W BALANCE LIMIT CRISPENING HI LEVEL DETAIL v v v gt 90 100 HIGH MIDDLE LOW 75 105 5 5 2 2 TYPE1 TYPE5 0 7 0 7 0 4 U S S 3 pe gt O q gt h qP 2 P 1 rr ITI CU gt w m U Tldodd FUNLId 7 PICTURE PROFILE Information essential for making the most of PICTURE PROFILE Difference from image processing using nonlinear video editing software PICTURE PROFILE adjusts colors and the vividness of the image upon recording You can make similar adjustments by using nonlinear editing software after shooting But there are the following differences To fit massive amounts of image data in a limited memory Capacity most camcorders compress image data when recording No matter how advanced a compression format is any data compression inevitably deteriorates image quality somewhat Applying sharpness gamma curve correction and other video effects to recorded images by using nonlinear editing software worsens the image condition further by processing already deteriorated images
17. Mbps 1280x720 60p 50p 1920x1080 60i 50i 30p 25p 24p HD FH mode average 17 Mbps 1280x720 60p 50p 1440x1080 60i 50i HO mode average 9 Mbps 1280x720 60p 50p LP mode average 5 Mbps 1440x1080 60i 50i SD HO mode average 9 Mbps 720x480 60i 50i The first NXCAM in AVCHD format released in 2010 brought significant improvements in ambience and picture guality The AVCHD format uses MPEG 4 AVC H 264 compression and records onto memory cards and flash memory units Along with HDTV and Blue ray AVCHD can also be used with IT video formats designed for mobile devices and web movies Advances in recording formats HDV specifications AVCHD specifications Recording time min on 128 GB flash memory unit Aspect ratio Linear PCM Dolby Digital 600 640 700 750 16 9 940 1030 1560 1830 2460 3200 16 9 4 3 1910 1 Table does not show frame rate of 59 94p for 60p 59 94i for 60i 29 97p for 30p or 23 98p for 24p x 2 Recording times may vary slightly due to the use of VBR variable bit rate technology which adjusts the bit rate automatically according in accordance with image content ND FILTER 1 64ND 16ND yer AVCHD Progressive MPEG SD PEAKING HISTOGRAM FACE DETECTION AA SONY LAST SCENE MARKER 5 6 4 PEE j a MANUAL GAIN ISO WHT BAL SHUTTER SPEED AUTO i MENU DISPLAY SEL PUSH EXEC ta Connecting a non Sony external recording device The SDI HDMI Rec Control time code supplies high resolution out
18. NI the display NEX FS700R RAW file playback 16 9 S Log2 gamma is applied to the display irrespective of the selected picture profile Video is displayed in real time in 4K mode SDI RAW SDI Video output is not available in 2K mode HXR IFR5 AXS R5 Recommended camera settings e Set the AUTO MANU switch to MANUAL e Set SDI output to RAW SDI signal output switches to RAW mode This is automatically detected by the IFR5 e Choose from the following recording modes Standard 2K or 4K at 24p 25p 30p 50p or 60p Super slow motion 4K at 120fps four seconds or 2K at 120 24 0fps unlimited e Set the white balance to 3200K 4300K or 5500K e Avoid S Log2 and ITU800 picture profiles e ISO GAIN should be as low as possible FS7OOR pre loaded gamma curves and RAW recording dynamic range Gamma curve STD STILL CINE1 CINE2 CINE3 CINE4 ITU709 709 800 S log2 Dynamic range 400 400 460 460 460 460 400 1300 1300 48 MENU ACCESS i PLav exec Mee pe RA POWER sTop zn im Simultaneous AVCHD recording The NEX FS7OOR can record in camera in AVCHD format while supplying RAW data to an external recorder The following restrictions apply e Simultaneous recording is not supported in super slow motion mode e The camera can record to either the MS SD card or the HXR FMU128 but not both e The RAW and AVCHD files will have different filenames e Alth
19. PROFILE BLACK GAMMA The BLACK GAMMA setting lets you alter the shape of the gamma curve and adjust gradations in dark areas in the image m RANGE LOW MIDDLE HIGH m LEVEL to 7 This controls the luminance range that BLACK GAMMA influences The LOW setting affects the range up to almost black while the HIGH setting extends the range up to gray RANGE should be set lower when you want to control the quality of dark areas If you want to adjust the overall image tone RANGE should be set higher At first it may be a good Increasing LEVEL set value brightens the image whereas decreasing set value makes the image darker For example if you set RANGE at LOW and decrease LEVEL set value you can create an image with dark areas that are similar to the ones seen in films Unlike BLACK LEVEL BLACK GAMMA LEVEL adjusts luminance softly idea to start from the LOW setting High Middle BLACK GAMMA 7 EE JURE BLACK GAMMA 0 Mite BLACK GAMMA 7 KNEE This changes the tone expression in high brightness areas MODE AUTO Automatically adjusts the KNEE settings based on what is selected in the following AUTO SET function MANUAL Follows the KNEE settings selected in the following MANUAL SET function AUTO SET MAX POINT 90 to 100 Determines the maximum knee point level white level The knee slope is automatically adjusted according to the MAX POINT setting Selecting 100 is i
20. RE PROFILE PICTURE PROFILE is a menu for adjusting and changing parameters that determine image characteristics There are many parameters that can be adjusted and changed but they can be grouped into four types parameters for selecting basic color tone parameters for adjusting gradation darkness brightness tone parameters for adjusting coloring and parameters for correcting white balance Users can directly enter into the PICTURE PROFILE setting mode by pressing the PICTURE PROFILE button on the NEX FS7OOR Sporting a wide range of adjustable settings that rival ones found on upper class camcorders the NEX FS7OOR s PICTURE PROFILE menu allows users to change a variety of settings such as Gamma Curve Color and Detail Up to six sets of setting combinations can be stored in the internal memory banks from PP1 through PP6 PICTURE PROFILE button PICTURE PROFILE presets Using PICTURE PROFILE presets The NEX FS70OOR camcorder comes equipped with multiple PICTURE PROFILE factory presets By using these presets you can match the image texture with other types of camcorders or create an image texture that is similar to that of cinematic film m PP1 Standard gamma settings m PP2 STILL gamma settings m PP3 ITU 709 gamma settings for natural color tones m PP4 Strict ITU 709 color tone settings m PP5 Settings for shooting on general purpose color negative films m PPG Settings for playback of general purpose
21. SONY make believe NEX FS 00R_ Handbook Advanced slow motion and 4K 2K RAW recording RAW recording unit HXR IFR5 AXS R5 BP FL75 The NEX FS7OOR is a dedicated video camera featuring a powerful 4K Exmor Super35 CMOS sensor in addition to Less moir patterning and false coloration more sensitivity in low light settings The dedicated video sensor eliminates line skipping during read processing and provides increased sensitivity that helps to minimize noise such as moir patterns Full HD 240fps for superior image quality in super slow motion The NEX FS7OOR provides up to eight seconds of super slow motion recording at 240fps 10 x the standard 24p recording speed The high sensitivity sensor enables super slow motion capture at very high shutter speeds even in normal light conditions S Log2 gamma curve for high dynamic range The NEX FS70OOR boasts a dynamic range of up to 1 300 When used with color grading the extended dynamic range produces excellent gradation in high intensity portions of the image and can effectively prevent white out when shooting an outdoor scene from indoors through a window SELP 18200 powered zoom lens not available on all models The powered zoom lens delivers smooth zoom action during video capture from 29 mm through to 322 mm 35 mm equivalent ND filter complements the high sensitivity sensor The NEX FS7OOR features three built in ND filters 1 4 1 16 and 1 64 available at the touch of a b
22. al levels Just as black gamma influences contrast in dark image areas knee correction deals with contrast in image areas with high luminance levels CCD and CMOS sensors can handle an extremely bright input signal To output it as a video signal however we need to keep the signal within the standard range for video For this reason the signal output level is kept lower than the signal input level in high luminance areas that generate input signals beyond a certain level In the chart below the line bends like a knee at a point in the high luminance range This is called the knee point And the line extending from the knee point is called the knee slope By changing the position of the knee point and the inclination of the knee slope contrast in the high luminance range can be altered The breadth of input signal levels that a system can process is called the dynamic range The input signal should stay within the approximately 109 white clip point dynamic range OKEKEKKXEKAKI e Knee point Knee slope Output Input CCD CMOS Censor Saturated Level Without Knee function With Knee function Color Space The NEX FS70OR s PICTURE PROFILE uses the concept of a color space based on three elements Hue Saturation and Luminance This color space can be represented as a shape that resembles two cones joined at their bases When you slice the color space at a certain luminance level a c
23. aves a white balance adjustment value in memory A Choosing switch B 4 B enables you to store another white balance adjustment value separately in memory B Unless you readjust the saved adjustment values will be held in memory even when the power is turned off We recommend using this feature when you use ND filters How to use operate 1 Push the WHT BAL button on the camera body 2 Select A A or B B with the WHITE BALANCE MEMORY switch located on the camera body 3 Set the correct exposure under the same lighting conditions as the subject capture the white subject as large as possible in the screen and push the one push button 4 The adjustment value is stored in MLA or B The saved color temperature is displayed on the LCD screen for about three seconds GAIN ISO WHT BAL SHUTTER SPE SA PRESET WHITE BALANCE MEMORY switch WB TEMP SET white balance temperature set lets you directly set color temperature This function enables you to specify the color temperature in numbers such as 3 200K and 6 500K Usage examples m When you want to match white balance with other broadcasting professional camcorders whose color temperatures can be configured by entering numbers m When you want to keep the numerical values of color temperatures as shooting data when the shooting assignment extends over multiple days for example Y TIPS There are times when the correct white balance cannot be obtained
24. bed in Information essential for making the most of PICTURE PROFILE DETAIL is a function that emphasizes image edges By altering the following manual settings image processing can be varied to create different impressions from the same subject Because settings other than LEVEL are quite complex we recommend you start by adjusting only the LEVEL setting first LEVEL Determines the strength of DETAIL image processing to be applied 7 Weak to 7 Strong DETAIL OFF v TIPS m f you apply too much DETAIL the subject s natural atmosphere may be undermined as its transparency may be lost or its luster may be altered for example Excessive DETAIL when shooting shiny leaves for instance may result in the leaves looking as if they are made of plastic It is also advisable to use DETAIL only modestly when shooting paintings Because DETAIL makes image edges wider the original texture of a subject consisting of very fine lines may be lost if too much DETAIL processing is applied Example Thin laced curtains DETAIL ON m Please also be aware that DETAIL may fatten up the edges of noise particles that appear under a high GAIN setting and may make such particles highly noticeable In such cases however you can adjust the amount of DETAIL processing on the noise particles by using the later mentioned CRISPENING function m The image edges become more visible when viewed on large screens It may be advisable t
25. by designating a color temperature alone such as when you are shooting under fluorescent or LED lights In such cases we recommend you also use the WB SHIFT function under the Picture Profile menu How to set operate 1 MENU CAMERA SET WB PRESET WB COLOR TEMP Exit from the menu system 2 Press the WHT BAL button on the side of the camera and set the memory switch to PRESET 3 Press the one push button to highlight COLOR TEMP on the display then use the SEL PUSH EXEC dial to adjust the color temperature in the range 2 300 K through 15 000 K 4 Press the one push button or the SEL PUSH EXEC dial to enter the new setting WB OUTDOOR LEVEL white balance outdoor level for controlling an image s color tone with white balance This function lets you change the color temperature default value at roughly 5 800K for the OUTDOOR white balance preset Usage examples m When you do not have a white subject for setting white balance m When you want to match the white balance of multiple cameras as much as possible m When you want your image to have an orange tone like during sunsets or a bluish tone like at night and under shade How to set operate 1 MENU CAMERA SET WB PRESET OUTDOOR Exit from the menu system 2 Press the WHT BAL button on the side of the camera and set the memory switch to PRESET 3 Press the one push button to highlight the display the
26. camera to produce clear images with minimal noise even at maximum gain in low light settings To capture the entire view from foreground to background in focus photographers typically use a wide angle lens with short focal length together with a narrow aperture and try to get a reasonable distance from the main subject Conversely to accentuate the subject by blurring the background or surrounding scenery a telephoto lens with longer focal length is used in combination with a wide aperture and the camera is brought closer to the subject In theory depth of field is governed by three factors f stop aperture focal length and distance from the subject In practice however the distance between the subject and the background also influences the amount of blurring Controlling the brightness Brightness or exposure is closely linked to depth of field Brightness is governed by three factors aperture or iris shutter speed and gain In a well lit setting an ND filter can be used to control the light level and enhance the bokeh effect Gain ISO Gain ISO electronically amplifies the image signal level to boost the image brightness for optimum excellent results in low light settings such as a theater stage for instance where a conventional camera would generate too much image noise The gain and ISO settings are independently adjustable but only one may be adjusted while filming How to set operate 1 Set the AUTO M
27. color print films m PP7 Typical S LOG settings for S LOG see page 44 x The above picture profiles are designed for video settings and may need to be modified for still photography Picture Profile settings Basic color settings GAMMA The basic color settings are defined by the combination of GAMMA gamma curve and COLOR MODE color characteristics settings as follows STANDARD Standard gamma curve for video STILL Standard gamma curve for still images CINE1 Softens the contrast in darker regions and emphasizes gradation changes in lighter regions producing a subdued tone overall equivalent to HG4609G33 CINE2 Similar to CINE1 but optimized for editing with up to 100 video signal equivalent to HG4600G30 CINE3 Stronger contrast between dark and light regions and greater emphasis on black gradation changes compared to CINE1 and CINE2 CINE4 Stronger contrast than CINE3 in darker regions compared to the standard curve has less contrast in darker regions and more contrast in lighter regions ITU709 ITU709 gamma curve low light gain of 4 5 ITU709 800 Used for checking video images during RAW recording S LOG2 S LOG2 gamma curve for checking the full dynamic range during video capture COLOR MODE STANDARD Color tones for video gamma curve STIL Color tones for still gamma curve CINEMA Color tones for CINE1 gamma curve PRO Color tones similar to standard Sony broadcast camera picture quality used in
28. combination with ITU 709 gamma Curve ITU709 MTX ITU 709 color tones Level Used to select the intensity of the selected color mode from 1 minimum intensity similar to STANDARD setting through 8 maximum intensity Not available in STANDARD mode qasva TUJ O Sainjeo JSJULWJOJJAJ C uSettings for adjusting contrast BLACK LEVEL LEVEL T5 t0 T15 As the name indicates this setting adjusts the black level of the image As an image effect you can emphasize black to create a type of image that would give a hard impression or you can weaken black to give the image a soft impression ae O O m U O O m ro m Shifting BLACK LEVEL toward the minus direction emphasizes the black color in the image while changing the level toward the plus direction would weaken the black color For example if you want to simulate an old film or capture winter morning fog the black level set value should be increased If you decrease the level set value gradations in dark areas will be discarded making the areas appear in crisp black v TIPS When using multiple fixed camcorders to shoot the same subject from different angles the balance between subject and background often varies This balance variation may cause the black color on the subject to appear different when camcorders are switched But this is an optical illusion If it occurs you can correct it by adjusting BLACK LEVEL to make the black color look the same 31 PICTURE
29. correspond to the designated brightness level to provide a guide for brightness adjustment To check for whiteout set the Zebra display to 100 then adjust the brightness to minimize the stripes visible on the screen For face close ups where a brightness level of 62 65 is recommended set the Zebra display to 75 then adjust the brightness so that the stripes disappear from skin areas How to set operate 1 MENU DISPLAY SET ZEBRA 2 Select ON or OFF 3 Select a brightness level 70 75 80 85 90 95 100 or 100 Press the SEL PUSH EXEC dial to enter the new setting DISPLAY SET S RETURN HISTOGRAM PEAKING gt MARKER EXPANDED FOCUS MAG CAMERA DATA DISPLAY AUDIO LEVEL DISPLAY Histogram for checking overall light balance The histogram displays brightness levels across the entire image in the form of a bar graph with brightness on the horizontal axis and pixel count on the vertical axis The histogram is a useful way to assess the overall exposure balance of an image For instance in an image with many bright areas the distribution will be skewed to the right A vertical line denotes the 100 brightness point Brightness levels over 100 are displayed with a different background color to help locate areas of whiteout The ZEBRA POINT option also shows the selected Zebra brightness level on the histogram providing a visual indication of brightness levels during filming How to set operate
30. d trigger half Elapsed time gt 50i FRAMERATE REC FORMAT 1080 25p 1080 50p 3 125 6 25 800 slow slow 6 25 12 5 400 slow slow 12 5 25 200 Slow gt slow 25 50 100 slow slow Performance features Slow amp quick motion mode Slow motion and quick motion involves shooting at different frame rates to the standard playback frame rate There are no restrictions on recording time which is limited only by the maximum capacity of the storage media equivalent to approximately 13 hours continuous recording In 1080 24p format for example a frame rate of 60fps produces slow motion at 2 5 x actual recording speed while a frame rate of Afps produces quick motion at 6 x normal speed Quick motion mode frame rate of 4fps in 1080 24p format Capture at 4 frames per second Media storage playback at 24 frames per second nN Recording format frame rate and playback speed Playback speed is governed by recording format and frame rate as shown below 60i 0i FRAMERATE REC FORMAT FRAMERATE REC FORMAT 1080 24p 1080 30p 1080 60p 1080 24p 1080 50p 60 40 50 100 50 50 100 slow slow normal speed slow normal speed 30 80 100 200 25 100 200 slow normal speed quick normal speed quick 15 160 200 400 12 208 417 quick quick quick quick quick g 300 375 750 6 417 833 quick quick quick quick quick 4 600 750 1500 3 833 1667 quick quick quick quick quick 2 1200 1500
31. deal under most circumstances A lower setting will turn white grayish while a higher setting will discard gradations in high luminance areas So the basic choice for AUTO SET is to keep it at 100 SENSITIVITY LOW MIDDLE HIGH Changes the luminance level at which KNEE setting automatic adjustment kicks in LOW KNEE setting automatic adjustment starts at lower input signal levels than normal HIGH KNEE setting automatic adjustment starts at higher input signal levels than normal MANUAL SET POINT 75 to 105 Sets the position of the KNEE point output level SLOPE 5 to 5 Determines the inclination of the KNEE slope A negative SLOPE setting results in a milder KNEE slope angle This boosts the dynamic range but reduces the ability to reproduce rich gradations A positive SLOPE setting makes the knee slope inclination steeper This shrinks the dynamic range but bolsters the ability to express gradations v TIPS In general the KNEE point is set roughly between 85 and 100 which is said to match the luminance levels of human skin The knee point and knee slope should be viewed as a set In principle a higher setting for the KNEE point and a milder KNEE slope should be selected for video like sharp highlights If softer film like highlight expressions are desired the KNEE point Video signal White clip point output sli 109 E a E 100 Knee slope Knee point 50 Knee
32. ed above To reduce recording distortion change to manual audio mode switches 3 and 7 and adjust the input level dials and 8 so that the sound level meters remain out of the peak zone In certain settings the Audio Limiter can help to improve the sound quality when recording in manual audio mode Use the menu system to navigate to AUDIO SET AUDIO LIMIT In windy conditions turn on the wind noise reduction function from the menu AUDIO SET gt XLR SET WIND RED SENSOR AND LENS 11 6 million pixel 4K Exmor HD CMOS sensor The NEX FS7OOR features a large image sensor that produces powerful bokeh effects and brings subjects to life while providing excellent sensitivity for clear images with minimal noise in low light settings in both standard and Full HD 10 x super slow motion modes Sensor sizes Super 35mm 2 3 13 3mm 1 3 6 6mm 2 9mm n oe 23 6mm 8 8mm 5 2mm NEX FS700R Typical ENG camera HXR NX5 3CMOS Depth of field At a given angle of field a larger sensor with a longer focal length will create more background blurring When depth of field is relatively shallow this accentuates the region that is in focus and creates a striking sense of presence v TIPS About depth of field High sensitivity and low noise The larger the sensor the greater the area available for capturing light More light in turn boosts the sensitivity and the signal to noise ratio allowing the
33. ed zoom operation The built in optical stabilization system includes an active stabilization mode to correct camera movement during wide angle video capture The super quiet motors ensure smooth AF and aperture movement and the sleek aluminum alloy finish exudes quality SEL35F18 single focal length lens E35 mm F1 8 OSS The SEL35F18 is a wide aperture E Mount type single focal point lens with focal length of 52 5 mm equivalent converted to 35 mm format Designed to suit a broad range of conditions it is compact and lightweight with a total length of just 45 mm The full open at f stop 1 8 produces beautifully lit images with good focus differentiation The SEL35F18 features an all new optical design for sharper images with improved contrast even in close up while the high speed super quiet linear motors ensure faster smoother focus operation 30mm F3 5 SEL30M35 10 18mm F4 0 SERON 16 70mm F4 0 SEL1670Z 18 200mm F3 5 6 3 SELP18200 SEL1018 zoom lens E10 18 mm F4 OSS The SEL1018 is a super wide angle E Mount type zoom lens with a zoom range from 15 mm super wide angle converted to 35 mm format to 27 mm standard wide angle The optical system featuring a combination of three aspherical lens groups and super ED glass corrects aberrations at the super wide angle end to ensure optimum contrast The full open f stop 4 is ideal for dynamic scenery as well as limited light settings such as sunsets The SEL101
34. environments without closing the aperture This is used to achieve shallow depth of field even in daylight outdoor settings or to reduce the shutter speed to prevent parabolic effect WO FILTER Settings ne Clear OFF 1 4 2EV 1 16 4EV 1 64 6EV 1 46ND 1 4ND ND filter correction The 1 4 ND filter reduces the light volume to 25 equivalent to closing the aperture two stops e g from F2 8 to F5 6 or increasing the shutter speed by two increments e g from 1 125 to 1 500 The 1 16 ND filter is equivalent to four aperture stops while the 1 16 is equivalent to six aperture stops or shutter speed increments v TIPS When using a strong ND filter to produce a bokeh effect via exposure correction depth of field will be extremely shallow in the telephoto range which may affect focus performance on moving subjects Significantly altering the aperture and shutter speed can affect the background bokeh effect and make movement appear brittle ND filters can be used to enhance fluidity ND filters are particularly effective for certain lenses where contrast levels and image resolution tend to suffer at maximum aperture SNJI ONY 4OSNJS mu D S 3 feb gt O a gt q gt feb 4 m zu ITI CU gt N m U 31140 SENSOR AND LENS Brightness adjustment Zebra display for checking subject brightness Zebra stripes are Superimposed on areas of the image that
35. f all the image information present in RAW video data 14100157 1141400 1143310 1104104 14060420 IZ M14 14081429 1200 20 10 IOIA Ane zd g vi v Y Y v amn am ano an am om om em os om am am MES ni me ei 1134 Phet 0500 BOA IN h Koo Lara Mi 1092 Timeline data edited on Adobe Premiere Pro is written in AAF format which can be imported directly into DaVinci Resolve In this way Adobe Premiere Pro editing information is migrated to DaVinci Resolve without having to create intermediary files 53 2013 Sony Corporation All rights reserved Reproduction in whole or in part without written permission is prohibited Features and specifications are subject to change without notice Sony and Sony logo are trademarks of Sony Corporation NXCAM and NXCAM logo are trademarks of Sony Corporation Exmor SteadyShot Memory Stick Memory Stick PRO Duo Memory Stick PRO HG Duo and their respective logos are trademarks of Sony Corporation XtraFine and Picture Profile are trademarks of Sony Corporation AVCHD and AVCHD logo are trademarks of Panasonic Corporation and Sony Corporation SD SDHC and SDXC logos are trademarks of SD 3C LLC All other trademarks are the property of their respective owners ONY make believe 2013 11
36. from http www sonycreativesoftware com rawviewer m Viewing and trimming File Configuration Window Help MXF MO Metadata Before After 5 By 5 Split Unturne 2K Speed nana ooo ooo m o m o o z o o o z 5 o o mmmmmamam aaamaaaa ao ma na a z o o oo o ooo o amo o ooo o o ama o ao ama ano o gt gt mamam se CTONRAW_COH Camn we F7OORAW SO Sam op DD Of ii in 22 13 14 02 Select a thumbnail to display the imported source material in the Clip Viewer Use the playback buttons or slider control to mark in and out points for trimming m Grading The Clip Viewer provides before and after windows side by side so you can see how your clip looks with grading applied In addition to the presets there are color adjustment wheels for gamma gain and other settings The waveform and histogram displays can be used to check the results K SO T zase 8 00 00 00 00 m Output formats v IZ Video e DPX16 10 bit consecutive numbered still image files Codec RGB444 e Open EXR Resolution 2048 1080 eApple ProRes 422 Proxy 422 LT 422 422 HQ and 4444 Mac OS X only Quality Speed Quality eSStP 880 440 and 220 Mbps HD only Scaling Bit Depth Bake Number of Digits Start ASC CDL On Flip Unturned id Audio Color grading on DaVinci Resolve 10 3 DaVinci Resolve 10 from Blackmagic Design provides a suite of powerful color correction features to enable color grading that harnesses the full potential o
37. function correctly in some environments For best results e Ensure that there is plenty of light on the subject e Avoid obscuring the face with headwear masks or sunglasses e Ensure that the subject is facing the camera 14 Spot Focus focus from the touch screen ASSIGN Spot Focus lets you focus on an object simply by tapping it on the touch screen Reguires an E Mount lens To minimize camera movement a tripod is recommended when using Spot Focus How to set operate 1 MENU CAMERA SET SPOT FOCUS 2 On the touch screen tap on the object to focus Press MENU to turn off Spot Focus Spot Focus is not available in Auto Focus mode Display screen be a CAMERA SET ZOOM SET EESTEADYSHOT SLOW amp QUICK ga ME DEA gt i j RI FOCUS TRANSITION AF MICRO ADJUSTMENT COLOR BAR Tap on the closest candle The focus shifts to the selected subject Y TIPS Customizing the ASSIGN buttons ASSIGN buttons 1 through 6 can be individually assigned to different functions Six functions have been assigned by default The following procedure shows how to change the assigned function How to set operate 1 MENU OTHERS ASSIGN BUTTON Choose an ASSIGN button 1 through 6 2 Use the SEL PUSH EXEC dial to highlight the desired function then press to select 3 Use the SEL PUSH EXEC dial to highlight OK then press to confirm SNJI ONY 4OSNJS S Z o
38. guide to remaining recording time FREE RUN In Free Run mode the time code continues even when recording has stopped providing in camera continuity during breaks in recording Free Run mode is useful when filming with multiple cameras or synching to an external time code Y TIPS The remote control supplied has a TC RESET button for resetting the time code This can also be used to synchronize time codes on multiple NXCAM cameras Set the cameras to Free Run mode and line them up facing the remote control then press TC RESET to start all the time codes simultaneously The remote control feature must be enabled on each camera under MENU OTHERS All cameras should have the same frame rate and drop frame settings sainjea IJULWO d C G TI Fe ITI WU gt Te m J FILE BASED Flexible file base workflow Advances in SD and HD technology saw the release of the new HDV format in 2003 using cassette tape in DV specifications for HD video and audio recording Designed to be compatible with DVCAM recorders the HDV format has become popular in a wide range of fields from documentary programs to weddings and other events Advances in recording media HDV specifications AVCHD specifications HXR FMU128 Mini DV tape Memory stick Recording formats Recording mode Recorded pixels Frame rate PS mode maximum 28 Mbps 1920x1080 60p 50p 1920x1080 60i 50i 30p 25p 24p FX mode maximum 24
39. harts below whose vertical axes 4 ME MM i represent luminance a shows the change in luminance eminence 3 eumimanes TUdOdd FUNLId 7 levels in the image section inside the red sguare The c DETAIL function generates b from a b Serves as the basis of the DETAIL signal and combines with a The resulting c represents a with the DETAIL signal applied emphasizing both the white and black edges in the image Because the DETAIL function emphasizes image outlines and makes the image look sharper it is sometimes referred to as the sharpness function PICTURE PROFILE S Log S Log2 gamma curve The S Log2 gamma curve has been added to the NEX FS700R Output 4709 100 ITU709 800 S Log2 1300 as the PP7 picture profile a The S Log2 gamma curve is optimized to the sensitivity e characteristics of the Exmor Super 35 CMOS sensor na In order to bring out the highlights as much as possible 700 the sensor output has been extended to 1300 dynamic 60 0 4 range Although some color grading work is reguired the soo S Log2 gamma curve is an effective way to enhance highlight gradations that would otherwise be lost thereby providing nome greater latitude 30 0 20 0 10 0 0 0 0 0 200 0 400 0 600 0 800 0 1000 0 1200 0 1400 0 1600 0 Input S Log2 S Log2Gr ding Camera settings Grading settings ISO 2000 24p 1 48 Exposure Shadow 10 F5 6 ND 1 64 Mid t 5 Highlight
40. he following automated functions when used in conjunction with the LA EA1 or LA EA2 mount adaptor Comparison Chart for LA EA1 and LA EA2 When used with NEX FS700R A mount MANUAL MANUAL MANUAL MANUAL Lens Type FOCUS FOCUS IRIS SSM SAM No No No No No No Yes Yes Yes Yes Yes Coupler No Yes No No Yes Yes 1 Iris position moves to either F3 5 or maximum iris in AUTO FOCUS mode 2 Iris position moves to either F3 5 or maximum iris in PUSH AUTO focus mode while exposure is adjusted by shutter speed Video Settings AUTO EXPOSURE AE function lets you control image brightness automatically Moving the AUTO MANUAL switch to AUTO enables automatic adjustments of the iris gain shutter soeed and white balance settings You can start shooting right away without checking those settings AUTO EXPOSURE AE is a camcorder function that controls all or some of the iris shutter speed and gain parameters automatically to achieve ideal brightness for videos With the NEX FS7OOR the above parameters as well as white balance are controlled automatically when the AUTO MANUAL switch is moved to AUTO Please note that automatic pani ae MITOE PE RANUAL control of iris is only possible when an E mount lens is used When another maker s lens is used iris remains under manual GAIN button AUTO MANUAL switch control while other parameters are adjusted automatically
41. hfully reproduce and display the original subject aasyg J114 O Sainjeo JULWOJ d C Nowadays display monitors based on LCD plasma and OLED are used widely Because these monitors have different gamma curve characteristics from those of CRT display monitors the Input 100 ITU has set the gamma value for display monitors that are used in broadcasting and video production at 2 4 ITU R BT1886 This value was decided by taking into account that the gamma Je O U m U U O m ro m How a gamma curve s shape influences images Influence on dark areas and contrast High end camcorders have a function to slightly change the shape of the gamma curve for dark areas of the image Known as black gamma this function lets you dramatically alter the atmosphere of the image by changing the gamma curve shape and strengthening or weakening the shading or image contrast of the image 41 PICTURE PROFILE What is knee correction Cameras are not good at clearly capturing a scene that contains extremely different luminance levels Such as one object under bright sunlight and another in the shade If you adjust the iris to set the right exposure for the object in the shade the object under the sun will be captured too brightly and appear as a plain white object without texture or gradation Knee correction is a function necessary to capture these images with a wide gap in luminance levels within the standard range of video sign
42. icular intention Please refer to this setting when matching coloring strictly between different cameras Settings can be adjusted between 7 Greenish to 7 Reddish COLOR DEPTH COLOR DEPTH shifts brightness luminance in deep colors high saturation areas in the color space A higher set value lowers luminance while deepening the color A lower set value increases luminance making the color look paler The deeper the saturation the bigger the change will be Hardly any change can be seen if colors are close to achromatic You can adjust color depth between and 7 individually for R Red G Green B Blue C Cyan M Magenta and Y Yellow Luminance Luminance 7 Shallower red to 7 Deeper red 7 Shallower green to 7 Deeper green 7 Shallower blue to 7 Deeper blue 7 Shallower cyan to 7 Deeper cyan 7 Shallower magenta to 7 Deeper magenta 7 Shallower yellow to 7 Deeper yellow R v TIPS With previous camcorders the color strength was changed by adjusting the COLOR LEVEL settings saturation But this only enhanced apparent vividness of colors With the NEX FS7OOR it is possible to express deep dark colors by using COLOR DEPTH Because each of the six colors R Red G Green B Blue C Cyan M Magenta Y Yellow can be adjusted individually you can use COLOR DEPTH to emphasize only the colors you want 34 DETAIL As descri
43. igher frame rates can produce a flickering or shuddering effect when used with certain types of lights It may be necessary to use lighting equipment designed specifically for high speed filming e Super slow motion picture quality may vary from standard picture quality due to differences in the sensor read mode For optimum picture quality at 10 x super slow motion speed set the recording format to 1080 24p FX mode 24 Mbps frame rate 240fps At 480 400fps frame rate the full recorded vertical resolution is not available At 960 800fps the recorded image quality is subject to approx 2 x teleshift and images are displayed and recorded at SD size e SDI HDMI video output is at 1080 60 50p This signal can be enhanced with third party equipment for recording and editing purposes Simultaneous recording onto the memory card and flash memory unit is not supported Select the media type from the menu system REC OUTPUT SET SWITCH MEDIA e Audio is not recorded e The white balance one push button is disabled e Time code is automatically set to REC RUN e The histogram display is disabled Use the zebra display for checking brightness How to set operate Recording format 1 MENU CAMERA SET SLOW amp QUICK SUPER SLOW MOTION 2 Scroll down to REC FORMAT and choose a recording format from the list um Frame rate 3 MENU CAMERA SET SLOW 8 QUICK SUPER SLOW MOTION 4 Scrol
44. in There is a 48 V phantom power supply Using the supplied ECM XM1 shotgun microphone mono only The directional shotgun microphone is used to minimize background noise for distant subjects Settings and Operation 1 Connect the shotgun microphone to INPUT1 upper and set the INPUT1 switch see 1 in diagram above to MIC 48V 2 Set both the CH1 switch 2 and the CH2 switch to INPUT1 position 3 Set the CH2 AUTO MAN switch 7 AUTO _ LINE MIC MIC T 48V INPUT 1 INPUT 2 INPUT 1 v TIPS fije This setting configuration will provide mono sound INPUT 2 in both left and right channels with automatic level control To remove the audio from CH1 set switch AUTO to EINEM a si MAN If you are using a dynamic external microphone that neo j CH1 cH2 does not require power set switches 1 and to MIC to disable 48V power from the camera AUDIO LEVEL OFF Adjusting the playback volume The audio track can be monitored through headphones during recording and playback and also from the built in speaker during playback The volume buttons and channel selector are located on top of the camera at the back Y TIPS A flat mono mix of CH1 and CH2 in the headphones can be used to check the balance between left and right channels while recording To switch to the mono mix use the menu system to navigate to AUDIO SET HEADPHONE OUT and select MONO 6
45. ircular cross section appears In this cross section the angle from the circle s center line indicates hue while the distance from the circle s center represents saturation Because some color related settings in PICTURE PROFILE use this color space concept familiarizing yourself with this concept will C likely make it easier for you to understand how those settings should be used 2 Luminance DETAIL The DETAIL function processes video signals to emphasize image outlines It can be used to make the subject standout clearly and enhance the fineness of the overall image The function also deals with the image texture affecting the appearance of coarse surfaces and transparent materials for example DETAIL is also a very important image setting when shooting people Its settings can change the atmosphere by determining the way face wrinkles and skin tones look But used inappropriately the DETAIL function may lead to a loss of image texture or highly visible image noise By understanding the principles of DETAIL signal processing as shown below you should be able to use this function effectively J 9 3 fa gt o CD h CD fan rr S D wn a zaz ITI CU gt m g Concept of DETAIL DETAIL is a type of signal processing that emphasizes Detail OFF Detail ON image edges In the example below there is a large luminance variation between the lace pattern and the background In the c
46. l down to FRAME RATE and choose a frame rate from the list 60i frame rates 120fps 240fps 480fps 960fps 50i frame rates 100fps 200fps 400fps 800fps x Pressing the S amp Q button on the camera body twice default setting switches directly into super slow motion mode um Recording start and stop trigger 5 Select the trigger function Start trigger The START STOP button starts recording Maximum recording time at 240fps is eight seconds End trigger The START STOP button stops recording Material recorded to that point is stored Maximum recording time at 240fps is eight seconds End trigger half Functions in the same way as End Trigger but with half the recording time i e maximum recording time at 240fps is four seconds SUPER SLOW MOTION S RETURN EXECUTE FRAME RATE REC TIMING REC FORMAT 1080 60p PS 1080 30p 1080 30p 1080 24p SUPER SLOW MOTION RETURN EXECUTE REC FORMAT REC TIMING FRAME RATE Frame rate recording format and playback speed in super slow motion mode 60i FRAMERATE REC FORMAT 1080 24p 1080 30p 2 5 3 125 960 Slow slow 5 6 25 480 slow slow j 109 12 59 240 Ta m 20 25 120 Siow Siow 1080 60p 6 25 slow 12 5 slow 25 slow 50 slow sainjea IJULWO d C s REC TIMING i U START STOP button END TRIGGER Z END TRIGGER HALF m x pasts i VU Start trigger End trigger En
47. lash memory is not supported qasva TIJ O S9INJe9 JULWOJ d C Performance features Modular design to support different shooting configurations The NEX FS 7OOR has a detachable handle grip and viewfinder as well as 1 4 and 3 8 screw holes for accessories such as mudbox and follow focus The rigid handle and grip provide excellent stability for the large sensor during handheld use A range of accessories is available for the NEX FS7OOR providing maximum flexibility in a range of different settings Handle Grip Shoulder rig optional extra for RAW mode COMPONENT 3G HD SD OUT SDI OUT VIDEO OUT AUDIO OUT HDMI OUT Rear Side Front Data backup hybrid recording The HXR FMU128 flash memory unit sold separately can be used for hybrid recording simultaneously with the memory card providing a convenient backup solution In the event of a fault in either one of the recording media during filming recording will continue onto the other media x Hybrid recording is not available in super slow motion mode Time code Editing information such as time code and user bit is recorded as time data There are two time code modes Rec Run and Free Run TC UB SET RETURN TC PRESE T UB PRESET C FORMA TC MAKE UB TIME REC REC RUN Rec Run is the standard mode where the time code advances only when recording The time code also continues during splices thereby providing a handy
48. n disengage Auto Focus shift the focus manually to point A then press button 5 4 Now do the same at point B and press button 6 The icon flashes during this procedure and operation is disabled 5 Press button 4 again to switch to CHECK mode Check the focus at point A with button 5 and at point B with button 6 The stored focus points A and B will be automatically deleted in the event of any of the following e The camera is turned off e The lens is removed e Optical zoom is used m How to use focus transition from A to B 6 From the CHECK screen press button 5 to focus on point A Press button 4 again to switch to EXEC mode Start recording then press button 6 to initiate a smooth focus transition to point B In EXEC mode press button 5 again to transition back to point A m How to use focus transition from current position to point A or point B From the CHECK screen start recording with the focus set to the current position then press button 5 to initiate asmooth focus transition to point A or button 6 to transition to point B Y TIPS ASSIGN BUTTON OK ASSIGN1 ASSIGN2 ASSIGN3 raji Progressive MPEG2 SD PEAKING HISTOGRAM FACE DETECTION 3 MARKER LAST SCENE 5 6 GAIN ISO WHT BAL SHUTTER SPEED Button functions 4 Cycles through the four modes STORE CHECK EXEC and OFF 5 6 In STORE mode stores the focus point In CHECK or EXEC mode initiates the focu
49. n use the SEL PUSH EXEC dial to adjust the correction level in the range 7 blue tint through O normal to 7 red tint in increments of approximately 500 K 4 Press the one push button or the SEL PUSH EXEC dial to enter the new setting Reference WB preset and color temperature WB White Balance preset WB TEMP SET WB OUTDOOR Unit 100K LEVEL Unit 500k Clear skylight 15 000K B 7 Approx 9 300K k Bright overcast 8 000 skylight 7 000 Overcast skylight Daylight zdeli 6 000 fluorescent lamp Daylight O Approx 5 800K 5 000 mo Noon mu 2 hours after sunrise 4 000 1 hour after sunrise I 400W tungsten lamp 2 300K 7 Approx 2 300K WB OUTDOOR LEVEL 7 WB OUTDOOR LEVEL 7 Y TIPS INDOOR color temperature is 3 200K and OUTDOOR color temperature is 5 800K in WB PRESET setting Some camcorders in the HDV and NXCAM series are equipped with the same function You can roughly match their color temperatures by setting their WB OUTDOOR LEVEL at the same level SNOILONN4 CALVWOLNY O SNJI CNY HOSNJS m v 4 S 9 gt O 4 a 4 eb lt D m a ITI CO gt m U JlidOdd JYNLOId IV4 AUTOMATED FUNCTIONS Audio settings The NEX FS7OOR has two audio input channels and accepts three input sources built in stereo microphone unidirectional mono microphone Supplied and external line
50. nd R B are available We recommend you start with the LB CC adjustment method A higher set vale leads to warmer colors while a lower setting creates colder colors Please make sure you adjust white balance first TYPE LB CC CC M FILTER TYPE LB CC Light Balancing Color Correcting m LB COL TEMP Adds an effect similar to applying a color temperature adjustment filter 9 Blue Bluish to 9 Amber Reddish Approx 100K step m CC MG GR Adds an effect similar to applying a color correction filter 9 CCG Green to 9 CCM Magenta 1 step is equivalent to 2 5 in color correction filter number Original Original CCr j TUdOdd FUNLId 7 PICTURE PROFILE FILTER TYPE gt R B m Alters the R Red or B Blue level in the video signal 9 Lowest level to 9 Highest level TYPE R B T3A31 FILTER TYPE R B 0 FILTER TYPE R B R 9 FILTER TYPE R B B 9 PICTURE PROFILE Settings SETTING RETURN S RETURN dlaki BLACK OK GAMMA BLACK GAMMA KNEE COLOR MODE COLOR LEVEL PP 1 COLOR PHASE COLOR DEPTH WB SHIFT DETAIL COPY RESET BLACK LEVEL COLOR MODE COLOR LEVEL COLOR PHASE COLOR DEPTH GAMMA BLACK GAMMA KNEE WB SHIFT DETAIL COPY RESET 15 15 STANDARD STILL CINEMATONE1 CINEMATONE2 ITU709 RANGE LEVEL MODE AUTO SET MANUAL SET TYPE LEVEL 7 7 8 BW 7 47 R lt z o 0 Q FILTER TYPE LB CO
51. ns of adjusting gamma and color settings m Installing the plug in The plug in allows RAW video data to be imported directly from the editing application Download and install the appropriate plug in from AVID plug in PLAV RW1 http www sonycreativesoftware com plav rw1 Adobe plug in PLAB RW1 http www sonycreativesoftware com plad rw1 The plug in is designed for AVID Media Composer Adobe Premiere Pro CS6 and Symphony Ver 6 0 3 and later The plug in is not reguired when using Adobe Premiere Pro CC 7 1 and later versions m Importing RAW data The example shown here is for Adobe Premiere CS6 The PLAD RW1 plugin allows Sony RAW MXF files to be recognized as native format without the need for transcoding When setting up a new project the Sony RAW folder appears in the presets list Select the appropriate frame rate from the folder RAW data files are very large due to the high data rates Source clips should be stored ona high speed RAID system drive 50 Source settings gamma adjustment Cut Past Tone Settings S Gamut SLog2 Properties Source Settings Seguence Settings In Adobe Premiere the project window is displayed once the Sony RAW MXF file has finished importing Right click the source thumbnail and choose Source Settings from the list then select the appropriate setting under Tone Settings x The default source setting is 709 709
52. o ease off on DETAIL if you plan to view the image on large TVs or screens qasvg TIIJ O S 1N e JULWIOJ d C zi O O m U O O si ro m PICTURE PROFILE MANUAL SET ON OFF m ON The DETAIL level can be adjusted by using the following settings m OFF The DETAIL level will be adjusted automatically depending on camera settings V H BALANCE m Changes the balance between Vertical V DETAIL and Horizontal H DETAIL m Vertical V DETAIL boosts image edges by expanding them upward and downward Horizontal H DETAIL emphasizes image outlines by thickening them left and right ZA m The results of DETAIL processing may appear differently among TVs computer displays and other types of display monitors Please adjust V H BALANCE as needed m To emphasize the impression of a subject that has many horizontal elements such as a DELAL H DETAIL human face with eyes and mouth you can increase the proportion of Vertical V DETAIL by lowering the setting selecting a lower set value 2 Stronger Vertical V DETAIL to 2 Stronger Horizontal H DETAIL B W BALANCE m Changes the balance between the amount of black DETAIL for low luminance areas and the amount of white DETAIL for high luminance areas TYPE Higher proportion of black DETAIL to TYPES Higher proportion of white DETAIL m B W BALANCE and LIMIT adjust the amount of black DETAIL and white DETAIL added to image edges
53. old the PUSH AUTO button Auto control requires an E Mount lens or an A Mount lens with LA E2 A mount adaptor To engage auto control permanently press the IRIS button again Shutter speed The shutter speed can also be used to control the quantity of transmitted light In still photography both the shutter speed and the aperture iris are used to control the light volume With video cameras however shutter speed is more problematic Faster shutter speeds can cause subject movements to appear brittle and unnatural while slower shutter soeeds can make movements and camera panning appear jerky How to set operate niso 1 Set the AUTO MANUAL switch to MANUAL 2 Press the SHUTTER SPEED button to highlight the shutter speed setting 3 Adjust the shutter speed using the SEL PUSH EXEC dial A shutter speed of 1 100 sec is displayed as 100 Thus a higher value indicates a faster shutter speed 10 AUTO H HI MANUAL MENU DISPLAY IRIS FOCUS HOLD PUSH AUTO PUSH AUTO WHT BAL SHUTTER SPEED AUTO 8 E MANUAL SEL PUSH EXEC MENU DISPLAY ne B z PICTURE STATUS PRESET PROFILE CHECK BATT RELEASE Internal ND filter The NEX FS OOR features a new internal ND filter unit designed to suit the shorter flange back on the E mount lens No longer is it necessary to carry several different ND filters to suit different lens filter diameters ND filters are used to limit the light volume in bright
54. ough the time code is the same the start time for RAW data recording will be slightly delayed Choosing the gamma curve e The dynamic range of the RAW data depends on the selected gamma curve on the FS7OOR e The S Log2 and ITU800 gamma curves produce a dynamic range of 1300 with considerable latitude but noise levels can be a problem Noise reduction may be required in post processing e For ordinary RAW recording we recommend choosing a gamma curve that produces a dynamic range of 400 or 460 Checking the battery level on the HXR IFR5 e The battery icon on the LCD of the HXR IFR5 interface unit gives an approximate reading based on voltage level For a more accurate indication of battery level use the indicator on the battery pack F feb zal ITI CO gt m ITI gJ On screen icon Battery pack indicator SUIPJ0901 MYY e RAW recording mode Post processing Connect the AXS memory card reader to a computer Windows or Mac OS X and install the card reader drivers Adobe Premiere CS6 Avid Media Composer Plugin not required for Adobe Premier CC Ver 7 1 or later pa Editing plugin RAW Viewer for color adjustment and output conversion FS Color grading on EA 1 DaVince Resolve 10 Blackmagic DaVinci Resolve RWV 10 PLAV RW1 plugin The PLAD RW1 editing plugin can be used to import RAW data into Adobe Premier CS6 CC and Avid Media Composer providing a simple mea
55. put for an external recording device The NEX FS7OOR supports Rec Control signal for both SDI and HDMI SOUND GORAS PIX240 This allows recording onto an external device synchronized with in camera recording and NI the time code in Rec Run or Free Run modes The time code TC can also be superposed onto HDMI signal output SDI HDMI signal is output as uncompressed digital HD SD signal during recording This enables video recording to an external device at maximum guality using an SDI HDMI cable By adding time code TC to the HDMI signal it is effectively the eguivalent of SDI signal To add time code to the HDMI signal go to MENU REC OUTPUT SET VIDEO OUTPUT HDMI TC OUTPUT Then use the menu system to switch on SDI HDMI REC CONTROL On an external recorder such as the ATOMOS NINJA2 go to Time Code settings and select Sony as the camera trigger to synchronize Rec Stop on the NEX FS70OR and the recorder For other recorders contact the manufacturer directly ATOMOS SAMURAI NINJA2 Mes 422 H ay Menu 00 00 INJA 00 00 r No Input z FA o K e Recorders that support SDI synchronized recording SOUND DEVICE PIX240 ATOMOS SAMURAI SAMURAI BLADE ga e Recorders that support HDMI synchronized recording a ATOMOS NINJA2 Ver 4 12 or later ATOMOS NINJA2 i i L o g E J V4 d JUNLOId si a AUC Jll PICTURE PROFILE What is PICTU
56. recorde lithium ion battery back HXR IFR5 AXS R5 RAW BP FL75 Docks directly with the AXS R5 RAW Supports 16 bit linear RAW recording Rapid charging long life olivine iron recorder and functions as an external onto AXS memory cards sold separately phosphate lithium ion battery recorder for the FS700 m v CD Sj 3 pe gt o CD h CD fan rr CD wm sti r m UJ gt m g battery charger AXS memory card memory card USB reade BC L90 AXS 512S24 AXS CR1 AXS Double battery charger designed 512GB memory card designed USB 3 0 reader with data uploading U specifically for the BP FL75 battery especially for use with the AXS R5 and ingestion speeds of up to 2 Gbps ME pack RAW recorder m U D en TI ITI S O Q 2 go 47 RAW recording mode m Monitor Precise focus is particularly important at 4K resolution Where possible an external monitor should be used to check focus In 4K mode video preview is at HD resolution Focus precision can be checked on the built in camera screen using focus assist features such as Expanded Focus and Peaking Display Given the very high resolution even minor variations in focus are noticeable at 4K For this reason it is best not to rely solely on auto focus a lal ll i Component video output HDMI and component output are disabled when composite video Output is selected Filming 16 9 The selected picture profile is applied to PO
57. rings have good inertia feel and are physically located in the same position on every model which makes it easier to set up follow focus SNJI ONY 4OSNJS U 4 2 tam fab O q gt h q gt teb t CD wn za ITI CU gt Pp m U SENSOR AND LENS Compatible with a wide range of lens types LA EA2 A mount lens with phase detection AF The LA EA2 mount adaptor boasts the fastest auto focus in the A Mount class with a built in AF drive motor linked to a 15 point AF system with three cross sensors for high precision focusing Sony E Mount lenses Sony A Mount lenses Non Sony lenses Non Sony mount adaptors Shorter flange back distance to accommodate wider interchangeable lenses The distance from the lens mount plane to the image sensor called the flange back distance is different for every lens mount If the flange back distance Lens Camera body is too short for the lens mount a mount adaptor must be fitted The NXCAM a E Mount lens has a short flange back distance of just 18 mm which means that it can accommodate a variety of different lenses using mount adaptors Soned Flange back 18 mm SENSOR AND LENS GP Performance features 3 FILE BASED Z PICTURE PROFILE Performance features Super slow motion mode The super slow motion system on the NEX FS OOR represents a technological evolution from conventional slo
58. s transition FOCUS TRANSITION OK START TIMER REC LINK The following transition settings are available under MENU CAMERA SET FOCUS TRANSITION Transition time The focus transition time can be set in the range 3 5 90 seconds Start timer The focus transition can be delayed after pressing button 5 or 6 by 5 10 or 20 seconds Rec Link Focus transition starts when recording commences choice of Focus A and Focus B 17 SNJI ONY 4OSNJS z cl eb Ej zel rr ITI CU gt Ww m U SENSOR AND LENS E Mount system bringing out the best in every lens E Mount lenses are compatible with automated functions such as Auto Focus SteadyShot and Auto Exposure that are particularly useful for zooming in on a Subject using shallow depth of field in low light conditions Common E Mount lenses 16mm F2 8 SEL16F28 24mm F1 8 SEL24F18Z 20mm F2 8 SEL20F28 35mm F1 8 SEL35F18 e 2 50mm F1 8 SEL50F1 8 With built in OSS Optical SteadyShot SELP18200 zoom lens E PZ 18 200 mm F3 5 6 3 OSS supplied with NEX FS700R The SELP18200 is a powerful E Mount type zoom lens suitable for a wide range of conditions with a zoom range from 27 mm wide angle converted to 35 mm format to 300 mm telephoto The optical design comprises four aspherical lens groups to provide sharpness and clarity while the powered zoom boasts a choice of six speeds for smooth fixed spe
59. tend to process your video with nonlinear editing software later it is important that you record your image in the right way Nonlinear editing software is a very powerful tool but can t fix everything If you adjust various settings to make sure your video is recorded in a way that is as close to your ideal as possible you will be able to create a video that will be closer to what you have in mind with minimal processing via nonlinear editing software It will also keep rendering time short and make video editing work more efficient the tone of the ideal finished image as possible on a display monitor will greatly boost morale on the scene By shooting video in a manner that boosts the atmosphere on the scene you will be able to make a major impact on the quality of the finished work In order to avoid the problems with nonlinear editing described in the previous section and also to create pieces that make the most of the compact camcorder s mobility please fully utilize PICTURE PROFILE and record the image at proper settings SONY ND FILTER 1 84ND GAIN ISO WHT BAL SHUTTER SPEED AUTO E B MANUAL a V 15ND VAND EE MENU DISPLAY 2 us CLEAR gra RATT RELEASE lej T E Gamma Curve and Knee Point Gamma curve and knee point are two elements that exert great influence over image characteristics By understanding these you ll be able to utilize PICTURE PROFILE efficiently What is a gamma curve Gamma curves sho
60. utton allowing bokeh effects with wide aperture even in bright settings HDMI SDI TC output and Rec Control connectivity The NEX FS7OOR supports external recording devices connected via HDMI or SDI with simultaneous recording from the REC button Recorded clips can be synchronized to the time code Extended recording and simultaneous recording from the memory recording unit Simultaneous HD recording onto the optional HXR FMU128 flash memory unit and or memory card provides memory backup in case of accidental failure Super slow motion recording is not supported Optional 4K 2K RAW video recording The HXR IFR5 interface unit and AXS R5 RAW recorder provide 4K 2K RAW 6Op recording onto the AXS memory card Super slow motion is available at 4K 120fps for four seconds or 2K 240fps continuously to harness the full potential of the FS7OOR 4K sensor Chapter O AUTOMATED FUNCTIONS Chapter SENSOR AND LENS Chapter 2 Performance features Chapter 3 FILE BASED Chapter 4 PICTURE PROFILE Chapter 5 RAW recording Chapter AUTOMATED FUNCTIONS About automated functions For documentaries and events requiring maximum mobility automated functions such as Auto Focus and Auto Exposure reduce the workload so that you can concentrate on tracking the subject The 11 x powered zoom lens and E Mount lens supplied with the NEX FS70OR are compatible with Auto Focus and Auto Exposure A Mount lenses also support t
61. w and quick motion functions allowing slow motion recording at up to 10 x normal speed i e maximum 240fps in Full HD resolution Slower speeds up to 40 x slow motion or 960fps can be achieved at slightly reduced image quality The recording frame rate is substantially faster than the playback frame rate producing incredibly smooth slow motion playback that is far superior to conventional slowed playback systems In conventional cameras higher frame rates limit the amount of available light and the picture guality is often poor But the higher sensitivity and improved noise reduction of the large sensor in the NEX FS 7OOR ensures excellent image quality even in super slow motion How super slow motion works 1s 1s 1s 1s 1s 1s 118 119 120 1 2 3 118 119 120 1 2 3 118 119 120 1 2 3 118 119 120 1 2 3 118 119 120 1 2 3 118 119 120 5 x slow motion playback Recording ii playback at 24fps 120fps capture v TIPS e In super slow motion mode the shutter speed is higher than the frame rate The higher the frame rate the darker the image Aim for well lit environments outdoor or indoor and manually boost the camera gain and aperture settings to maximize the available light Auto aperture gain ISO and shutter speed control functions are disabled in super slow motion mode These must be adjusted manually as described in Controlling the brightness on page 9 The shutter speed must not be lower than the recording frame rate e H
62. w the relationship between the input signal value of actual CRT master monitors used in broadcasting and level and the output signal level The camera converts the video production was closer to 2 4 rather than their theoretical brightness signal from the subject into an electrical signal value of 2 2 and sends the electrical signal to the display monitor which Sony s LCD and OLED display monitors enable users to choose converts that signal back to a brightness signal and reproduces a gamma curve that simulates that of conventional CRT the subject as an image monitors for smoother continuity from old systems The input signal level is the amount of the brightness signals from the subject and the original image overall whereas the output signal level is the amount of the brightness signal 100 output by the camera or display monitor In order to faithfully reproduce a subject in video images the Video Gamma output signal level needs to be largely proportional to the V 1 2 2 0 45 input signal level as shown in the straight line below But the fluorescent material characteristics of a CRT cathode ray tube cause the output signal level from CRT monitors to Output curve as shown below This represents the gamma curve of CRT monitors red curved line Video cameras gamma curve CRT Gamma Y 2 2 blue curved line plots the opposite curve For this reason the properties of the camera and CRT monitor can be offset to fait

Sony NEX-FS700E hand-held camcorder

Contents

Download Pdf Manuals

Related Search

Related Contents