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1. but without achieving the full 10 stop dynamic range The recommended settings allow about 1 7 stops of over exposure and one of under exposure relative to normal operation This is not as good as can be achieved in 7 cameras and arises from the difference in pixel size the pixels here are much smaller so sensitivity is maintained at the expense of highlight handling and video noise Sony HVR Z5 and Z7 January 2009 Colorimetric and Resolution requirements of cameras Alan Roberts ADDENDUM 34 rev1 Assessment and settings for Sony HVR Z5E and ZTE Data for this is taken from tests on production models of the Sony HDV camcorders HVR ZSE and Z7E They are near identical camcorders with three 4 cmos sensors 5 9mm diagonal each approximately 1440x810 with precise half pixel offset of green from red and blue They record with HDV coding 10801 25 50Hz interlaced or progressive and a proprietary 1080p 25 format onto miniDV tapes and standard definition 5761 25 as either miniDV or DVCAM They can also record onto Compact Flash cards The cameras are essentially professional models having some professional features such as having XLR connectors at mic or line level The Z5 has an integral lens while the Z7 has interchangeable lenses both have integral viewfinder and side top lcd panel Resolution is good enough for HDV but vertical resolution could be better Minimum exposure is claimed to be 1 5 lux There are many internal
2. Icd brightness Normal bright Brightness always Bright on external power Normal bright Brightness always Bright on external power On Off Set v f to monochrome pS atration VF PowerMode Auto On oOo O Auto switches vf off when Icd is open Letter Size P Normal 2x O a rt ae Auto shows length of tape left on Play or i Batt Info Output Analogue HDMI the lot Remaining IN OUT REC menu VIR matters item range comments BBC Rec format HDV1080i DV Recoding format VCR HDV DV Auto HDV DV iLink Frewire connection format disconnect to force system to set itself correctly HDV Progre Progressive scan format in HD Rec Type Interlace Progressive Interlace Scan Type 50 25 25 f 50 v DV Progre Progressive scan format in DV Scan Type 50 25 25 f 50 v DV Rec Mode DVCAM DV SP SD recording format DV wide rec On Off 16 9 4 3 recording DV only Video Out Control of component analogue output If this is what I think it is i e I didn t check it its hugely useful a 2 d spirit level I wonder Rec Type Interlaced is the normal HDV recording format whether progressive psf or interlaced i Rec Type Progressive is a proprietary format for progressive recording and will not play on all HDV players 5 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an
3. as a special effect which is usually best done in post production where more control and better monitoring will deliver best results 7 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 Mem Color Define colour in Memory 1 Mem Revisn RB gain modification to colour in Memory 1 Mem2 Color Mem3 Revisn WB shift Shift aim point for blue for red Filter Type LB CC R B LB CC works on secondaries RG on primaries LB Col Temp 9 9 Blue to red CC MG GR 9 4 9 Green to magenta R Gain 9 9 B Gain 9 9 Detail Level 7 7 O v 2 f Manual Set On Off On V H Balance Set balance of horizontal to vertical detail 0 B W Balance Typel 5 Control positive negative going detail Type 4 Black Limit Q 7 Limit ve going detail 0 limit 7 not 3 White Limit Q 7 Limit ve going detail O limit 7 not 7 Crispening 0 7 0 Hi Light Dtl 2 2 Detail enhancement in high signal levels 2 Skintone Dtl On Off See manual rather complicated off Level 1 8 1 less detail 8 more Color Sel Define the colour to be tweaked Phase 0 32 64 96 127 O purple 32 red 64 yellow 96 green 127 blue Range 0 31 0 off 1 narrow 31 wide Saturation 0 31 0 mono 31 max saturation Reverse Reverses th
4. endorsement of the product Sony HVR Z5 and Z7 January 2009 Component 576 10801 5761 Set according to TV set type For SD from HD component S video Downconvert Squeeze Letter Box Edge Crop compose DV Wide Conv Squeeze Letter Box Edge Crop For SD playout i Link Set Control of IEEE1394 Firewire output HDV DV Conv On Off Set downconversion via 1394 Down Convert Squeeze Edge Crop Ext Rec Ctrl Control of external 1394 recorder Rec Ctl Mode Off Synchronous Relay Ext Only Synch records internal external Relay goes external when internal tape is full Stby Command Rec Pause Stop Stop mode for external recorder TC UB SET menu Timecode etc item range comments BBC TC Preset Set TC see manual Preset Enter time code use Sel Push Exec dial Reset Exec Reset to zero TC Countup Exec Add 1 hour minutes 0 when TC Make Preset UB Preset Set User Bits see manual Preset Set user bits with Sel Push Exec dial Reset Exec Reset to zeroes TC Run Rec run Free run Free run is real time TC Make Regnerate Preset Regen sets Rec Run TC Link Sync on multiple cameras see manual UB time rec Off On On sets real time in User Bits UB Date TC Sets date and time into User Bits Time MEMORY SET menu Memory Stick item range comments BBC All Erase All Files Current Fldr Pretty obvious Format Exec Wip
5. Sony HVR Z5 and Z7 January 2009 Colorimetric and Resolution requirements of cameras Alan Roberts ADDENDUM 34 rev1 Assessment and settings for Sony HVR Z5E and HVR Z7E This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Data for this addendum is taken from a short examination of production model of each of the Sony Z5 serial number 00001 clearly an early model and Z7 HDV a retailed model camcorders and from their manuals The cameras are nearly identical therefore it makes sense to report on them together They are HDTV camcorders physically very similar to the Z1 with 3 3 cmos sensors but the Z7 has an interchangeable lens with a Sony proprietary lens mount while the Z5 has an integral Sony lens The manuals claim that the sensors are approximately 1 12Megapixels delivering resolution up to1440x810 with approximately 1 037Megapixels used for 16 9 capture They both record HDTV using the HDV algorithm onto standard DV tapes 10801 and 1080psf or Compact Flash solid state cards and SDTV using DVCAM or DV format The similarity to the Z1 is only superficial The cameras are relatively light about 2 8kg in including lens and battery and have an integral viewfinder with side lcd panel and seem aimed at the high end professional market rather than full broadcast which would normally demand an image format lar
6. adcast cameras there are normally two bi refringent filters to suppress the higher horizontal and vertical frequencies that would cause aliasing in the camera In this w camera the filters would have to be arranged to limit the diagonal frequencies rather than horizontal and vertical The absence of this filtering places the camera out of the broadcast HDTV field 10 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 Figure 2 shows the recommended Detail settings for Video the aliasing is more pronounced but is not excessive However any further increase in the Detail settings produces little effective sharpening of the image but worsens the appearance of the aliasing Detail should be used with care since aliased spatial frequencies move in the opposite direction to image motion and cause confusion in motion sensitive compressors such as MPEG effectively consuming bit rate unnecessarily The Detail settings for Film soften the pictures a little and reduce the visibility of the aliases The result is not shown here Figure 3 shows the performance when the camera was set to Rec Type Interlaced Scan Type 25 frames second the standard nomenclature for this mode is psf progressive with segmented frames Detail was set for Film Clearly there is more vertical detail mix
7. and 0 8 stops while increasing video noise levels The Standard curve Normal in the Z1 will deliver good colour rendering using only about 45 of the sensors exposure range the normal television mode reserving the remainder of the range for highlights significantly compressed If the Standard curve is to be used some Black Stretch would be a good idea if the intention is to capture a large dynamic range and use post processing to achieve a film look while Cinetone curves should be used if the intention is to produce a film look without further processing but greater attention will have to be paid to getting exposure levels exactly right None of the colour adjustment correction controls were investigated they are best thought of as special effects trickery 2 2 Resolution 1080 line The camera specification says that it has sensors of 1 20 Megapixels and claims dimensions of 1440x810 At this point it makes sense to speak of photo sites rather than pixels since pixels belong in the picture and not in the camera A photo site is equivalent to a picture element in the sensor The relationship between camera photo sites and image pixels is rather more complex than in most cameras The sensors are rotated 45 degrees and images interpolated from the now diamond shaped photo sites Thus the resolution delivered is only loosely connected with the actual pixel count and there is probably a boundary of blanked out cells to p
8. c Start Stop Right Push ND filter Left Assign to 3 Left Push User buttons Assign 4 Left Push Zebra Assign 4 Assign 5 Left Push AE Shift Assign 5 Assign 6 Left Push Rec Review Assign 6 Gain Left Push Manual control indicator Audio 1 2 Left Switch dial Audio level controls Auto Manual Left Switch Shutter Speed Left Push White Balance Left Push Sel Push Exec Left Dial Menu controls White balance stores Left Push Cycles through white balances White Balance Left Switch Gain Left Switch 1394 connector Back Socket Analogue component Back Socket Proprietary format mini connector A V Out Back Socket Another proprietary mini connector LANC Back Socket Remote control Headphones Back Socket Zoom Handle Rocker Zoom Handle Switch Enables handle zoom rocker Rec Start Stop Handle Push Status Check Left Push Picture Profile Left Push Most of the important camera controls Menu Left Push Shot Transition Focus Marking Top Push Multi function transition control A Top Push Condition A settings B Top Push Condition B settings Zoom Left Switch Auto Manual Digital Extender Left Push Lens range extender not a good idea TC U Bit Handle Push Toggles between timecode and user bits on Icd Tape controls Handle Push The usual tape controls Volume Memory Handle Push Tape play volume or select still to view Memory Delete Handle Push For viewing stills Memory Index Handle Push For viewing stills Memory Play Handle Push For viewing stil
9. ch3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 2 3 Resolution 576 line The cameras can be operated in SD mode therefore down converting the HD signal Piore ewe SN from 1080 line to 576 Figure 5 shows the result on the same quadrant of zone plate Clearly some of the high frequency image content which should have been suppressed in the down conversion remains in the output albeit aliased There is a null centre at 1440 horizontally from the sensor pixel dimensions and diagonal aliasing at near horizontal frequencies Interestingly there is no symmetrical aliasing near the vertical axis presumably due to the interlaced nature of the output signal Vertically there is a second order alias where frequencies have been folded twice the zone centre shifted to 576 Overall the performance at SD is not particularly good significantly better pictures should be obtained by using a proper external down converter I cannot i recommend using this camera in SD mode because of the level of these spatial aliases However it is significantly better than the Z1 in this respect 2 3 1 Lens aberrations Figure 6 Lens aberration Z7 showed some chromatic aberration in the The Zeiss lens supplied with the Z7 corners The spatial offset is about 4 pixels not a very good performance for an HDTV lens The camera s performance should be considerably better with a 2 format lens n
10. displayed on a HD monitor and compared with another chart illuminated at D65 Frames were grabbed for analysis as well but not used because the visual examination provided the expected results With the ITU709 gamma correction curve which should be correct for HDTV and Color Mode i e matrix set to TU709 the colours were all somewhat oversaturated too colourful The cure was to set the Color Level to 3 apparently taking 3 8 of the JTU709 matrix and 5 8 of the Standard matrix Colour performance was then judged to be quite accurate and can be expected to be very similar to the G5 0 gamma correction curve approximately the BBC 0 4 law This combination delivered about 1 7 stops of overexposure making a total exposure range of about 10 5 stops with the recommended Knee settings The Cinematone curves were not investigated here but are almost certainly those of the Z1 Cinematone 1 should deliver about 8 9 stops while Cinematone 2 is more gentle and delivers about 8 stops Both these curves are appropriate for shooting where grading is not expected but scenic contrast will effectively be abandoned at the time of shooting The recommended settings will always capture the maximum contrast although grading will be needed to achieve any specific look The user is strongly advised to make tests before using these or any other settings Black Gamma raises the gain near black by a significant amount extending the exposure range by between 0 5
11. e colour selection i e do all the others Y Level 0 31 O dark 31 bright Y Range 1 32 Brightness range l narrow 32 wide One Push Set Auto adjust colour at centre marker Profile Name Set a profile name Copy Copy one profile into another Reset Factory reset this profile I Skin tone detail may be useful on occasions but can be tricky to set and deliver unexpected results as lighting levels change Use with care 8 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 2 Measurements All measurements were made on frames captured via the HDMI output via a 10 bit HDSDI converter box Focus Enhancements MCSDI 1 this does not filter the signals and delivers a 10 bit HDSDI signal to avoid the known limitations of the recording formats The HDMI signal from the camera delivers only 8 bit data but this was not considered to have affected the measurements in any significant way Although not the usual practice for camera tests this image capture process was far easier to manage and did not lead to any confusion or misrepresentation of the camera performance 2 1 Colour performance The gamma curves were not explored in detail because there is little that can be done about them Instead a calibrated Macbeth chart was used correctly exposed with studio illumination The pictures were
12. ed with coloured aliasing This is the normal shooting mode for a film look and is recorded as interlaced field pairs although they both belong to the same temporal exposure In this mode the signal will travel through recording editing and transmission as though it were interlaced Itis only in the display that the field pairs frame segments come back together to form a displayed frame However there can be some confusion in editing as to which field pair belongs together the setting for this being known as field dominance Another problem with psf recording is that each field or frame segment is separately compressed as an entity For interlaced images this is normal but for progressive images it should be more efficient to compress the entire frame in one go as is done for images at 720p This camera has another mode Rec Type Progressive in which the entire 1080 line image is compressed as one Figure 4 shows the result There is no visible difference in resolution confirming that there is no image quality advantage in using this mode apart from the slight advantage in recording which should result in a slightly lower level of compression artefacts Note that recordings made in this mode can not be played back in a standard HDV player only in one compatible with this recording mode 11 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Te
13. es the lot File No Series Reset Series increments file numbers Reset starts again New Folder Exec Each folder can hold 9 999 images Rec Folder Exec Select recording folder PB Folder Exec Select folder to play back OTHERS menu item range comments BBC Camera Prof Profiles Up to 99 on a stick 2 in the camera Load Exec Sel Push Exec to load a profile Save Exec Sel Push Exec to save to stick or camera Change Exec Sel Push Exec select profile and edit the name Delete Exec Sel Push Exec to select then delete it Copy Exec Z5 Focus Exp Focus Focus Macro D Assign any to buttons 1 6 Extender Ring Rotate Hyper Gain AE Shift Push AT Iris Index Mark Factory defaults are Steadyshot Back Light Spotlight L1 Button D Extender Assign Buttons Fader Color Bar Smooth Slow Button 4 Zebra Rec Last Scn Rvw Rec Review Button 5 AE Shift End Search Zebra Marker Button 6 Rec Review Peaking Display TC Reset TC Countup Photo Picture Profile 1 6 Assign Buttons Z7 Focus Exp Focus One Push Focus Assign any to buttons 1 6 Infinity Focus Macro D Extender Hyper Gain Blk Balance AE Shift Index Mark Steadyshot Back Light Spotlight Fader Color Bar Last Scn Rvw End Search Zebra Marker Peaking Display TC Reset TC Countup Photo Rec Lamp F Rec Lamp R Picture Profile Factory defaults are L1 Button D Extender Button 4 Zebra Button 5 AE Shift Button 6 Rec Review Clock Set This comes up every time
14. ger than 4 The lens mount of the Z7 is specific to the s format but adaptors are available to permit the use of 2 lenses The Z7 was tested using the supplied Zeiss 12 1 zoom lens There are internal menus for setting the performance not as complex as in a full broadcast camera but enough to control some of the important features albeit only in on off states They are not well suited to multi camera operation since they cannot be remotely controlled There are analogue only video outputs components and SD composite via a multi pin connector and S video SD and digits via IEEE1394 Firewire known as 1 Link by Sony and 8 bit HDMI A broadcast camera would normally be expected to have a 10 bit HDSDI output The same assessment procedure was used as for other HD cameras partly attempting to get a good film look and the settings reflect that However because of the lack of internal test signals it was necessary to make more complex measurements than normal through the lens Since many camera parameters are undefined in the specifications more measurements than usual were necessary In the search for a film look setting it is normal to think of the camera to be mimicking a film camera and telecine with best light transfer to tape with about 10 stops of tonal range Assuming that a grading operation will be used in post production the settings attempt to give the colourist the same range of options as with film
15. here are a few problems with the picture performance as an SD camera for professional or broadcast purposes although both cameras are better than the HVR Z 1 both in HD and SD modes Performance with the recommended settings is probably adequate for consumer and semi professional use but better performance can be expected with a professional hardware or software down converter The reasons for this statement are given in the measurements section of this document The controls for these cameras are not as flexible as for full broadcast cameras so more effort was expended in measuring performance than in trying to derive a specific look for it Very small physical lens apertures less than F 4 soften the picture and produce visible colour fringing due to diffraction effects in the iris the included neutral density filters are the better alternative to small apertures when shooting in very bright light Many of the menu items have little or no effect on image quality Those that have significant effect are highlighted The full set of menu items is given for completeness In boxes with a range of numeric settings the values indicate the range and no scales are given The numbers represent the count of bars in the thermometer presentation from the left usually 1 to 16 with 8 being the central default value Default settings where known are underlined My recommendations are in the last column labelled BBC where appropriate Sett
16. ings are given for V Television production f Film look television 2 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 In the tables items that have an important effect on picture appearance are highlighted with grey background Rather than just making assertions about performance I have included measurement results that illustrate the reasons for recommending settings Virtually all picture control is in the Profile menus Note that in each power switch mode the menus can be separately customised adding or removing any menu item from the entire set of menus This is not intended as a replacement for reading the manual 1 Switches and Menu settings The test session on the Z5 was very brief and there was no manual available either on paper or as a download The names and positions of controls here are for the Z7 but are expected top be accurate for the Z5 as well but I cannot guarantee that Also menu items are taken from the Z7 manual where the Z5 differs from the Z7 items are identified as such SWITCHES and BUTTONS name place feature comment Zoom Right Rocker Expand focus Right Push Iris Right Switch Push Auto Right Push Re
17. itor or Histogram to set black levels P and RGB values are added to Master level Black B 15 15 Standard Cinematonel Gamma Cinematone2 ITU709 G5 0 G5 0 is BBC 0 4 law ITU709 PD x v Black Gamma Black stretch Range High Middle Low Level 7 7 is black compression is stretch 0 Knee Compress overexposure Mode Auto Manual Manual Auto Set Max Point 90 100 90 Sensitivity High Middle Low Middle Manual Set Point 75 105 87 5 Slope 5 5 D Color Mode Standard Cinematone1 DE Cinematone2 ITU709 Mtx AUTU Level 1 8 Cross fade 1 Standard 8 what you selected 3 Color level 7 7 8 Saturation 8 monochrome 0 Color phase 7 7 Greenish to reddish 0 Color Depth 7 7 6 axis multimatrix set saturation for RGBCMY 01 Color Correct See manual rather complicated Off Color Revisn Color De Extract oti Memory Sel 1 2 1 amp 2 2 colour stores 709 gives the most accurate colour rendition The Cinematone curves give a more film like appearance but actually capture significantly less contrast 7 If Standard gamma is used some black stretch may be a good idea to improve colour fidelity Although performance is usually best with manual knee set there are clearly advantages to using automatic for simplicity These settings should be acceptable These settings slope the knee point to reach 250 at peak white Thus captures the biggest contrast range the camera can do 10 Colour controls are best though of
18. l Normally the noise level would be expected to show a strong correlation with the slope of the gamma curve since the 39 5 40 0 40 5 41 0 41 5 42 0 20 30 40 50 60 70 80 90 a Figure 7 Noise levels Z5 sensor and head amplifier noise is amplified by the differential gain slope of the gamma correction and so there should be about 10dB difference between the value around 10 and that around 90 This cameras do not show any such correlation One possible explanation for this could be the use of analogue head amplifiers with limited gain bandwidth product te cheaper Thus as the gain increases the bandwidth reduces and output noise level goes down Measurement of captured resolution is too difficult to do at low video levels because of noise so this explanation remains unconfirmed However the net result is that the noise performance appears to be better than it actually is a desirable thing for such a camera Perhaps this was a design decision if so it has worked Alternatively the sensor and head amplifier noise could be masked by digital noise In a professional camera the adcs should be at least 10 bit 14 bit is common in high end cameras and internal 45 0 0 0 35 0 37 0 39 0 41 0 43 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 80 0 90 0 Figure 8 Noise levels Z7 processing at least 18 bit with 10 bit recording of HDSDI outpu
19. ls Reset Handle Push Recessed factory reset 3 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 CAMERA SET menu Basic camera settings item range comments BBC ris Exposure Z5 Iris Exposure Allows direct control of iris Ring Rotate Z5 Normal Opposite Gain setup Z5 6 3 0 3 6 9 12 15 18 21dB Set gain for each position of the gain switch Gain setup Z 0 3 6 9 12 15 18 21dB Smooth Gain Fast Middle Slow Off Speed of gain change Off instant Hyper Gain On Off On disables Backlight Sptolight compensations AGC Limit Z5 21dB 18 15 12 9 6 3 0 3 6 Upper limit for video auto gain Off Minus AGC Z5 On Off Allow AGC to go to 6dB WB preset Z5 Outdoor Indoor Manu WB Temp AGC Limit Z1 21dB 18 15 12 9 6 3 0 Off Upper limit for video auto gain Black Balance Zil Exec Temporary black balance lost at power off WB preset ZT A B Outdoor Indoor Manu WB Select A B preset then push to balance Temp WB Outdoor Lvl 7 Q 7 Colour offset for Outdoor WB Temp Set 2300 15000K Colour temperature for Manual ATW Sens Intelligent High Middle Low Auto white balance High reduces colour errors Low i
20. menus for setting the performance and a reasonable selection of external controls There are analogue video outputs components and composite plus S video at SD all via multi pin connectors and digits via IEEE1394 Firewire known as 1 Link by Sony and HDMI All measurements were made using the 8 bit HDMI output converted to 10 bit HDSDI for image monitoring and capture The normal assessment procedure for full broadcast cameras could not be used largely because the Z7 does not have a selectable test signal Therefore testing had to be done the hard way via the lens Recommended settings allowing for a video look and a film look have been derived although there are some significant compromises that have to be taken into account It is useful to think of the camera when used with film look to be mimicking a film camera and telecine with best light transfer to tape Measurement results are given after the settings tables in order to explain the decisions At best the camera can deliver about 10 stops of exposure range similar to other HD cameras but it is easy to set the camera such that exposure range drops to 7 stops or less In the target market for this camera a grading operation may well not be used in post production so the settings should be used with care The HDV performance is acceptable at sub broadcast level for HDTV production but is not up to the standards expected for full HDTV broadcast T
21. mut colour only for compatible displays Off Color Bar On Off Type 1 SMPTE Type 2 ARIB Z7 Type 1 4 Type 3 100 full Type 4 75 full 1 or 2 Flange Back Z7 Auto Adjust Manu Adjust Back focus setting AUDIO SET menu item range comments BBC DV Au Mode FS32k FS48k Audio sample rate SD Audio limit Off On Only when in Manual audio level Int Mic Set Z5 Internal mic controls Mic NR Z5 On Off Noise reduction l In 1 3 sensors iris diffraction starts to be visible at about F 5 6 i e the picture gets softer and has chromatic aberration effects gt SMPTE bars are ubiquitous but ARIB bars have some advantages agree the type of bars to be used with the post production people before shooting Backfocus setting should always be done when changing lenses or when the camera temperature change significantly The Zeiss lens has a calibrated back setting so it may be possible to set the lens off the camera 4 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 Mic Sens Z5 Normal High Sensitivity Mic Wind Z5 On Off Wind noise filtering XLR set Settings for external sources XLR AGC link Z7 Separate Linked Link for stereo valid for Auto level only AU Man Gain Z7 Separate Linked Link for ste
22. ncreases them Smooth WB Fast Middle Slow Off Speed of white balance response when changed AE Shift 7 Q 7 Drive auto exposure 7 dark 7 light AE Window Z7 Standard Typel 5 Various window mask shapes for auto exposure AE response Fast Middle Slow Speed of auto response AT Iris Lmt F11 F9 6 F8 F6 8 F5 6 F4 8 F4 Maximum aperture limit for auto exposure F5 6 ECS Freq 50 200Hz For ECS shutter slowest is 25 for Progressive Flikr reduce On Off Supposed to reduce lighting flicker Cntrst Enhcr On Off Claims to improve high contrast scenes e g backlit Back Light On Off Compensate for back lighting Spotlight On Off Compensate for spot lighting Steadyshot On Off Set Off when on a tripod Hard Standard Soft AF assist On Off Use focus ring for fine focus adjust in auto focus Focus Macro On Off Focus within 80cm Handle zoom 1 3 8 Zoom speed for FIX position l1 slow 8 fast Speed Zoom Z5 On Off Allows crash zoom D Extender Z1 On Off Digital zoom to 150 Off Fader White Fader Black Fader Shot fades to from black white Smth Slw Rec About 4x cranked see manual for details Interval Rec Stop frame recording see manual for details DV Frame Rec On Off Records about 5 frames push of Rec Start Stop S Trans Z5 Trans Time Z5 3 5 15 sec Trans Curve Z5 Soft Stop Start Timer Z5 Off 5 10 20 Rec Link Z5 Off Shot A Shot B S Trans F Mark Z7 Shot Transition Focus Marking Assign Shot Trans Focus Mark button x v Color On Off Wide ga
23. ot through increased sharpness because lenses for larger formats do not have to be able to pass frequencies up to 200lp mm to the sensor but through better aberration performance At the time of writing this document there was only one lens available for the camera the one supplied with it The integral lens in the Z5 showed a similar degree of chromatic aberration FA a albeit in different colours and directions 12 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 2 4 Video noise January 2009 The camera manual gives no specification for video noise level but video noise plays a crucial part in pros production operations such as matte ing keying and colour manipulation For noise level measurements a plain white card was evenly illuminated and captured at 1080 line resolution interlaced at four exposures to explore the range of signal levels The cameras were set to 6dB gain A software high pass spatial filter was used to reject low frequencies and statistical analysis done to calculate the video noise levels Figures 7 and 8 show the results plotted in noise levels dB vertically against luma amplitude percentage horizontally Values were obtained mathematically and are un weighted The differences between the cameras are trivia
24. reo valid for Manual level only Input 1 Mic NR On Off Noise reduction for Mic input not Line level Input trim 18 12 6 OdB 6 12dB Mic level Input 1 wind Off On Wind noise reduction Input 2 Mic NR On Off Noise reduction for Mic input not Line level Input 2 trim 18 12 6 OdB 6 12dB Mic level Input 2 wind Off On Wind noise reduction Separate Linked Z5 Separate Linked Links channels for AGC Audio Ch sel Ch1Ch2 Chl Ch2 Ch1Ch2 stereo Ch 1 2 input Ch to both DV Audio Mix Ch1Ch2 Mix Ch3Ch4 Monitoring DISPLAY SET menu Viewfinder and LCD itm omge comments BBC Zeba On OF Exposure metering devel 70 100 1004 Signal level 75 f 100 V Histogram Off Normal Advance Advance adds a marker for average video level Peaking CO OF Help with focus does not get recorded __ Colour of enhanced edges ___ Level High Middle Low Sensitivity Marker On Off Cee OO OF Smallcentredcross o Aspet Oo Boundaries at 4 3 13 9 or 14 9 14 9 SafetyZone Onoff Edgeat80owor90 Cam Data Dip On Off Shows camera settings gain shutter etc i 4 ho Off Lt i Off in D SE On C Bar Number Lens focal length Number is 0 99 not much Focus Disp _ Meter Feet J o Focwwsdistane Shutter Disp Second Degree 360 degrees 1 frame rate LCDBright C E LCDBLIevel be VFBLight CO VFcolor On D Auto Side
25. rovide information for black level control as well The advantage of this rotated arrangement is that the coloured aliasing that results from the normal precision offset arrangement whereby the green sensor is placed exactly half a photo site spacing from the red and blue to achieve extra resolution is avoided at the expense of diagonal aliasing in the luma signal The specification also says that there are 1 037 000 effective photo sites for 16 9 video capture If they are all square placed on a 3 333um grid then the effective image dimensions for 16 9 capture would have to be 9 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 about 1358x764 1358x764 1 037 352 To confirm this the specification also says that the effective number for 4 3 capture is 778 000 and 1358x3 4 1018 so the dimensions for 4 3 become 1018x764 778 134 A circular zone plate test chart was used to explore resolutions up to exactly 1920x1080 Each pattern limits at exactly Figure 1 Factory 1920 horizontally and 1080 vertically E frequencies being proportional to distance from the centre of the pattern Measurements were made on the Z7 with confirmation tests done on the Z5 Figure 1 is one quadrant of one pattern exploring the frequency response from dc in the centre spot to 1920 horizontall
26. t In lower cost cameras reduced bit depths can be expected but these measurements were made at 6dB gain so head noise should dominate the matter is therefore unresolved Even so noise performance is not up to the standards of proper HDTV cameras where 54dB is expected but the performance is not particularly bad Compensating for the 6dB gain the noise levels at OdB gain should be between 43 5 and 45 2dB about 2 5dB better than the Z1 Such noise levels are not generally a problem for simple programme production but would be regarded as poor if the production involved any significant amount of colour keying or matteing for whatever reason 13 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product
27. the camera powers up until you set the time date 6 This document is a report of the results of tests that are the precursor of those described in the EBU technical document Tech3335 It is not an endorsement of the product Sony HVR Z5 and Z7 January 2009 World Time Select local time relative to original setting Language How do you get back if you select a language you can t read PB Zoom Z1 On Off Use zoom lever to zoom on playback up 1 5 Quick Rec HDV Off On On is quicker but breaks the MPEG GoP structure may not work with some NLEs Date Rec Off On Burns time date onto recording Beep Off On Warning sound on start stop recording Rec Lamp F On Off Front recording lamp Rec Lamp R On Off Rear recording lamp Remote Ctrl On Off Enables remote control Hours meter VTR hours meters display PICTURE PROFILES menus default settings Camera control item range comments BBC PP1 User Normal PP2 User Normal PP3 Pro Color Professional camcorder ITU709 gamma PP4 PD Color Handy cam I guess PD170 PP5 Film Look 1 Colour Negative PP6 Film Look 2 Colour Print PICTURE PROFILES menus manual settings Camera control item range comments BBC Black Level Master Black aoh No calibration cap the camera and use waveform Black R 15 15 mon
28. y and 1080 vertically at the outer rim frequency being proportional to distance from the centre Unfortunately during the test session the chart was not quite correctly framed at the time of image capture and a correction must be made to allow for this a zoom factor of 1 035 i e the maximum frequencies explored are 1987x1118 in this case The capture was made with factory settings interlaced It shows null zone at 71 6 of the horizontal maximum 1424 This suggests that the effective active area of the sensors is actually 1424 photo sites wide and therefore 801 high since 1424 801 16 9 confirming the calculations in the paragraphs above i Horizontal frequencies beyond the null show some coloured aliasing which Figure 2 Detail set indicates that the green sensor is offset for Video from red and blue by half a photo site even interlaced 1080 in this rotated arrangement Vertically there is no clear null zone as is to be expected for an interlaced image However frequencies above 800 are clearly aliased but not excessively so But there are strong diagonal aliases which are common in cameras using a single Bayer patterned sensor and in 3 sensor cameras where the precision offset of the green from red and blue is done both vertically as well as horizontally a quincunx arrangement The presence of these diagonal aliases confirms that there is no optical filter in the camera between the lens and the sensors In bro

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