White Paper 034 Addendum 17: Sony HDCAM, HDW730S

Alan Roberts

Abstract

Data for this section is taken from examination of a production modelof the Sony HDW730S (serial number 10005). This model is a 1080-linecamcorder, physically smaller and lighter than the HDW900, nearlyidentical to the HDW750 (and numerical settings for this camera and the750 appear to be interchangeable). However, it runs only at 59.95 or 50Hz interlaced, there is no progressive (psf) mode. It records using thesame HDCAM algorithm and data rate, tapes are interchangeable.

The camera is housed in an IMX camcorder shell. It has many internalmenus for setting the performance, such that it can then be usedwithout external controls. It is not ideally suited to multi-cameraoperation, although it can be controlled remotely. The HD viewfindercan be replaced with an SD one, especially useful when the camera is tobe genlocked to an SD source. A standard option is a livedown-converter to SD, so the camera can be used in mixed environments.Video output is analogue or SDI, both at HD and SD. An 8-second bufferallows the camera to capture pictures before the record button ispressed, thus power can be saved by not keeping the tape transport inStand By mode. The camera has no neutral-density filter wheel, and someof the minor controls are slightly different from those on the HDW750.

The menu settings result from only one measurement session, withoutaccess to the manual for the camera. The same assessment procedure wasused as for other HD cameras, mostly attempting to get a good""film-look"" (despite there being no progressively scanned option), andthe settings reflect that. It is useful to think of the camera, whenused in this way, to be mimicing a film camera and telecine, with ""bestlight"" transfer to tape, with about 11 stops of tonal range. Due to theextraordinary flexibility of the controls, it is possible to make itmimic negative or positive film, and resolution can be tailored to 35mmor 16mm, to taste (but not the progressive-scan attribute of film,output is always interlaced). Assuming that a grading operation will beused in post-production, the settings give the colourist the same rangeof options as with film. The values for Gamma, Black Gamma and Kneeallow about 2.5 stops of over-exposure and one of under-exposurerelative to normal operation. The ""film"" gamma mode has a built-inknee, combining this with the main knee function gives smoothreproduction of highlights. This setup approaches a film-look, enhancedby the separated Detail and Aperture controls (detail enhancement canbe set negative, to reduce in-band sharpness, leaving aperturecorrection to work at high frequencies). With both Detail and Apertureoff, images are generally sharper than even for 35mm film, this can bean issue for production. For use in Sport or Light Entertainment, itwould probably be beneficial to switch off the Black Gamma, and to setDetail Level to zero (factory setting).

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