White Paper 034 Addendum 20: Sony HVR-Z1E and FX1E

Alan Roberts

Abstract

Data for this addendum is taken from a short examination of one production model of the Sony Z1E HDV camcorder and from the manual for the similar and cheaper FX1E. This is a HDTV camcorder, physically very similar to the standard-definition PD150/170, with 3 1/3" ccds, the manual gives no direct clues to the sensor resolutions. It records HDTV using the HDV algorithm onto standard DV tapes (1080i and 1080psf), and SDTV using DVCAM (miniDV on the FX1) format.

The camera is relatively light (about 2.5kg) and has an integral lens and viewfinder, with side lcd panel, and seems aimed at the high-end consumer/professional market rather than full broadcast, which would normally demand interchangeable lenses.

It has 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. It is not suited to multi-camera operation. It has analogue-only video outputs (components and SD-composite via a multi-pin connector and S-video SD) and digits via IEEE1394 Firewire. This alone puts the camera in the consumer/semi-pro market, rather than broadcast, which would normally expect either HDSDI or BNC connectors for analogue.

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, but without achieving the full 10-stop dynamic range. The recommended settings allow about 1.3 stops of over-exposure and one of under-exposure relative to normal operation. This is not as good as can be achieved in 2”/3 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).

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