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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Keywords
camera,
colorimetry, gamma, knee, aperture correction, detail enhancement,
film look, shuttering
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