F900 HDCAM basic menu settings

SONY HDW-F900 HDCAM 24p camcorder operation notes

These are suggestions and notes about controls and commonly used menu items that you may want to use.This is NOT a summary of all the operational items, just some notes and answers to commonly asked questions. Use this guide to refer back to the manual. There are an incredible number of settings, many of which you don't have to worry about. Unfortunately the manual does not distinguish which settings are commonly used, or are those that are very important to change only if you really know what you are doing.

You may want to review the HD Cinema Producers and film DP Guide to HD Video see hd-cinema.com, even though you may know most of the content.

The new Sony F900/3 upgrade is not just software. The new 12 bit A/D converter has improved control of Flare, PRE Knee, White Clip, Black Clip and PRE Filter.

The cross filter is replaced by a 5600K filter, and the label is changed so this is one way to tell externally that the upgrade has been done. The software ROM is up to IF 2.01, SV 1.06 and SY V 1.9
A new USER MENU CUSTOMIZE menu is available. You can select desired pages from the OPERATION, PAINT,MAINTENANCE,FILE and DIAGNOSIS pages and copy them on the USER menu, putting all the items you want to change frequently in one place.
Scene files now have a maximum 20 Groups with five scene files set in one group.

Most of the other menus remain the same.

*TOP MENU*

set VF DISPLAY switch from OFF to MENU, while holding down the Mic/Menu knob to get to the TOP MENU

While pushing the MIC/MENU knob, change the DISPLAY switch from OFF to MENU to get to the TOP MENU. To return to the TOP menu from other menus, point the arrow to TOP on the right side of each page, then press the MIC/MENU knob. OR push the MENU switch to the CANCEL side twice.

Frame rate changes:
MAINTENANCE MENU M7 <Multiformat> (for setting camera frame rate, typically 23.98p or 59.94i) CURRENT 23.98 PsF ( or 24 PsF or 25 PsF or 59.94i depending on your needs) NEXT push menu button and rotate to change, then camera MUST BE TURNED OFF, then back ONto reboot.

See later pages for more important menu settings.

FLICKER in CRT monitors and the viewfinder are normal when shooting 23.98 or 24fps. So is the strobing you see when panning, it is the same effect when shooting film at that frame rate so don't pan too fast. Flicker is greatly reduced with 3:2 pulldown added for screening.

APR Automatic Pixel Replacement
Keep a lookout for a white or "lit" pixels showing up unexpectedly. A lit pixel can easily be spotted by capping the lens and looking carefully in the viewfinder and on a HD monitor. These lit pixles can be fixed by doing a black balance and holding the button down for several seconds, After the end of the normal auto black balance (ABB) program, you will see a new display that says APR EXECUTING.

*This may need to be done 6 or 7 or more times. The pixel could be in the R, G, or B block and for some reason the APR program is random in which block it decides to check. Like rolling dice, eventually it will get to all of the blocks to check. If this does not fix the problem, keep shooting for that day because it is an easy fix in post. But call right away to arrange for a camera technician to manually mask the errant pixel.

OUTPUT / DCC switch

This sets color bar output and camera with DCC ON or OFF. DCC Dynamic Contrast Control is also known as Auto Knee, it a good idea to use this setting in both normal and difficult lighting situtions.

WHITE BALANCE and BLACK BALANCE stay in memory even when camera is turned off.

Set Black balance when camera is first used each day, or has not been used in several hours time, or when you have changed the gain setting. If you are having trouble white balancing make sure the D5600K setting is [OFF] (see Operation menu <OTHERS> D5600K). Make sure D5600K is off if you are using preset white balance.

REEL 23 time code - Final Cut Pro 3.0 (and earlier versions) had a bug and these older versions cannot work with reels with hour 23:00:00:00 for the time code. This is supposed to be fixed with FCP 4.0. You should go to hour 01:00 once you reach reel 21 anyway to make things easier for editors.

AUDIO peaks - set tone at -20dB !! The DP should not have to watch this, but it is in his interest to make sure 0dB tone out of an analog mixer is set to -20dB for digital recording on the camera. Tone with the color bars is preset to this level. Peak audio that goes over -20dB but under 0dB is probably ok, but the meters may not react fast enough to show these peaks, and you won't hear the audio breakup while live monitoring, only on playback. So if you are in doubt check playback!

Cassette Door - it looks like it does not close all the way but all the F900s operate this way.

Framing There is no safe area or underscan in HD or digital television. Especially watch for boom mikes at the top as it is likely the footage will be letterboxed and every bit visible. There are options for setting <MARKERS> ON in the OPERATION MENU, and there is a toggle DISPLAY/ASPECT on the front of the viewfinder as well, options include 1:85 and 2:35 in your viewfinder, as well as 4:3 safe areas. You can vary the intensity of the shading.

12V out of the camera - use the 2 pin Anton Bauer type battery power taps, not the built in Hirose connector on the camera which if overloaded will blow an internal fuse in the camera that can only be replaced by soldering!!

CC Filters
A (5600K) replaces the cross filter which is on the older cameras that have not been upgraded
B (3200K) clear
C (4600K)
D (6300K)

ND Filters 1 clear, 2 is 1/4, 3 is 1/16, 4 is 1/64
The neutral density filter equivalents (for film DPs)are:
1/4 is .6 ND 2 stops
1/16 is 1.2 ND 4 stops
1/64 is 2.4 ND 6 stops

For ProMist filters to get a glow on highlights, typically use 1/4 to 1/2 less than you would use in 35mm.

AUDIO on the F900 is 20 bit 48KHz

note LINE LEVEL and LEVEL input switches [rear] on the back of the camera

[front] assigns the onboard shotgun to either channel

When using an external analog mixer, the 0dB tone out of the mixer should be set at - 20dB on the F900 vtr. Try to have no peaks go over -20db, you will risk the audio being broken up as the camera audio meters may not respond fast enough to show any short peaks that go over 0dB digital.

Single System audio We always, always recommend recording audio to the camera, even if you are also recording to DAT. Use a wireless mike for steadicam, cranes etc. This can save you thousands of dollars in post syncing. Still use a slate for single system for scene ID.

Double System audio Record DAT audio [16 bit 48kHz ] using 29.97 NDF time code
Using a t.c slate is preferred, 2nd AC still do clapper, you can send DAT time code wireless to the t.c. slate.
It is not necessary to have the DAT time code match the camera time code.

Never feed the DAT t.c. or other external time code to the camera's time code unless you have serious qualified engineering support and special ancillary gear.

TIME CODE

set as REGEN, REC RUN

preset the time code hour with each tape 01 for hour 1 etc. then put switch in rec run

Free Run or time of day time code poses a lot of problems in post. It is convenient only for the PA logging the takes on the set. Use this only for multiple cameras that are too far apart to have the REC RUN time code synced. [described later in these notes]

Editors often ask the camera operator to change to time code :01 for the 21st tape, or "reel", rather than going up to reel #23 before you have to go back to :01. If you set reel #21 as :01 time code rather than :21, when you get to #31 it would have :11 time code, reel #41 would have 01:, reel 51 :11 rather than reel #31 having an :07 time code, #32 as :08, etc.

You can set user bits for tape and reel #s greater than 23, but in the rush of production that is often skipped. Recording time of day and FREE RUN time code not a good thing to do with single camera shooting. It is convenient only for the PA logging takes and is a headache for editors.

Real Time for the USER BITS is usually set OFF

DF / NDF (drop frame/non-drop frame) time code switch: this switch is not effective with 23.98 and 24 frame rates, there is no such thing as DF in 24p it only matters with 29.97p, 30p, 59.94i, and 60i frame rates

Later when downconverting with 3:2 pulldown to standard video, the standard definition record vtr must be set to NDF.

A common misconception with time code is that a 29.97 frame rate is DF and 30 fps is NDF. All NTSC video is at a 29.97 frame rate, (or 59.94 interlaced field rate), whether DF or NDF. The nomenclature of DF and NDF is just a system of labeling the 29.97 frames. Normally with 60i you would still shoot NDF in the field, but might edit onto a DF master that would have a run time that matches the code.

When editing, NDF source tapes are better for noticing the capture of clips where missing frames (more confusion, because often people refer to this anomaly as "dropped frames") might have occurred due to a computer glitch.

Record Continuous Time Code Use "record run" setting NOT time of day. If you review a segment, press STOP within .5 second after the end of the previous recording, then press the RET button on the lens. Now you are ready to hit the vtr start on the camcorder or lens. The TC must be set in REGEN after you preset the beginning of each new reel (tape) of course. Broken time code causes many problems in post. Some non-linear edit systems may not recognize a clip with t.c. errors and this will cause time and expense in the final on-line conform to correct the problem.

Check playback by hitting RET button on the lens to see the last 3 seconds of tape play and the camcorder is ready to record again. (You need at least a 3 second shot for this to work.) This lets you check your tape quickly and keeps the time code continuous.

It does not hurt to play back or screen your master tapes even four or five times. It is far more important to check to be sure the actors performance is what you want, or check exposure, continuity or other details.

TIME CODE matching for two cameras - "Jam Synching"

Keep using REC RUN, REGEN on master camera and slave camera
Feed TC OUT from the master to TC IN on the slave camera
GENLOCK Feed the Y channel monitor OUT of the camera, to the Genlock IN of the slave camera. You can remove this genlock cable as long as both cameras stay on, even if tapes are paused.You can loop the Y channel out of a monitor, or you can use a HD video DA distribution amplifier. This assures the proper phase relationship of the t.c. to the video. Some engineers say if you don't genlock it is still okay in HD post.

In cases where you are using multiple cameras for live sporting or music events or documentaries you may use free run and time of day time code. Once you sync the cameras above at the start of shooting, you may disconnect them and they will stay in sync. HOWEVER, you must plug in external power to the 12V supply of the camera when changing batteries to keep all in proper sync.

MENU SETTINGS We normally set up our Sony HD 24p F900 camera (F900/3 upgraded cameras as of May 2003 software versions IF v2.01, SV v1.06, SY v1.19 ) as follows. If you want you can start shooting without touching any menu settings and you will still get wonderful video.

*TOP MENU*

set VF DISPLAY switch from OFF to MENU, while holding down the Mic/Menu knob to get to the TOP MENU

To display characters on the EXTERNAL MONITOR:

1. while pressing the MENU switch toward the cancel side, set the DISPLAY switch from "OFF" to "MENU".

2. to remove characters, while pressing the MENU switch towards the "CANCEL" side, set the DISPLAY switch from MENU to OFF

Saving or Reading setup data to or from the MEMORY STICK use the OPERATOR FILE menu to save the setup data of OPERATION menu pages 1-8 to or read the data from the MEMORY STICK.

MAINTENANCE MENU

M7 <Multiformat> (for setting camera frame rate)

Current 23.98 PsF ( or 24 PsF or 25 PsF or 59.94I depending on your needs) Next, push menu button and rotate to change, then camera must be turned off, then back on to reboot. Then verify that Current frame rate is the one you selected.

Camera speed notes: At 23.98 and 24 frame settings, there is a lot of flicker and strobing while panning in both the viewfinder and in a HD24p capable monitor. You can allay your client's fears and reassure him that the final product will have 3:2 pulldown and 60i interlacing just like film transferred to standard def video, so the flicker will be gone. The judder while panning will be the same for film cameras shooting at 24 and then telecined.

The AJA HD10M and Miranda MDC-700 HD to NTSC/PAL downconverters use an inexpensive chip for conversion, so any fast action or panning jumps very strongly on the standard def monitors. Don't worry, that is not how the original looks.

<Others 2> Fan Mode AUTO (min and max)

PAINT MENU

P1 <SW Status>

FLARE ON
GAMMA ON
BLACK GAMMA ON
KNEE ON
WHT CLP ON
DETAIL ON or OFF your preference, if ON but commonly set to -35 or less
LVL DEP ON
SKN DETAIL OFF turn ON for shooting close ups of faces
MATRIX ON

PRESET ON with Matrix ON and Preset ON then select ITU-709

USER MATRIX OFF
MULTI MATRIX OFF

turn USER and MULTI Matrix ON and adjust those parameters only if you are a qualifiedvideo engineer or DIT

P2 <Video Level>

R G B M

White 0 0 0 0

Black 0 0 0 0,1 or 2 Factory setting 0

Flare 0 0 0 0

Gamma 0 0 0 -25 to 0 Factory setting 0

VMod 0 0 0 0

Flare ON

V Mod ON

Test off

Some operators like to raise Black from 0 to 1 or 2 top preserve detail in the shadows, but this usually requires lowering the blacks later in post. We advise against "crushing the blacks" too far while you are shooting in the field as any detail there cannot be recovered later.

Another option is to set Master Black at -4 but also turn Black Gamma ON and set to Range 15% which slightly raises the blacks

P3 <Gamma> this affects the midrange video levels

R G B M

Level 0 0 0 -25 to 0 for [M] Factory setting 0, common settings are -15 , -25

coarse .45

table standard 5, ITU 709

Gamma ON

test OFF

P4 <Black Gamma> this affects the shadow areas, the lower range of video levels from 0 to about 20 IRE

One option is to set Master Black at -4 but also turn Black Gamma ON and set to Range 15% which slightly raises the blacks

RGB R G B M

Level 0 0 0 0 for [M] Factory setting 0

Range 15% (25% is a common setting)

Level 0

Range 15% (25% is a common setting)

TEST OFF

P5 <Low Key Sat>

Level 0

test OFF

P6 <Knee> This affects the highlights. These settings are in effect if AUTO KNEE or DCC is turned OFF
In the film world this curve is often called the Shoulder

coarse .45

table standard 5, ITU 709

test off

R G B M

Point 0 0 0 30 Factory setting 0

Slope 0 0 0 -20 Factory setting 0

White clip 11 11 11 0 Factory setting 0 0 0 0

Knee ON

Knee Sat ON

Wht Clp ON

test off

P7 <Detail> ON, [turn off for greenscreen or if going HD to 35mm film out exclusively]

Most users are leaving this ON these days with the level set at about -35, this will look good in digital video

if you are going out to film you could set to -65 and still look good in video and your film out will still look good, or you can turn off completely if you are going out to film and can add enhancement back to the video in post later

if ON, the midrange settings for Detail are all 0, you can adjust -99 < 0 > +99

here is one sample setting used with <Detail> ON

[M] [WHT] [BLK]

Level -35

Limiter 38 38 99

Crispen 0

HV Ratio 0

Freq 99

Lvl Dep 0

DETAIL ON

LVL DEP ON

P8 <Detail 2> OFF or ON, turn off if going HD to 35mm film out

this setting compensates for decreases in knee aperture in the detail levels

in high luminance areas of the picture

KNEE Aperture: 0

: OFF

if ON, the midrange setting is 0, you can adjust -99 < 0 > +99

P9 <Skin Detail> OFF or ON, turn off if going HD to 35mm film out

if Detail is off Skin Detail is automatically off

P10 <User Matrix>

R G B

R - 0 0

G 0 - 0

B 0 0 -

Matrix: ON

Preset: ON

ITU 709 (Sony Factory SMPTE 240M)

User Matrix OFF or ON if you are a video engineer or DIT

Multi Matrix OFF

P11 <Multi Matrix> use the multi matrix only if you are a video engineer

Matrix: ON

Preset: ON

ITU 709 (Sony Factory SMPTE 240M)

User Matrix OFF

Multi Matrix OFF or ON if you are a video engineer or DIT

P12 <Shutter>

For more of a "Film Look", 1/48 shutter matches the motion blur of film

Shutter ON or OFF for low light situations (any time you think you need gain)

1/48

ECS Freq 24.0 Hz

S-EVS OFF

You can adjust ECS for shooting the screens of computer monitors.

If you have the shutter on, you start losing camera sensitivity. The higher the shutter speed the more you need to open up your iris or use more light. Turn the shutter off for low light situations, even if the rest of your project was shot with it on. It is better to turn the shutter off instead of pushing the gain higher.

Focus marks - distance markings on lenses: ENG lenses normally measure from the front of the lens element, Cinestyle lenses measure to the rear of the lens close to the focal plane marking like film cameras.

Back Focus Adjustment Procedure – courtesy B. Sean Fairburn SOC

Back Focus is a vital step in the effective setup and operation of the Lens. It moves a rear element of the lens to focus the image on the face of the CCD. In principal this is similar to adjusting the Flange Focal depth for a film camera. In practice it is much easier and faster. Who makes the adjustment? The 1st AC and the Camera Operator

When should this be done? With every lens as part of the Prep and-It should be checked every time you change a lens. Especially to a Wide angle. At the start of each day, after turning on the camera and giving it a few minutes to warm up. Any time the camera/lens undergo a significant temperature change (e.g. moving from a lit set to a night exterior). Wait until the camera has had a chance to stabilize to the new temperature. After transporting a camera with the lens attached Things to keep in mind:

To evaluate critical focus use the shallowest depth of field possible that means open up the stop to the fastest aperture, Wide open.

Back focus is more critical on wide focal lengths or wide angle lenses. Use the proper tools for the job. A back focus chart or ,,Targetä at least 1 foot in diameter should be used. I have asked DSCLabs.com to put a Back Focus chart on the Back of my Color Bar Chart so when I go in the field I always have the best tool.

Here's How:

1) Set the chart flat to the film plane beyond minimum focus at 7 ft out. Wide Angle Lenses move the chart to 4 ft, Long lenses 10 ft.

2) Open the stop wide and use ND if the target blows out. (Remove all diffusion)

3) Zoom in if its a zoom and focus on the chart till its “Crispy” Crispy-Defined as maximum separation and definition between the black and white converging lines of the Target. Looks like artificial white edges

**Trick- to help you truly see the focus turn Peaking knob on the viewfinder UP. ( but not so high that it falsely looks sharp) Turn Contrast up and turn Brightness down so you only see the Target**

4) Zoom out and look at the Target it should still look “Crispy”; if it looks soft loosen the locking screw and turn the Back Focus ring back and forth, passing in and out of focus to find the place where it is most Crispy. Then tighten back down the locking screw.

5) Zoom back in and check the whole range of the zoom if its soft at the

Wide repeat steps 3 & 4. When the BF looks Crispy through the entire range of the zoom you are Good to Go. If Not insure the lens is seated properly and the retaining ring is tight then repeat steps. Then reset the View Finder back to normal.

Prime Lenses should be adjusted as well by running a Tape measure out From the witness Mark, 1 inch behind the lens, and setting Focus on the Barrel to that distance. Then adjust the BF to get the chart “Crispy”.

ENG lenses usually have distance marks which measure focus from the front of the lens, but you should check this.