PANAVISION HD900F User manual
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HD900F OPERATION MANUAL
COPYRIGHT 2002
VERSION 3.0
May 2004
Eric Erb
Andrew Young
Eric Erb
Andrew Young
written by
design, photos, and layout
photographs were shot using the Kodak Preview System with Primo lenses
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INTRODUCTION
In 1997, Panavision and Sony announced their
collaboration on the development of a 24P digital high
definition camera suitable for use by filmmakers to
create big screen motion picture image quality. We
knew, from 45 years of experience, that a complete
imaging system approach was the only way for
traditional film crews to make a seamless transition into
digital production. With this in mind, we made a number
of modifications to the Sony HDW-F900 24P camera. For
starters, the Panavised camera received a heavy duty
front plate and lens mount modified to work with our
specially designed Primo DigitalTM lenses. The system now
accommodates most of our standard film camera
accessories as well as new accessories designed
exclusively for digital cinematography.
In addition to the mechanical modifications to the
camera, a unique optical pre-filter gives you better color
matching with film emulsions and enhanced resolution
for blue screen effects cinematography. Last, but not
least, we designed the new ULTRAVIEWviewfinder for
studio and handheld cine-style use. It presents a 2
times larger image along with a greater diopter range.
Panavision is committed to continuously developing our
Digital Imaging system in close collaboration with our
clients, just as we have done with our film systems over
the last 45 years. Now your HD project will benefit from
the same dedication to customer service and superior
image quality that is the hallmark of Panavision.
INTRODUCTION
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TABLE OF CONTENTS
SECTION 1.0 GENERAL SPECIFICATIONS
1.1 CAMERA SPECIFICATIONS
1.2 CONNECTOR SPECIFICATIONS
1.3 FRAME RATES AND SHUTTER SPEEDS
1.4 CAMERA WEIGHTS
1.5 CAMERA MEASUREMENTS
1.6 SIDE CAMERA VIEWS
1.7 FRONT AND REAR CAMERA VIEWS
1.8 PROGRESSIVE VS. INTERLACE
1.9 GENERAL IMAGING CONSIDERATIONS
SECTION 2.0 PACKING AND SHIPPING
2.1 CAMERA BODY CASE
2.2 ACCESSORY CASE
SECTION 3.0 PRIMO DIGITAL™ LENSES
3.1 PRIMO DIGITAL™ LENS DESIGN
3.2 FILM / HD COMPARATIVE RESOLUTION
3.3 ASPHERICAL AND FISHEYE ATTACHMENTS
3.4 PRIMO DIGITAL™ LENS EXTENDERS
3.5 SETTING BACK FOCUS
SECTION 4.0 CAMERA ASSEMBLY
4.1 FRONT FACEPLATE AND FOLLOW FOCUS
4.2 VIEWFINDERS
4.3 ON-BOARD MONITORS AND BRACKET
4.4 LENS LIGHT
4.5 VOLTAGE UPCONVERTER
4.6 CARRY HANDLE
4.7 SIDE PANEL CONNECTORS
4.8 MIRANDA DOWNCONVERTER
4.9 REAR PANEL CONNECTORS
4.10 HD SDI ADAPTER
4.11 ON-BOARD BATTERIES
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TABLE OF CONTENTS
SECTION 5.0 CAMERA OPERATION
5.1 HDCAM CASSETTE
5.2 VTR CONTROLS
5.3VIEWFINDERCONTROLS
5.4REMOTECONTROL
5.5 FILTER WHEELS
5.6 MEMORY STICK
5.7 TIMECODE
5.7.1 TIMECODE SWITCHES AND BUTTONS
5.7.2 USING TIMECODE
5.8 MAIN CAMERA SWITCHES
5.9 MENUS
5.9.1 USER MENU
5.9.2 OPERATION MENU
5.9.3 PAINT MENU
5.9.4 SETTING THE FRAME RATE
5.10 VIEWFINDER FRAMELINE MARKINGS
5.10.1 TV 16X9 TRANS & 4X3 TRANS / SAFE
5.10.2 TV 16X9 TRANS & 1.85 THEATRICAL
5.10.3 TV 16X9 TRANS & 2.40 THEATRICAL
5.11 PREP ROUTINE
5.12 A.C. PRE-ROLL CHECKLIST
5.13 PRODUCTION CONSIDERATIONS
5.14 TROUBLESHOOTING
5.15 SMART LENS
5.16 METADATA
SECTION 6.0 MONITORS
6.1 MONITORS
6.2 9" HD SDI MONITOR
6.3 14" HD SDI MONITOR
6.4 20" & 24" HD SDI MONITOR
6.4.1 20" & 24" MONITOR CALIBRATION
6.4.2 20" & 24" MONITOR FRAMELINE SETTINGS
6.5 HD SDI WAVEFORM MONITORS
SECTION 7.0 INDEX
TABLE OF CONTENTS
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1.0 GENERAL SPECIFICATIONS
GENERAL SPECIFICATIONS
1.0
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1.1 CAMERA SPECIFICATIONS
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Imager RGB 2/3" CCDs
Effective Pixels 1920 (H) x 1080 (V) each
2.1 million pixels each, 6.3 million total
.378" x .212"
Power 12 v DC (range 11-17v)
Built-in Filters
ND Filters CC Filters
1: Clear A: 5600K
2: .6 - (2 Stops) B: 3200K
3: 1.2 - (4 Stops) C: 4300K
4: 1.8 - (6 Stops) D: 6300K
Lens Mount Panavision HD Mount (proprietary)
Baseplate Panavision Dovetail with 5/8" rods
Steadicam®Plates Bottom Dovetail Plate for Regular Mode
Top Handle Plate for Low Mode
Sensitivity Minimum ISO 320 tungsten
Cassette Tape HDCAM: BCT-22HD, BCT-32HD, or BCT-40HD
Running Times 22 min. @ 30 fps or 27.5 min. @ 24fps
32 min. @ 30 fps or 40.0 min @ 24fps
40 min. @ 30 fps or 50.0 min. @ 24fps
Audio Quality 20 bit, 48kHz Digital (up to 4 channels)
Preset Storage Sony Memory Stick
Eyepiece Panavision Ultraview®- 2 modes: Extension
and Intermediate / Hand-held or
Ultraview®Color Viewfinder
SMARTLENS™ High resolution digital encoders to record
Compatibility T-stop, focus, and zoom positions
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1.2 CONNECTOR SPECIFICATIONS
DC In XLR, 4 pin male 11-17 v
Pin 1 – ground (-)
Pin 4 – positive (+)
DC out Hirose, 12V DC, 4 pin (2 A max)
REM Lemo, 10 pin 1B
Pin 1 - VTR Start / Stop
Pin 6 - Ground
VTR, shutter, menu controls (HDRP)
Audio In 2 Channels – XLR, 3 pin female
Pin 1 – Ground
2 – Input (hi)
3 – Input (low)
2 additional channels with HDSDI adapter
(HDCAA)
Mic In 1 Channel – XLR, 3 pin female (+48v)
Pin 1 – Ground
2 – Input (hi)
3 – Input (low)
Audio Out 2 Channel on 1 – XLR, 5 pin male (E-E)
Pin 1 – Analog Ground (shield)
2 – Ch. 1 Output (hi)
3 – Ch. 1 Output (low)
4 – Ch. 2 Output (hi)
5 – Ch. 2 Output (low)
2 additional channels with HDSDI adapter
(HDCAA)
Genlock In BNC
Genlock Out BNC (using analog Y channel)
Timecode In BNC
Timecode Out BNC
Video Out Y, Pb, Pr Analog
HD SDI (with HDCA adapter)
Remote Control Hirose (special) – 8 pin
GENERAL SPECIFICATIONS 1.1/2 GENERAL & CONNECTOR SPECS
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1.3 FRAME RATES AND SHUTTER SPEEDS
Frame Rates (MAINTENANCE MENU page: M7)
Progressive Interlace
23.98 PsF 50i
24 PsF 59.94i
25 PsF 60i
29.97 PsF
30 PsF
Shutter Angles (PAINT MENU page: P12 or with the Remote
Control)
SHUTTER SPEED EQUIV. SHUTTER ANGLE
Shutter OFF = 1/24 sec 360.00 degree
1/32 270.00
1/48 180.00
1/96 90.00
1/125 69.12
1/250 34.56
1/500 17.28
1/1000 8.64
ECS - Extended Clear Scan 24 Hz - 2200 Hz @ 24fps
Used to set intermediate shutter speeds and / or shoot
practical monitors.
The equivalent shutter angle, for a film camera, is found by the
following formula: 360 * fps / Hz = shutter angle.
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Body (without SDI) HD900F 14.9 lbs.
Body (With SDI) HD900F, HDCA 17.2
SDI Adapter HDCA 2.3
Extension Eyepiece HDET, HDEP 4.8
Intermediate / HH Eyepiece HDEP 3.6
Follow Focus w/1 Knob HDFB, HDFD, MFF 1.9
Hand Held Rig HDHR 2.4
Clip-on Mattebox MBPC 1.0
Top Steadicam®Plate HDLM 0.5
Bottom Steadicam®Plate HDSP 1.2
Voltage Upconverter w/cable HDUC 0.9
Anton Bauer Battery AB100 5.4
LENSES
Primo DigitalTM 5mm Prime Lens SD5 3.0
Primo DigitalTM 7mm Prime Lens SD7 3.2
Primo DigitalTM 10mm Prime Lens SD10 3.7
Primo DigitalTM 14mm Prime Lens SD14 2.8
Primo Digital™ 20mm Prime Lens SD20 3.6
Primo Digital™ 35mm Prime Lens SD35 2.9
Primo DigitalTM 6-27mm w/Motor SDZW 8.0
Primo DigitalTM 25-112mm w/Motor SDZT 7.0
Primo DigitalTM 9.5-105mm w/Motor SLZ11D 23.0
Primo DigitalTM 8-72mm w/Motor SDZ9 8.6
1.4X Extender for Primo Digital™ Zoom 1.4XSD 0.7
2X Extender for Primo Digital™ Zoom 2XSD 0.9
Double Asphere Attachment for 5mm CDA 1.2
Wide Angle Fisheye Adapter for 7mm WFA 1.4
Hand Held Configuration: 29.3
(Hand Held Viewfinder, SDI, HDUC, Follow
Focus w/1 Knob, HDHR, MBPC, Remote –
No Lens)
1.4 CAMERA WEIGHTS
GENERAL SPECIFICATIONS 1.3/4 FRAME RATES & CAMERA WEIGHTS
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1.5 CAMERA MEASUREMENTS
GENERAL SPECIFICATIONS 1.5 CAMERA MEASUREMENTS
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1.6 SIDE CAMERA VIEWS
GENERAL SPECIFICATIONS 1.6 SIDE CAMERA VIEWS
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1.7 FRONT AND REAR CAMERA VIEWS
GENERAL SPECIFICATIONS 1.7 FRONT AND REAR CAMERA VIEWS
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Field 2 (even lines
2,4,6, etc.)
Moving image appears to
the eye as a blurred, bro-
ken edge
Static Interlaced
Image consists of two
fields
Field 1 (odd lines
1,3,5, etc.)
60 field to 24 frame
conversion requires the
mixing of 3 fields
resulting in additional
motion blur
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1.8 PROGRESSIVE VS. INTERLACE
The 24P HD Electronic Cinematography Camera System
is a PROGRESSIVE capture device unlike older video
cameras that capture the image in an INTERLACE
manner.
INTERLACE: A video scanning system where the odd
numbered lines are scanned separately
from the even numbered lines. The odd
numbered lines form field one, the even
lines make up the second field. The
combination of two fields comprises one
frame.
PROGRESSIVE: A video system in which all lines
comprising a frame are scanned in
sequence rather than interlaced.
The interlace mode of capture has inherent motion
artifacts and is difficult to transfer to film. The
progressive mode of shooting captures the complete
resolution at once, at the same point in time; and
therefore allows a perfect one-to-one transfer to film.
GENERAL SPECIFICATIONS 1.8 PROGRESSIVE VS. INTERLACE
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The HD900F has a wide range of menu settings that allow the user to control the
look of the picture. These settings can be a powerful tool to change or modify the
captured image. Most components of the video signal can be manipulated. Levels,
saturation, gamma and matrix will have a major influence over the final video
output, be it for TV or film.
While there is no right or wrong way to approach how the camera is used, you
should be aware of the consequences of employing certain menu functions. We
do not determine who will make adjustments or when these functions will be
employed, but in most cases, they are made at the behest of the DP. While these
features may prove useful for shows that are video out only (TV), if misused,
they can have irreversible consequences on a film-out show (feature). Judicious
use of these features can prove beneficial. However, minimum manipulation of
the image that will result in a clean camera master is desirable. It is better to
leave the decision to alter the image for the less stressful environment of the
post production suite. Post production tools offer the ability to manipulate the
image to a much higher degree than the camera allows. The following list is not
inclusive of every menu function, but provides a brief explanation of why certain
precautions should be heeded.
Detail: The detail function will provide artificial enhancement to the video image
particularly around the edge of an object. This feature, like several others, is
incorporated into the camera for live TV broadcast productions. Historically,
detail circuits were used to compensate for limitations of optics or electronics.
While this is useful for TV applications, employing detail for a film output
production will put unnatural edging around the subject. In addition, use of detail
will make the quality of CGI or mattes very poor since the matte process tries to
avoid any appearance of edges.
DCC: DCC is Dynamic Contrast Control, or Auto Knee. It is accessible through a
toggle switch on the side of the camera body which also controls bars on and off.
This operation intelligently monitors the brightness of all areas in a scene, and
automatically adapts the knee point and slope for optimum reproduction at that
particular scene location within the picture. This is preferred to clipping or losing
information, the DCC can automatically pull the level down (compress) so the
highlight will not "blow out". A classic example is shooting an interior scene which
includes a bright sunlit exterior seen through a window. Some breathing can still
be seen using the DCC circuit if a bright object enters the frame, if this is
objectionable please use the manual knee.
Knee Saturation: This function makes it possible to reproduce natural colors in a
scene where knee is used. When knee correction is added to a scene, it can lead
to color desaturation in highlight areas. Knee Saturation can automatically retain
correct color in these areas and maintain the saturation in those picture areas
compressed by the knee function.
Flare: Electronically corrects for light transmission problems in a lens. As light is
transmitted through glass the rays are scattered and the image is perceived to
have less contrast. Flare can correct this by automatically balancing the black
levels. Because of the superior performance of the Panavision lenses, flare
control is not needed.
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1.9 GENERAL IMAGING CONSIDERATIONS
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