Sony PMW-500 Manual

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Sony PMW 500
Operator guide
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Introduction
The Sony PMW 500 is the latest shoulder mounted camera offered by Production Services. It is
tapeless, HD and complies fully with BBC HD requirements.
Operationally it’s similar to other shoulder mounted cameras and so far has revealed no major
problems for programme makers to deal with.
This Guide will help in the setting up and operation of the Sony PMW 500 and also gives a summary of
good operational practice. Depending on your experience, the guide is just one part of a learning
experience, which should include:
Starting from scratch or from Z1 experience
Converting from the EX or XF 305 cameras
An Operational training course
A Camera manual handling course
Discussions with colleagues and Production
Support Specialists
A Rushes Review following initial shooting
A Production Support conversion session
A Camera manual handling course
Discussions with colleagues and Production
Support Specialists
A Rushes Review following initial shooting
If there are recommendations in this guide that don’t make sense to you or that differ from your
previous experience, contact Production Support for advice or to organise a coaching session.
This guide has been written by the team from BBC Production Support, with input from BBC Academy
Sony PMW 500

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Index
Page no.
Set up and preparation
1.1
Batteries
3
1.2
Charging batteries
3
1.3
Initial Menu set-up
4
1.4
User Menu
7
1.5
Media Cards
7
1.6
Inserting and removing cards
8
1.7
Formatting cards
9
1.8
Setting Rec Format, System Line, and Frequency
9
1.9
Clip naming
11
1.10
System time and date
12
1.11
Timecode
12
1.12
Viewfinder, LCD and shoulder pad physical
adjustments
13
1.13
Viewfinder picture adjustments
14
1.14
Standard viewfinder text
15
1.15
Lens Options and preparation
15
Operation
2
Zoom
17
3
Focus
17
4
Exposure & scene files
19
5
White balance
23
6
Audio
25
7
Assign buttons
29
8
Special recording modes
30
9
Playback
32
10
Pre-shoot checklist
34

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1.1 Batteries
Various batteries can be used with the PMW 500 although Production Services mainly supplies IDX
Endura.
These batteries will last around 2 hours. Larger batteries are available for the PMW500 but are banned
from commercial air travel.
The remaining capacity is indicated as a
percentage in the viewfinder top right.
To get the right warnings, and avoid the camera suddenly dying,
the menu needs to be set to match the batteries.
If sufficient warning is not being given before the battery dies,
change the menu.
*Type* means type of battery
Info = Sony Info Lithium BPGL65
or similar
Sony = Sony BP-L60 or similar
Other =Any non-Sony battery
*Warning* means on screen text and flashing red light
For IDX Endura 9 batteries (Other):
Battery before end warning = About 5 mins filming left = 13.5V
Battery End Warning = Less than a minute left = 12.5V
1.2 Charging batteries
Chargers may be for 2 or 4 batteries. The charger can also be used as a power supply (with a special 4
pin XLR cable) but not at the same time as charging.
The batteries take about the same time to charge as to use, however some chargers only do one
battery at a time so 4 batteries can take about 8 hours to charge.
Menu > Ma > Battery > *Type* > *Warning*
Section 1: Set up and preparation
Press the CHECK button for
a rough indication of charge.

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Menu > Format > File System > UDF
1.3 Initial menu set up
If the PMW500 has been hired from Production Services, picture quality settings will already be
installed, and other operational controls (e.g. assignable buttons) will be set sensibly. Also, the User
menu is populated with useful shortcuts. The standard Production Services settings give the highest
picture quality for general production. For News use, contact News Location Facilities for advice.
`If the camera is hired from an external company or doesn’t have the BBC recommended settings
installed, get the settings emailed from Production Support. They need to be loaded into the camera by
using the camera menu and a USB stick.
Access the menu with the left-hand toggle switch under
the flap by the camera’s ON/OFF switch, and navigate
through the menu with the scroll wheel at front of the
camera. Push in to select items.
Alternatively use the pad under
the side flap
Please note that the USB functionality and highest picture quality are only available when the camera file
system is set to UDF, so this is the first stage in setting up the camera.
Plug an empty USB stick (4GB or bigger) into the camera –at the
back of the handle. Mini sticks are ideal as they are much less likely
to become physically damaged. If the camera asks for the stick to be
formatted, select OK, but be aware that all existing data on the
stick will be lost.

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Save out an All file into USB position 001, to
create the correct folder structure.
Take the USB stick to a computer and find the folder containing the ‘All’file that you just saved.
Delete all the files in this folder. Then paste into this same folder the Production Support files, typically
obtained via email.
Menu > Fi > All > All Save USB > Execute
Save to USB 001

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Eject the stick properly and plug it back into to the camera.
Load the All File BBC500MENUS.
Next copy the Scene files into the camera.
The Scene files must be recalled (loaded) into the camera
live menu, and then stored into the camera memory (Mem).
1. Recall GU from the USB stick. To see the
Scene Recall USB menu item, enter the
Scene menu and scroll down.
2. Select 001. GU and execute, to recall the scene
file into the camera
3. Select Scene Store Mem:
4. Store into Scene File Store position 001
5. Now go back to step 1 and load GG into the camera and then store it into
Scene File Store position 002
6. Finally, go back to step 1 and load GU HI SAT into the camera and then store
it into Scene File Store position 003
Menu > Fi > All > All Load USB > Execute
Menu > Fi > Scene > Scene recall USB > Execute

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This completes loading the Production Support settings.
Remember for News use, contact News Location Facilities for a News settings file.
1.4 User Menu
Once the Production Support BBC500MENUS all file has been loaded, the User Menu is populated with
useful items to help set up the camera.
Format cards
Name clips
Set up audio
Gain switch levels
1.5 Media cards
The PMW500 can take SxS cards for mainstream BBC Production, or SD cards (with an adapter) for
News use. To achieve BBC HD approved pictures the camera must be set to ‘UDF’ mode, recording at
50Mb/s.
The economical SxS-1 cards are recommended. Cards should be available
departmentally but if purchase is required, the cards are available from BBC
Quick Order. Contact Production Support if there are any problems ordering
cards.
Card capacity
A 32GB card can record 60 minutes in the high quality UDF mode at 50Mbs.
Card care and organisation
Try not to stick additional labels on the cards. Use a case or envelope system
to distinguish blank and recorded cards.
To keep media cards healthy always store media cards in the cases supplied
Prevent accidental recording by setting the WRITE PROTECT switch
on the card to the WP position with the red marker showing

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1.6 Inserting and removing cards/adapters
Slide the slot cover open and insert the card with the
label-side of the card facing towards the front of the
camera.
Insert gently and if any resistance is felt DO NOT
force.
The light next to the slot will go
O
O
OR
R
RA
A
AN
N
NG
G
GE
E
E
while the
camera checks the card.
If it is the active slot it will go
G
G
GR
R
RE
E
EE
E
EN
N
N
to show the card is ready for record or playback. If the card
is not in the selected slot the light will go out.
Record time remaining and the selected card slot (A or B) are shown in the
viewfinder.
When the card has just five minutes media left, the card indicator on screen
will say MEDIA NEAR FULL, and the WARNING indicator and the REC
indicator in the viewfinder will flash.
To remove a card, first make sure the card is not involved in recording or playing back. Then and
VERY IMPORTANTLY check the light next to the card slots. The light should be green or not lit.
If you are satisfied that you can eject the card open the slot cover and press the eject button to
release the lock. The eject button will pop out. Push it again to eject the card.
1.7 Formatting (wiping) cards
Ideally cards will be pre-formatted and ready for use. If not, or
the camera suggests a card needs formatting, proceed as
follows:
Select ‘Format Media’ in the User menu:
A
A
A r
r
re
e
ed
d
d l
l
li
i
ig
g
gh
h
ht
t
t m
m
me
e
ea
a
an
n
ns
s
s D
D
DO
O
O N
N
NO
O
OT
T
T R
R
RE
E
EM
M
MO
O
OV
V
VE
E
E!
!
!Data could be corrupted or lost
Menu > Us > Format Media

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N.B. The camera menu is slightly confusing as the item ‘Format’ refers to the camera recording mode.
The cards have to be formatted in the correct File System to match the camera Format Menu –UDF
for BBC production excluding News. A card formatted in the wrong mode will result in an
‘Unsupported Media’ message when the camera is in UDF mode.
Check that the camera is in UDF mode and the card is formatted in UDF mode.
1.8 Setting recording format, system line, and system frequency
Reading in a set up file does not set the recording formats and qualities, so these have to be changed
separately in the operation menu. There are five settings to select, as indicated on the picture below:
N.B. ‘System Frequency’ can be either ‘50i’
for smooth interlaced motion, or ‘25p’ for
progressive, filmic motion portrayal.
1. File system
2. HD System Line
3. System frequency
Menu > Op > Format > File System > UDF
Menu > Op > Format > System Frequency > 50i or 25p
Menu > Op > Format > HD System Line > 1080

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This sets the camera to shoot interlaced or progressive. The choice of 50i or 25p must be made before
shooting starts and then set in camera for the duration of the production. See our guide ‘Interlaced or
Progressive –Which One?’ on the Production Services website for more information and see section
4.21 for instructions on setting the shutter when shooting in 25p mode:
‘50i’ is for smooth motion, replicating the ‘video’ look of sport, news, many documentaries and soaps
like ‘Eastenders’.
‘25p’ offers more filmic, juddery motion, replicating the look of movies, drama and music videos.
4. Rec format
5. Country
Menu > Op > Format > Rec Format > HD422 50
Menu > Op > Format > Country > PAL area

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Menu > Us > Clip > Title Prefix
Menu > Us > Clip > Number Set
1.9 Clip naming
In the PMW500 each clip is created and stored as a file. A user defined clip name will stay with the
clip through post production and is the primary identifier for the media.
The clip name is made up of 2 parts: the Title Prefix which stays the same, and the clip number
which counts up as each clip is recorded.
Change both settings in the user menu…
Title Prefix
This can be up to 42 characters, although
you must limit it to 3 for ingest to Fabric.
They should be simply letters and numbers,
e.g.
MBN = Mr Blooms Nursery
CB7 = Initials of Director, day 7
Number Setting
This increments automatically with every clip
and is not reset when a new card is put in.
Set to 0001 if starting out on a completely
new shoot, or the number of the next clip if
previous shooting has taken place.
Don’t reset per card!
MBN 0001

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1.10 System time/date
In the PMW 500 each clip is created as a file, saved with a time and date. This of course should be set
correctly. Use the menu to set or check the correct camera time and date:
1.11 Timecode
While dealing with timecode set the LCD to display
timecode and audio meters. Press the DISPLAY SEL
button to select.
On tapeless cameras the timecode is commonly set to be time of day.
Select CLOCK on the Preset switch and F-RUN on the SET switch.
Operators may find the CLOCK timecode irritating and no help in showing the
camera is actually recording. To help with this issue, set the timecode display to
COUNTER and press reset on each card change.
The counter only increases when recording. It gives operators an elapsed time counter, similar to Rec
Run timecode although the recorded timecode is CLOCK.
Using CLOCK avoids confusing and inconsistent timecode on the recordings when using Picture Cache
mode –more on this later.
If traditional REC RUN timecode is required it is set in a similar way to other shoulder mounted
cameras.
DISPLAY switch: select TC
SET switch: select SET
PRESET switch: select PRESET
Menu > Ma > Clock Set > Date/Time

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To Zero the timecode press the RESET button.
To enter a timecode value, use the keypad to advance digits and set values
To sync up more than one camera using a BNC cable:
1. Connect the Timecode OUT from camera (a) to Timecode IN on camera (b).
2. Now connect Video OUT on camera (a) to the Genlock IN on camera (b).
3. For multi camera setups, “daisy chain” the cameras together like this.
The display will show “EXT LK” above the Timecode display indicating that the timecode is being fed in
from an external source.
For more detailed guidance on syncing common cameras see our separate guide.
1.12 Viewfinder and shoulder pad physical adjustments
These are all personal adjustments, so check them when if there is a change of operator:
To adjust the focus of the viewfinder eyepiece (dioptre adjustment);
rotate the ring nearest to the rubber eyecup for sharp focus on the
text in the viewfinder display.
The dioptre can be removed for
cleaning, or to allow holding the
camera on the hip and looking down
to see the picture. On the PMW 500
the dioptre does NOT flip open but
has to be unscrewed.
Adjust the physical position of
the viewfinder by moving it
backwards and forwards, and
side to side to get a
comfortable position when
the camera is on the shoulder.
Normally put the viewfinder and shoulder pad fully forward to help balance the camera.

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1.13 Viewfinder picture adjustments
It is essential to ensure the monochrome viewfinder is giving a good representation of what is being
recorded so that focus and exposure can be critically assessed. The colour LCD screen on the side is
useful to check white balance.
The controls for adjusting the viewfinder picture
are on the front of the viewfinder, together with
ON/OFF toggles for DISPLAY, ZEBRA and the
TALLY light.
The display switch offers the removal of on
screen text, and also cycles through Aspect marker options. Peaking
should be fully down initially.
To adjust the viewfinder picture:
Switch on BARS using the OUTPUT toggle switch on the
left-hand side of the camera
Switch OFF the display text with the ‘DISPLAY’ switch on
the front of the viewfinder –push it up.
Put the middle control, Contrast, at its middle position
Look at the dark stripes at the lower right of the
bars picture…
Adjust the control nearest to Contrast, Brightness, until the
left-hand darkest column can’t be seen, but the right hand
Contrast should be adjusted to match the light level of the location. Higher contrast for sunny
conditions and lower contrast for when it’s darker. A mismatch may cause poor exposure
decisions and may cause eye strain looking alternately between the eyepiece and the location.
Viewfinder care tips:
Be careful to avoid leaving the viewfinder pointing upwards, allowing the sun to shine into the eyepiece
–this can cause damage to the display. Clean the outermost (dioptre) lens of the eyepiece and if
necessary the inside of the viewfinder housing, but DO NOT wipe or touch the mirror surface. If this is
very dusty ask Production Services to clean it.



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N.B. The LCD screen cannot be adjusted with as much accuracy as the
viewfinder, but if the LCD needs matching to the environment, press the
‘BRIGHT’button below the screen and select high, medium or low.
WARNING –Selecting ‘OFF’blacks out the LCD. This can easily be done
by accident.
1.14 Standard viewfinder text
Once setup has been completed on the PMW 500 the layout should look similar to this:
1.15 Lens Options and preparation
Like most other shoulder mount cameras, the Sony PMW500 has interchangeable lenses. Production
Services supply an H J11 wide angle and a ‘standard’ HJ18 lens. Other lenses may be available at an
extra cost.
Lens Checks:
Check the lens mounting for tightness
Clean the lens
Check back focus…
Using the procedure on the next page, check back focus for each lens in the kit and then lenses can be
swapped quickly.
1. Use ONLY the cleaning materials supplied with the camera,
especially the Production Services blue cleaning cloth
2. Do not use any cloth that is not perfectly clean
3. Use fluid if there are any stubborn marks

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Check back focus:
1. Check macro is clicked back into the normal position.
2. Check extender (if fitted) is not in the 2x position.
3. Make the iris as wide open as possible, using ND’s if needed.
4. Put the focus chart supplied in the kit at least 10 feet away from the camera
5. Zoom in fully to the centre of the chart
6. Focus to make it sharp.
7. Zoom out all the way.
8. Unscrew adjuster. May be silver or black.
9. Rotate the back focus ring by a very small amount whilst looking
for best focus.
10. Go back to step 5 and check again until the best focus is obtained.
11. Tighten adjuster without rotating the back focus ring. Look into the
viewfinder as the adjuster is tightened, and look for any change in the
picture. If it changes, rotate and tighten the ring again.
Note
Use of a clear UV filter is recommended to avoid costly damage to the front of the camera lens

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2.1 Manual or Servo
Change between servo and manual zoom using the control under the lens
handgrip. This can be a personal choice, or follow these guidelines:
SERVO –recommended for controlled in-vision zooms
MANUAL –recommended for speed, including crash zooms
2.2 Zoom speed
On the supplied lens, the zoom speed can be altered by adjusting a dial
on the handgrip. At its fastest, the speed should be more than enough for
quick re-frames.
3.1 Getting shots in focus
Focus is easier if working with a long depth of field, with the lens is zoomed out and/or set at a higher F
number, but not more than F8!
For a fixed set-up shot or interview, zoom all the way in and turn the focus ring
one way then the other until the picture is as sharp as possible. Then pull out and
frame the shot. Ideally the picture must go out of focus when the ring is turned in
both directions to ensure perfect focus. However, this may not be possible if the
lens is set to:
Infinity –fully anti clockwise
Minimum front focus distance - fully clockwise
Section 2: Zoom
Section 3: Focus
ALL FOCUSSING IS MANUAL!

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A help to remembering which way to turn the lens is Up, Close! This means lifting your elbow UP
focuses the lens CLOSER.
Wide lenses such as the HJ11 can front focus to about 1ft, with standard lenses only managing 2 or 3ft
typically.
To focus closer, use the Macro
To get really big close-ups of small objects, the lens hood must be removed, with the lens front
just a few centimetres away from the subject. Take care not to scratch the lens!
3.2 Focus Mag
Focus Mag magnifies the central part of the picture and may be a help in assessing critical focus.
Magnification can be used whilst recording, although for fast moving actuality it’s not recommended.
There are 3 buttons which switch
Mag on. One to the rear of the
main zoom (labelled RET) one at
the front of the handle, (button 5)
and also the silver assign button 0
near the gain switch. Focus Mag
switches off automatically after a
few seconds.
‘Focus Mag’ appears in the eyepiece when the function is switched on.
N.B. If there’s any doubt as to whether a shot is in focus, it’s better to do a quick focus adjustment
while recording. Otherwise the shot may be out of focus for its full duration.
3.3 Peaking
Peaking is intended to assist with accurate focussing which is vital for HD. The setting as supplied
from Production Services already gives a useful amount of peaking. The peaking control on the
viewfinder shouldn’t need turning up much at all, unless doing pull-focus shots, a walk to camera or
similar.
If more peaking is needed on a personal basis, adjust this in the menu rather than turning up the
Peaking control. This ensures outlining happens all around an object and not just the vertical edges.
On-screen text is unaffected when using the menu detail level setting.
Menu > Op> VF Setting > VF detail level
Remember to put the macro back to normal after use

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Menu > Fi > Scene
4.1 Scene Files and Setting Exposure
Exposure technique varies according to which Scene File is selected. There are two main scene file
choices –select according to whether rushes will be graded or not…
Scene file option 1: GU
Good for rushes that will remain UNGRADED
Adjust the exposure to make skin tone as bright as possible but not
‘burnt out’. This may occasionally result in small unimportant bright
areas of the picture being intentionally over exposed.
Scene file option 2: GG
Good for rushes that will be GRADED
Adjust the exposure to make skin tone a little darker. This should result
in brighter areas not being as burnt out. Ideally Gain should ideally be
at -6dB (low) if using this technique.
Scene file option 3: GU HI SAT
This scene file offers a little more colour and may be used if grading is not possible, but
colours need to be brighter. Exposure technique is the same as GU.
With both scene files, you can make brighter parts a little darker by switching on DCC,
which applies a fixed reduction to bright picture elements.
To change between Scene Files:
First: check the DCC switch is set to OFF.
Use the menu to select:
Note that a second click on the scene file will cancel the
file and set the camera back to standard.
Section 4: Exposure and scene files Exposure

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4.21 Shutter
For motion to look ‘normal’ the shutter speed should be set to 1/50th of a second.
‘OFF’
In Shutter ‘OFF’ mode the camera defaults to 1/50th of a second when system frequency is set to 50i
and 1/25th of a second when set to 25p
If the shutter speed is left at 1/25th , fast moving subjects may look smeary and not just juddery, as
expected when filming progressive, so…
‘ON’
When the shutter switch is ‘ON’ the SEL position cycles through various shutter options:
1. Fast Shutter - The usual selection of fast shutter speeds –the speed gets faster with each press, and
then it selects ECS. Select 1/50 for progressive filming.
2. ECS - this is used to reduce monitor flicker and black bars
visible across some monitors when they are filmed.
ECS - how to
Frame up, white balance & expose for the computer
monitor
Switch on the shutter, and select ECS as above
Use the menu wheel to fine tune the shutter speed.
Typically monitors run at 60, 75, or 85, but adjustment needs to be fine-tuned while looking at the
picture to minimise flicker or ‘banding’.
Slow Shutter
Switch on in the menu, and adjust using SLS Frames. 16 frames per second gives the most smeary
motion.
Menu > Op > Shutter > Slow Shutter > On
Slow Shutter > SLS Frames > 2-16
When shooting in 25p you MUST manually set the
shutter to ‘ON’and set it to 1/50th of a second
Remember to switch the shutter off or back to
1/50th (25p) after using ECS