Panasonic Camcorder AG HMC150 User Manual

PANASONIC

AG-HMC150

b a s i c

HOW TO

shoot like

a PRO

RULES

Is this thing on?

Easy-to-follow chart for successful sound

steps for

avoiding

Your best shoot ever!

A pre-production checklist

overexposure

7 common

problems

CLASS CURRICULUM FREE

Northwest Community Television

763.533.8196

www.nwct.org

HELP!

solved

Portable camera policies

The purpose of these policies is to manage NWCT equipment in

a fair and equitable manner. Follow these rules and you’ll never

have to worry about losing your membership privileges!

1. Only certiﬁed members are permitted to operate equipment

2. Members must be on time for appointments. You must call if you

are going to be more than 30 minutes late—if you are more than

60 minutes late, we will consider you a “no show” and give away

your equipment.

Producing programs for

hire, advertisements,

commercials, obscene or

indecent programming,

lotteries, or personal and

family programs will not

be tolerated.

3. Cameras may be checked out for up to 48 hours.

4. Members may schedule cameras only two weekends per month.

5. Members may reserve only one camera at a time per event. If a

second camera is available at the time of checkout for the length

of time desired, it can be checked out.

If you need to cancel your

appointment, please notify

the studio manager at least

24 hours in advance; un-

foreseen emergencies and

illnesses will be taken into

consideration. Please do not

rely on leaving a voicemail

message. Talk to a studio

manager whenever possible.

6. Equipment may be reserved up to two months in advance.

7. NWCT staff must conﬁrm all equipment is in proper working order

at the time of return. This takes approximately ten minutes—

members must be present.

8. Members must be 18 years of age to sign out equipment. A

parent or guardian must sign for equipment checked out to those

under age 18.

9. Members are responsible for the equipment and will be liable for

any loss or damage, normal wear and tear excepted.

If cancellations are not made

24 hours in advance of your

scheduled time, become ex-

cessive, or if you are more

than 30 minutes late for your

appointment, you may be

subject to disciplinary ac-

tion as follows: ﬁrst offense,

verbal warning; second of-

fense, written warning; third

offense, suspension.

10. All members using equipment and facilities will be expected to

produce a program for cablecast within two months.

763.533.8196

Portable camera checkout form

Power DC AND AC

DC POWER

Attaching the battery

To attach the battery,

lift up the viewﬁnder,

place the battery in the bat-

tery compartment toward the top, and

place.

push down—the battery will click into

Battery life

The battery should

last approximately

200–300 minutes.

Remaining battery

life can be read on

the LCD monitor.

Removing the battery

To remove the battery, FIRST TURN OFF THE CAMERA.

Then lift up the viewﬁnder, push in the battery release but-

ton (closeup pictured above), and pull up on the battery.

Recharging

batteries

The battery can be

recharged using

the AC power unit

provided with the

camera. The DC

cable must be dis-

connected in order

for the battery to

charge.

AC POWER

To use AC power,

into the AC adaptor and

the camera in the same way the battery is attached.

plug the AC cable into the AC adaptor.

Plug the DC cable

attach the ﬂat end of the DC adaptor to the back of

Fully recharging

the battery takes

approximately 300

minutes.

Sound IS THIS THING ON?

Selecting sound inputs

Two sources of audio can be recorded to the camera simultaneously.

Sound can be gathered from the camera’s internal microphone, an

external microphone, a line level source such as an audio mixing

board or CD player, or any combi-

nation of two of those sources.

Routing audio signals is controlled

by two switches behind the LCD

monitor and two switches on the

front of the camera.

Two switches behind LCD panel

Two switches on front of camera

Setting the audio level

To set an appropriate audio level, use the AUDIO dials on the side of

the camera. The CH1 dial controls the level for the source selected

with the CH1 SELECT switch and the CH2 dial controls the level for

the source selected with the CH2 SELECT switch.

Monitoring the audio level

Use the audio meter on the bottom of the LCD monitor to view the

audio levels. Adjust the AUDIO dials so that the loudest sounds reg-

ister just below the white hash marks. If the audio is bouncing above

the white hash marks or you see the red slash on the meters, adjust

the AUDIO dials to lower the input level.

To monitor audio quality, plug headphones into the headphone jack

on the back of the camera. You can control the headphone volume by

pushing the - AUDIO MON/ADV + buttons. NOTE: Changing your

headphone volume will not change the audio levels being recorded.

Always use the audio meter to judge appropriate levels.

Easy-to-follow audio setup chart on next page

Audio setup chart

INPUT jacks and

INPUT settings

CH 1 SELECT and CH 2

SELECT settings

Audio source

Audio records on

Internal microphone

N/A

CH 1 SELECT: INT(L)

CH 2 SELECT: INT(R)

CH 1: Built in mic

CH 2: Built in mic

External microphone

External line level source

Two external sources

INPUT 2 jack

INPUT 2: MIC

CH 1 SELECT: INPUT 2

CH 2 SELECT: INPUT 2

CH 1: External mic

CH 2: External mic

INPUT 2 jack

INPUT 2: LINE

CH 1 SELECT: INPUT 2

CH 2 SELECT: INPUT 2

CH 1: Line level source

CH 2: Line level source

INPUT 1 and INPUT 2 jacks

INPUT 1: LINE or MIC

INPUT 2: LINE or MIC

CH 1 SELECT: INPUT 1

CH 2 SELECT: INPUT 2

CH 1: Input 1

CH 2: Input 2

One external source and

built in microphone on

camera

INPUT 2 jack

INPUT 2: LINE or MIC

CH 1 SELECT: INPUT 2

CH 2 SELECT: INT(R)

CH 1: Input 2

CH 2: Built in mic

Microphone selection

Northwest Community Television has several different types of mics available.

Desktop and ﬂoor mic stands are available for checkout.

STANDARD ISSUE

These three microphones come standard with every

portable camera.

Electro-Voice RE10 handheld

Unidirectional, excellent for music or interviews,

slightly better bass response than 635A

Sony ECM 44 or Sony ECM 30 lavalier or lapel

Directional, excellent for interviews, clips directly to

clothing, small enough to easily hide on location

Panasonic AG-MC200 shotgun (see below)

OTHER MICS

Realistic PZM

Electro-Voice 635A

handheld

(Pressure Zone Mic)

Surface mount mic,

omnidirectional, very

low proﬁle, excellent for

pianos, drums, large

vocal or instrumental

groups, or stage perfor-

mances

Omnidirectional, good

for inexperienced inter-

viewers, ﬁne for music

and ambient sound

gathering

Shure SM58 handheld

Unidirectional vocal mi-

crophone

Shotgun

Directional, great for

capturing sound at a

distance, also available

with boom pole and

Zeppelin

Sennheiser wireless

lavalier and handheld

Variable frequency UHF

receiver works with ei-

ther lavalier or handheld

transmitter, range of

50+ feet, good for pro-

ductions requiring free-

dom of movement

OMNI-

UNI-

Video image 4 STEPS FOR AVOIDING OVEREXPOSURE

Setting an appropriate iris

FIRST THINGS

The iris controls the amount of light entering the camera which deter-

mines how bright the image will be (exposure of the image).

FIRST

Determining the

dominant light

source

To set the iris appropriately, you must monitor the zebra stripes in

the LCD monitor of the camera. Zebra stripes appear on areas of the

image that are overexposed. In those areas, no detail is recorded

because the light is too intense. A picture is properly exposed when

there are no, or very few, zebra striped areas in the image.

Before shooting,

determine whether

most of the light in

the scene is com-

ing from the sun or

from artiﬁcial lights.

For best color re-

sults, try to reduce

the light com-

now

Now

you see

me . . .

you

don’t!

ing from the less

dominant source.

You can do this by

covering windows (if

your primary light

source is artiﬁcial)

or by turning off

incandescent and

ﬂuorescent lights

and placing your

subject close to

There may be times when you want to overexpose an image, if you

are shooting into a strong backlight, for instance, but generally the

rule applies: minimize the zebra stripes.

IMPORTANT: Do not rely on how the image “looks” in the LCD moni-

tor to determine correct exposure because the LCD monitor shows

brightness inaccurately. Always use zebra stripes.

a window (if your

primary light source

is sunlight).

To set the iris:

Push the ZEBRA button until ZE-

BRA2 100% appears in the LCD

monitor.

It’s also possible

to match artiﬁcial

lights to sunlight by

covering the lights

with blue color con-

version gels which

can be found in the

light kits.

To use the AUTO IRIS mode:

Set the AUTO MANUAL

switch to AUTO. AUTO IRIS

appears in the LCD monitor.

The camera will adjust the

exposure automatically.

Matching the light

using one of these

methods will pro-

vide better color for

your scene.

To use the MANUAL IRIS mode:

Set the AUTO MANUAL switch to MANUAL. MANUAL IRIS appears in the LCD

monitor. Rotate the iris dial until the image is properly exposed. Adjust the dial

and set a new exposure every time the shot changes.

Selecting the right neutral density ﬁlter

Neutral density ﬁlters allow the camera

to operate correctly outdoors in sunlight.

A neutral density ﬁlter does for the cam-

era what sunglasses do for your eyes—it

reduces the amount of light that can pass

through without changing the color of that

light.

GAIN

If you

followed

the setup

procedure and your

video looks dark, we

recommend adding

lights ﬁrst. If after

doing this the video

still looks dark, you

can move the GAIN

switch from L (low)

to M (medium) or H

(high). Only do this

as a last measure

because as gain is

increased, so is the

graininess of the

video.

Once the iris is set to auto or manual, the

camera will tell you if a neutral density ﬁlter

is needed with an indicator in the middle of

the LCD monitor. The indicator will also tell

you which neutral density ﬁlter you should

use.

ND FILTER SETTINGS

1/64 cuts light intensity by 1/64

1/16 cuts light intensity by 1/16

1/4 cuts light intensity by 1/4

OFF ND ﬁlter is not used

If indoors and the scene is too dark

even with the iris setting on OPEN,

turn OFF the ND ﬁlter.

NOTE: If the iris is set to MANUAL

and the ND ﬁlter is changed, a

readjustment of the iris may be

necessary.

Setting a white balance

White balancing the camera guarantees that white and all other col-

ors record correctly. Though the human eye cannot perceive it, white

light coming from the sun is different than white light coming from a

light bulb.

SCENE FILES

F1: Normal

F2: FLUO.

Indoors under cool

ﬂuorescent lights

You should white balance your camera before recording, but especially

when lighting conditions change (moving from sunlight to artiﬁcial light

or vice versa).

F3: SPARK

Fuller variations of

resolution, coloring

and contrast

White balancing the camera

1. If the AUTO MANUAL switch is set to AUTO, the camera uses

ATW (Auto Tracking White) to white balance.

F4: B-STR

Contrast of dark

parts broadened

(exp. sunsets)

2. If the AUTO MANUAL switch is set to MANUAL, set the WHITE

BAL switch to B or A.

3. Point the camera at a white object set in your lighting and zoom in

so that it ﬁlls as much of the frame as possible.

F5: CINE V

Contrast empha-

sized in movielike

scenes

4. Press the AWB button on the front of the camera. Release when

AWB Bch (or Ach) ACTIVE appears in the LCD monitor. AWB Bch

(or Ach) OK appears when the white balance is complete.

5. Hold the AWB button to black balance the camera. ABB ACTIVE

ﬂashes while black balancing; ABB OK appears when complete.

The LCD monitor will go black during this process.

F6: CINE D

Dynamic range em-

phasized in movie-

like scenes

If the WHITE BAL switch is set to PRST, press the AWB button to

switch between P3.2K (halogen light) and P5.6K (outdoors).

Shooting better video HOW TO SHOOT LIKE A PRO

HEAD ROOM

Critical focus

If you’re shooting with man-

ual focus, it’s important that

you get a critical focus (also

called a calibrated zoom) of

your subject every time you

get a new shot.

LOOK SPACE

Here’s how to perform a criti-

cal focus:

Zoom in all the way on

your subject,

Head room and look space

When shooting people, it’s best to follow two simple guidelines in

framing. First, allow for a bit of space between the top of the frame

and the subject’s head. Allowing too little or too much space makes

the audience feel anxious. Second, allow more room on the side of

the frame in the direction the subject is looking. If you don’t, the au-

dience will subconsciously experience claustrophobia, feeling that the

subject is running out of room.

focus, and then

zoom out to the framing

you want.

Sequencing

In general, it will be very hard to edit your video well if you shoot

your subject the same way all the time. If you edit together two

pieces of video that are too similar, you’ll create a “jump cut.” Your

subject will change position in the scene instantly, appearing to have

jumped there (example above). Jump cuts are very distracting to a

viewer and should be avoided. It’s much better to arrange your shots

in a logical sequence. The most popular sequence consists of a wide

shot, medium shot, close-up, and cutaway. Let’s take a look at this in

a typical interview setup on the next page.

Doing this will ensure your

subject stays in focus, re-

gardless of how far out you

zoom.

TYPICAL INTERVIEW SETUP SHOOTING BETTER VIDEO

The 180

Rule

If you’re shooting a scene

with two subjects, imagine

there is a line connecting

them. That line is called the

“axis of action.” Don’t shoot

on both sides of the axis.

Keep all your shots on the

same side.

We’ll begin with a wide shot

which helps the viewer under-

stand where this interview is tak-

ing place. Wide shots are often

used to establish location and are

sometimes referred to as “estab-

lishing shots.”

Next, we’ll get closer and show

the interviewer (on the left) and

the subject (on the right) togeth-

er at the table. In our example,

this would be a good shot for the

interviewer to deliver her ﬁrst

question.

In our example, the axis of

action is between the inter-

viewer and the subject.

ß AXIS OF ACTION à

Third, we’ll get a close-up of our

subject. This particular shot is

actually a “medium close-up” and

could also be called a “head and

shoulders” shot.

Notice that in every shot, re-

gardless of framing or angle,

the interviewer is always on

the left and the subject is al-

ways on the right. If we took

a shot or two from the other

side of the table and edited

it together, the interviewer

would be on the right and the

subject on the left in those

shots, and the viewer would

be very confused.

The bulk of action for our inter-

view will take place in the close-

up as the subject answers the

interviewer’s questions.

You may wish to cut out sections of the subject’s response that aren’t

relevant or are ﬁlled with “ums” and “ahs.” If you edit together two

close-ups of the subject, the result will be a jump cut. To avoid that,

we’ll shoot cutaways.

The 30

Rule

Every time you change shots

in a sequence, it’s best to

change your shooting angle

by at least 30°. Notice in our

example, each shot is not

only framed differently, but

also shot at a different angle.

Changing your shooting

angle helps eliminate jump

cuts.

A cutaway is any shot used to cover jump cut edits in primary shots

or add a new dimension to a video story. In our example, we could

show the subject’s hands or the interviewer listening to keep the

video ﬂowing smoothly.

SPECIALTY SHOOTING SHOOTING BETTER VIDEO

Use high and low angles

Create depth in your shots

A television screen is a two-di-

mensional piece of glass so extra

effort needs to be made to create

depth for your audience. Try

shooting your subject with some-

thing in the foreground to give

the viewer depth cues. Shoot

buildings from the corner instead

of head-on which can make a

building look ﬂat.

A high angle shot can make your subject appear weak and vulnerable

or it can simply add a new dimension to your scene. Conversely, a low

angle shot makes your subject appear powerful and “larger than life.”

Try a rack focus

“Racking focus” means shifting focus from one object in a scene to

another. It’s easy to rack focus when the camera is zoomed in all the

way because the camera’s depth of ﬁeld, the area where subjects will

be in sharp focus, is narrow.

Use Dutch angles

To use a Dutch angle, also called

a canted angle, tilt the camera so

that the horizon or ﬂoor is diago-

nal instead of ﬂat. This creates

tension in a scene and works well

for fast paced action productions

with a lot of quick editing.

Use close-ups

Television is called “the close-up medium” because a TV can’t show as

much detail as a movie screen. As a result, television videographers

shoot more close-ups than movie cinematographers. Use this to your

advantage! It’s easier to convey emotion in a close-up because the

face is seen in greater detail. Close-ups are also great for revealing

details the audience may miss in your wide shots. Don’t be afraid to

get in there and get personal!

SDHC cards EVERYTHING YOU NEED TO KNOW

CHOOSING THE RIGHT CARD

There are two things to keep in mind when purchasing SDHC (Secure Digital

High Capacity) cards: the Class (speed) of the card and the size of the card.

SPEED CLASS

SDHC cards are broken down into Class 2, Class 4, Class 6 and Class 10 cards.

Class 2 cards offer a minimum sustained data rate of 2 megabytes per second

(MBps), Class 4 4MBps, Class 6 6MBps and Class 10 10MBps. Although Class 4

is the minimum speed class required to record, Class 6 (or higher) is recom-

mended for high deﬁnition (HD) camcorders.

CARD CHECKLIST

1. HC (high capacity)

appears after SD

2. 6 or 10 (class num-

ber inside big C)

CLASS

APPLICATIONS

SD video recording

3. #GB (card capacity)

HD ~ Full HD video recording

Full HD video recording

HD still consecutive recording

NOTE: Micro SD cards

with adaptors do not

work.

CARD SIZE/CAPACITY

NOT ACTUAL SIZE

SDHC cards come in a variety of sizes. The most commonly used sizes are list-

ed below. The amount of time that can be recorded on a card is dependent not

only on the size of the card, but the record format selected (see page 6).

CARD SIZE

Capacity

RECORD FORMAT

PH (Highest)

21 min

HA (High)

HG (Standard)

40 min

HE (Lowest)

90 min

30 min

60 min

45 min

80 min

180 min

16G

90 min

120 min

240 min

160 min

360 min

32G

180 min

320 min

720 min

INSERTING THE CARD

To insert the card into the camera, open the card slot cover located under the

viewﬁnder. Press the OPEN button on the cover’s right side to ﬂip down the

cover. Gently insert the card into its slot, then close the cover.

Record inhibit

switch

Before recording,

check that the

record inhibit switch

is set to the un-

locked position. If

the switch is set to

the LOCK position,

recording on the SD

card will be impos-

sible.

FORMATTING THE CARD

To format the card in the camera, press the MENU button, then, using the op-

eration lever, scroll down and select CARD FUNCTIONS (screen 2 of 3). In the

submenu, select CARD FORMAT, then select YES. Select YES again. It will

take a moment or two, but then the card will be formatted and ready to go!

NOTE: Formatting does delete everything previously recorded on the card.

1080

720

BY THE LETTER

(AND NUMBER!)

Let’s say I’m re-

cording in the PH

1080/60i format—

PH is the highest

record quality I can

select.

HA is high,

HG is standard, and

HE is lowest.

1080 is the height

of my image mea-

sured in pixels. The

largest HD screen

is 1080 pixels high.

At 1920 pixels wide,

the image I see

on screen displays

2,073,600 pixels!

720 is the smallest

HD screen’s height

(720 x 1280). The

more pixels, the

CHOOSING A RECORD FORMAT

There are four high deﬁnition (HD) record for-

mats—PH, HA, HG and HE. Although each format

offers higher quality than standard deﬁnition (SD),

each has its own setting(s) for quality/performance.

The higher the quality, the larger the ﬁle size.

Note: Though you are shooting in HD, NWCT does

not cablecast in HD. While you can edit in HD and

have HD movie ﬁles, you will most likely need an

external hard drive to provide adequate space. Any

of the formats are acceptable for cablecast.

sharper the image!

60 is the number of

frames recorded per

second (fps). Other

choices include:

30 fps

To choose the best record format for your situation,

press the MENU button, then select RECORDING

SETUP. Make your selection under REC FORMAT.

24 fps

RECORD FORMAT (Quality)

RESOLUTION

1080/60i

1080/30P

1080/24P

720/60P

USE

PH (Highest)

TV programming

Film

i is “interlaced”

scanning—every

other line of video

is taken from two

frames to create

one frame.

P “Progressive”

scanning uses every

single line from one

frame of video.

Slow motion (editing required)

TV programming

Film

720/30P

720/24P

HA (High)

1080/60i

TV programming

HG (Standard)

HE (Lowest)

RECORDING

Once you select a record format, all you need to do

is press the red record button—one is located with

the power switch on the back of the camera, while

the other is toward the front of the camera on the

handle. To use the record button on the handle,

move the REC selector switch on the side of the handle from OFF to ON.

safe!

NOTE: If you do not select a record format, the camera will default to the last

user’s record settings.

Safety zone setup

While you only

shoot in 16:9 for

HD, you can set up

an overlay for your

LCD monitor to

PLAYING CLIPS

To view clips on the camera, press the MODE but-

ton (located to the left of the battery compartment)

to switch from CAM (camera) to PB (playback).

ensure what you re-

cord can be seen on

a standard 4:3 TV.

All clips recorded on the card display in the LCD

monitor. Use the operation lever to navigate to the

clip to view—push in the lever to play the clip.

In CAM mode, press

the MENU button.

Using the opera-

tion lever, move to

DISPLAY SETUP

(screen 2/3); pull

the lever toward

you to select.

DELETING CLIPS

After viewing your recorded footage, you can delete

any clips you don’t want to use. While still in PB

mode, press the MENU button. Scroll down and se-

lect OPERATION in the PB menu. Select DELETE.

At this point, you can delete all unprotected clips

on the card or selected clips only. If you delete ALL

CLIPS, select YES when prompted by “ALL CLIPS

DELETE?”.

Go to SAFETY

ZONE next. The

selections are 90%,

4:3, and OFF—90%

sets up a safety

overlay for 90% of

the TVs used, 4:3

for a 4:3 TV, and

OFF if you aren’t

concerned viewers

can see your full

picture.

If you delete SELECT clips, all recorded clips display

on the LCD monitor. After pressing the EXECUTE

button, SELECT THE CLIP TO BE DELETED appears and all the clips display

again. Select the clips to be deleted using the operation lever—an orange

border appears inside the yellow when properly selected. Press EXECUTE

again, and then select YES when prompted. When you’re done deleting clips,

press the MENU button to exit.

Default menu settings

To access the various camera menus, press the MENU button. Moving the

operation lever up and down lets you scroll through all the options. To access a

menu, pull the operation lever toward you; to select an item, push in the lever.

Below is a list of all the default menu options in CAM mode with scene ﬁle F1

selected. If you’re having a problem that isn’t solved by the instructions in this booklet, go through the

menu settings and make sure they are set correctly.

SCENE FILE: F1

CARD READ/WRITE

AV OUT SETUP

HDMI OUT SEL

FIX

AUTO

LETTER BOX

7.5%A

CH1/CH2

RECORDING

LOAD/SAVE/INIT

SYNCRO SCAN

DETAIL LEVEL

V DETAIL LEVEL

DETAIL CORING

CHROMA LEVEL

CHROMA PHASE

COLOR TEMP Ach

COLOR TEMP Bch

MASTER PED

A.IRIS LEVEL

DRS

GAMMA

KNEE

MATRIX

SKIN TONE DTL

NAME EDIT

CMPNT OUT SEL

DOWNCON MODE

VIDEO SETUP

AUDIO OUT

1/48.0 (grayed out)

HP MODE

DISPLAY SETUP

ZEBRA DETECT1

ZEBRA DETECT2

MARKER

SAFETY ZONE

REC COUNTER

VIDEO OUT OSD

DATE/TIME

LEVEL METER

ZOOM & FOCUS

CARD & BATTERY

OTHER DISPLAY

LCD BACKLIGHT

LCD SET

80%

100%

90%

TOTAL

OFF

NUMBER

PARTIAL

NORMAL

OFF

HD NORM

AUTO

NORM1

OFF

SW MODE

MID GAIN

HIGH GAIN

ATW

HANDLE ZOOM

IRIS DIAL

USER1

6dB

12dB

OFF

EVF SET

SELF SHOOT

EVF COLOR

MIRROR

L/OFF/H

DOWN OPEN

WHITEFADE

BACKLIGHT

INDEX

CARD FUNCTIONS

USER2

USER3

CARD FORMAT

CARD STATUS

FOCUS ASSIST

WFM

LCD

EXPANDED

WAVE

LCD BL

USER FILE

CARD READ/WRITE

LOAD/SAVE/INIT

AUTO SW

A.IRIS

AGC

ATW

6dB

META DATA

CARD READ

RECORD

USER CLIP NAME

CLIP COUNT RESET

META DATA PROP

META INITIAL SET

OFF

TYPE1

RECORDING SETUP

REC FORMAT

PREREC MODE

TIME STAMP

MIC ALC

PH 1080/60i

OFF

OTHER FUNCTIONS

IR REMOTE

OFF

MIC GAIN1

MIC GAIN2

-50dB

REC LAMP

BEEP SOUND

CLOCK SET

TC/UB SETUP

TC MODE

TIME ZONE

+00:00

OFF

(grayed out)

REC RUN

POWER SAVE

SYSTEM INFO

MENU INIT

TCG

TC PRESET

UB PRESET

EXT TC LINK

OPERATION TIME

Quick setup checklist for recording

Set up camera and equipment

Light

Power on camera

Hook up and set audio levels

(No audio meters? Press the

DISP/MODE CHK button.)

Adjust iris level *

Set ND ﬁlter *

White balance *

Set gain *

Select scene ﬁle *

Insert SD card

Format SD card (do not do if

keeping what’s on your card!)

Choose record format

Set up safety zone

Record

* THE FULL AUTO

Just want to power up and shoot? Here are the settings you’ll

need in order for the camera to automatically make adjustments.

Set SCENE FILE dial to F1 (normal lighting conditions)

Set FOCUS switch to A (Auto)

Set ND FILTER to OFF (for shooting indoors)

Set GAIN switch to L (Low)

Set AUTO/MANUAL switch to AUTO (iris and white balance)

Set AUDIO CH1 SELECT to INT(L) and CH2 SELECT to INT(R)

to use the camera’s internal mics

NOTE: You will still need to set audio levels—your audio

levels are not automatically adjusted by the camera.

auto

Scene ﬁle settings

On the previous page, scene ﬁle F1 is selected—there are a total of six scene ﬁle presets. Scene ﬁles can

be “dialed” in based on your recording conditions. Below is a chart showing the factory presets for each

scene ﬁle.

Normal

FLUO.

SPARK

B-STR

(Black stretch)

For scenes

with dark and

bright areas

together (sun-

sets, theatre)

CINE V

For prioritizing

contrast in

movie-like

scenes

CINE D

For prioritizing

dynamic range

in movie-like

scenes

For recording

under cool ﬂuo-

rescent lamps

For brighter

images with

richer colors

(receptions,

dinners, etc.)

SYNCRO SCAN

DETAIL LEVEL

V DETAIL LEVEL

DETAIL CORING

CHROMA LEVEL

CHROMA PHASE

COLOR TEMP Ach

COLOR TEMP Bch

MASTER PED

A.IRIS LEVEL

DRS

1/48.0

180.0d

-2

-7

-9

OFF

HD NORM

AUTO

FLUO

OFF

B.PRESS

AUTO

NORM1

OFF

HIGH

AUTO

NORM1

OFF

GAMMA

HD NORM

AUTO

NORM1

OFF

CINELIKE V

AUTO

CINE-LIKE

OFF

CINELIKE D

AUTO

CINE-LIKE

OFF

KNEE

MATRIX

SKIN TONE DTL

NOTE: Recording format (REC FORMAT menu item under RECORDING SETUP) is not changed even

when F5: CINE V or F6: CINE D scene ﬁles are selected.

Help! TROUBLESHOOTING SOLUTIONS TO COMMON PROBLEMS

THE PROBLEM

THE SOLUTION

PUSH HERE

The LCD monitor displays a blue

screen.

Press the MODE button until the

lamp for CAM (camera) is lit (PB

is playback).

THE PROBLEM

THE SOLUTION

PUSH HERE

The camera won’t zoom.

Set the ZOOM switch on the side

of the camera to SERVO, unless

you’re using the zoom ring, then

set the switch to MANUAL.

If you’re using the handle zoom,

set the ZOOM switch to SERVO

and the HANDLE ZOOM switch

to 1 or 3—two menu options

designate 2 as OFF (SW MODE

menu).

THE PROBLEM

The camera won’t manually

focus.

THE SOLUTION

1. Set the AUTO MANUAL

switch to MANUAL.

PUSH HERE

2. Set the RING switch to

FOCUS.

3. Set the FOCUS switch to M

(manual).

THE PROBLEM

The video is too dark.

THE SOLUTION

Set the ND FILTER switch to

OFF.

PUSH HERE

The video is still too dark.

Set the AUTO MANUAL switch

to AUTO.

HELP! CONTINUED

THE PROBLEM

THE SOLUTION

PUSH HERE

The video is STILL dark . . .

Press the SHUTTER button until

SHUTTER OFF displays in the

LCD monitor.

IT’S STILL TOO DARK!

If you’re recording in low light,

set the GAIN switch to M (me-

dium) or H (high).

THE PROBLEM

THE SOLUTION

PUSH HERE

The video is too bright.

If you’re outdoors, set the ND

FILTER switch to either 1/4,

1/16 or 1/64.

The video’s still too bright . . .

My video is still too bright.

Set the AUTO MANUAL switch

to AUTO.

Set the GAIN switch to L (low).

THE PROBLEM

THE SOLUTION

PUSH HERE

The video looks choppy.

Rotate the SCENE FILE dial to

F1.

It’s still choppy!

Press the SHUTTER button until

SHUTTER OFF appears in the

LCD monitor.

THE PROBLEM

THE SOLUTION

PUSH HERE

I’ve followed all the instructions

in the Sound section, but I still

get nothing from my microphone.

The microphone may require

phantom power to operate—set

the MIC POWER +48V switch to

ON for the microphone input.

Talent release form

Date _______________________________________________________

Program ____________________________________________________

Producer ____________________________________________________

In consideration of your plan to produce the above captioned program and

as an inducement to permit me personally to appear on the cablecast of

the program, I hereby consent to the use of my name, likeness, pictures

and/or voice by you and your licensees for cablecasting, direct exhibition,

and subsidiary purposes. Such uses will not be made as will constitute a

direct endorsement by me of any product or service.

I hereby idemnify you and your licensees respecting my claim or action

against you, your licensees or your ofﬁcers and agents, arising out of my

acts or statements out of the program.

Signature ___________________________________________________

Print name __________________________________________________

Witness _____________________________________________________

If minor, guardian _____________________________________________