3/25/2017 0 Comments Xdcam Ex1 Weight LossBp000225 Xdcam Ex Family - Download as PDF File (.pdf), Text File (.txt) or read online. Scribd is the world's largest social reading and publishing site. Sony's XDCAM EX lineup continues to expand and improve with the PMW-320K Full HD Camcorder. Other features--some passed down from Sony's higher-end F900R and PDW. I want to buy a Sony Pmv 200. Whether Lens camera is changed?. XDCAM HD422 Family PDW-F800/PDW-700 XDCAM HD422 Camcorder PDW-F1600/PDW-HD1500 XDCAM HD422 Recording Deck PDW-HR1/MK1 XDCAM HD422 Hybrid Field Recorder PDW-U2/PDW-U1 XDCAM Drive Unit. Comments about Sony PMW-300K1 XDCAM HD Camcorder: No improvement vs my EX1 or EX3. Poor color accuracy and definition. Heavy compared to EX1. 2 Two long-awaited shoulder camcorders have joined the XDCAM EX Series portfolio: the powerful, affordable new PMW-350 and PMW-320. They come equipped with the cutting-edge imaging technology of You see the first thing we noticed when removing this new cam from the box was its weight. At 2. 8kg it is a bit of a back- breaker but further investigation revealed some nifty innovations that go some way to compensate. Sony's heavyweight camcorder. The EX1 is slightly larger and 4. Sony Z1 HDV cam. One giant difference between the Z1 and EX1 is that the latter has no tape mechanism. The video is recorded on to Sony’s brand- new solid- state format, the Sx. S memory card. The EX1 captures video images via three 1/2- inch CMOS sensors and processes this information into a variety of video formats but they are all HD. If you require standard- definition video then all you have to do is down convert when you play out from the camera to your capture device. Well designed cam. Our first impressions of the cam were positive. It looks and feels well built and the hefty Fujinon HD lens is a massive improvement on the Z1’s inferior lens. Sony has retained the excellent lens hood with built- in barn door shutters but the new lens has a manual focus ring with end- stops so you know when you have reached infinity or minimum focus. Without end- stops focusing has always been a very vague procedure as the focus ring will keep turning indefinitely. The addition of stops helps distinguish pro- kit from consumer camcorders. The lens also has a proper iris ring which is a fantastic improvement on the Z1. We found setting both exposure and focus was precise, fast and comfortable unlike most other cameras in the semi- pro range. New lens design. With practise we were able to adjust the focus and iris and maintain constant support under the camera with only one hand. The ability to keep the camera steady while adjusting the lens is crucial for recording wobble free and level footage. The camera has a 1. Z1 but zooms to the same focal length at the telephoto end. This wider lens is an advantage in many situations such as filming handheld or in confined spaces like car interiors. The weight of the PMW- EX1 is frequently an issue. Bear in mind that the main support point is the zoom demand grip so your right wrist will need to carry most of the weight. The new lens design means that your left hand can help and still make adjustments but its near- 3kg will soon put a considerable strain on your right wrist and make handheld coverage very uncomfortable. Easy to control. This would be a disaster if not for Sony’s new innovation of an adjustable zoom demand grip. The angle of the grip can be adjusted by 9. We were still using the eyepiece but with the zoom grip set at 4. This is good as you don’t want to be shooting from hip level and up your subject’s nose which is often what happens during the filming of observational documentaries. It will also stop you from filming via the flip- out LCD screen which is never a good idea as you lose a point of contact with the camera making it less stable. Therefore it is essential to be able to hold the camera easily at about your subject’s eye level and the adjustable grip allows you to do this. Fun filming effects. When it comes to actual filming, we found many of the usual features you would expect such as two levels of neutral density (ND) for shooting in bright conditions, three levels of gain, white balance presets and two memory settings, A and B. Position B can also be assigned as auto- white which is a boon. The shutter speeds range from 1/1. EX1 also has a panic button which gives you full auto. Some other features available include selectable gamma curves, a Slow and Quick Motion feature, and a histogram function for assessing video levels. During filming we were able to control the most commonly required functions with a switch rather than via a menu, which really sped up camera operation. An impressive viewfinder. The EX1 has an excellent eyepiece viewfinder with accurate colours and a noise free, high- resolution picture. Assessing exposure is easy but we found that the camera has such a massive depth of field that, when wide, the image never seems to go out of focus. For this reason we would advise you to always zoom in to check focus. Surrounding the viewfinder image is loads of additional data including record format, white balance, . Professionals commonly set it to 7. A camcorder with some excellent features. One viewfinder setting displays the distances between which objects are in focus. This makes up for the inadequate peaking function, designed to increase the highlights in the viewfinder image and thus aid focusing. It does not work well on this camera, which is a shame because it works really well on the Z1. The 3. 5- inch high- res LCD screen which stows very neatly below the VCR (media) controls is big, bright and sharp, excellent for playing back footage. As well as a built- in stereo mic the EX1 has two XLR audio inputs. These can be set to line or mic level with 4. A clamp is provided to secure a gun mic and the level controls are located at the rear of the camera. It’s a doddle to adjust the audio levels during filming with very little disturbance to your shots. Video transfer options. The EX1 has i- LINK and SDI sockets for transfer of media. Those new to solid- state cams will be delighted to find the camera capable of instant recording in total silence. One of the greatest irritations in life is listening to an old Digibeta slowly winding its self up to record and missing great shots in the three seconds this takes. But before you even consider pressing record which format would you like? The PAL choices are: HQ 1. HD at 2. 5 progressive or 5. Mbps); SP 1. 44. 0 x 1. HD, interlaced only (HDV compatible bit rate of 2. HQ 1. 28. 0 x 7. 20 HD at 2. Mbps). In all of the above formats the picture quality is stunning for what is basically a small, semi- pro camcorder. HQ 1. 28. 0 x 7. 20 at 5. Unlike 2. 5p which flickers during panning shots, 5. Simple to store. All of this data is silently deposited on to one of the two memory cards and when one becomes full the camera automatically switches to the other card without a break in the recorded video. Every time you press record a new clip is created and nearly 6. To fill an 8. GB card we recorded 2. HQ 1. 28. 0 x 7. 20 at 5. Mbps). So the 1. 6GB card can hold 5. HQ video or 7. 0 minutes of SP video. If you use two 1. GB cards it is possible to continuously record 1. HD material. Having often shot up to five 3. Digibeta tapes a day when filming for TV productions we would guess you would need at least five 1. GB memory cards to be on the safe side. A costly option. This also means you have to transfer the card data to another storage device every night before shooting can begin again. Either that or buy more cards but we have been quoted . For the pro user, is their time for all this transferring? With tapes at least you know the footage is safe. Of course, it’s possible that operators will use the supplied card reader to dump data from one card while shooting on another but this is something Sony needs to address before the future of filmmaking can be Sx.
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