GRASS VALLEY Focus 70 Live User Manual

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3922 496 32361 July 2015 v1.1

—

Focus 70 Live

User’s Guide

Highly Affordable HD System Camera

Declaration of Conformity

We, Grass Valley Nederland B.V., Bergschot 69, 4817 PA Breda, The Netherlands, declare under our sole responsibility that this product is in compliance with the following standards:

- EN60065 : Safety

- EN55103-1: EMC (Emission)

- EN55103-2: EMC (Immunity)

following the provisions of:

a. the Low Voltage directive 2006/95/EC b. the EMC directive 2004/108/EC

FCC CLASS A Statement

This product generates, uses, and can radiate radio frequency energy and if not installed and used in accordance with the instructions, may cause interference to radio communications.

It has been tested and found to comply with the limits for a CLASS A digital device pursuant to part 15 of the FCC rules, which are designed to provide reasonable protection against such interference when operated in a commercial environment.

Operation of this product in a residential area is likely to cause interference in which case the user at his own expense will be required to take whatever measures may be required to correct the interference.

Copyright Grass Valley Nederland B.V. 2015. Copying of this document and giving it to others, and the use or communication of the contents thereof, are forbidden without express authority. Offenders are liable to the payment of damages. All rights are reserved in the event of the grant of a patent or the registration of a utility model or design. Liable to technical alterations in the course of further development.

Trademarks

Grass Valley, LDX Series and derivatives are trademarks of Belden Inc. or Grass Valley. All other tradenames referenced are service marks, trademarks, or registered trademarks of their respective companies.

Website

Visit the Grass Valley public website to download the latest user’s guide updates and additional information about your broadcast product:

www.grassvalley.com

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 3

Table of contents

Chapter 1 – Introduction

1.1 Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

1.1.1 About this guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1.1.2 Related documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1.2 Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

1.2.1 Xensium-FT imagers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

1.2.2 Camera models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

1.2.3 Superior digital processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

1.2.4 Designed for the operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

1.3 Key features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

1.4 List of accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 2 – Installation

2.1 Mounting a lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.2 EC 270 EyeCatcher viewfinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

2.2.1 Mounting the viewfinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

2.2.2 Positioning the viewfinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

2.3 Attaching a microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2.4 Adjusting the shoulder pad. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

2.5 Mounting the camera onto a tripod plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

2.6 Exchanging the camera adapter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

2.6.1 Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

2.6.2 Attaching the adapter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

2.6.3 Detaching the adapter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

2.7 LDK 5020/05 Universal Transport Case . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

2.8 Packing for return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Chapter 3 – Configurations

3.1 Transmission systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

3.2 Triax configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

3.3 Fiber configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Chapter 4 – Operating instructions

4.1 Using the camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

4.1.1 Powering the camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

4.1.2 Switching on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

4.2 Location of controls (front) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

4.3 Location of controls (back panel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

4 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

4.4 Controlling the camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

4.4.1 Navigating the camera menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

4.4.2 Entering the camera menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

4.4.3 Finding your way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

4.4.4 Leaving the camera menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

4.4.5 Making value changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

4.4.6 Undoing changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

4.5 Assigning user buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

4.5.1 Left side and lens buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

4.6 Viewfinder controls (EyeCatcher only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

4.6.1 Front. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

4.6.2 Back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

4.7 Viewfinder information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

4.7.1 Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

4.7.2 On screen marker indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

4.7.3 Viewfinder LED indicators (EyeCatcher only). . . . . . . . . . . . . . . . . . . . . . . . . . . 42

4.7.4 Information screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

4.7.5 Focus assist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

4.7.6 Viewfinder zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

4.8 Lens operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

4.8.1 Back focus adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

4.8.2 CLASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

4.8.3 Auto Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

4.8.4 Extended Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

4.8.5 Precision focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

4.8.6 Lens indicators in the viewfinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

4.9 Connecting audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

4.9.1 Analog audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

4.9.2 Digital audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

4.10 Using intercom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

4.10.1 Selecting intercom channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

4.10.2 Adjusting intercom volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

4.10.3 Routing signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

4.10.4 Adjusting sidetone volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

4.10.5 Assigning buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

4.11 Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

4.11.1 Return video channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

4.11.2 PickMe button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

4.11.3 Call button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

4.12 Managing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

4.12.1 Scene files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

4.12.2 Operator files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

4.12.3 Lens files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

4.12.4 Standard files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

4.13 Access and security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

4.13.1 User level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

4.13.2 Selecting the user level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

4.13.3 Disable camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

4.13.4 Access control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 5

Chapter 5 – Video setup

5.1 Video settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

5.1.1 Standard settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

5.1.2 Video mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

5.1.3 Color bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

5.2 Gain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

5.3 Gamma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

5.3.1 Gamma correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

5.3.2 Gamma curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

5.3.3 Gamma presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

5.4 Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

5.4.1 Black Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

5.5 Knee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

5.6 Optical ND filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

5.7 Exposure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

5.7.1 Exposure time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

5.7.2 Lighting correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

5.7.3 V-Shift (vertical acquisition shift) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

5.7.4 Variable exposure time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

5.7.5 LED Wall Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

5.8 Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

5.8.1 Color Temperature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

5.8.2 Color Tint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

5.8.3 Color Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

5.8.4 Selecting color temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

5.8.5 Variable color temperature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

5.8.6 Auto White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

5.8.7 Saturation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

5.8.8 Color Protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

5.8.9 Secondary color correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

5.9 Sharpness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

5.9.1 Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

5.9.2 Texture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

5.9.3 Advanced options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

5.9.4 Lens related functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

5.9.5 Detail Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

5.9.6 Skin Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

5.10 Image control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

5.10.1 Freeze Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Chapter 6 – Camera menu reference

6.1 Reference tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

6.2 Operator Toolbox menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

6.3 Production Setup menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

6.4 Creative Control menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

6.5 Configuration menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

6.6 Diagnostics menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

6.7 Service menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Chapter 7 – Maintenance

7.1 Black Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

7.2 Formatting the SD Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

6 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Chapter 8 – Connectors

8.1 Camera front . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

8.1.1 Viewfinder connector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

8.1.2 Network connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

8.1.3 USB connector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

8.1.4 HDMI connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

8.1.5 Lens interface connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

8.1.6 Front Mic connector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

8.2 Camera back panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

8.2.1 Back panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

8.2.2 Analog viewfinder output/Teleprompter output connector . . . . . . . . . . . . . . . 104

8.2.3 Viewfinder output/Main output connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

8.2.4 Transmission connector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

8.2.5 Reference / Ext video input connector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

8.2.6 External video output connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

8.2.7 Audio 1 + 2 connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

8.2.8 Intercom headset connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

8.3 Main video signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Chapter 9 – Specifications

9.1 Specifications for Focus 70 Live camera head . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

9.1.1 General. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

9.1.2 Camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

9.1.3 Video modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

9.1.4 Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

9.1.5 Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

9.2 Specifications for Focus Triax adapter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

9.3 Specifications for Focus Fiber adapter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

9.3.1 Dimensions for adapters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 7

End-of-life product recycling

Grass Valley’s innovation and excellence in product design also extends to the programs we’ve established to manage the recycling of our products. Grass Valley has developed a comprehensive end-of-life product take back program for recycle or disposal of end-of-life products. Our program meets the requirements of the European Union’s WEEE Directive and in the United States from the Environmental Protection Agency, individual state or local agencies.

Grass Valley’s end-of-life product take back program assures proper disposal by use of Best Available Technology. This program accepts any Grass Valley branded equipment. Upon request, a Certificate of Recycling or a Certificate of Destruction, depending on the ultimate disposition of the product, can be sent to the requester. Grass Valley will be responsible for all costs associated with recycling and disposal, including freight, however you are responsible for the removal of the equipment from your facility and packing the equipment ready for pickup.

For further information on the Grass Valley product take back system please contact Grass Valley at + 800 80 80 20 20 or +33 1 48 25 20 20 from most other countries. In the US and Canada please call 800-547-8949 or 530-478-4148. Ask to be connected to the EH&S Department. In on, information concerning Grass Valley’s environmental policy can be found at:

www.grassvalley.com/about/environmental-policy

8 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Important information

Read these instructions carefully and retain them for future reference. Regularly check the Grass Valley website (www.grassvalley.com) for new updates of this and other user’s guides.

During installation and operation of this equipment, local building safety and fire protection standards must be observed.

Whenever it is likely that safe operation is impaired, the apparatus must be made inoperative and secured against any unintended operation. The appropriate servicing authority must then be informed. For example, safety is likely to be impaired if the apparatus fails to perform the intended function or shows visible damage.

Any changes or modifications not expressly approved in this manual could void your authority to operate this equipment.

Cautions and Warnings

Read and comply with the warning and caution notices that appear in the manual.

Warnings indicate danger that requires correct procedures or practices to prevent death or injury to personnel.

Cautions indicate procedures or practices that should be followed to prevent damage or destruction to equipment or property.

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 9

Warnings

To prevent fire or shock hazard, do not expose the unit to rain or moisture. If the unit is in a wet or damp environment, a rain cover must be used to protect it for personal safety reasons.

To avoid electrical shock, do not remove covers or panels. Refer servicing to qualified personnel only.

In case of an emergency ensure that the power is disconnected.

Connect the product only to a power source with the specified voltage rating.

To prevent risk of overheating, ventilate the camera correctly. Do not block the hot airflow coming from the outlet on the right side of the camera adapter.

10 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Precautions

To ensure continual high performance from the camera take the following precautions into consideration:

• Avoid damp places. If the environment is wet or damp a rain cover must be used to protect the unit.

• Do not subject the unit to severe shocks or vibration.

• Do not expose the camera to extremes of temperature.

• Do not leave the unit in direct sunlight or close to heating appliances for extended periods.

• Do not allow sunlight to shine into the viewfinder.

• Do not allow laser beams to shine into the lens as this could damage the imagers.

• Avoid extreme highlights as these can cause various kinds of optical reflections.

• Be careful when connecting and disconnecting Triax or Fiber cables.

• Do not connect Grass Valley camera systems with other manufacturer’s camera system parts.

• Make connections swiftly and firmly to avoid false error messages.

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 11

Triax cable systems

Do not allow system earth currents to exceed 1.5 A in the outer shield of the Triax cable or 0.2 A in other cable shields.

To avoid excessive earth currents in a Triax system, galvanically separate the power earth connection of equipment connected to the camera from the camera earth.

It is strictly prohibited to short circuit the inner and outer shields of a Triax cable used to connect a camera to an XCU.

Galvanic separation

Because of the nature of Triax systems, with long distances between camera and its XCU, the risk of earth currents flowing is greater. These earth currents can result in damage to the equipment.

For example, a monitor connected directly to the monitor output of the camera is powered locally. The earthing point of the monitor’s power supply can be at a different potential with respect to the earthing point of the XCU. If the power earth of the monitor is also the video earth, then this earth potential is transferred to the camera via the shield of the BNC connector. The difference in earth potential between the camera and the XCU results in an earth current in the Triax system.

To prevent earth currents from flowing in the Triax system, we recommend galvanic separation of earthed equipment connected to the camera. This separation can be achieved by using an isolation transformer between the local power outlet and the equipment connected to the camera. Alternatively, use equipment that has a double insulation and therefore does not require an earth connection.

12 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Fiber-optic transmission units

Laser safety statement (for Europe)

Fiber-optic transmission units are classified as a “Class 1 Laser Product” according to EN

60825-1, Safety of Laser products. CLASS 1 laser products are considered safe and do not

result in biological hazard if used according to the instructions.

Laser safety statement (for US)

Fiber-optic transmission units are ified as a “Class 1 Laser Product” according to 21CFR

1040.10 of the US Food and Drug Administration (FDA) Center for Devices and

Radiological Health.

WARNING

Use of controls, adjustments or performance of procedures other than those specified herein may result in hazardous radiation exposure.

WARNING

To ensure proper use of this product, please read this instruction manual carefully and retain for future reference. Should the unit ever require maintenance, contact an authorized service location.

Fiber-optic cable precautions

Fiber-optic cables and connectors are easily damaged; take the following precautions into account:

• Do not bend the cable beyond the minimum permissible bend range specified for the cable.

• Avoid kinks in the cable.

• Avoid subjecting the cable to a high tension force (even momentarily).

• Do not twist the cable when connecting it to equipment.

• Insert connectors straight and fully into their corresponding sockets.

• In fiber-optic cable systems always put the dust caps on cable and panel connectors immediately after disconnecting a cable. Keep the dust caps clean.

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 13

Cleaning fiber-optic connectors

WARNING

Always switch off power before cleaning the connectors.

WARNING

Never clean an optical connector attached to a fiber that is carrying light.

Particles of foreign matter on the tip of a ferrule can have a disabling effect on fiber-optic transmission. Fiber-optic connectors need to be cleaned every time they are mated and unmated; it is essential that fiber-optic users develop the necessary discipline to always clean the connectors before they are mated.

Use a commercially available cleaning kit specifically designed for fiber-optic connectors and follow the manufacturer's instructions carefully.

• The connector sections to be cleaned include the tips and sides of ferrules, the interior walls of alignment sleeves, and the interior and exterior of connector shells.

• For plugs, the interior surfaces of alignment sleeves and the tips of ferrules are to be cleaned with a cleaning stick treated with the appropriate fluid. (Cleaning sticks with a slender design are available that allow alignment sleeves to be cleaned without having to detach them.)

• For jacks, it is important to clean both the tips and sides of the completely protruding ferrules.

• Both the male and female connector shells tend to attract dust and metal particles, so it is important to clean both the insides and outsides.

• The fiber end face and ferrule must be absolutely clean before it is inserted into a transmitter or receiver.

• Mate the connector immediately! Don't let the connector lie around and collect dust before mating.

• Air can be used to remove lint or loose dust from the port of a transmitter or receiver to be mated with the connector. Never insert any liquid into the ports.

14 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 15

Chapter 1 - Introduction

Chapter 1

Introduction

1.1 Welcome

The Focus 70 Live is a professional and affordable, single-format system camera that uses Xensium-FT CMOS imagers. A Focus 70 Live camera head contains optics, imagers and digital image processing electronics, while the transmission system (Fiber or Triax) can be selected by docking an interchangeable transmission adapter to the camera head.

This makes Focus 70 Live cameras ideal for smaller live studio and field applications, including regional broadcast stations, SNG vans, small OB vans, university sports productions, staging and houses of worship.

1.1. 1 About this guide

The purpose of this guide is to present a detailed description of how to operate an Focus 70 Live camera head equipped with a dockable transmission adapter. It provides the information necessary to use the camera in different configurations and with various attachments. This guide describes all operating features of the camera so it can be used to its full potential.

This guide is so designed that it can be used as an introduction to those who are new to the camera, as a simple procedural guide to those who wish to set-up and start shooting immediately, and as a reference work to be consulted as required during the long life of the camera.

1.1. 2 Related documents

Before proceeding, check the Grass Valley website at www.grassvalley.com for the latest version of this user’s guide and additional information:

• User’s guide updates, data sheets, brochures and application notes.

• Camera software updates, release notes and installation instructions.

16 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Chapter 1 - Introduction

1.2 Technology

1.2. 1 Xensium-FT imagers

The Focus 70 Live camera head uses Grass Valley’s custom-designed 2/3-inch CMOS Xensium-FT imagers that offer superior performance and ultimate flexibility. Native highdefinition video formats 1080i or 720p (depending on the camera model) are produced at the touch of a button.

The Xensium-FT imagers with global shutter— similar to CCD sensors — do not produce any of the rolling shutter artifacts seen with other CMOS based cameras, such as sensitivity to fast camera movements with short exposure time or sensitivity to short light flashes.

Xensium-FT imagers have a high dynamic range and high linear sensitivity across all lens apertures.

1.2. 2 Camera models

The Focus 70 Live camera is available in two different models: the Focus 70 Live 720p and the Focus 70 Live 1080i.

1.2. 3 Superior digital processing

The advanced video processing of the camera is done with floating point precision while all major camera functions are processed in the digital domain, including knee, gamma, detail, matrix and color correction.

Chromatic lens aberration correction (CLASS) offers impressive sharpness improvements on the outer regions of the image by canceling out shifts in color registration. This algorithm works in conjunction with lens data, using industry standard lens interface protocols.

The Focus 70 Live provides enhanced colorimetry, color matching, and picture performance. Color temperature and tint are just two of the parameters that can be simultaneously adjusted across multiple cameras.

1.2. 4 Designed for the operator

The Focus series offers even more operational excellence. Button layouts as well as control knobs are ergonomically designed to allow the operator to find the right adjustments easily. Full control flexibility is possible thanks to well dimensioned control knobs. With the easily accessible separated info button, operational information can de displayed in the viewfinder instantaneously.

The user-friendliness of Focus series cameras has been further improved by using a streamlined camera menu structure that allows operators to access commonly used functions more quickly. The camera menu is arranged around operational, video setup, creative setup and system configuration.

Another imaging innovation is ArtTouch™, an intuitive interface between the operator and hard wired controls, which significantly enhances artistic possibilities during live broadcast. ArtTouch includes smart coupling of video control functions.



Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 17

Chapter 1 - Introduction

1.3 Key features

• Fully digital Xensium-FT CMOS imagers with global shutter operation offer absolute smear-free images under all conditions.

• Best possible resolution and image sharpness from oversampling the full HD progressive image.

• Highest sensitivity in combination with the best noise performance for the best results, even under difficult lighting conditions.

• Highest quality mechanical construction identical to high-end Grass Valley LDX Series broadcast camera systems.

1.4 List of accessories

Viewfinders

EyeCatcher EC 270 2.7-inch LCD HD color ocular viewfinder

EyeCatcher EC 744 7.4-inch OLED Viewfinder

LDK 5307 7-inch LCD HD color viewfinder

LDK 5309/10 9-inch LCD HD color viewfinder

Accessories

LDK 5341 ComfortPad shoulderpad

LDK 5031/10 Tripod plate

LDK 8111/37 Dynamic headset (double muff) with XLR-5 connector

LDK 8111/51 Dynamic headset (single muff) with XLR-5 connector

LDK 6985/30 Universal camera script board

LDK 5020/05 Universal transport case

LDK 5020/01 Carrying bag

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Chapter 1 - Introduction

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 19

Chapter 2 - Installation

Chapter 2

Installation

2.1 Mounting a lens

To attach a lens to the camera head proceed as follows:

1. Ensure that the lens locking ring (1) is in the unlocked position (turned counterclockwise).

2. If present, remove the dust protection cap.

3. Slot the lens into the lens mount.

4. Turn the lens locking ring (1) clockwise until the lens locks firmly in place.

5. Connect the lens cable to the lens connector at the right side of the camera.

Tip

✎

Use the clips (2) on the front of the camera to guide the lens cable along the camera body.

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Chapter 2 - Installation

Caution

Do not attach a lens weighing more than 5 kg (11 lbs) to the camera without a proper lens support.

When a new lens is fitted to the camera it may be necessary to carry out some adjustments to optimize its use, for example, back focus or shading. For more information about these adjustments refer to the lens manufacturer’s documentation.

☞

Note

☞

Note

Always mount the dust protection cap when the lens is not connected to the camera.

2.2 EC 270 EyeCatcher viewfinder

2.2.1 Mounting the viewfinder

To mount the viewfinder proceed as follows:

• Loosen locking ring (2) of viewfinder support bracket (1) at the front of the camera handgrip. (As seen from the rear of the camera, turning the locking ring counterclockwise moves it towards the handgrip.)

• Push the locking pin (3) in and slide the viewfinder onto the viewfinder support bracket (1).

• Tighten the locking ring (2) by turning it clockwise (as seen from rear) so that the viewfinder is mounted securely to the support.

Tip

✎

To improve the comfort of the skin contact when using the viewfinder, fit the eye piece cover to the rubber eyepiece. Spare covers are available via your Grass Valley representative.

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Chapter 2 - Installation

• Connect the viewfinder cable to the viewfinder socket (1) at the top right of the camera.

• Attach the microphone holder (2) onto the viewfinder and secure it with the knurled screw (3).

• Guide the viewfinder cable along the front of the camera and attach it to one of the cable clips.

2.2.2 Positioning the viewfinder

The horizontal position of the viewfinder can be adjusted as follows to suit your requirements:

• Loosen the locking ring (1). As seen from the rear of the camera, turning the locking ring counterclockwise moves it towards the handgrip.

• Slide the viewfinder horizontally along the rail to the desired position.

• Tighten the locking ring (1) by turning clockwise.

2 3 4

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Chapter 2 - Installation

The viewfinder can be positioned backwards and forwards along the camera axis:

• Loosen the support bracket round bar retaining lever (3).

• Slide the round bar (2) forwards or backwards.

• When the desired position is reached tighten the round bar retaining lever (3) again.

The viewfinder can also be viewed from a distance :

• Press the bottom clip (4) below the eyepiece and swing it free of the associated clip.

• The eyepiece can also be swung downwards; press the top clip to release the eyepiece and swing it downwards.

☞

Note

☞

Note

Handle the eyepiece with care when folded back—its position is not secured.

2.3 Attaching a microphone

To attach the optional microphone to the camera proceed as follows:

1. Open the microphone holder by unscrewing the knurled screw (1) of the microphone support bracket (2) on the viewfinder and open.

2. Slide the microphone into the split tube until the microphone shoulder reaches the mark in the tube (about half way in).

3. Place the tube with the microphone into the holder with the split facing upwards. Mount the microphone as straight as possible.

4. Ensure that the rubber supports at the back and front of the holder fit into the rims (3) around the tube.

5. Close the holder and tighten the knurled screw at the top (4). Don’t allow the wind hood to touch the holder as this reduces the damping effect.

6. Connect the microphone cable to the MIC audio XLR connector on the right side of the camera. To avoid mechanical pick-up, do not let the microphone cable touch the holder.

Other microphones with a diameter of 21 mm (0.83 in) can also be used, however, ensure that the sensitivity of the input that match that type of microphone are correctly selected in the camera CONFIGURATION menu. When a longer microphone is used, it is not necessary to place it in the split tube. Phantom power is always present on the front microphone socket.

2 1 33 4

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Chapter 2 - Installation

2.4 Adjusting the shoulder pad

To change the position the shoulder pad press and hold the adjustment lever at the bottom left of the camera body. The shoulder pad can now be moved backwards and forwards along the axis of the camera.

Tip

✎

Adjust the shoulder pad when all units have been mounted to get the best balanced shoulder position.

Shoulder pad

adjustment lever

24 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Chapter 2 - Installation

2.5 Mounting the camera onto a tripod plate

To mount the camera on a tripod, the LDK 5301/10 tripod adapter plate must first be attached to the tripod. Follow the tripod manufacturer’s instructions to mount the wedge plate supplied with the tripod and the tripod adapter plate firmly onto the tripod.

☞

Note

☞

Note

Before proceeding make sure that the shoulder pad is in the back position. Refer to Section 2.4

on page 23 how to do this.

Attach the camera to the tripod adapter plate as follows:

1. Slide the camera horizontally along the tripod adapter plate from back to front ensuring that the front of the camera engages the V-slot (1) at the front of the tripod adapter plate, and that the slot on the bottom of the camera engages the stud (2) at the rear of the tripod adapter plate.

2. Firmly push the camera forward until it clicks into place.

3. When the camera is mounted firmly, the locking lever (5) swings around fully to the rear of

the plate. If the lever does not travel the full distance, you should manually lock it into place.

Caution

Failure to attach the camera to the tripod adapter plate in the correct manner could result in an unsecured camera. Ensure that the rear stud (2) is engaged and that the camera clicks into place.

Remove the camera from the tripod as follows:

1. Open the locking lever (5) to free the rear stud (2).

2. Press and hold the red locking lever (3) against the release handle (4).

3. Ensure that you have a firm hold of the camera.

4. Pull the release handle (4) forward.

5. Move the camera backwards and up.

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Chapter 2 - Installation

2.6 Exchanging the camera adapter

2.6.1 Preparation

• Exchange the adapter in a safe area, preferably indoors. Make sure your working area is clean and dust free.

• Remove all accessories (microphone, viewfinder, lens and cables) before exchanging the camera adapter.

• For the exchange procedure a Torx T20 size screwdriver is needed.

2.6.2 Attaching the adapter

Caution

Be extremely careful with the connectors between the camera head and the adapter. Do not allow the metal guide pins to damage the pins of the docking connector.



 Do not touch the uncovered blades of the cooling fan of the adapter. 

Follow the indicated steps in the indicated order. Tightening or loosening the screws in the wrong order could result in mechanical damage to the camera and/or the adapter.

To attach the adapter to the camera head proceed as follows:

1. Fit the guide pin at the top rear of the camera head into the corresponding slot of the adapter and at the same time fit the guide pins on either side of the docking connector into the corresponding slots [1] of the camera.

2. Carefully press camera head and adapter together at the bottom and tighten the two screws [2] at both sides of the camera head.

2 1

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Chapter 2 - Installation

3. Tighten the two screws [3] at the top of the camera head.

4. Tighten the vertical top screw [4] in the handgrip of the camera head.

2.6.3 Detaching the adapter

To detach the adapter from the camera head proceed as follows:

1. Loosen the vertical top screw [4] in the handgrip of the camera head.

2. Loosen the two screws [3] at the top of the camera head.

3. Loosen the two bottom screws [2] at both sides of the camera head.

4. Carefully disconnect the adapter from the camera head.

2.7 LDK 5020/05 Universal Transport Case

Both your camera and its accessories are sensitive equipment, so it is important to protect these against damage when transporting it. To do this, a universal transport case is optionally available for the camera, lens, viewfinder and some accessories.

Turn the EC 270 viewfinder ocular downwards so that it does not protrude above the top of the camera.

Several foam packing inserts are provided to enable different configurations of the camera to be packed securely. These inserts are used to support the rear of the camera. Make sure you use the correct foam inserts for your particular configuration.

Caution

To prevent damage always detach the lens from the camera head before transporting.

2.8 Packing for return

If a unit is being returned to Grass Valley for servicing, try to use the containers and materials of the original packaging. Attach a tag indicating the type of service required, return address, model number, full serial number and the return number which will be supplied by your Grass Valley service centre.

If the original packing can no longer be used, the following general instructions should be used for repacking with commercially available materials:

1. Wrap unit in heavy paper or plastic.

2. Use strong shipping container.

3. Use a layer of shock-absorbing material around all sides of the unit to provide firm

cushioning and prevent movement inside container.

4. Seal shipping container securely.

5. Mark shipping container FRAGILE to ensure careful handling.

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 27

Chapter 3 - Configurations

Chapter 3

Configurations

3.1 Transmission systems

Grass Valley’s Focus transmission system is based on digital transmission and a new, robust power system. The system consists of a dockable camera adapter that fits on a Focus 70 Live camera head and a Focus Base Unit that takes care of power, signal transport and connection to the studio or OB van.

Two different transmission systems are available for the Focus 70 Live camera head: Triax and Fiber. Due to the versatile dockable concept, camera adapters can be easily exchanged to match the existing transmission infrastructure.

3.2 Triax configuration

The Triax transmission system is the perfect interface between your Focus 70 Live camera and the rest of your system. It offers video and signal transmission and remote control of cameras up to a distance of 1,500 m (5,000 ft) using industry standard Triax cables.

Master Black

USB

Iris

F4.5

HD-SDI (3 Gb/1.5 Gb) out (Main) VF Out EXT video out EXT video in Analog audio in (2 ch.) Front mic in Intercom headset I/O Reference in Teleprompter out

SD-SDI out (2x)

HD-SDI (1.5 Gb) out (2x)

HD-SDI (3 Gb/1.5 Gb) out (6x)

Text out Tally signal

Intercom I/O

EXT video in (3x) SD-RGB/YUV/SDI out Analog audio out (2 ch.) Digital Audio out (2x 2 ch.)

Monitoring out

Focus Triax

adapter

OCP 400 MCP 450

Focu s Triax

Base Unit

Focus 70 Live

camera head

C2IP Camera Control

Ethernet infrastructure

28 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Chapter 3 - Configurations

3.3 Fiber configuration

The Fiber transmission system is the perfect interface between your Focus 70 Live camera and the rest of your system. It offers video and signal transmission and remote control of cameras up to a distance of 3,000 m (10,000 ft) using hybrid fiber cables.

Master Black

USB

Iris

F4.5

HD-SDI (3 Gb/1.5 Gb) out (Main) VF Out EXT video out EXT video in Analog audio in (2 ch.) Front mic in Intercom headset I/O Reference in Teleprompter out

SD-SDI out (2x)

HD-SDI (1.5 Gb) out (2x)

HD-SDI (3 Gb/1.5 Gb) out (6x)

Text out Tally signal

Intercom I/O

EXT video in (3x) SD-RGB/YUV/SDI out Analog audio out (2 ch.) Digital Audio out (2x 2 ch.)

Monitoring out

Focus Fiber

adapter

OCP 400 MCP 450

Focus Fiber

Base Unit

Focus 70 Live

camera head

C2IP Camera Control

Ethernet infrastructure

Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1) 29

Chapter 4 - Operating instructions

Chapter 4

Operating instructions

4.1 Using the camera

Attach a lens, viewfinder, microphone to the camera. Attach the Fiber or Triax cables.

4.1.1 Powering the camera

The power supply for the camera and its adapter is supplied via the Triax or hybrid fiber cable from the Base Unit. The Power On indicator lights when power is supplied and the camera power switch is set to the on position .

If excessive current flows in the camera or adapter, the internal safety circuit shuts off power to all the units. If this happens shut off power and check the units for faults and if necessary take corrective actions before switching on power again.

4.1.2 Switching on

1. On the Base Unit set the power switch to the on position (I). The green power indicator on

the Base Unit lights.

2. Set the camera power switch of the camera to the on position .

3. Allow a few moments for the camera to perform a self-test and for the system to

establish communications. The startup process can be monitored on the indicator panel of the Base Unit.

To switch the camera to stand-by, set the power switch of the camera to the position.

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4.2 Location of controls (front)

20 19 18 17 16

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[1] Front Tally lamp

Lights when the camera is On Air.

[2] Rear Tally lamp

Lights when the camera is On Air.

[3] Filters button

Press to enter the filter selection menu and select neutral density (ND) and/or effects (FX) optical filters.

[4] PickMe button

Press to send an attention signal to the studio back room.

[5] Standard Recall (Green) button

Press and hold two seconds to recall standard values for the camera.

[6] User button SW2

Assignable button SW2.

[7] User button SW1

Assignable button SW1.

[8] Gain selection switch

Move up or down to select a Gain preset or hold to set a variable gain value.

[9] Color bar switch

Switches the color bar on or off.

[10] Color temperature switch

Move up or down to select a color temperature preset or hold to vary.

[11] Exposure time switch

Move up or down to select an exposure time or hold to set a variable exposure time.

[12] Power switch

Main camera power switch.

[13] Menu Back button

Used when navigating the camera menu.

[14] Menu Rotary control

Used when navigating the camera menu.

[15] Menu Select button

Used when navigating the camera menu.

[16] White Balance button

Press and hold two seconds to start the Auto White Balance procedure.

[17] Info button

Press and hold to view information on the viewfinder screen.

[18] Headset volume control

Adjusts the overall audio volume of the intercom headset.

[19] Intercom Eng button

This button is used to activate the intercom Production channel.

[20] Intercom Prod button

This button is used to activate the intercom Production channel.

[21] Return A button

This button can be assigned to an External Video channel.

[22] Return B button

This button can be assigned to an External Video channel.

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4.3 Location of controls (back panel)

An VF Out

Prod

Prog

Eng

Analog VF Out/ TP

6 7 8

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[1] Return A

This button can be assigned to an External Video channel.

[2] Return B

This button can be assigned to an External Video channel.

[3] Info button

Press and hold to view information on the viewfinder screen.

[4] PickMe button

Press to send an attention signal to the studio back room.

[5] An VF Out/TP switch

Analog VF/Teleprompter connector selection switch.

[6] Call button

Call button.

[7] Intercom Eng button

This button is used to activate the intercom Engineering channel.

[8] Intercom Prod button

This button is used to activate the intercom Production channel.

[9] Intercom Prod volume

Intercom headset volume (Production).

[10] Intercom Prog volume

Intercom headset volume (Program).

[11] Intercom Eng volume

Intercom headset volume (Engineering).

[12] Front/Rear switch

Select Audio 1 routing.

[13] Audio 1 switch

Mode selection switch for Audio 1 connector.

[14] Audio 2 switch

Mode selection switch for Audio 2 connector.

[15] Power on indicator

Power on indicator.

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4.4 Controlling the camera

There are several ways to control the camera:

• Using the operational switches on the camera;

• Using the camera menu to select functions;

• Using an Operational Control Panel (OCP 400) connected to the C2IP network or Base Unit;

– Refer to the OCP 400 User’s Guide for detailed operating instructions for the OCP 400.

• Using a Master Control Panel (MCP 450) connected to the C2IP network or Base Unit;

☞

Note

☞

Note

If you cannot access some camera functions or you wish to restrict access, refer to “Access

and security” on page 54.

4.4.1 Navigating the camera menu

The camera menu can be viewed in the viewfinder (or connected monitors) and navigated by means of the rotary control and the select and back buttons which are located at the front and left of the camera:

The functions of the camera are grouped into a structure of menus and sub-menus. Each of the menus gives you access to a particular group of functions. Spend some time using the controls and menus to discover the various functions. You will quickly learn to operate the camera intuitively.

☞

Note

☞

Note

Some of the menu items may not appear if the user level is not set to 3.

Menu select

button

Menu rotary

control

Menu back button

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4.4.2 Entering the camera menu

Press the select button after the camera is switched on, the message MENU OFF appears in the viewfinder. Press the select button again while this text is showing, the MAIN menu appears in the viewfinder.

The MAIN menu screen shows five items. The name of the menu is shown below these. More items are hidden but become visible when you scroll down using the rotary control. The cursor shows your position in the menu. The rotary control moves the cursor up and down.

4.4.3 Finding your way

Use the rotary control to move the cursor through the menu items. If a double arrow (>>) is visible, then pressing the select button brings you one level lower in the menu system. Only five items are visible in each menu. Scroll up or down to see any additional items. When you first enter a menu (other than the MAIN menu) the cursor is positioned next to the first item.

Press the back button to go back to the menu that you were in before the current one. The cursor is positioned next to the last menu.

You can also use the TOP and PREVIOUS items to navigate. These items are not immediately visible but are located above the first item. Use the rotary control to scroll up to them.

• Select TOP to bring you back to the MAIN menu.

• Select PREVIOUS to go back to the menu that you were in before the current one. The PRODUCTION SETUP menu, for example, shows the items displayed when you first enter

the menu. The other items are available by scrolling up or down with the rotary control.

Menu Off Operator Toolbox Production Setup Creative Control Configuration

Main

Exec >> >> >> >>

Diagnostics >>

Levels Exposure Color Image Control Files

Production Setup

>> >> >> >> >>

Video Mode Sensitivity

720p50 Nom

TOP PREVIOUS

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4.4.4 Leaving the camera menu

If you are deep within the menu structure, the recommended way of leaving the menu is to press the back button a number of times until the menu is abandoned. You can also navigate to leave the menu:

1. If necessary move the cursor to the left column with the select or back button.

2. Scroll upwards with the rotary control until the cursor points to TOP (the MAIN menu).

3. Press the select button. The cursor now points to the MENU OFF item of the MAIN menu.

4. Press the select button again to leave the camera menu.

If you do not use the menu it disappears after a few seconds. This delay can be programmed in the OPERATOR TOOLBOX menu. You can also press and hold the or back button for 2 seconds to make the menu disappear.

When you press the select button again you enter the camera menu at the last position of the cursor and not at the top of MAIN menu.

Tip

✎

To prevent confusion the next time you enter the camera menu, it is advisable to leave the menu by using the back button or by returning to the MAIN menu and selecting MENU OFF.

4.4.5 Making value changes

To find out where you have to go to change a function, consult the camera menu reference to discover under which menu group or sub-group the function you want to change is located. If the cursor points to an item (and there are no double arrows to indicate a sub-menu) then the item pointed to has a value. This value can be:

• a toggle value (only two values, like on and off)

• a list value (more than two values)

• an analog value (in most cases variable from 0 to 99)

• unavailable.

If the value is unavailable it cannot be changed. This is indicated by three dashes (- - -). This can occur, for example, when a function is switched off. The analog values associated with that function are then unavailable.

If there are only two values associated with the function, then pressing the select button toggles between these two values. If a value is displayed next to a function that is one of several possible values, then pressing the select button places the cursor in a list menu indicating the value currently selected. Use the rotary control to point to a new value. Press the select button to return the cursor to the function list.

If an analog value is displayed next to a function name, then pressing the select button places the cursor in front of the value and the rotary control is used to change the analog value. Press the select button to return the cursor to the function list.

4.4.6 Undoing changes

If you make changes to the video settings in the camera menu and you decide not to keep them, use the green standard button at the side of the camera to recall a standard set of values for the video parameters.

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4.5 Assigning user buttons

The camera head has two assignable buttons on the left side panel (SW1 and SW2). The operation of the RET and the VTR button on the lens can also be assigned. The assignment and switching mode (momentary or alternating) of these buttons are set in the OPERATOR TOOLBOX > USER BUTTONS menu.

4.5.1 Left side and lens buttons

SW1

SW2

STD File

SW1

User button SW1 can be assigned to:

• Intercom Call (Call)

• Switch to Return Video A (Ret A) - default

• Switch to Return Video B (Ret B)

• Production intercom (Prod)

• Engineering intercom (Eng)

• Select (for menu navigation)

User button SW2 can be assigned to:

• Extended Iris (EIris)

• Viewfinder zoom function (Zoom)

• Focus Assist (FocAst)

• Switch to Return Video A (Ret A)

• Switch to Return Video B (Ret B) - default

• Production intercom (Prod)

• Engineering intercom (Eng)

The VTR Lens button can be assigned to:

• Production intercom (Prod) - default

• Engineering intercom (Eng)

• Viewing zoom function (Zoom)

• Switch to Return Video A (Ret A)

• Switch to Return Video B (Ret B)

The RET Lens button can be assigned to:

• Switch to external video (Ext) - default

• Switch to Return Video A (Ret A)

• Switch to Return Video B (Ret B)

• Viewing zoom function (Zoom)

• Focus Assist (FocAst)

SW2 VTR Lens RET Lens

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4.6 Viewfinder controls (EyeCatcher only)

4.6.1 Front

1 2

[1] User button (A)

This user button can be assigned in the viewfinder menu.

[2] User button (B)

This user button can be assigned in the viewfinder menu.

[3] Front tally indicator

This indicator (and the one at the rear of the handgrip of the camera) lights to indicate that the camera is On Air.

[4] Diopter adjustment ring

The diopter of the viewfinder can be adjusted to suit your eyesight by turning the diopter adjustment ring. Turn to the right for negative diopter values, turn to the left for positive values.

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4.6.2 Back

Set up the viewfinder according to your own preferences; adjust viewing parameters, select markers, message boxes and on-screen display times in the OPERATOR TOOLBOX menu.

Menu-Peak On Off

TallyMode SW C

Off HiLow

321

4 5 6

[1] Mode switch

This switch determines the function of the Menu/Peak rotary control below. Set the mode switch to the right (Peak) to use the rotary for peaking control. Set the mode switch to the left (Menu) to use the rotary for menu navigation.

[2] Tally switch

This switch is used to control the tally indicators at the front of the viewfinder and the rear of the camera handgrip. The toggle switch has three settings: Off, Low and Hi.

When the tally switch is set to the Off position, the tally indicators do not light even when the camera is On Air.

[3] User switch C (underscan)

Set this toggle switch to On to see a scaled down (to approx. 85% of the area) picture in the viewfinder. This allows for a greater viewing distance from the eyepiece. A blue border around the picture and the message “underscan” appear. Set the switch to Off to return to the original picture.

[4] Peaking/Menu control

With the mode switch set to Peak, turn this rotary control to adjust peaking (sharpness) of the viewfinder picture.

With the mode switch set to Menu, push this rotary control to enter the viewfinder menu and rotate to navigate the menu.

[5] Contrast control

Turn this rotary control clockwise to adjust the contrast of the viewfinder picture according to your preferences. The range runs from 0 (low) to 99 (high contrast).

[6] Brightness control

Turn this rotary control clockwise to adjust the brightness of the viewfinder picture according to your preferences. The range runs from 0 (very dark) to 99 (very bright).

[7] Rear tally indicator

This indicator lights to indicate that the camera is On Air. This indicator has the same function as the front tally indicator.

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4.7 Viewfinder information

4.7.1 Indicators

Navigate to the OPERATOR TOOLBOX > INDICATORS menu and select the on screen indicators you want to display in the viewfinder screen. The following on screen indicators can be set up:

☞

Note

☞

Note

When the Iris indicator (2a) is switched on, the Focus indicator (2b) is automatically switched off and vice versa.

16 Sf

5.6

2a 2b

[1] Zoom indicator

Shows the percentage to which the lens has been zoomed out or in, ranging from 0 (wide angle) to 99 (telezoom). It shows 50 if the lens does not support this feature.

[2a] Iris indicator

Shows the iris opening (or F-value) of the lens. Typical range is from F1.4 to F25. The indicator shows ‘Closed’ when the lens is closed or capped.

[2b] Focus indicator

Shows the percentage of the lens focus distance. Typical range is from 0 (close-up) to 99 (infinity).

[3] Precision Focus indicator

Shows the Precision Focus indicator (if supported by the lens).

[4] Filter indicator

Shows the selected optical (ND) filter.

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4.7.2 On screen marker indicators

Navigate to the OPERATOR TOOLBOX > INDICATORS menu and select the marker indicators you want to display in the viewfinder screen. The following marker indicators can be set up:

[1] Safe Area

Shows the minimum area that can be seen on a television screen. Different aspect ratios for the safe area can be set in the menu.

[2] Center Cross

Marks the center of the picture.

[3] Marker

A dotted white line or a shaded area that shows the limits of a 4:3, 15:9 or 14:9 picture.

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4.7.3 Viewfinder LED indicators (EyeCatcher only)

ZoomPickMe

PickMe

Call On AirISO

Call

On AirISO

REND

Foc+

Gain

Bat tRet

[!]

1 82 43 65 7

9 1610 1211 1413 15

[1] Return video indicator

Lights if one of the return video channels is switched on.

[2] Battery indicator

Lights if the camera supply voltage is less than 11.5 V (when using an external supply).

[3,11]Call indicators (green)

Lights if Call signal or green tally is active.

[4,12] ISO indicators (yellow)

Lights if ISO signal or Yellow On Air is active.

[5,13]On Air indicators (red)

Lights if On Air is active.

[6,14]PickMe indicators (green)

Lights if PickMe is active.

[7] Zoom indicator

Lights when viewfinder zoom is active.

[8] Focus Assistant indicator

Lights when focus assistant is active.

[9] ND Filter indicator

Lights when a Neutral Density (ND) filter is used.

[10] Range Extender indicator

Lights when a Range Extender is enabled.

[15] Gain indicator

Lights when gain is lower than 0 dB or if gain is higher than +3 dB.

[16] Non-standard [!] indicator

The non-standard video settings indicator (!) lights when one or more of the following conditions occur:

– Exposure Time is not set to the

nominal value;

– Black Stretch is switched on;

– Extended Iris is switched on;

– AWC (Auto White Continuous or

automatic white balance) or FL color temperature is switched on.

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4.7.4 Information screen

Press and hold the info button at the front or at the back panel of the camera to view information on the viewfinder screen.

The information screen is superimposed on the video signal in the viewfinder (and other text outputs):

Info

button

Info

button

CAM 17 MidfieldC

1080p59 SI Nom +2.7dB

ND 1/64 Clear

CTemp 3400K Gamma Lin MBlk 45

SW1 Call SW2 Prod HGrip Eng

VTR L FocAst RET L Zoom RET2 Call

ULvl User 1 OpFl Standard STDOper Cust

2 3

4 5

[1] System Alias

Displays the camera System Alias.

[2] Camera number

Displays the camera number.

[3] User button assignments

Displays the assignments for the user buttons on the camera.

[4] Video settings

Displays video mode, master gain, ND filter, FX filter, color temperature, selected Gamma curve and Master Black level

[5] Basic operator settings

Displays the current user level (“ULvl”), the last recalled operator file (“OpFl”) and the standard recall file (“STDOper”).

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4.7.5 Focus assist

The focus assist function can be switched on or off in the OPERATOR TOOLBOX menu. This function adds a motion effect in the viewfinder to objects in sharp focus. The FOC+ indicator in the viewfinder lights when this function is on.

4.7.6 Viewfinder zoom

The viewfinder zoom function is another feature that helps you focus. This function enlarges the center of the viewfinder image. The VTR button on the lens can be set to operate the Zoom function in the OPERATOR TOOLBOX menu.

When the viewfinder zoom function is in use, the viewfinder markers are switched off to improve the clarity of the display. The Zoom indicator in the viewfinder flashes when the viewfinder zoom function is active.

4.8 Lens operation

4.8.1 Back focus adjustment

When you fit a lens to the camera you may need to adjust the back focus. Refer to the lens manufacturer's instructions to find out how to do this. The LENS menu allows you to choose and, if necessary, adjust other parameters to suit your lens type and your personal preferences.

4.8.2 CLASS

The Chromatic Lens Aberration and Sharpness Solution (CLASS) compensates for chromatic aberration by using lens data. Most major lens manufacturers support this feature.

☞

Note

☞

Note

Make sure that the lens interface is set to Digital in the

CONFIGURATION > LENS > LENS SETTINGS > LENS IF TYPE menu.

When a lens is attached to the camera for the first time, the camera reads the lens data at startup. This is done only once and may take some time to finish. Reading the lens data is a background process and does not influence normal camera operation.

Some lenses also require a manual calibration of the lens ring positions. If this is the case, a message (“CLASS: Turn lens rings”) is briefly shown in the viewfinder. Turn both zoom and focus ring all the way from one end to the other.

After startup when CLASS is active, a message (“CLASS: Active”) is shown in the viewfinder.

☞

Note

☞

Note

In the (very rare) occasion that lens aberration data becomes corrupted, a reset of the lens data can be forced:



Go to the CONFIGURATION > LENS > LENS SETTINGS > CLASS > RESET CLASS DATA menu and select Start.

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4.8.3 Auto Iris

If required, switch on the Auto Iris function in the LENS menu. You can also change the settings associated with Auto and Momentary Iris in this menu.

☞

Note

☞

Note

When your lens has an Auto Iris switch, make sure it is set to the on position.

4.8.4 Extended Iris

The Extended Iris function automatically adjusts the video signal level by adjusting the iris opening, the gain level and the exposure time to suit the ambient lighting conditions.

☞

Note

☞

Note

Make sure that the SW2 button is assigned to EIris (‘Extended Iris’) in the

OPERATOR TOOLBOX > USER BUTTONS > SW2 menu.

To switch on the Extended Iris function use the assignable button SW2 at the left-front side of the camera. When this button is pressed once, the current value of the Extended Iris function is displayed. Press the button twice in quick succession to toggle between on and off.

When Extended Iris is on, the non-standard indicator in the viewfinder lights, and gain and exposure controls are blocked. Settings for the Extended Iris function can be changed in the PRODUCTION SETUP > EXPOSURE > EXTENDED IRIS menu.

Tip

✎

You can use Extended Iris to maintain a constant depth of field while shooting.

4.8.5 Precision focus

The camera supports the precision focus feature which is offered by some advanced (digital) lenses. This system automatically focuses the image within a user defined focus frame on the screen. When precision focus is enabled on the lens, the focus frame is superimposed on the viewfinder image. The frame can be moved and resized by the controls on the lens or on the focus handle.

An indicator in the bottom left corner of the viewfinder screen shows the current focus information:

auto focus frame

focus indicator

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Refer to the documentation of the lens manufacturer for more information about the precision focus feature.

4.8.6 Lens indicators in the viewfinder

The RE indicator in the viewfinder lights when a lens range extender is selected.

The Iris indicator in the viewfinder shows the value of the iris opening (when enabled in the camera menu).

The zoom indicator in the viewfinder shows the percentage to which the lens has been zoomed out or in, ranging from 0 (wide angle) to 99 (telezoom). It shows 50 if the lens does not support this feature.

The focus indicator shows the percentage of the focus distance range from 0 (close-up) to 99 (infinity). This feature is only available when a digital lens is used.

Indication Focus information

- - focus is behind

- focus is behind

0 area is in focus

+ focus is in front

+ + focus is in front

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4.9 Connecting audio

4.9.1 Analog audio

Set the gain levels (-22 dB to -64 dB for mic input level or +4 dBu to -10 dBu for line level) for these channels in the AUDIO section of the CONFIGURATION menu. A high-pass filter for each channel can also be switched on in this menu.

The channel 1 input socket selection switch selects either:

• the Mic connector at the front-right (Front) of the camera, or

• the Audio 1 connector at the rear of the adapter (Rear)

as the input for audio channel 1.

☞

Note

☞

Note

The front microphone input has a fixed input sensitivity of -40 dB while a phantom power of +48 VDC is always present on the socket.

The audio channel 1 and 2 level switches select either a line level input (Line), a microphone level input (Mic) or a microphone level input with phantom power (+48 VDC) for channel 1 and 2 rear connectors (Audio 1 and Audio 2). Audio channels 1 and 2 are available on the audio output 1 and 2 connectors (XLR 3) at the Base Unit.

These (analog) audio channels are also available as converted digital outputs on the digital audio output (1+2) BNC connector on the Base Unit and as audio channels 1 and 2 embedded in the HD-SDI video signal.

4.9.2 Digital audio

Two digital audio channels are available with the AES signal. Set the An VF Out/AES in switch to AES in and connect an AES digital audio source to the An VF Out/AES in connector (top left BNC connector).

Digital audio channels 3 and 4 are available on the digital audio output (3+4) connector on the Base Unit and as embedded audio channels 3 and 4 in the HD-SDI video signal.

Audio 1 audio connector

Audio 1 level switch

Channel 2 audio connector

Audio 2 level switch

Channel 1 input socket selection switch

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4.10 Using intercom

Three intercom channels – production (Prod), program (Prog) and engineering (Eng) – are sent from the Base Unit to the camera headset. The headset microphone signal is sent back to the Base Unit. Intercom signals are available at the Base Unit’s intercom connector on the back panel of the Base Unit.

To use the intercom system, connect a headset to the XLR5 connector on the back panel of the camera. An additional Tracker headset can be connected to the auxiliary connector.

Selection buttons and volume controls for the intercom channels can be found on the front and the back of the camera.

4.10.1 Selecting intercom channels

Push the engineering (Eng) channel selection button to talk to the engineering intercom channel. Push again to switch off the engineering channel.

☞

Note

☞

Note

Go to the OPERATOR TOOLBOX > USER BUTTONS menu and select the ENG MODE function to change the switching mode (momentary or alternating) of the Eng button.

Hold the production (Prod) channel selection button to talk to the production channel. Release to switch off the production channel.

Production (Prod) channel volume

Program (Prog) channel volume

Engineering (Eng) channel volume

Production (Prod) channel selection

Engineering (Eng)

channel selection

BACK

Engineering (Eng)

selection button

Production (Prod)

selection button

Main intercom volume control

FRONT

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4.10.2 Adjusting intercom volume

Use the rotary controls at the back panel of the camera to adjust the audio volume of the three intercom channels:

• Prod—adjusts the volume of the production channel intercom signal.

• Prog—adjusts the volume of the program intercom channel signal.

• Eng—adjusts the volume of the engineering intercom channel signal.

4.10.3 Routing signals

By default, all three intercom channels are audible on both muffs (left and right) of the camera headset. The routing of the intercom channels can be changed to personal preference. Go to the CONFIGURATION > INTERCOM menu to set up the routing:

• Cam Prod—selects to which ear muff(s) of the camera headset the production intercom

channel is routed.

• Cam Eng—selects to which ear muff(s) of the camera headset the engineering intercom

channel is routed.

• Cam Prog—selects to which ear muff(s) of the camera headset the program intercom

channel is routed.

Intercom microphone gain, 12V bias tee power supply and microphone on/off switches are also available in this menu.

4.10.4 Adjusting sidetone volume

The sidetone level (this is audio feedback from microphone to ear muffs) for the camera headset can be adjusted in the OPERATOR TOOLBOX > INTERCOM menu:

• Cam Sidetone—adjusts the sidetone level of the camera operator’s headset from 0

(muted) to 99 (loudest).

☞

Note

☞

Note

Only the sidetone levels for the right side ear muff can be adjusted. The left ear muff always has a fixed sidetone level.

4.10.5 Assigning buttons

The user buttons at the left side panel of the camera (SW1 and SW2) and the VTR button on the lens can also be used to send the intercom signal from the headset to Production or Engineering.

Go to the OPERATOR TOOLBOX > USER BUTTONS > BUTTONS menu to assign user buttons to intercom functions:

• SW1—assigns a function to user button SW1: Call, Ext1, Ext2, Prod, Eng, Select.

• SW2—assigns a function to user button SW2: EIris, Zoom, FocAst, Ext1, Ext2, Prod, Eng.

• VTR Lens—assigns a function to the VTR Lens button: Prod, Eng, Zoom, Ext1, Ext2.

• Eng Mode—selects switching mode for the engineering channel selection button at the

back panel of the camera: momentary (push) or alternating (toggle).

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4.11 Communication

4.11.1 Return video channels

Return A and B buttons can be assigned to one of the three available External Video channels in the camera menu. Press and hold to view the assigned External Video channel in the viewfinder.

Tip

✎

The Return A and B buttons can be programmed as momentary (default) or alternating switches in the OPERATOR TOOBOX > BUTTONS menu.

The indicators inside the Return A and B buttons light when the external video channel the respective button is assigned to, is switched on.

4.11.2 PickMe button

Press the yellow PickMe button on the left side of the camera head or on the back panel of the adapter to send an attention signal directly to the program director. This function can be used when the camera operator is shooting critical or high priority footage that needs immediate action by the director.

Typically, a Connect Gateway server routes this signal to the production control room and an automated action is executed, for example switching the camera signal directly to the program channel (On Air).

Return B

button

Return A

button

BACK

Return A

button

Return B

button

FRONT

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4.11.3 Call button

Press the Call button on the back panel to send a signal to the operational panels in the production control room calling for attention.

The indicator in the button lights when a Call signal is sent or received. The Call indicator in the viewfinder also lights.

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4.12 Managing files

You have access to 15 different files. This number can be extended by using additional scene files stored on a USB flash drive. The Files menu is used to recall and store these files. There are three types of file:

• scene files

• operator files

• lens files

A scene file contains values related to the picture performance. The operator file contains values related to the setup of the camera (viewfinder and configuration parameters). Lens files contain lens related settings.

The tables in “Camera menu reference” on page 75 and further indicate the functions that are stored in the scene file, functions that are stored in an operator file and those that are stored in a lens file.

4.12.1 Scene files

Four scene files are stored in the camera itself (SCAM1,SCAM2, SCAM3 and SCAM4) while more scene files can be stored on a USB flash drive. A Standard scene file (preselected as either factory or customer defined) is stored in the camera.

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Note

☞

Note

The standard Customer Scene file is stored via the SECURITY menu, not the FILES menu. The decision to use the factory defined file or the customer defined file as the standard file is also made in this menu.

The FILES menu enables the scene files to be stored and recalled using the store and recall entries of the menu system. If the message NOK is displayed, the old values are restored.

☞

Note

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Note

If the camera is on air and a scene file is recalled, the recalled values do not become active until the camera goes off air.

4.12.2 Operator files

Four operator files are stored in the camera itself (OCam1,OCam2, OCam3 and OCam4) while more operator files can be stored on a USB flash drive. These files contain information for setting up the non-video configuration of the camera. A STANDARD operator file (factory or customer defined) is stored in the camera.

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Note

☞

Note

The standard Customer operator file is stored via the SECURITY menu, not the FILES menu. The decision to use the factory defined file or the customer defined file as the standard file is also made in this menu.

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4.12.3 Lens files

Lens files contain settings related to the lens configuration (e.g. white shading). Up to four lens files (LCam1 to LCam4) can be stored in the camera.

4.12.4 Standard files

By default, the green Std File button on the left-front side of the camera recalls the standard Scene file. This file contains default parameters for picture performance. A standard Operator file can be recalled via the FILES menu. This file contains parameters for the set-up of the camera.

Customer standard files

You can define a customer standard file for the standard Scene file and for the standard Operator file. The contents of the customer files for both these standard files is stored via the CONFIGURATION > SECURITY > menu.

The selection of a factory defined or a customer defined file for use as a standard file is also made in this menu. You can only access the functions of the SECURITY menu with the PIN code of the camera.

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4.13 Access and security

4.13.1 User level

The user level function in the CONFIGURATION > SECURITY menu restricts access, in varying degrees, to the operational controls of the camera. You can only access the functions of the SECURITY menu by entering the PIN code of the camera.

4.13.2 Selecting the user level

There are four user levels: user 0, user 1, user 2 and user 3. The purpose of the user levels is to restrict the set of functions which can be changed by whoever is using the camera. In this way a more centralized and uniform control can be achieved and the danger of the camera operator accidentally changing critical functions while shooting is reduced.

The recommended minimum user level is 1. For full control set the level to 3. When you switch off the power, the access rights that were obtained by the use of the PIN code are disabled and the camera starts at the assigned user level when switched on again.

• User 0: Limited operation, no video control, restricted operational control (for example: crane or robotic camera operation).

• User 1: Standard operation, basic video control, full operational control (for example: studio or event camera operation).

• User 2: Stand alone operation, full video control (for example: solo operation, motor bike sports registration).

• User 3: Installation tasks, full video control, full configuration control (for example: camera engineers, testing or rigging up operation).

User level 0

This is a special protection level which locks most of the operational controls of the camera. Use this level to ensure that a camera that has been set-up is not tampered with. User level 0 is not normally used for operational purposes as it is too restrictive for normal circumstances.

4.13.3 Disable camera

The disable camera function is a protection function which prevents unauthorised interference with the camera and provides an additional level of security. Setting disable camera to On is similar to using User level 0 to protect the settings of the camera.

4.13.4 Access control

A PIN code is used to access special setup and security features of the camera. The PIN code of the camera can be viewed and changed in the CONFIGURATION > SECURITY menu. The camera's PIN code when it leaves the factory is set to 0000. It is strongly advised that this code be changed by the owner on receipt of the camera. This ensures added protection against unauthorised access to the Security menu.

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Chapter 5 - Video setup

Chapter 5

Video setup

5.1 Video settings

5.1.1 Standard settings

To make sure that some of the camera functions are not set to unusual values, a standard file has been defined that contains the default values for most video functions. The “Camera

menu reference” on page 75 lists the values that are set when the standard file is recalled.

To recall the standard values for the various video functions, press the green STD File button on the left side of the camera and hold it for two seconds. The standard values only take effect when the camera is not On Air.

The standard file can be selected as either a factory or a customer standard file. Changing the standard file can only be done in the SECURITY menu if a PIN code is used.

Non-standard indicator (Ocular viewfinders only)

The non-standard indicator in the viewfinder lights when one of the following conditions occur:

– Exposure time is NOT set to the nominal value;

– Black Stretch is switched on;

– Extended Auto Iris is switched on;

– AWC or FL50/FL60 color temperature is selected.

5.1.2 Video mode

Depending on the Focus 70 Live camera model, several video modes can be selected. Press the SETUP MENU button and enter the CAM menu. Use the VIDEOMODE item to

choose a video mode and use SELECT to switch to the selected video mode. In the camera menu, go to the PRODUCTION SETUP > VIDEO MODE menu item and select the

video mode you wish to use for your production.

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5.1.3 Color bar

The color bar is the standard test signal that is used to set up and check the camera before shooting. When the color bar is selected the following functions are temporarily switched off: Black Stretch, White Limiter, Zebra and the Safe Area and cadre indicators.The lens iris closes automatically when the color bar is switched on.

Press the BARS button to switch on the color bar. Initially, the standard color bar is switched on and the button will light. Press it again to switch on the sawtooth signal. The button lights orange. Press again to switch off all test signals.

On the camera, use the color bars switch on the left side panel for switch on the standard color bar:

5.2 Gain

Depending on the available light level it may be necessary to adjust the video gain settings of the camera.

Press the GAIN button to open the Gain menu. Select GAIN + or GAIN - to select higher or lower gain presets. Press VAR MGAIN to vary gain in steps of 0.1 dB using the rotary control.

On the camera, gain is selected via the gain switch on the left side panel of the camera:

1. When this switch is pressed initially, the current gain value is displayed in the viewfinder.

2. Holding the switch in the up or down position for a short moment selects one of the five

preset gain settings: -, 0, +, ++ and +++.

The actual value of the gain in dB is assigned to these presets in the PRODUCTION SETUP >  LEVELS > GAIN > GAIN PRESETS menu.

OCP

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Bars

Off

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Note

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Note

When Gain is set to negative values, or values higher than 3 dB, the gain indicator in the viewfinder lights (only for ocular viewfinders).

The gain switch can also be used to vary the gain continuously between its minimum and maximum value.

1. Hold the switch continuously in the up or down position until you see the value in the

viewfinder change in steps of 0.1 dB.

2. Release the switch when you reached the value you want. This exits the value selection

mode.

3. Using the switch momentarily again sets the gain to the nearest preset value.

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Note

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Note

Selecting high gain levels may introduce more noise into the image.

Gain Preset Gain (in HiQ and Nom mode) Gain (in HiSens mode)

- can be set to -3 or -6 dB can be set to -3 or -6 dB

0 is always 0 dB is always 0 dB

+ can be set to +3 or +6 dB can be set to +3, +6, +9 or +12 dB

++ can be set to +6 or +9 dB can be set to +6, +9, +12 or +15 dB

+++ can be set to +9 or +12 dB can be set to +9, +12, +15 or +18 dB

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5.3 Gamma

5.3.1 Gamma correction

To compensate for the non-linear response of display devices, a gamma correction is applied to the video signal. The gamma correction adjusts the tonal response of the standard transfer curve.

5.3.2 Gamma curve

The gamma curve defines the distribution of tonal values. The following standard gamma curves are available: BBC04, BBC05 and BBC06, ARD, ITU709 (default), RAI, Gamma-J and Gamma-S.

Press the GAMMA button and select GAMMA CRV to select the gamma curve you want to use. In the camera menu, navigate to the PRODUCTION SETUP > LEVELS > GAMMA > CURVE item

and select the gamma curve you want to use.

5.3.3 Gamma presets

The gamma preset selection determines how mid-range tonal values are reproduced. Available gamma presets are:

• Nom (nominal) setting: Master Gamma = 76 (slope = 0.45)

• Lin (linear) setting: Master Gamma = 0 (slope = 1.00)

• Var (variable) setting: Master Gamma is adjustable between 0 (slope = 1.00) and 99 (slope = 0.35).

Press the GAMMA button and use the GAMMA SEL item to select the Gamma preset. In the camera menu, navigate to the PRODUCTION SETUP > LEVELS > GAMMA > PRESET

function and select the Gamma preset from the list.

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Note

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It’s also possible to change Gamma for each channel (R,G,B). Changing the slopes of the individual color gamma changes the representation of white in the mid-range tonal values.

0 20 40 60 80 100

100

γ = 1.00 (Master Gamma=0)

γ = 0.35 (Master Gamma=100)

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5.4 Contrast

5.4.1 Black Stretch

The Black Stretch function changes the level of tones in the shadow areas of the picture without affecting the rest of the picture.

Press the BLACK button and switch on the BLACK STR item. Use the BLACK LVL item to adjust the Black Stretch level from 0 to 99.

In the camera menu, navigate to the PRODUCTION SETUP > LEVELS > BLACK menu and switch on the BLACK item. Adjust the Black Stretch level from 0 to 99 using the BLACK STR LEVEL function.

Values below 50 are Black Press, values higher than 50 are Black Stretch.

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Note

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Note

Black Stretch is applied independently from Gamma. 

When Black Stretch is switched on the non-standard indicator in the viewfinder lights (only for ocular viewfinders).

0 100

100

Black Stretch

Black Press

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5.5 Knee

Knee is a function that compresses the wide dynamic range of the video signal coming from the imager into the more limited video output range.

Knee can be set up as an automatic or variable function. It can also be switched off, which is the default setting.

Press the KNEE button. The KNEE SEL item is shown. Use this item to select Auto, Var or Off. In the camera menu, navigate to the CREATIVE CONTROL > LEVELS > KNEE > KNEE item and

select Auto, Var or Off.

Auto Knee

In Auto Knee, the Knee Point is fixed while slope automatically adjusted achieve the best possible Knee compression.

Variable Knee

The following parameters in the Knee menu can be used to set up variable Knee in Compatibility mode:

• Kn Point/Point M (0 to 99): this is the video input level from which Knee starts compressing.

• Kn Slope/Slope M (0 to 99): determines how much compression is applied above the Knee point.

• Knee Limit (0 to 99): the maximum allowed video input level.

5.6 Optical ND filters

A Neutral Density filter (ND) can be placed in the path of the optical signal to modify the incoming light. ND filters can be used, for example, to control depth of field or exposure levels.

100% 200% 300% 400% 500% 600% 700% 800%0%

0.0

100%

150%

50%

Slope (+)

Input

Output

Slope (-)

Point

Knee Curve

Linear Curve

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Press the FILTERS button and select the ND filter type. Use the navigation buttons to step through the different ND filters.

On the camera, press the Filter button on the left side panel of the camera. The Filters menu is shown in the viewfinder. Navigate to the ND filter type and select the filter from the list.

Four Neutral Density (ND) filter positions are available:

• Clear - no filter is placed in the optical path

• ND1/4 - 2 stops light reduction neutral density filter

• ND1/16 - 4 stops light reduction neutral density filter

• ND1/64 - 6 stops light reduction neutral density filters

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Note

When a Neutral Density filter is selected, the ND indicator in the viewfinder lights (only for ocular viewfinders).

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Note

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Note

The camera does not need color optical filters to be able to white balance correctly. The range of the auto-white balance is so wide (from 2500 K to 20000 K) that there is never any need to use color filters to obtain the correct white balance.

5.7 Exposure

5.7.1 Exposure time

The exposure time values of 1/200 s, 1/500 s and 1/1000 s are used to capture fast moving objects so that these can be played back sharply in slow motion. The value selected depends on the speed of the moving object.

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Note

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Note

Decreasing the exposure time lowers the camera’s sensitivity proportionally.

Press the EXP. TIME button and select the EXP SEL function. Select the exposure time you want to use.

On the left side panel of the camera the momentary up/down exposure time switch gives a choice of exposure time presets.

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Note

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If an exposure time other than nominal (Nom.) is selected, the non-standard indicator in the viewfinder lights (only for ocular viewfinders).

5.7.2 Lighting correction

The exposure selection also includes lighting control positions which can be used when shooting with lighting that is operating at a different frequency to the camera. There are two positions: 50 Hz and 60 Hz. Each of these positions can be varied further in a range from -10 to +10 Hz. To reduce flicker select the frequency closest to the frequency of the lights and then vary the lighting control in the PRODUCTION SETUP > EXPOSURE > LIGHTING menu to obtain the best result.

5.7.3 V-Shift (vertical acquisition shift)

When shooting monitors with (almost) the same display frequency as the camera’s, for example TV sets, a horizontal black bar can be seen in the viewfinder. This phenomenon occurs because the camera is blanking while the monitor is not. The V-shift function shifts the camera blanking to synchronize it with the blanking of the monitor.

In the camera menu, navigate to the PRODUCTION SETUP > EXPOSURE > ACQ TIMING menu and switch on the V-SHIFT item. Use the V-SHIFT TIME item to change the time shift until the horizontal bar disappears.

Val ue Function

Nom. nominal setting

Var Variable exposure time

1/200 s for fast moving objects

1/500 s for fast moving objects

1/1000 s for fast moving objects

50 Hz for shooting under 50 Hz lighting (adjustable with Lighting correction)

60 Hz for shooting under 60 Hz lighting (adjustable with Lighting correction)

Exp. Tim e

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Tip

✎

V-Shift can also be used to remove color shifts that may occur when shooting DLP-type projectors.

5.7.4 Variable exposure time

When shooting computer monitors with higher frame rates than the camera’s you can use variable exposure to avoid horizontal bars in the picture.

Press the EXP. TIME button and set EXP SEL to Var. Now change the VAR EXP to remove the horizontal bar. You can set the EXP UNITS item on the next page to the preferred read-out: Hz or mSec.

When you are finished shooting the monitor go to the EXP SEL item and switch it back to Nom. The exposure time returns to its previous non-variable setting.

Use the exposure time switch on the camera to select variable exposure time. Or, in the camera menu, navigate to the PRODUCTION SETUP > EXPOSURE > EXP TIME menu and set EXP TIME SEL to Var. Now change the VAR EXP TIME to remove the horizontal bar. You can set the UNITS item to the preferred read-out: Hz or mSec.

When you are finished shooting the monitor go to the EXP TIME item and switch it back to Nom or use the exposure time switch. The exposure time returns to its previous non-variable setting.

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Note

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Note

When Variable Exposure is switched on, the non-standard indicator in the viewfinder lights (only for ocular viewfinders).

5.7.5 LED Wall Filter

When shooting against LED Wall backgrounds that contain high frequencies, interference may occur, resulting in unwanted moiré patterns. A special electronic filter is available that can be used to reduce these effects:

In the camera menu, navigate to the PRODUCTION SETUP > EXPOSURE item and switch LED WALL FILTER on.

5.8 Color

5.8.1 Color Temperature

For true color reproduction the ambient lighting conditions must be compensated for by selecting a value for the color temperature. The standard file setting is 3200 K (normally used for tungsten and indoor lighting). Two other reference color temperatures are available: 5600 K (for outdoors, clouded conditions) and 7500 K (for outdoors, clear blue skies).

The memory positions (FL50, FL60, AW1 and AW2) are available to store the results of the auto-white measurement process. The memory positions store measured values using the

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automatic white balance switch at the front. The FL positions are recommended for shooting with fluorescent light.

A continuous automatic white balance position (AWC) is also available. This function continuously measures the white balance and adjusts it accordingly. It can be used when a constant color balance is required under changing lighting temperatures (sunsets, indoors/ outdoors use).

5.8.2 Color Tint

In some cases, color temperature alone is not enough to fully compensate for color cast so an additional tint adjustment is needed. Similar to how color temperature specifies the relative warmth or coolness of an image, tint generally specifies the balance between magenta and green color casts. When combined, color temperature and tint can therefore control and effectively remove virtually any color cast.

5.8.3 Color Filter

In the auto-white positions (FL50, FL60, AW1 and AW2) a Color Filter can be set up in the PRODUCTION SETUP > COLOR > COLOR TEMP > COLOR FILTER menu. This varies the color balance to obtain warmer or colder color effects.

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Note

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Note

The automatic white balance process is performed independent of the Color Filter. The Color Filter is not disabled when AWC is on.

5.8.4 Selecting color temperature

The up/down color temperature switch on the left side of the camera allows a choice between three preset color temperatures:

• 3200 K - for indoor lighting conditions

• 5600 K - for outdoors, clouded conditions

• 7500 K - for outdoors, clear blue skies

and four memory positions:

• FL50 - memory position for 50 Hz fluorescent light (matrix is set to CoolFL and exposure to 50 Hz)

• FL60 - memory position for 60 Hz fluorescent light (matrix is set to CoolFL and exposure to 60 Hz)

• AW1 - Auto White memory position 1

• AW2 - Auto White memory position 2

and one automatic continuous white position:

• AWC - Auto White Continuous measurement (from 2500 K to 20000 K)

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Note

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Note

If AWC is selected, the non-standard indicator in the viewfinder lights (only for ocular viewfinders).

When the switch is first pressed, the viewfinder displays the current value. Select a new value by scrolling up or down through the available values.

The viewfinder also displays the actual value of a measured color temperature. The range of the auto-white balance is from 2500 K to 20000 K.

5.8.5 Variable color temperature

The color temperature switch on the left-front side of the camera can also be used to vary the color temperature continuously between its minimum and maximum value (2500 K to 20000 K).

1. Hold the switch continuously in the up or down position until you see the value in the

viewfinder change.

2. Release the switch when you reach the value you want. This exits the value selection

mode.

3. Using the switch momentarily again sets the color temperature to the nearest standard

value.

5.8.6 Auto White Balance

If the reference color temperatures do not match your lighting conditions carry out the Auto White Balance procedure as follows:

1. On the OCP 400, press the COLOR button to open the color menu. Select COL.TEMP and

select one of the memory positions (FL50, FL60, AW1 or AW2) in which to store the measured color temperature value.



Col. Temp

White Balance

button

Color Temperature

switch

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On the camera use the color temperature switch to select one of the memory positions (FL50, FL60, AW1 or AW2) in which to store the measured color temperature value.

2. On the OCP 400, press the WHITE BALANCE button — the button lights. On the camera, press the White Balance button on the front panel to start the Auto White Balance procedure.



3. The following appears in the viewfinder:

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Note

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Note

If you did not select one of the memory positions FL50, FL60, AW1 or AW2, a message (“Set Color Temp”) appears in the viewfinder.

4. Point the camera so that the reference white surface is between the two small black boxes.

5. On the OCP 400, press the WHITE BALANCE button again — the button flashes. On the camera, press the White Balance button on the front panel again to start the measurement procedure.

6. A message indicating that the process is running appears:

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Note

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Note

If there is insufficient light, the “light level too low” message appears in the viewfinder.

AWHITE: window

AWHITE: running

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7. When the process is completed (within a few seconds) the OK message and the

measured color temperature appears in the viewfinder. On the OCP 400 the button light is switched off.

The measured color temperature is now stored in the selected memory position and can be recalled as required.

If the auto-white measurement has been unsuccessful, the light in the WHITE BALANCE button on the OCP 400 is orange.

☞

Note

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Note

During the auto-white measurement process the iris is set to Auto and 90% and knee is switched off.



Black balance is not necessary because black level is automatically adjusted by the camera’s internal video circuits.

5.8.7 Saturation

Adjust the saturation level to increase or decrease color of the picture. Saturation values below 100% decrease colors while values higher than 100% increase colors.

Press the COLOR button, select the SATURATION item and adjust the level. In the camera menu, navigate to the PRODUCTION SETUP > COLOR > SATURATION item and

adjust the level

5.8.8 Color Protect

When very bright and saturated colored lights are used, predominant colors may clip. This results in fully saturated areas with no detail. This phenomenon occurs especially in blue and magenta color ranges.

The Color Protect function restores luminance levels without affecting color oversaturation.It prevents non-dominant colors from decreasing below black level so much of the details in the picture are still maintained. If a dominant color saturates, Color Protect gradually decreases its influence in the picture.

Press the COLOR button and press the NEXT button until the item PROTECT is shown. Switch this item on.

In the camera menu, navigate to the CREATIVE CONTROL > COLOR > COLOR ADJUSTMENT >  COL PROTECT menu and switch on the item COL PROTECT.

AWHITE: OK 3700K

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5.8.9 Secondary color correction

Secondary color correction is used to adjust hue, saturation and luminance of partial areas of the color spectrum of the image. Typical applications include live sports or news productions. Depending on your camera model, 2 or 6 color areas can be set up and corrected at the same time.

Setup using the OCP 400

Follow these steps to set up the color corrector on the OCP 400:

1. With the control panel connected to the camera, press the COLOR button on the control panel (in the video parameter section). The color menu is displayed.

2. Use the NEXT button to scroll to the next menu.

3. Switch on the color corrector with the CORRECTOR item at the top left of the screen.

4. Push the navigation button to enter COLCORR (color correction) menu. The color corrector menu is displayed. There are two pages that can be accessed by using the NEXT and PREV buttons.

The first page contains the setup items. Use the navigation buttons to scroll through the different setup items.

1. Select a color correction set with the CC SET item at the top left of the screen.

2. Activate the selected set using the top right selection button. When a set is not activated,

all items are blocked.

3. Select a color area by changing the COLOR and WIDTH. Select the parameter with the navigation button and change its value with the rotary control. A preview of the color selection is shown on the bottom left of the screen.

MG-

0°

MG+

RR+

YL-

YL+

G-

G+

CY CY+

B-

B+

22.5°

337.5°

315°

292.5°

270°

247.5°

225°

202.5°

180°

157.5°

45°

67.5°

90°

135°

112.5°

Color hue shift (-180° to +180°)

Color width (22.5° to 360°)

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4. Adjust HUE, SATURATION an LUMINANCE of the selected color range. Select the

parameter with the navigation button and change its value with the rotary control.

Use the NEXT button to go to the second page.

1. Switch the CC VIEW item on the view the color area selection.

2. Select a transition style using the SMOOTHING item.

3. You can reset all color correction sets to their default values with the RESET CC item.

4. Leave this page by pressing the PREV button.

Setup using the camera menu

Carry out the following steps to set up the color corrector in the camera menu:

1. In the CREATIVE CONTROL > COLOR ADJUSTMENT > COL CORR menu, switch the item COL CORR on.

2. Go to the item SET and select a color correction set.

3. Switch on the item SET ON/OFF to activate the selected set.

4. Select a color area by changing the COLOR and WIDTH items. The color can be selected in

steps of 22.5° on the color wheel. The color area width can be enlarged by setting the WIDTH item. The color width can be varied between 22.5° and 360°.

5. To view the selected color area, switch the item COL CORR VIEW on. Make sure to switch it off before going on air.

6. Now make adjustments of the selected color area by changing the HUE (color hue), SAT (color saturation) and LUM (luminance) items.

The transition between the corrected and uncorrected color area can be set to sharp, medium or smooth using the SMOOTHING item.

TOGGLE

PREV NEXT

EXIT

CC SET:1 ON

SAT:50

HUE:76

LUM:50

COLOR:280

YL-

WIDTH:225

Color selection

preview

Select color

correction set

Color/ Color

width settings

Hue/Saturation/ Luminance settings

TOGGLE

PREV. NEXT

EXIT

CC View

Sharp

Off

Smoothing Reset CC

Color correction

set view

Smoothing

selection

Reset color  correction settings

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Tip

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You can reset the color corrector by activating the RESET CC item. All color correction sets are reset to their nominal values.

5.9 Sharpness

5.9.1 Detail

Detail is an image enhancement used to improve picture sharpness perception. The detail function raises the contrast at the dark-to-light and light-to-dark transitions, thus making edges of objects appear sharper. This process is applied in video post processing within the camera by overshooting the signal at the edges. Detail is applied to both vertical and horizontal picture edges. Detail level refers to the amount of image enhancement, or in other words, the amount of sharpness added to the picture.

Press the DETAIL button and use DTL LEVEL to adjust the amount of detail added to the picture.

In the camera menu, navigate to the CREATIVE CONTROL > SHARPNESS > DETAIL menu and use DETAIL LEVEL to adjust the amount of detail added to the picture.

5.9.2 Texture

Texture adds subtle sharpness to very fine textures (e.g. fabrics, leaves and stone surfaces) in the image.

Press the DETAIL button and use the TEXTURE function to adjust the amount of texture added to the picture.

In the camera menu, navigate to the CREATIVE CONTROL > SHARPNESS > DETAIL menu and use TEXTURE to adjust the amount of Texture detail added to the picture.

☞

Note

☞

Note

Texture can be disabled in the advanced submenu of the camera menu, or in the Detail menu of the OCP.

5.9.3 Advanced options

There are a number of advanced Detail options in the menu that can be used to fine tune the detail function:

• Vertical Detail Level (0 to 99)

• Coarse/Fine adjustment (0 to 99)

• Level Dependency (0 to 99)

• Noise Slicer (0 to 99)

OCP

CAM

OCP

CAM

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5.9.4 Lens related functions

Detail follows Gain

By nature, high video gain levels introduce more noise which have a negative effect on Detail processing. When switched on, the Detail follows Gain function decreases Detail for higher gain values.

Detail follows Zoom

Typically, close up shots contain larger and fewer image elements than wide angle shots. Detail enhancement generally produces better results with larger structures so when this function is switched on, the camera lowers the influence of Detail depending on the zoom factor.

Aperture Correction follows Iris

The internal Aperture Correction circuit compensates for optical aberration caused by smaller lens apertures. When switched on, the Aperture Correction takes the actual Iris opening into account to achieve better Aperture Correction.

Press the DETAIL button and press the NEXT button until the items FLW GAIN and FLW ZOOM are shown. The item APTFLWIRIS can be found by pressing the SETUP button.

In the camera menu, go to the CREATIVE CONTROL > SHARPNESS > DETAIL > ADVANCED menu to find the lens related detail functions.

5.9.5 Detail Equalizer

The detail equalizer allows to set the detail levels for shadows, midtones and highlights individually. In general, shadow areas need less detail enhancement as it increases noise levels.

Press the DETAIL button, the NEXT button and select the DETAIL EQ menu. Switch on the DETAIL EQ item. Now use the SHADOW, MIDTONE or HIGHLIGHT items to adjust the detail level for each tonal range between 0 and 99.

In the camera menu, navigate to the CREATIVE CONTROL > SHARPNESS > DETAIL EQUALIZER menu and switch on the DETAIL EQUALIZER item. Use the SHADOWS, MIDTONES or HIGHLIGHTS items to adjust the detail level for each tonal range between 0 and 99.

Values below 50 decrease detail while values above 50 increase detail.

5.9.6 Skin Detail

Skin Detail is set up to select a particular color range. The Detail level within this color range can then be set independently of the rest of the picture.

Skin detail is mainly used to reduce the level of Detail in a person’s skin tone to produce a more attractive picture. Decreasing the Detail level of a person’s skin softens the skin tones only. But the Skin Detail function is not limited to a particular color and so can also be used to achieve various effects in selected color areas. For example, decrease the detail level of a soccer field to accentuate the players or increase the Skin Detail level to accentuate a rough surface.

The color range to which the Skin Detail level is applied can be selected automatically or manually. Three skin detail ranges (called Skin Gates or Sets) can be independently defined; they can be used at the same time.

OCP

CAM

OCP

CAM

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Auto Skin Detail

Carry out the Auto Skin Detail procedure as follows:

1. In the camera menu, navigate to the CREATIVE CONTROL > SHARPNESS > SKIN DETAIL and use the SKIN

GATE item to select 1, 2 or 3 (and not any of the combined options).

2. Place the cursor in front of the AUTO SKIN DTL function.

3. Press the select button on the front of the camera. The following appears in the

viewfinder:

4. Now point the two small black boxes at the intended surface (generally a face).

5. Press the select button again to start the measurement procedure (the iris is automatically

set to auto by the camera). The process running message appears:

6. When the process is completed (within a few seconds) the OK message appears in the viewfinder:

7. Now adjust the Skin Detail level with the SKIN LEVEL item. Decrease the value below 50 to soften the selected area. Increase the value above 50 to add extra detail.

ASKIN: window

ASKIN: running

ASKIN: OK

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5.10 Image control

5.10.1 Freeze Frame

When switched on, the freeze frame function freezes the current video frame so that many video functions can be set up off line. The following functions are NOT available in freeze frame mode:

• Iris settings

•V-shift

• Variable exposure

☞

Note

☞

Note

Changing the video mode and running Auto White Balace procedure is prohibited in Freeze Frame mode.

In the camera menu, navigate to the PRODUCTION SETUP > IMAGE CONTROL > FREEZE FRAME menu to switch Freeze Frame on or off.

CAM

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Chapter 6 - Camera menu reference

Chapter 6

Camera menu reference

6.1 Reference tables

All camera functions are distributed into 6 main menus:

• Operator Toolbox menu: contains the functions that help the operator while shooting such as screen indicators, user buttons assignments and various shooting tools.

• Production Setup menu: contains the functions needed to set up the camera for a production, including scene related video settings.

• Creative Control menu: contains the functions to control the creative aspects of the video signal such as contrast, sharpness and color correction.

• Configuration menu: contains the functions that are used to set up the general configuration of the camera such as intercom, lens settings and interfaces.

• Diagnostics menu: provides information on the current status and of the camera.

• Service menu: contains service items for advanced camera configuration.

The columns in the table provide reference information about the functions in the camera menu:

• Menu item: camera function, menu or submenu.

• Values: possible values or value range for the listed function.

• Default: the factory default value for the listed function.

• Level: the access level from which the function or menu is available. User 0 is the most restricted level while User 3 is the least restrictive. Service is the access level for advanced functions.

• File: indicates the file type (Operator, Scene or Lens file) in which the function is stored.

• Description: a short description of the function and its values.

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6.2 Operator Toolbox menu

Menu item Val ue s Default Level File Description

Indicators

Zoom Indicator On, Off Off User 0 Oper Switches the Zoom indicator on or off.

Iris Indicator On, Off Off User 0 Oper Switches the Iris indicator on or off.

Focus Indicator On, Off Off User 0 Oper Switches the Focus indicator on or off.

Filter Indicator On, Off Off User 0 Oper Switches Optical Filter indicator on or off.

Center Cross On, Off Off User 0 Oper Switches the center cross on or off.

Safe Area

Safe Area On, Off Off User 0 Oper Switches the Safe Area on or off.

Safe Area Type 16:9, 5:9, 14:9, 4:3 16:9 User 0 Oper Selects the aspect ratio of the Safe Area.

Marker

Marker On, Off Off User 0 Oper Switches the marker on or off.

Marker Type 15:9, 14:9, 4:3 4:3 User 0 Oper Selects the aspect ratio of the marker.

Marker Style Dot, Shad, Both Dot User 0 Oper Selects the style of the marker:

Dot = dotted lines; Shad = shaded areas; Both = dotted lines and shaded areas.

Marker Shading Shad, Black Shad User 0 Oper Selects shading for the marker

(when marker style = Shad or Both): Shad = transparent area, Black = black area.

Zebra

Zebra On, Off Off User 0 Scene Switches Zebra indication on or off. Zebra is

a diagonal line pattern that indicates that the area affected has risen above a preset level of the full scale video exposure value.

Zebra Mode Level, Band Level User 3 Oper Selects Zebra mode:

Level = zebra indication appears in areas are brighter than the set level; Band = zebra indication appears in a 2.5% band around the set level.

Zebra Level 0..117% 90% User 3 Oper Sets the exposure level at which zebra pattern

is shown. When level is higher than 100% the zebra indicates overexposed areas.

Zebra Contrast 0..99 15 User 3 Oper Sets the zebra indication contrast ratio.

Focus Assist On, Off Off User 0 Oper Adds a crawling effect in the focused areas in

the viewfinder to assist focussing.

Ind White Lvl 0..99 70 User 2 Oper Sets the white (brightness) level of the

indicators:0 = very dark; 99 = very bright

AutoIris Area Off, On Off Ser vice Oper Switches the AutoIris Area indication on or off.

VF Monitoring YCrCb, Y, R, G, B, -

G, R-G, B-G

YCrCb User 2 Oper Selects type of signal to view in viewfinder.

VF Detail

VF Detail Off, On, Boost On User 0 Oper Switches detail for viewfinder signal on or off

or adds extra detail to the viewfinder signal (‘Boost’).

Super Coarse On, Off Off User 0 Oper Switches super coarse detail enhancement on

or off.

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Detail Level 0..99 50 User 0 Oper Sets detail level for viewfinder signal.

Slicer 0..99 10 User 0 Oper Sets the noise slicer level for VF detail.

Vert Detail Lvl 0..99 50 User 3 Oper Sets the level of the vertical component in

the detail signal

Coarse/Fine 0..99 90 User 3 Oper Sets detail balance between coarse and fine

structures (0 = coarse, 99 = fine).

Level Dep 0..99 30 User 3 Oper Sets the level where the detail enhancement

starts to work.

Soft Detail On, Off On User 3 Oper Switches Soft Detail on or off. Reduces the

amount of detail added for large transitions.

Soft Detail Lvl 0..99 50 User 3 Oper Sets the upper limit level of detail

enhancement for soft detail.

Menu Settings

Rotary Speed 1..10 5 User 2 Oper Selects the sensitivity of the menu navigation

rotary control.

Menu Display On, Time Time User 2 Oper Selects the camera menu to be permanently

On or to disappear after a set Time.

Menu Time 3..30 10 User 2 Oper Sets the time (in seconds) the menu is

displayed when Menu Display is set to Time.

Menu White Lvl 0..99 70 User 2 Oper Sets the white level (brightness) of the

characters of the menu.

Intercom

Prod Vol Ctrl Prod, Master Prod User 3 Oper Selects if the Prod volume control (upper

rotary at the back panel) controls Prod channel volume only (Prod) or overall (Master) intercom volume.

Cam Sidetone 75 0..99 User 3 Oper Sets the sidetone level (audio feedback from

mic to headset) in the camera operator’s headset.

Tracker Sidetone 75 0..99 User 3 Oper Sets the sidetone level (audio feedback from

mic to headset) in the tracker’s headset.

User Buttons

Ret A/Ext1 Ext1 Ext1 User 0 Oper Ret A and Ext1 buttons are always assigned to

External Video channel Ext1

Ret B/Ext2 Ext2 Ext2 User 0 Oper Assigns an External Video channel to Ret B

and Ext2 buttons.

Front Panel

Eng Mode Mom, Alt Mom User 0 Oper Selects switching mode for the Eng button at

the front panel of the camera: momentary (push) or alternating (toggle).

Ret A Mode Mom, Alt Mom User 0 Oper Selects switching mode for the Ret A button at

the front panel of the camera: momentary (push) or alternating (toggle).

Ret B Mode Mom, Alt Mom User 0 Oper Selects switching mode for the Ret B button at

the front panel of the camera: momentary (push) or alternating (toggle).

Back Panel

Menu item Va lue s Default Level File Description

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Eng Mode Mom, Alt Mom User 0 Oper Selects switching mode for the Eng button at

the back panel of the camera: momentary (push) or alternating (toggle).

Ret A Mode Mom, Alt Mom User 0 Oper Selects switching mode for the Ret A button at

the back panel of the camera: momentary (push) or alternating (toggle).

Ret B Mode Mom, Alt Mom User 0 Oper Selects switching mode for the Ret B button at

the back panel of the camera: momentary (push) or alternating (toggle).

LED Brightness High, Low High User 0 Oper Selects brightness level for the LED buttons at

the back panel of the camera.

Side Panel

SW1 Call, RetA, RetB,

Prod, Eng, Select

RetA User 0 Oper Assigns a function to user button SW1.

SW1 Mode Mom, Alt Mom User 0 Oper Selects switching mode for SW2: momentary

(push) or alternating (toggle).

SW2 EIris, Zoom,

FocAst, RetA, RetB, Prod, Eng

RetB User 0 Oper Assigns a function to user button SW2.

SW2 Mode Mom, Alt Mom User 0 Oper Selects switching mode for SW2: momentary

(push) or alternating (toggle).

PickMe Mode Mom, Alt Mom User 1 Oper Selects switching mode for the PickMe button

at the side panel: momentary (push) or alternating (toggle).

Lens

VTR Lens Prod, Eng , Zoom,

RetA, RetB

Prod User 1 Oper Assigns a function to the VTR Lens button.

VTR Lens Mode Mom, Alt Mom User 1 Oper Selects switching mode for the VTR Lens

button: momentary (push) or alternating (toggle).

RET Lens Ext , RetA, RetB,

Zoom, FocAst

Ext User 1 Oper Assigns a function to the RET Lens button.

RET Lens Mode Mom, Alt Mom User 1 Oper Selects switching mode for the RET Lens

button: momentary (push) or alternating (toggle).

RET1 RetA, RetB RetA User 1 Oper Assigns a function to the RET 1 Lens button.

RET2 Zoom, RetB RetB User 1 Oper Assigns a function to the RET 2 Lens button.

RET2 Mode Mom, Alt Mom User 1 Oper Selects switching mode for the RET 2 Lens

button: momentary (push) or alternating (toggle).

PickMe Mode Mom, Alt Mom User 1 Oper Selects switching mode for the PickMe

buttons: momentary (push) or alternating (toggle).

Zoom Settings

Handgrip Zoom Off, On On User 0 Oper Switches zoom control (on top of camera

handgrip) on or off.

Zoom Speed 1..10 5 User 3 Oper Sets the zoom control speed.

Menu item Val ue s Default Level File Description

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Zoom Curve 0..3 0 User 3 Oper Selects the zoom control response curve:

0 = linear curve 1 = low curve 2 = medium curve 3 = steep curve

Files

Store Oper File

File Select Standard,

OCam1, OCam2...

OCam1 User 1 — Selects a standard, camera or USB Operator

File for storing.

Store Exec, ... Exec User 1 — Stores the current operator settings in the

selected operator file.

Recll Oper File

File Select Standard,

OCam1, OCam2...

OCam1 User 1 — Selects a standard, camera or USB Operator

File for recall.

Recall Exec, ... Exec User 1 — Recalls the selected operator file to the

camera. This overwrites current operator settings.

USB

Name <name> — User 2 — Displays USB device name.

Free Space # MB — User 2 — Displays free space left on USB in Mbytes.

No of Files # — User 2 — Displays number of files stored on USB.

USB Files

File Select <list of files> — User 2 — Selects a file on the USB device.

Delete Exec, ... Exec User 2 — Deletes the selected file.

Filename <name> — User 2 — Changes name of the selected file.

Attribute R/W, R R User 2 — Selects the attribute for the selected file:

R/W = Read and Write; R = Read only.

Notch EXT Off, On Off User 0 — Switches external notch filter on or off.

EXT AspectRatio 16:9, 4:3 4:3 User 0 — Selects aspect ratio of external video signal

displayed in the viewfinder.

Menu item Va lue s Default Level File Description

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6.3 Production Setup menu

Menu item Val ue s Default Level File Description

Levels

Gain

Master Gain -6.00 .. 18.00 dB 0 dB User 2 — Sets master video gain in 0.10 dB steps.

Gain Presets

Gain - -6 dB, -3 dB -3 dB User 2 Oper Selects gain value for - preset.

Gain + 3 dB, 6 dB, 9 dB,

12 dB

3 dB User 2 Oper Selects gain value for + preset.

Gain ++ 6 dB, 9 dB, 12 dB,

15 dB

6 dB User 2 Oper Selects gain value for ++ preset.

Gain +++ 9 dB, 12 dB, 15 dB,

18 dB

12 dB User 2 Oper Selects gain value for +++ preset.

Black

Black Stretch On, Off Off User 3 Scene Switches Black Stretch on or off.

Black Str Level 0..99 50 User 3 Scene Sets Black Stretch Level: 0 = few shades of

grey; 99 = more shades of grey. Values below 50 are Black Press, values higher than 50 are Black Stretch.

Black Str Type Press, Stretch Stretch User 3 Scene Selects Black Stretch type. Black Stretch

increases the tonal scale in shadow areas and Black Press decreases the tonal scale.

Master Black 0..99 50 User 2 Scene Sets Master Black level: this is the video level

that is considered as pure black.

Advanced

Master Black 0..99 50 User 3 Scene Sets Master Black level: this is the video level

that is considered as pure black.

Black R 0..99 50 User 3 Scene Sets Black level for the Red channel.

Black G 0..99 50 User 3 Scene Sets Black level for the Green channel.

Black B 0..99 50 User 3 Scene Sets Black level for the Blue channel.

Gamma

Curve BBC04, BBC05,

BBC06, ARD, ITU709, RAI,, Gamma-J, Gamma-S

ITU709 User 3 Scene Selects a standard curve for Gamma

correction.

Preset Nom, Lin, Var Nom User 2 Scene Selects Gamma curve preset:

Nom = Nominal curve; (0.45) Lin = Linearised curve; Var= variable (adjustable with Master Gamma setting)

Master Gamma 0..99 76 User 3 Scene Sets Master Gamma Level.

Gamma R 0..99 76 User 3 Scene Sets Gamma level for the Red channel.

Gamma G 0..99 76 User 3 Scene Sets Gamma level for the Green channel.

Gamma B 0..99 76 User 3 Scene Sets Gamma level for the Blue channel.

White Limiter

White Limiter On, Off On Service Scene Switches White Limiter on or off. Use to limit

highlight levels in the video signal.

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Master 87.7% .. 109.1% 105% Service Scene Sets the White Limiter level. This is the

luminance level at which clipping occurs.

Exposure

Iris

Auto Iris

Auto Iris On, Off Off User 0 — Switches Auto Iris on or off.

Area Top, Spot S, Spot

M, Spot L, Full, Bottom, Custom

Top Service — Selects AutoIris Area.

Custom Area

Area 1

Top 0..99 57 Service — Select a custom area for Auto Iris Peak

measurement, when Area = Custom.

Bottom 0..99 86 Service —

Left 0..99 24 Service —

Right 0..99 76 Service —

Area 2

Top 0..99 27 Service — Select a custom area for Auto Iris Average

measurement, when Area = Custom.

Bottom 0..99 57 Ser vice —

Left 0..99 5 Service —

Right 0..99 95 Ser vice —

Peak/Average 0..99 64 User 3 Scene Sets the Auto Iris measurement balance

between peak and average video level.

Auto Iris SP 0..99 35 User 3 Scene Sets Auto Iris Setpoint.

Mom Iris SP 0..99 50 User 3 — Sets Momentary Iris Setpoint.

Auto Iris Gain 5..10 5 User 3 — Sets Auto Iris Gain.

Extended Iris

Extended Iris On, Off Off User 0 — Switches Extended Iris on or off.

Gain Speed 1..20 5 Service — Sets Gain Speed for Extended Iris.

ExpTime Speed 1..20 4 Service — Sets Exposure Time Speed for Extended Iris.

Min Iris F5.6, F8.0, F11.0,

F16.0

F16.0 User 3 — Sets Minimum Iris value for Extended Iris.

Max Iris F1.4, F2.0, F2.8,

F4.0, F5.6

F2.0 User 3 — Sets Maximum Iris value for Extended Iris.

Min.ExpTime 1/100, 1/200, 1/500 1/500 User 3 — Sets Minimum Exposure Time for Extended

Iris.

Max Gain 0 dB ..15 dB 15 dB User 3 — Sets Maximum Gain value for Extended Iris.

Lighting

Lighting Off, On Off User 1 Scene Switches Lighting function on or off.

Correction -10 .. +10 0 User 1 Scene Sets the exposure correction to fine-adjust for

ambient lighting frequency when exposure time is set to 50 Hz or 60 Hz.

Acq Timing

V-Shift Off, On Off User 1 Scene Switches V-Shift (acquisition timing shift) on or

off.

Menu item Va lue s Default Level File Description

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V-Shift Time 0..99 0 User 1 Scene Selects V-Shift (acquisition timing shift) time.

Exp Time

Exp Time Select 50 Hz, 60 Hz,1/200,

1/500, 1/1000, Var

Off User 1 Scene Selects exposure time.

Var Exp Time 50 ... 1000 — User 1 Scene Selects variable exposure time (when Exp

Time Select = Var)

Units ms, Hz Hz User 1 Scene Selects display units for variable exposure

time.

LED Wall Filter Off, On Off User 2 Scene Switches LED Wall Filter on or off.

Color

Color Temp

Color Filter -100..100 0 User 2 Scene Varies the color balance to obtain warmer or

cooler effects. Negative values give cooler effects while positive values give warmer effects.

Color Temp 2000 K ...20000 K 3200 K User 2 Scene Sets the color temperature.

Tint -150..150 0 User 2 Scene Adjusts the color balance along the magenta/

green axis. Negative values add more magenta while positive values add more green.

Advanced

Gain R 0..99 50 User 2 Scene Sets Gain Red level.

Gain G 0..99 50 User 2 Scene Sets Gain Green level.

Gain B 0..99 50 User 2 Scene Sets Gain Blue level.

Range 3dB, 6dB 3dB User 2 Scene Selects Gain control (‘Painting’) range.

x 0.2 .. 0.55 0.423 User 3 — Displays the chromacity x-value. Note: this is

only an approximation.

y 0.2 .. 0.55 0.399 User 3 — Displays the chromacity y-value. Note: this is

only an approximation.

Saturation 0..200% 10 0% User 0 Scene Sets color saturation level. 0% = fully

desaturated (black/white), 100% = normal saturation, 200% = maximum saturation.

Matrix

Matrix EBU, Skin, B/W,

RAI, BBC, 1:1, CoolFL, XGL, Var1, Var2

XGL User 2 Scene Selects a preset for the color matrix:

EBU = color matrix according to EBU; Skin = EBU optimised for skin tones; B/W: monochrome picture; RAI: RAI TV optimisation; BBC = BBC optimisation; 1:1 = matrix is switched off; CoolFL= optimised for mixed fluorescent and incandescent lighting; XGL = for vivid color reproduction (advised to combine with M/G setting); Var1 = variable setting 1; Var2 = variable setting 2.

Advanced

G->R 0..99 50 Ser vice Scene Sets Green into Red coefficient (when Matrix

is set to variable).

Menu item Val ue s Default Level File Description

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B->R 0..99 50 Service Scene Sets Blue into Red coefficient (when Matrix is

set to variable).

R->G 0..99 50 Service Scene Sets Red into Green coefficient (when Matrix

is set to variable).

B->G 0..99 50 Ser vice Scene Sets Blue into Green coefficient (when Matrix

is set to variable).

R->B 0..99 50 Service Scene Sets Red into Blue coefficient (when Matrix is

set to variable).

G->B 0..99 50 Ser vice Scene Sets Green into Blue coefficient (when Matrix

is set to variable).

Image Control

Freeze On, Off Off User 2 — Switches image freeze on or off. Use to assist

off line setup and configuration.

Reverse Scan (Reverse Scan is not available in Flex)

Reverse Scan On, Off Off User 0 Scene Switches Reverse Scan on or off.

Mode Horiz, Vert, Both Horiz User 0 Scene Selects Reverse Scan mode:

Horiz = the image is flipped horizontally; Vert = the image is flipped vertically; Both = the image is flipped both horizontally and vertically.

Image Shift (Image Shift is not available in Flex)

Horizontal -20..20 0 User 0 — Shifts the image in horizontal direction (in

pixels)

Vertical -4..4 0 User 0 — Shifts the image in vertical direction (in lines)

Files

Store Scene File

File Select Standard,

SCam1 .. SCam4

SCam1 User 2 — Selects a standard, camera or USB Scene File

for storing.

Store Exec, ... Exec User 2 — Stores the current operator settings in the

selected operator file.

Recll Scene File

File Select Standard,

SCam1 .. SCam4

SCam1 User 1 — Selects a standard, camera or USB Operator

File for recall.

Recall Exec, ... Exec User 1 — Recalls the selected operator file to the

camera. This overwrites current operator settings.

Attributes

File Select <available files> SCam1 User 2 — Selects a file to change its attributes.

Filename <filename> — User 2 — Displays the selected file name.

Attribute R/W, R R/W User 2 — Selects the attribute for the selected file:

R/W = Read and Write; R = Read only.

Video Mode 1080i59, 720p59,

1080i50 ...

1080i59 User 3 — Selects video mode. Available video modes

depending on camera model.

Menu item Va lue s Default Level File Description

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6.4 Creative Control menu

Menu item Val ue s Default Level File Description

Levels

Filters

ND Filter Clear, ND 1/4 ,

ND 1/16, ND 1/64

Clear User 2 Scene Selects optical Neutral Density (ND) filter:

Clear = No filter; ND 1/4 = 2 stops; ND 1/16 = 4 stops; ND 1/64 = 6 stops neutral.

Contrast

Contrast On, Off Off User 3 Scene Switches Contrast adjustment on or off.

Shadows 0..99 50 User 3 Scene Adjusts contrast level in the shadows area.

Midtones 0..99 50 User 3 Scene Adjusts contrast level in the midtones area.

Highlights 0..99 50 User 3 Scene Adjusts contrast level in the highlights area.

Knee (in PowerCurves mode) (Not available in Flex)

Knee Off, Var, Auto Off User 2 Scene Selects Knee:

Auto = automatic ; Var = variable; Off = Knee is switched off.

Knee Type Y, NAM Y User 3 Scene Selects source signal on which Knee acts:

Y = luminance; NAM = Non Additive Mix: level of the highest RGB component.

Point 0%..90% 35% User 3 Scene Knee point: this is the video output level

where compression begins.

Fade Level 0..99 0 User 3 Scene Fades between a linear (99) and a Knee (0)

compression curve (when Knee = Var).

Limit Out 100%..109% 100% User 3 Scene Sets maximum output video level after

compression.

Max In 150%..800% 200% User 3 Scene Sets maximum input video level.

Saturation Off, On Off User 3 Scene Switches color saturation above Knee on or off.

Saturation Lvl 0..99 50 User 3 Scene Sets color saturation level above Knee.

Advanced

Knee Mode Compat,PwrCurves

PwrCrves

Service Scene Selects Knee Mode: Compatibility or

Powe rC ur ves.

Auto Ref 0..99 30 Service Scene Sets the reference level for Knee (when Knee

= Auto)

Knee (in Compatibility mode)

Knee Off, Var, Auto Off User 2 Scene Selects Knee:

Auto = Automatic Knee; Var = Variable Knee; Off = Knee is switched off.

Knee Type Y, NAM Y User 3 Scene Selects source signal on which Knee acts:

Y = luminance; NAM = Non Additive Mix (level of the highest RGB component, use this setting for highly saturated pictures).

Slope M 0..99 50 User 3 Scene Sets the Knee slope (when Knee = Var).

Point M 0..99 60 User 3 Scene Sets the Knee point (when Knee = Var).

Advanced

Knee Mode Compat,

PwrCurves

PwrCrves

Service Scene Sets Knee Mode: Compatibility or

PowerCurves. (Not available in Flex)

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Knee Limit 0..99 99 Service Scene Selects the level above which the Knee Limiter

is active (when Knee = Var).

Desat Off, On Off User 3 Scene Switches Desaturation on or off. This

desaturates color above Knee to cancel out unwanted color casts.

Desat Level 0..99 50 User 3 Scene Sets Desaturation level (0=no desaturation, 99

= maximum desaturation)

Auto Point 0..99 30 Service Scene Sets the point where compression starts

(when Knee = Auto)

Auto Ref 0..99 30 Service Scene Sets the reference level for Knee (when Knee

= Auto)

Flare

Flare Off, On On User 3 Scene Switches flare correction on or off.

Red 0..99 10 User 3 Scene Sets flare correction for Red.

Green 0..99 15 User 3 Scene Sets flare correction for Green.

Blue 0..99 25 User 3 Scene Sets flare correction for Blue.

Color

Color Adjustment

Col Corr

Col Corr Off, On Off User 3 Scene Switches color corrector on or off. All active

sets are used when color corrector is on.

Col Corr View Off, On Off User 3 — Switch on to view the selected color area in

the main signal.

VF View Off, On Off User 3 Oper Switch on to view the selected color area in

the viewfinder.

Set 1,2,31),41),51),6

1 User 3 — Selects a color correction set.

Not available in Flex and Première.

Set On/Off Off, On Off User 3 — Switches the selected color corrector set on or

off. Note: when off, settings can not be changed.

Color 0..359.99 0 User 3 — Sets the color area by hue (in steps of 22.5

degrees)

Width 22.50..360 101 User 3 — Sets the color area hue width (in degrees).

Hue -180..180 11 2 User 3 — Sets the hue (in degrees) for the selected

area.

Sat 0..99 0 User 3 — Sets the saturation level for the selected area.

Luminance 0..99 0 User 3 — Sets the luminance level for the selected area.

Color Name B+, MG-, MG,

MG+, R, R+, YL-, YL, YL+, G-, G, G+, CY, CY+, B-, B

MG- User 3 — Displays color area name:

B: Blue; MG: Magenta; R: Red; YL: Yellow;  G: Green; CY: Cyan

Smoothing Sharp, Medium,

Smooth

Medium User 3 — Selects method for smoothing transitions

between affected and non-affected areas.

Reset Exec, .. Exec User 3 — Resets the color corrector to its default values.

All sets are reset.

Col Protect (Not available in Flex and Première)

Col Protect Off, On Off User 3 Scene Switches Color Protect on or off.

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Col Protect Lvl 0%..150% 75% User 3 Scene Sets Colors Protect level.

Sharpness

Detail

Detail Off, On On User 3 Scene Switches Detail function on or off.

Detail Level 0..99 50 User 2 Scene Sets Detail level: the amount of Detail added

to the video signal.

Detail Source R+G, R, G, Y Y User 3 Scene Selects the video component that is used to

generate Detail signal.

Te xt ur e 0..99 50 User 3 Scene Sets Texture Level: adds sharpness to texture

surfaces in the image.

Advanced

Vert Detail Lvl 0..99 25 User 3 Scene Sets the level of the vertical component in the

Detail signal.

Coarse/Fine 0..99 90 User 3 Scene Sets Detail balance between coarse and fine

structures in the image(0 = coarse structures are sharpened, 99 = fine structures are sharpened).

Detail Level 0..99 50 User 3 Scene Sets (overall) Detail level: the amount of Detail

added to the video signal. Note: this is the same function as <Detail Level> above.

Level Dep 0..99 30 User 3 Scene Level Dependency: sets the Detail reduction

level for shadow areas.

Noise Slicer 0..99 10 User 3 Scene Sets the level of the noise slicer for Detail.

Texture Enabled, Disabled Enabled User 3 Scene Enables or disables Texture function.

Dtl Flw Gain Off, On Off User 3 Scene When switched on, Detail level follows Gain

level.

Dtl Flw Zoom Off, On Off User 3 Scene When switched on, Detail level follows Zoom

factor.

Apt Flw Iris Off, On Off User 3 Scene When switched on, Lens Aperture Correction

follows Iris value.

Detail Equalizer

Detail Equalizer On, Off Off User 3 Scene Switches the Detail Equalizer on or off.

Shadows 0..99 50 User 3 Scene Sets level of Detail for the shadows area of the

image.

Midtones 0..99 50 User 3 Scene Sets level of Detail for the Midtones area of

the image.

Highlights 0..99 50 User 3 Scene Sets level of Detail for the Highlights area of

the image.

Soft Detail (available when Texture is disabled)

Soft Detail Off, On On User 2 Scene Switches Soft Detail on or off. This function

reduces the amount of Detail added for large transitions. Note: this function is only available when Texture is disabled.

Soft Detail Lvl 0..99 50 User 2 Scene Sets the maximum limit level of Detail for Soft

Detail. Note: this function is only available when Texture is disabled.

Knee Detail Off, 1, 2, 3, 4 1 User 3 Scene Selects a level of Detail for the compressed

signal above the knee point (or switches it off).

Menu item Val ue s Default Level File Description

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Skin Detail

Skin Gate Off, 1, 2, 3, 1+2,

1+3, 2+3, 1+2+3

Off User 2 Scene Switches Skin Detail off or on and selects a

Skin Gate. Use Skin Detail to change the detail level within a selected color range.

Auto Skin Dtl Off, On Off User 2 — Switches Auto Skin Detail mode on or off.

VF View Off, On Off User 2 Oper Switch on to view the selected Skin Detail

area in the viewfinder.

Skin1 Level 0..99 50 User 2 Scene Sets detail level for Skin Gate 1.

Skin2 Level 0..99 50 User 2 Scene Sets detail level for Skin Gate 2.

Skin3 Level 0..99 50 User 2 Scene Sets detail level for Skin Gate 3.

Follow Zoom On. Off On User 3 — Enables Skin Detail follows zoom level.

Color Selection

Width1 Red 0..99 29 User 3 Scene Sets width level (Red) for Skin Gate 1.

Width1 Blue 0..99 40 User 3 Scene Sets width level (Blue) for Skin Gate 1.

Color1 Red 0..99 37 User 3 Scene Sets color level (Red) for Skin Gate 1.

Color1 Blue 0..99 6 User 3 Scene Sets color level (Blue) for Skin Gate 1.

Width2 Red 0..99 29 User 3 Scene Sets width level (Red) for Skin Gate 2.

Width2 Blue 0..99 40 User 3 Scene Sets width level (Blue) for Skin Gate 2.

Color2 Red 0..99 37 User 3 Scene Sets color level (Red) for Skin Gate 2.

Color2 Blue 0..99 6 User 3 Scene Sets color level (Blue) for Skin Gate 2.

Width3 Red 0..99 29 User 3 Scene Sets width level (Red) for Skin Gate 3.

Width3 Blue 0..99 40 User 3 Scene Sets width level (Blue) for Skin Gate 3.

Color3 Red 0..99 37 User 3 Scene Sets color level (Red) for Skin Gate 3.

Color3 Blue 0..99 6 User 3 Scene Sets color level (Blue) for Skin Gate 3.

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6.5 Configuration menu

Menu item Val ue s Default Level File Description

Security

Installed Level No Oper, User 0,

User 1, User 2, User 3, Service

User 0 Service — Selects camera user level. Note: switch the

camera off and on to take the changes into effec t.

PIN Code **** 0000 Ser vice — Enter a PIN code to access Ser vice level

Customer Files

Store Cust Scene Exec, ... Exec Service — Stores the current Scene (video related)

settings to the customer Scene file.

Cust Scene Attr R/W, R R Service — Selects the read/write attribute for the

selected Customer Scene file: R/W = Read and Write; R = Read only.

Store Cust Oper Exec, ... Exec Service — Stores the current Operator settings to the

Customer Operator file.

Green Button

Standard Scene File Fact, Cust Fact Ser vice — Selects the Scene file to be recalled when the

STD File/Green button is pressed: Fact = Factory (default) Scene file; Cust = Customer Scene file;

Standard Oper File Fact, Cust Fact Service — Selects the Operator file to be recalled when

the STD File/Green button is pressed: Fact = Factory (default) Operator file; Cust = Customer Operator file;

Scene File Yes, No Yes Ser vice — Determines if the Scene file should be

recalled when the STD File/Green button is pressed.

Oper File Ye s , N o No Service — Determines if the Operator file should be

recalled when the STD File/Green button is pressed.

Factory Reset Exec, ... Exec Service — Resets ALL camera settings to their factory

defaults.

Disable camera On, Off Off User 0 — Locks ALL camera buttons.

Lens

Lens Settings

Lens IF Type Analog, Digital Digital User 0 — Selects a digital or analog lens interface.

Lens IF Status OK, NotOK OK User 0 — Shows the status of the lens interface (when a

digital lens interface is used).

RE Iris Comp On, Off Off User 0 — Switches Iris compensation on or off. Use

this setting to compensate for Iris level when a range extender (RE) is used.

Lens Corrections

CLASS

CLASS Auto, Off Auto User 0 — Selects CLASS mode:

Auto = Automatic correction; Off = no correction.

Reset Exec > Busy Exec User 0 — Select to reset lens aberration data

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Status Active,Init, Waiting,

Reading, No Info, Unsup, I/F NOK, Off, InitNOK

I/F NOK User 0 — Active: CLASS is active;

Init: initilization process is started; Waiting: camera waits for manual turning of lens rings; Reading: camera is reading lens abberation data from lens; No Info: lens does not support ; Unsup: CLASS cannot be activated; I/F NOK: Lens interface not OK - no lens connected or analog lens interface in use; Off: CLASS is switched off.

Progress 0%..100% — User 0 — Shows progress of the lens CLASS data

reading process.

Shading

Shading On, Off On Service Lens Switches lens shading compensation on or off.

R Saw H 0..99 50 Service Lens Sawtooth (Horizontal) for Red channel.

R Par H 0..99 50 Service Lens Parabola (Horizontal) for Red channel.

R Saw V 0..99 50 Service Lens Sawtooth (Vertical) for Red channel.

R Par V 0..99 50 Service Lens Parabola (Vertical) for Red channel.

G Saw H 0..99 50 Service Lens Sawtooth (Horizontal) for Green channel.

G Par H 0..99 50 Service Lens Parabola (Horizontal) for Green channel.

G Saw V 0..99 50 Service Lens Sawtooth (Vertical) for Green channel.

G Par V 0..99 50 Service Lens Parabola (Vertical) for Green channel.

B Saw H 0..99 50 Service Lens Sawtooth (Horizontal) for Blue channel.

B Par H 0..99 50 Service Lens Parabola (Horizontal) for Blue channel.

B Saw V 0..99 50 Service Lens Sawtooth (Vertical) for Blue channel.

B Par V 0..99 50 Service Lens Parabola (Vertical) for Blue channel.

Files

Store Lens File

File Select LCam1, LCam2,

LCam3, LCam4

LCam1 User 1 — Selects a Lens File for storing lens settings.

Store Exec, ... Exec User 1 — Stores the current lens settings in the

selected Lens file.

Recall Lens File

File Select LCam1, LCam2,

LCam3, LCam4

LCam1 User 1 — Selects a Lens File for recall.

Recall Exec, ... Exec User 1 — Recalls the Lens file to the camera. This

overwrites current lens settings.

Intercom

Cam Mic Off, Switch, Track,

Prod

Switch User 1 Oper Selects the camera operator’s microphone

routing: Off = no routing; Switch = intercom route depends on switch at the rear of the adapter; Track = route signal to Tracker channel; Prod = route signal to Production channel.

Cam Mic Gain 0dB, 40dB 40dB User 1 Oper Selects Gain of camera Operator’s intercom

microphone.

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Cam Mic Power Off, On Off User 1 Oper Switches bias tee power (12 VDC) to camera

operator’s intercom microphone on or off.

Cam Prod Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the camera

headset the production intercom channel is routed.

Cam Eng Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the camera

headset the engineering intercom channel is routed.

Cam Prog Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the camera

headset the program intercom channel is routed.

Cam Tracker Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the camera

headset the Tracker’s microphone signal is routed.

Cam Tracker lvl 0..99 50 User 1 Oper Sets Tracker signal level in the camera

operator’s headset.

Tr ack e r

Track e r M i c To Of f, C a m , E n g ,

Prod, All

Off User 1 Oper Selects the Tracker’s headset microphone

routing.

Track e r M i c Gain 0dB, 40dB 40dB User 1 Oper Selects gain of Tracker’s headset microphone.

Tracker Mic Pwr Off, On Off User 1 Oper Switches bias tee power (12 VDC) to Tracker’s

microphone on or off.

Track e r M i c Src Eng, Side Side User 1 Oper Selects engineering intercom or Tracker’s

sidetone signal for Tracker’s headphones.

Tracker Prod Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the Tracker

headset the production intercom is routed.

Track e r E n g Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the Tracker

headset the engineering intercom is routed.

Tracker Prog Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the Tracker

headset the progam intercom is routed.

Track e r C a m Off, Left, Right,

Both

Both User 1 Oper Selects to which ear muff(s) of the Tracker

headset the camera headset microphone signal is routed.

Tracker Lvl 0..99 50 User 1 Oper Sets Tracker headset level.

Audio

Audio Gain Mode Loc, Ext Ext User 1 — Loc (= local): audio gain level is controlled by

the camera settings. Ext (= external): audio gain level is (for both channels) controlled by the Base Unit.

Audio 1 Level -22dB,-28dB,-34dB,

-40dB,-46dB,-52dB,

-58dB,-64dB or

-10 dBu ... +4 dBu

-64dB User 1 — Selects input gain level for Audio channel 1 (when Audio Gain Mode is set to Local). Note: when Audio Gain Mode is set to External, Audio 1 Level is set by the Base Unit.

Audio 1 HPF Off, On Off User 1 — Switches High Pass Filter for Audio channel 1

on or off. Use to reduce 50 Hz and 60 Hz hum or low frequency noise.

Audio 2 Level -22dB,-28dB,-34dB,

-40dB,-46dB,-52dB,

-58dB,-64dB or

-10 dBu ... +4 dBu

-64dB User 1 — Selects input gain level for Audio channel 2 (when Audio Gain Mode is set to Local). Note: when Audio Gain Mode is set to External, Audio 2 Level is set by the Base Unit.

Menu item Val ue s Default Level File Description

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Audio 2 HPF Off, On Off User 1 — Switches High Pass Filter for Audio channel 2

on or off. Use to reduce 50 Hz and 60 Hz hum or low frequency noise.

Tally

On Air Lamp Enable, Disable Enable User 0 Oper Select Enable when the On Air Lamp/Tally light

at the front of a large viewfinder should follow the tally signal or select Disable if you never want it to light.

On Air Lamp Lvl 0..99 99 User 0 Oper Sets brightness level of the On Air Lamp/Tally

light at the front of a large viewfinder.

On Air Lamp Handgrip Switch, Input, Off Switch User 0 — Selects behavior of the On Air lamp at the rear

of the handgrip: Switch = Lamp lights depending on the Tally Switch on the EC270 viewfinder. Input = Lamp follows On Air input. Off = Always off.

Tally Lock Off, On On User 0 — Switches the Tally Lock function on or off.

When Tally Lock is on, some camera controls are locked when the camera is On Air.

CAWB Settings

CAWB Speed 1..40 4 Service — Sets the speed for the Auto White Balance

procedure.

CAWB Gain 1..40 10 Service — Sets the gain value for the Auto White Balance

procedure.

IP Settings

IP Mode Auto, Manual Auto User 0 — Sets (new) camera IP Configuration Mode to

Auto or Manual.

Subnet Mask 0..31 0 User 0 — Sets (new) camera IP Subnet Mask.

IP Address

IP Address 1 1..250 16 9 User 0 —

Sets (new) camera IP Address

IP Address 2 0..255 254 User 0 —

IP Address 3 0..255 1 User 0 —

IP Address 4 1..254 220 User 0 —

Apply Settings Exec, ... Exec User 0 — Applies new IP settings.

PCI ID 0..8 1 User 0 — Selects ID for external PC operation.

Signals

VF/Main Output Main, VF-HD, VF-

SD, VF-Ext

VF-HD User 3 — Selects the output signal for the combined VF/

Main Output connector on the adapter back panel.

Extern Output Ext1, Ext2 Ext1 User 3 Oper Selects the External video signal for the EXT

Out connector on the adapter back panel.

H-Phase 0..99 50 User 0 — Sets main video signals horizontal phase.

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6.6 Diagnostics menu

Menu item Val ue s Default Level File Description

Communication

Connections

BS Connected Yes, No — User 2 — Indicates if an Base Unit (BS) is connected to

the camera.

C2IP Panels 0..99 — User 2 — Shows number of C2IP control panels

connected to the camera.

LDK Connect GW Yes, No — User 2 — Indicates the presence of a Connect Gateway

in the camera network.

Ser Stats (DTCP) (Advanced settings)

....

Ser Stats (PCI) (Advanced settings)

....

SPI Stats (Advanced settings)

....

Transmission

Cable Length 0%..200% 0% User 0 — Shows % of cable length used with respect to

maximum cable length. Values > 100 indicate that transmission is below specification.

Cable Status OK, Critic, Error,

NoSig

OK User 0 — Shows status of the transmission cable:

OK = transmission is OK Critic = cable status is critical but transmission will continu. Error = cable quality is too low and transmission is not guaranteed. NoSig = no signal detected

Signal Status OK, Critic, Error,

NoSig

OK User 0 — Shows status of the transmission signal:

OK = transmission is OK Critic = signal status is critical but transmission will continu. Error = signal quality is too low and transmission is not guaranteed. NoSig = no signal detected

BS->CAM

Cable Status OK, Critic, Error,

NoSig

NoSig Service — Shows status of the transmission cable.

Signal Status OK, Critic, Error,

NoSig

NoSig Service — Shows status of the transmission signal.

RX Margin -100 dB .. 100 dB 0 dB Service — Shows received optical margin.

CAM -> BS

Cable Status OK, Critic, Error,

NoSig

NoSig User 0 — Shows status of the transmission cable.

Signal Status OK, Critic, Error,

NoSig

NoSig User 0 — Shows status of the transmission signal

RX Margin -100 dB .. 100 dB 0 dB User 0 — Shows received optical margin.

Transm Details

Opt Module Unknown,

FTLF1424P2

Unknown

Service — (Advanced settings)

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RX Power (uW) 0...6553.5 0 Service — (Advanced settings)

RX Power (dBm) -100 .. 100 0 Service — (Advanced settings)

TX Power (uW) 0...6553.5 0 Service — (Advanced settings)

TX Power (dBm) -100 .. 100 0 Service — (Advanced settings)

Module Temp (C) -40C .. 125C 0 C Service — (Advanced settings)

Module Temp (F) -40F .. 125F 0 F Service — (Advanced settings)

Optical Signal Ok, Loss Loss Service — (Advanced settings)

RX Locked No, Yes No Service — (Advanced settings)

Fra me Locked No, Yes No Service — (Advanced settings)

System Locked No, Yes No User 0 — (Advanced settings)

Profile 3G Optimal, HD

Optimal, 3G Robot, HD Robot, Unknown

Unknown

Service — Selects optimal transmission profile for

different applications.

BS->CAM (Advanced settings)

...

Data Error Stats (Advanced settings)

...

Ethernet

MAC-Address User 2 — Shows Ethernet MAC address of the camera.

Link state Connected,Disconn Disconn User 2 — Shows Ethernet Link (connection) status.

Link type Unknown, 10Mb/

Half, 10Mb/Full, 100Mb/Half, 100Mb/Full, Negotiate

Unknown

User 2 — Shows the Ethernet Link type.

Loopback test

Loopback test Off, On Off Service — (Advanced settings)

Data count Service — (Advanced settings)

Data errors 0..65535 0 Service — (Advanced settings)

Data loss 0..65535 0 Ser vice — (Advanced settings)

Configuration

Camera

Ty pe INVALID, FOCUS 70INVALID User 2 — Shows camera head type.

PID User 2 — Shows PID code of the camera head

Alias User 2 — Shows Alias of the camera head

Device ID User 2 — Shows Device ID of the camera head

Number 0..99 0 User 2 — Shows the logical camera number

Number 0..99 1 User 2 — Enter a new logical camera number

RP VF FW Image Unknown, FW 1,

FW 2, FW 3

Unknown

Service — (Advanced settings)

Adapter

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Ty pe None, 3GTriax,

3GFiber

None User 2 — Shows camera adapter type.

Type Number Unknown, FOCUS

Unknown

User 2 — Shows camera adapter type number.

Viewfinder

Type None, 2”HD, 5”HD,

7”HD, 8”LCD, 7”LCD, 9”LCD, 2”LCD, 7”OLED

None User 2 — Shows type of the attached viewfinder.

Base Station

Type <list of types > User 2 — Shows type of the connected Base Station/

XCU/Base Unit

Lens User 2 (Advanced settings)

Package Info

Camera Package

Package Ok, Not Ok Ok User 2 Shows Package status

Package 12NC 0..65535 0 User 2 Shows Package 12NC

Package Version 0..65535 0 User 2 Shows Package Version

Component RP IC FW, RP IC

SW, RP VP FW, RP VP SW, RP DI FWSW, RP BOOT SW, RP CONF SW, RP APP SW, RC FW, SBB FW, SBG FW, SBR FW

RPICFW User 2 Shows SW/FW Component

SW/FW Valid Ok, Not Ok Ok User 2 Shows SW/FW Valid

SW/FW 12NC 0..65535 0 User 2 Shows SW/FW 12NC

SW/FW Version 0..65535 0 User 2 Shows SW/FW Version

Adapter Package

Package Ok, Not Ok Ok User 2 Shows Package status

Package 12NC 0..65535 0 User 2 Shows Package 12NC

SW/FW Name RPICFW User 2 Shows SW/FW Name

SW/FW 12NC 0..65535 0 User 2 Shows SW/FW 12NC

SW/FW Version 0..65535 0 User 2 Shows SW/FW Version

Temperature

Warning None, Front, Head,

Tr a n s m , Fa n , Fan+T, !STOP!

None User 2 —

Fan Mode Off, Max, Var Var User 2 —

Fan Voltage 0 V..5 V 5 V User 2 —

Fan Speed 0 rpm..5000 rpm 0 rpm User 2 —

Fan Timer 30 sec..240 sec 90 sec User 2 —

Temp (C)

Head -128 C..127 C 0 C User 2 — Shows camera head temperature.

Head RP Brd -128 C..127 C 0 C Service — Shows temperature of the RP (Right

Processor) Board.

Menu item Val ue s Default Level File Description

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Head RP FPGA -128 C..127 C 0 C Ser vice — Shows temperature of the FPGA on the RP

(Right Processor) Board.

Front -128 C..127 C 0 C User 2 — Shows camera head Front temperature.

Sensor Red -128 C..127 C 0 C Service — Shows camera head Front Red sensor temp.

Sensor Green -128 C..127 C 0 C Service — Shows camera head Front Green sensor temp.

Sensor Blue -128 C..127 C 0 C Service — Shows camera head Front Blue sensor temp.

RF Adapter ----, Ok, Critic, Error --- User 0 — Shows RF Adapter temperature status.

Adapter -128 C..127 C 0 C User 2 — Shows Adapter temperature

Powe r -128 C..127 C 0 C User 2 — Shows camera Power temperature

Backpanel -128 C..127 C 0 C User 2 — Shows back panel temperature

Tr an s m -128 C..127 C 0 C User 2 — Shows transmission temperature

Te mp (F)

shows all termperatures as above in degrees Fahrenheit (F)

Front

... (Advanced settings)

Status

... (Advanced settings)

Metrics

... (Advanced settings)

Menu item Va lue s Default Level File Description

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6.7 Service menu

Menu item Val ue s Default Level File Description

Pref Network Serial, Ethernet

Ethernet

User 3 — Selects preferred control network.

Test Signals

Colour Bar Off, On Off User 3 — Switches Colour Bar on or off.

Test Signal Off, On Off User 3 — Switches Test signal on or off.

Test Select SawT, Step,

SawT400, Step400

SawT User 3 — Selects which Test signal to use: Sawtooth,

Stepped, Sawtooth 400 or Stepped 400.

Diag Files

Storage None, SDcard,

USB, SD+USB

None Service — (advanced settings)

Write All Exec > Busy Exec Service — (advanced settings)

Progress None, Config,

Usage, Settings, ApplLog, DiagLog, AdapLog

None Service — (advanced settings)

Info Files

Write Config Exec > Busy Exec Service — (advanced settings)

Write Settings Exec > Busy Exec Service — (advanced settings)

Write Usage Exec > Busy Exec Service — (advanced settings)

Log Files

Camera Applog

Copy to File Exec > Busy Exec Service — (advanced settings)

Camera DiagLog

Copy to File Exec > Busy Exec Service — (advanced settings)

Num of Days 0..99 0 Service — (advanced settings)

Progress 0%..100% 0% Service — (advanced settings)

Log Storage

Status Unknown, Ok,

ErrFlash, Full, ErrPtr, Erasing

Unknown Service — (advanced settings)

Space used 0%..100% 0% Service — (advanced settings)

Days available 0..65535 0 Service — (advanced settings)

Erase Log Data Exec > Busy Exec Service — (advanced settings)

Adapter DiagLog

Copy to File Exec > Busy Exec Service — (advanced settings)

Num of Days 0..99 0 Service — (advanced settings)

Progress 0%..100% 0% Service — (advanced settings)

Log Storage

Status Unknown, Ok,

ErrFlash, Full, ErrPtr, Erasing

Unknown Service — (advanced settings)

Space used 0%..100% 0% Service — (advanced settings)

Days available 0..65535 0 Service — (advanced settings)

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Erase Log Data Exec > Busy Exec Service — (advanced settings)

Message Logging

External Logging

Mode Off, Manual Off Service — (advanced settings)

Logging Server

IP Address 1 1..250 169 Service — (advanced settings)

IP Address 2 0..255 254 Service — (advanced settings)

IP Address 3 0..255 1 Service — (advanced settings)

IP Address 4 0..255 0 Service — (advanced settings)

Apply Settings Exec > Busy Exec Service — (advanced settings)

Local Logging

Logging Off, On Off Service — (advanced settings)

Logging Level

RP DI FWSW

Logging Enabled, Disabled Disabled Service — (advanced settings)

Severity Emergency, Alert,

Critical, Error, Warning, Notice, Info, Debug

Info Service — (advanced settings)

SD Card

Present No Yes, No Service — Shows Yes if an SD Card is present.

Status Unknown, Running,

OK, Error, No Card

Unknown

Service — Shows current status of the SD Card

Formatting process.

Format Off, Running Off Service — Format the internal camera SD Card.

Note: this takes about one minute.

Copy to USB Exec > Busy Exec Service — Copies the files on the SD Card to the USB

device (if present).

Data Partition

Status Unknown, Busy...,

OK, Error, NonGV, Init...

Unknown

Service — Shows status of the Data Partition of the

internal camera SD Card.

Space left 0..65535MB 0MB Ser vice — Shows space left in MBs on the Data Partition

of the internal camera SD Card.

Format Off, Running Off Service — Select to format the Data partition of the

internal camera SD Card.

USB Available No, Yes No Service — Shows Yes if an external USB flash drive is

inserted.

Calibrations

3200K Calibr

3200K Calibr Off, On Off Service — Select to run the 3200K Calibration.

3200K Reset Fact, Cust Fact Service — Selects 3200K Calibration to use the

Cust(omer) = measured value, or the Fact(ory) value.

Black Calibr

Black Cal Off, Running Service — Select to run Black Calibration.

Note: this takes about a minute to complete.

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Status Unknown, OK, Error, Fatal

Error, Needed, Temp Low, Temp Unst, TimeOut, Filter Cap, Warming Up, Stabilizing, Running, Ready, Failed, Aborted

Service — Shows current status of the BlackCalibration

process.

Calibr Temp 37 C, Act 37 C Service — Selects camera temperature at which Black

Calibration is carried out. 37 C = 37 degrees Celsius, Act = actual (current) temperature.

Act Temp -128 C .. 127 C 0 C Service — Shows actual (current) camera temperature.

Menu item Val ue s Default Level File Description

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Chapter 7 - Maintenance

Chapter 7

Maintenance

7. 1 Black Calibration

Black Calibration is an automated procedure that improves the image quality by re-mapping the level of black for each pixel to keep a consistent sensitivity throughout the entire image.

In general, the Black Calibration procedure should be performed after a package update when it is indicated by a message (“Black Calibration needed”) in the viewfinder.

– In some cases, it may take about a minute before this message appears.

1. Switch on the camera.

☞

Note

☞

Note

The user level must be set to Service to access the Service menu.

2. In the camera menu, go to the SERVICE > CALIBRATIONS > BLACK CALIBR menu and

select the calibration temperature using the CALIBR

TEMP item. There are two options:

37 C (default) or Act (actual) temperature.

3. Go to the BLACK CAL item and select it. The camera starts to warm up or cool down,

depending on the ambient temperature and the selected calibration temperature. The lens is capped automatically and lens iris is closed during the calibration process.

– Actual (current) temperature can be monitored using the ACT TEMP item.

4. When the camera reaches the selected calibration temperature, the Black Calibration

process starts. It takes about one minute to complete.

– During the process, you can monitor Black Calibration using the STATUS item.

5. When the process is finished, the camera can be used normally.

Tip

✎

It is recommended to carry out Black Calibration when the camera is used under extreme ambient temperature conditions. Make sure to set the CALIBR TEMP item to Act before performing the calibration.

100 Focus 70 Live Highly Affordable HD System Camera User’s Guide (v1.1)

Chapter 7 - Maintenance

7. 2 Formatting the SD Card

In some situations it may be necessary to format the camera’s internal storage (SD) Card. To format the SD Card, proceed as follows:

1. Switch on the camera.

☞

Note

☞

Note

The user level must be set to Service to access the Service menu.

2. In the camera menu, go to the SERVICE > SD CARD > FORMAT item and select it. The

formatting process starts. It takes about one minute to complete.

3. During the process, you can monitor the process using the STATUS item.

4. When the SD Card formatting has finished, the camera can be used normally.

GRASS VALLEY Focus 70 Live User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual