Sony NEX-EA50 HANDBOOK

NEX-EA50

Handbook

High reliability in an adaptable design

The NEX-EA50 camcorder features an ultra-large image sensor for optimum

high-resolution live-action video capture.

The APS-C size Exmore HD CMOS image sensor with 16.7 million pixels produces

unparalleled stereoscopic images at shallow depth of eld and guarantees

improved clarity with minimal noise in low light settings.

Video cameras with large sensors have been available for some time in the DSLR (digital single lens

reex) camera format. However the NEX-EA50 is superior to conventional DSLR cameras and offers a number of exciting new features.

Extended operation and recording times

・

Overheat protection enables continuous uninterrupted recording for up to 540 minutes using the NPF970 battery pack, or 330 minutes under normal usage conditions.

Back up recording

・

The NEX-EA50 supports simultaneous recording onto an optional ash memory unit (HXR-FMU128) as well as the HD memory card to help prevent accidental data loss. Separate START/STOP buttons allow independent recording control for each media type.

SELP 18200 powered zoom lens (not available on all models)

・

The powered zoom lens delivers smooth zoom action during video capture from 29 mm through to 322 mm (35-mm equivalent).

High-quality digital zoom using xed focal length lens

・

The NEX-EA50 provides precise, high quality zooming when using a xed focal length (prime) lens, without change in the depth of eld which is virtually impossible to achieve using an optical zoom lens.

Time code setting (Rec run/free run)

・

The infrared remote control allows simultaneous reset and synchronized recording of the NEX-EA50 together with other NXCAM

LPCM audio recording/XLR connector

・

In addition to the built-in stereo microphone, the NEX-EA50 comes with the ECM-XM1 shotgun microphone powered by a 48 Volt XLR connector.

Adaptable shoulder style design

・

The NEX-EA50 has a handle grip for active hand-held shooting, as well as a retractable shoulder-pad and detachable viewnder for added stability in shoulder-mounted mode.

Chapter

AUTOMATED FUNCTIONS

Chapter

SENSOR AND LENS

Chapter

SHOOTING STYLES

Chapter

FILE-BASED

Chapter

PICTURE PROFILE

Chapter

AUTOMATED FUNCTIONS

About automated functions

For documentaries and events requiring maximum mobility, automated functions such as Auto Focus and Auto Exposure reduce the workload so that you can concentrate on tracking the subject. The 11 x powered zoom lens and E-Mount lens supplied with the NEX-EA50 are compatible with Auto Focus and Auto Exposure. A-Mount lenses also support the following automated functions when used in conjunction with the LA-EA1 or LA-EA2 mount adaptor.

Comparison Chart for LA-E A1 and LA-E A2 (When used with NEX-EA5 0)

LA-EA1 LA-EA2

Focus Iris Focus Iris

A-mount Lens Type

SSM No Yes No No Yes No Yes*

SAM No Yes No No Yes No Yes*

Coupler No Yes No No Yes No Yes*

*1 Iris positi on moves to either F 3.5 or maximum iri s in AUTO FOCUS mod e. *2 Iris positi on moves to either F 3.5 or maximum iri s in PUSH AUTO focu s mode while expo sure is adjusted b y shutter speed .

AUTO FOCUS

MANUAL FOCUS

PUSH AUTO

AUTO MANUAL IRIS

PUSH AUTO

AUTO FOCUS

MANUAL FOCUS

Yes Yes*2No Yes Yes

PUSH AUTO

AUTO MANUAL IRIS

PUSH AUTO

Video Settings

AUTO EXPOSURE (AE) function lets you control image brightness automatically

Moving the AUTO/MANUAL switch to AUTO enables automatic

adjustments of the iris, gain, shutter speed and white balance

settings. You can start shooting right away without checking

those settings.

AUTO EXPOSURE (AE) is a camcorder function that controls

all or some of the iris, shutter speed and gain parameters

automatically to achieve ideal brightness for videos.

With the NEX-EA50, the above parameters, as well as white

balance, are controlled automatically when the AUTO/MANUAL

switch is moved to AUTO. Please note that automatic control

of iris is only possible when an E-mount lens is used. When

another maker’s lens is used, iris remains under manual

control, while other parameters are adjusted automatically.

When the AUTO/MANUAL switch is in the MANUAL position,

pressing the specific button for a particular parameter, such

as the GAIN button, lets you switch between the AUTO and

MANUAL modes just for that parameter (gain in the case of the

button). The [A] icon next to a parameter indicates it is being

controlled automatically.

AUTO/MANUAL switch

GAIN button

Even when the AE function is used, it cannot produce perfect

results under all lighting conditions. But by also utilizing

support functions, you can use the AE function effectively.

AUTO/MANUAL control display

AUTOMATED FUNCTIONS

AE SHIFT for automatically shooting video a little brighter or darker

The AE SHIFT function enables you to shoot at an exposure level that is a little higher or lower than the AE function normally selects.

Usage examples

■

When the subject is darker than the background, such as when

shooting a person against light, a snowfield or another bright

background using the AE function. If you want to capture the

subject brightly even if the background becomes extremely

bright, you can shift AE toward the + (plus) side.

LEVEL = +2.0EV

How to set/operate

1. MENU → CAMERA SET → AE SHIFT

2. Select ON/OFF.

3. Adjust the shift brightness in the range - 2.0 (dark) through 0 (normal) to +2.0 (bright).

Press the SEL/PUSH EXEC dial to enter the new setting.

Note: This feature is available when auto control is enabled for the iris, shut ter speed and/or gain.

LEVEL = 0EV

■

When the subject is too bright compared to the brightness

of the background. If you want to tone down the subject’s

brightness even if the background becomes darker, you can

shift AE toward the – (minus) side.

ASSIGN

LEVEL = –2.0EV

SENSOR AND LENS

SHOOTING STYLES

① ② ③

AUTO FOCUS function lets you control focus adjustment automatically

With focus, automatic adjustments kick in when the FOCUS

switch is moved to AUTO.

FOCUS switch

Using Manual functions for purposeful shooting

Moving the AUTO/MANUAL switch to MANUAL enables manual adjustments of the iris, gain, shutter speed and white balance

settings. Please note using this switch will change the settings for all these exposure settings. Regarding focus adjustment, moving

the FOCUS switch to MANUAL enables manual adjustment.

FILE BASED

PICTURE PROFILE

AUTOMATED FUNCTIONS

White Balance (WB)

To shoot images in correct colors, you need to adjust your camera so that it can capture a white object as white under lighting

conditions with different color temperatures. At the same time, white balance is sometimes used to shoot something that is not white

as white for dramatic effects.

One Push White Balance lets you capture white subjects as white

Selecting WHITE BALANCE MEMORY switch A ( A) saves

a white balance adjustment value in memory A. Choosing

switch B (

adjustment value separately in memory B. Unless you readjust,

the saved adjustment values will be held in memory even when

the power is turned off. We recommend using this feature when

you use ND lters.

How to use/operate

1. Push the WHT BAL button on the camera body.

2. Select A (

MEMORY switch located on the camera body.

3. Set the correct exposure under the same lighting conditions

as the subject, capture the white subject as large as

possible in the screen, and push the

4. The adjustment value is stored in

color temperature is displayed on the LCD screen for about

three seconds.

B) enables you to store another white balance

A) or B ( B) with the WHITE BALANCE

(one push) button.

A or B. The saved

WHT BA L button

(one push) button

WHITE BAL ANCE

MEMORY switch

WB TEMP SET (white balance temperature set) lets you directly set color temperature

This function enables you to specify the color temperature in numbers, such as 3,200K and 6,500K.

Usage examples

■

When you want to match white balance with other

broadcasting/professional camcorders whose color

temperatures can be congured by entering numbers.

■

When you want to keep the numerical values of color

temperatures as shooting data when the shooting

assignment extends over multiple days, for example.

TIPS

There are times when the correct white balance cannot

be obtained by designating a color temperature alone, such as when you are shooting under fluorescent or LED lights. In such cases, we recommend you also use the WB SHIFT function under the Picture Profile menu.

How to set/operate

1. MENU → CAMERA SET → WB PRESET → WB COLOR TEMP

Exit from the menu system.

2. Press the WHT BAL button on the side of the camera and set the memory switch to PRESET.

3. Press the

the display, then use the SEL/PUSH EXEC dial to adjust the color temperature in the range 2,300 K through 15,000 K.

4. Press the to enter the new setting.

(one push) button to highlight COLOR TEMP on

(one push) button or the SEL/PUSH EXEC dial

WB OUTDOOR LEVEL (white balance outdoor level) for controlling an image’s color tone with white balance

This function lets you change the color temperature (default value at roughly 5,800K) for the OUTDOOR white-balance preset.

Usage examples

■

When you do not have a white subject for setting white balance.

■

When you want to match the white balance of multiple cameras as much as possible.

■

When you want your image to have an orange tone like during sunsets or a bluish

tone like at night and under shade.

How to set/operate

1. MENU → CAMERA SET → WB PRESET → OUTDOOR

Exit from the menu system.

2. Press the WHT BAL button on the side of the camera and set the memor y switch to

PRES E T.

3. Press the

dial to adjust the correction level in the range -7 (blue tint) through 0 (normal) to +7 (red tint), in increments of approximately 500 K.

4. Press the

(one push) button to highlight the display, then use the SEL/PUSH EXEC

(one push) button or the SEL/PUSH EXEC dial to enter the new setting.

WB OUT DOOR LEVEL = +7

WB OUT DOOR LEVEL = –7

AUTOMATED FUNCTIONS

SENSOR AND LENS

SHOOTING STYLES

Reference: WB preset and color temperature

WB (White Balance) preset

(K)

30,000

25,000

10,000

8,000

7,000

6,000

5,000

4,000

3,200

3,000

1,500

Clear skylight

Bright overcast skylight

Overcast skylight

Daylight fluorescent lamp

Daylight

Noon

2 hours after sunrise

1 hour after sunrise

100 W tungsten lamp

WB TEMP SE T

(Unit: 100 K)

15,000K

WB OUTDOOR

2,300K –7

LEVEL

(Unit: 500K)

(Approx. 9,300K)

(Approx. 5, 800K)

(Approx. 2,3 00K)

TIPS

INDOOR color temperature is 3,200K and OUTDOOR color temperature is 5,800K in WB PRESET setting.

Some camcorders in the HDV and NXCAM series are equipped with the same function. You can roughly match their color temperatures by setting their WB OUTDOOR LEVEL at the same level.

FILE BASED

PICTURE PROFILE

AUTOMATED FUNCTIONS

Audio settings

The NEX-EA50 has two audio input channels and accepts three input sources: built-in stereo microphone, unidirectional mono microphone (supplied) and external line in. There is a +48 V phantom power supply.

Using the built-in stereo microphone

The stereo microphone is set into the front of the handle. This microphone has low directionality and provides consistent orientation during both fixed and pan shots. It is designed to provide general ambience with relatively close subjects using a moving camera.

How to set/operate

1. Set the CH1 (INT MIC/INPUT1) switch (see ② in diagram on

right) and the CH2 (INT MIC/INPUT1/INPUT2) switch⑥to INT

MIC.

2. Set the input level AUTO/MAN switches③ and

position.

TIPS

For distant subjects where the sound levels are too low, use the menu system to navigate to AUDIO SET → INT MIC SET → INT MIC SENS and select HIGH SENS to boost the audio level in AUTO mode.

to the AUTO

⑦

Using the supplied ECM-XM1 shotgun microphone (mono only)

The directional shotgun microphone is used to minimize background noise for distant subjects.

How to set/operate

1. Connect the shotgun microphone to INPUT1 (upper) and set the INPUT1 switch (see① in diagram above) to MIC+48V.

2. Set both the CH1 switch ② and the CH2 switch ⑥to INPUT1 position.

TIPS

Mono sound signal is distributed evenly between the left and right channels. If the CH2 switch (6) is set to LINE then no sound is recorded on CH2. When using a dynamic unpowered microphone, switches (1) and (5) should be set to the MIC position. This disables the 48 V power supply. In strong wind conditions, use the menu system to navigate to AUDIO SET → XLR SET → WIND RED, then turn on wind reduction to reduce wind noise.

Wireless and other external microphones

Wireless microphones are often used by reporters who are constantly on the move. The microphone is connected to a transmitter worn by the reporter. The receiver is attached to the camera, providing an audio output feed that is connected to the camera input.

How to set/operate

The wireless microphone is connected in the same way as the shotgun microphone. When using a two-channel system with separate microphones, connect the left channel to INPUT1 and the right channel to INPUT2. For more information, refer to the manufacturer’s instructions for the microphone.

AUTOMATED FUNCTIONS

SENSOR AND LENS

Adjusting the input level for external microphones

TIPS　

TRIM is used to adjust the microphone input level in accordance with the sound volume. In the menu system, navigate to AUDIO SET → XLR SET → INPUT1(2) TRIM, then select the required trim value (-18 dB, -12 dB, -6 dB, 0 dB, +6 dB and +12 dB).

TIPS

あああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああ

For high-sensitivity microphones, or when recording very loud sounds, reduce the trim value. For low sensitivity microphones,

あああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああ

increase the trim value.

ああああああああああああああああああああああああああああああああああああああああああ。

Audio distortion may be caused by input distortion (at the microphone) or recording distortion (within the camera), or a combination of both. To reduce input distor tion, adjust the trim as described above. To reduce recording distortion, change to manual audio mode (switches remain out of the peak zone. In certain settings the Audio Limiter can help to improve the sound quality when recording in manual audio mode. Use the menu system to navigate to AUDIO SET → AUDIO LIMIT.

and ⑦) and adjust the input level dials (④ and ⑧) so that the sound level meters

③

Adjusting the playback volume

The audio track can be monitored through headphones during recording and playback, and also from the built-in speaker during playback. The volume buttons and channel selector are located on top of the camera at the back.

SHOOTING STYLES

FILE BASED

PICTURE PROFILE

TIPS

A at mono mix of CH1 and CH2 in the headphones can be used to check the balance between lef t and right channels while

recording. To switch to the mono mix, use the menu system to navigate to AUDIO SET → HEADPHONE OUT and select MONO.

Chapter

SENSOR AND LENS

16.7 million pixel APS-C size Exmor HD CMOS sensor

The NEX-EA50 delivers rich “bokeh” that brings the subject to life as well as excellent sensitivity to reduce noise in low-light settings. The large APS-C size sensor produces images at sufcient resolution to allow digital zooming with no loss of picture quality, effectively transforming a single focal length lens into a high-quality zoom lens.

Sensor sizes

APS-C

2/3 size

1/3 size

Depth of eld High sensitivity and low noise

At a given angle of eld, a larger sensor with a longer focal length will create more background blurring. When depth of eld is relatively shallow, this accentuates the region that is in focus and creates a striking sense of presence.

The larger the sensor, the greater the area available for capturing light. More light in turn boosts the sensitivity and the signal-to-noise ratio, allowing the camera to produce clear images with minimal noise even at maximum gain in low-light settings.

TIPS

About depth of eld

To capture the entire view from foreground to background in focus, photographers typically use a wide-angle lens with shor t focal length together with a narrow aperture, and try to get a reasonable distance from the main subject. Conversely, to accentuate the subject by blurring the background or surrounding scenery, a telephoto lens with longer focal length is used in combination with a wide aperture, and the camera is brought closer to the subject. In theory, depth of eld is governed by three factors: f-stop (aperture), focal length and distance from the subject. In practice, however, the distance between the subject and the background also inuences the amount of blurring.

Controlling the brightness

Brightness (or exposure) is closely linked to depth of eld. Brightness is governed by three factors: aperture (or iris), shutter speed and gain. In a well-lit setting, an ND lter can be used to control the light level and enhance the “bokeh” effect.

Gain/ISO

The NEX-EA50 allows for higher gain (or ISO) settings, where the image signal level is amplified electrically to boost the image brightness. In this way, the NEX-EA50 can produce excellent images with minimal noise in low-light settings such as a darkened stage, where conventional video cameras would have too much noise.

* Gain and ISO sensitivity can be set independently, with priority

given to either as required.

How to set/operate

1. Set the AUTO/MANUAL switch to MANUAL.

2. Press the GAIN/ISO button to display the gain or ISO value.

3. Set the gain switch to H, M or L as required.

Setting range: Gain H (18 dB) M (9 dB) L (0 dB) ISO H (800) M (400) L (160)

AUTOMATED FUNCTIONS

SENSOR AND LENS

SHOOTING STYLES

TIPS

The gain and ISO settings can also be modied via the menu system. Navigate to CAMERA SET then either GAIN SET or ISO SET.

Gain range: 0 dB – 30 dB

ISO range: 160 – 5,000 When the GANMA picture prole is set to ITU709, the ISO range becomes 200 – 6,400. Note: ISO range may differ for other picture proles.

FILE BASED

PICTURE PROFILE

SENSOR AND LENS

Controlling the brightness

Iris

In manual control mode, the iris ring is used to adjust brightness by opening and closing the lens mechanically.

How to set/operate

1. Set the AUTO/MANUAL switch to MANUAL.

2. Press the IRIS button to display the iris setting.

3. Adjust the iris setting using the iris ring.

Note: A lower iris setting opens the lens and increases the

available light volume.

To engage auto control temporarily

4. Press and hold the PUSH AUTO button.

Note: Auto control requires an E-Mount lens or an A-Mount lens

with LA-E2+A mount adaptor.

To engage auto control permanently, press the IRIS button again.

Shutter speed

The shutter speed can also be used to control the quantity of transmitted light.

In still photography, both the shutter speed and the aperture (iris) are used to control the light volume. With video cameras, however, shutter speed is more problematic. Faster shutter speeds can cause subject movements to appear brittle and unnatural, while slower shutter speeds can make movements and camera panning appear jerky.

How to set/operate

1. Set the AUTO/MANUAL switch to MANUAL.

2. Press the SHUTTER SPEED button to highlight the shutter

speed setting.

3. Adjust the shutter speed using the SEL/PUSH EXEC dial.

Note: A shutter speed of 1/100 sec is displayed as 100. Thus a

higher value indicates a faster shutter speed.

1010

External ND lter

When using a wide aperture in a bright outdoor setting, for instance to achieve a shallow depth of eld effect, a high shutter speed is required in order to prevent overexposure. Where a shutter speed of 1/48 sec would be suitable in 24 p mode, at a larger aperture a very fast shutter speed of around 1/1000 sec would be needed, making movements appear brittle and unnatural. An alternative is to t an external ND lter to the lens to reduce the amount of light entering the camera.

AUTOMATED FUNCTIONS

■

Round, glass screw-in type

These lters are designed to be screwed in at the tip of the lens

unit. Cheap and widely available, these lters can reduce the light

volume to 1/4, 1/8, or 1/16 of the original level.

Because they need to match the lens unit’s lter diameter

requirement, you need to obtain lters that are in the right size or

alter the lter diameter by using a tool such as a step-up ring.

If the light volume is still too high even with a 1/16 lter,

you will need to combine multiple lters. In such instances,

diffused reections can easily cause ares and halation. To

prevent them, you need to block the light from directly hitting

the lters.

■

Sheet type

Because these lers were at rst based on gelatin, they are still

widely referred to as gelatin lters.

They are inserted into a paper lter-holder. Sometimes, they are

cut up into smaller pieces and attached to the back of the lens or

the lens mount. You need to be careful with dust and make sure

that pieces of the sheet-type

lter do not touch the sensor

section. For these reasons, we

do not recommend the second

usage method.

■

Filters that enable ND level to be controlled

via fader lever

These recently introduced products are round, glass screw-

in type lters with a lever on their outer circumference. By

turning the lever, you can change the light volume.

These lters alter colors more than other types of ND lters.

You need to take precautions, such as checking white

balance manually for every cut.

■

Square glass type

These are high-priced lters that are used in combination with a

matte box. They are not affected by the lens diameter, and the

light volume can be adjusted by simply changing one lter with

another.

SENSOR AND LENS

SHOOTING STYLES

FILE BASED

TIPS　

How to select ND lters

If you normally use two or three lenses, we recommend getting 1/4, 1/8 and 1/16 round, glass screw-in type ND lters that match

the diameter of your largest-diameter lens. Or it could be a fader-type ND lter that matches the diameter of your largest-diameter

lens. When you use a smaller lens, you can attach your lter to a step-up ring.

If you use many lenses and they include a large-diameter lens, selecting the combination of a matte box and square glass ND lters

will give you more exibility.

PICTURE PROFILE

SENSOR AND LENS

Brightness adjustment

Zebra display—for checking subject brightness

Zebra stripes are superimposed on areas of the image that correspond to the designated brightness level, to provide a guide for brightness adjustment. To check for whiteout, set the Zebra display to 100+ then adjust the brightness to minimize the stripes visible on the screen. For face close-ups, where a brightness level of 62% – 65% is recommended, set the Zebra display to 75 then adjust the brightness so that the stripes disappear from skin areas.

How to set/operate

1. MENU → DISPLAY SET → ZEBRA

2. Select ON or OFF.

3. Select a brightness level (70, 75, 80, 85, 90, 95, 100 or 100+).

Press the SEL/PUSH EXEC dial to enter the new setting.

②

ASSIGN

③

①

Histogram—for checking overall light balance

The histogram displays brightness levels across the entire image in the form of a bar graph, with brightness on the horizontal axis and pixel count on the vertical axis. The histogram is a useful way to assess the overall exposure balance of an image. For instance, in an image with many bright areas, the distribution will be skewed to the right. A vertical line denotes the 100% brightness point. Brightness levels over 100% are displayed with a different background color to help locate areas of whiteout. The ZEBRA POINT option also shows the selected Zebra brightness level on the histogram, providing a visual indication of brightness levels during lming.

How to set/operate

1. MENU → DISPLAY SET → HISTOGRAM

2. Select ON or ON [ZEBRA POINT].

Press the SEL/PUSH EXEC dial to conrm.

ASSIGN

①

②

1212

+ 30 hidden pages