The Fundamentals of Camera Movement

Video camera movement is used for many purposes. It may be used to make an object appear to be bigger or smaller. 

It may be used to make things blurred, scary, or just different. Camera movement techniques are often used, however, to tell a story.
Learning camera movement fundamentals isn't hard. The various camera movement techniques are done either with a mounted camera, a moving camera - where the camera and the photographer move together, or movement of just the camera lens.


Practicing the various camera movement fundamentals will help you learn which camera movement techniques work best for you.
 

 

Technique 1: Mounted Camera Pan
Mounting the camera on a tripod, simply move the camera horizontally from left to right. Pan shots are used to show the viewer more of the scenery. This technique is also often used to show views from high places, such as overlooks. Pan shots should begin with a still shot, then pan, then finish with a still shot. You should practice panning at various speeds until you find the speed that works best for you.
 
Technique 2: Mounted Camera Tilt
A tilt done with a mounted camera is quite simple. You just move the camera up or down, without lowering or raising the position of the camera. This is must like panning, only it is done vertically. This video camera technique is used to follow the subject that you are photographing, or to show the viewer a large object from top of bottom - or from bottom to top.
You should note that when you tilt from bottom to top, the object looks larger or thicker. When you tilt from top to bottom, the object looks smaller or thinner. As with panning, you should begin with a still shot, tilt, then stop on a still shot. Again, practice this technique at various speeds until you find what works for you.
 
Technique 3: Mounted Camera Pedestal
This video camera technique is pretty much the opposite of the tilt technique. You do not tilt the camera, but you either raise or lower the position of the camera. This technique is simply used to get the proper view that you are looking for.
If you wanted to shot pictures of a baby, you would want to lower the camera. If you wanted to shot a tall person, you would raise the height of the camera. The purpose would be to make it appear that the subject is 'eye to eye' with the viewer.
 
Technique 4: Moving Camera Dolly
This video camera movement technique involves the use of a camera dolly, like the camera dolly's you might see on a movie set. You can make your own dolly with a wheelchair, a scooter, a skateboard, a rolling cart, or many other devices that have wheels.
This video camera movement technique is used to follow your subject. The use of a dolly opens up many possibilities, especially when used in conjunction with other techniques. Remember that you will want to be able to roll backwards as well as forward. Practice using this technique, and once you have it down, try mixing it with other techniques.
 
Technique 5: Moving Camera Floating Stabilizer
Floating stabilizer devices are used to follow a subject around twists and turns. The stabilizer is strapped to the photographer, and the camera is mounted to the stabilizer with metal jointed which are controlled by gyroscopes.
This video camera movement technique is a step up from the dolly technique. The movement of a dolly is limited, floating stabilizer devices remove those limitations. As with the dolly technique, you should learn the video camera movement fundamentals of this technique, then try mixing it with other techniques to get different effects.
 
Technique 6: Moving Camera Boom
A camera boom is a smaller version of the cranes that are used for construction. A camera boom is used to get a view of subjects or scenes from above. These are commonly used in filming movies, and the boom moves up, down, and around.
 
Technique 7: Moving Camera Handheld
Using this technique, the photographer simply holds the video camera, and moves wherever, and however, he needs to move to get the shot that he wants. When using this technique, you should avoid using the zoom feature on your camera. Zooming while using the handheld technique will make your shot appear to be shaky. Instead of zooming, move closer to the object you are shooting.
 
Technique 8: Camera Lens Zoom
You can get many different effects when using the zoom feature on your camera. This works well when combined with other video camera movement techniques. You should practice zooming at different speeds, as different situations will call for different speeds of zooming.
Zooming can create many different illusions, which can effect the viewers perception of size and distance. Alternately, zooming can be used to more adequately portray the size or distance to a viewer. It is recommended that you use a tripod when using the zoom technique.
 
Technique 9: Camera Lens Rack Focus
This is an interesting video camera movement technique, which can give your shots more impact. This technique calls for focusing the camera on one object in a close up shot, causing everything in the background to be out of focus, then causing the object itself to become out of focus while the background becomes in focus.
This is done by changing the focal length so that one object will go out of focus while another comes into focus. The two objects must be at a correct distance away from each other for this technique to work, and you will want to use a tripod for this type of shot.
 
Conclusion
Learn how to use all of the features on your camera, then combine the use of those features with different movements to get the most out of your shots. Video camera movement techniques can really spice up your home movies, and give them the style and flair that you see in Hollywood movies!

Video DSLRs vs Camcorders

The Dirty Little Secrets

The convergence of stills and video continues. An increasing number of DSLRs now have video capability. The first were the Nikon D90 and Canon 5DMKII, both introduced in 2008. The first half of 2009 has now seen the Canon Rebel T1i (500D), Nikon D5000, Panasonic GH1, and Pentax K7 introduced.

While this site's primary focus is still-image making in all its forms, the convergence movement on the part of the camera industry requires that attention also be paid to video and video making. While there is reluctance on the part of many amateurs to adopt this blending of image making disciplines, many pros have embraced video as a new means of revenue generation, not to mention creative expression. And for creative amateurs it's becoming clear that things don't have to be an either / or decision; a great many leading photographic artists have also been filmmakers, such as Robert Frank, Henri Cartier-Bresson, and Gordon Parks, to name just a few.

Since we expect that just about every DSLR introduced from now on will have video capability, It is worthwhile understanding the difference between what a Video DSLR (AKA – ComboCam) and a Camcorder each have to offer, both for the videographer and the still photographer wanting to get into video.

If the jargon and basic concepts of contemporary video are a bit unfamiliar to you, my Video Primer for Photographers may be of some assistance.

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It's About Shallow Depth of Field

Just as in the world of digital stills, there are categories and cameras, and then there are marketing words such as amateur, prosumer, and pro. Depending on who's saying them and the context, these can either be explanatory or pejorative.

Video capable DSLRs like the Canon 5D MKII have been rapidly embraced by professional and indie film makers for what it can do, but not because it is by any stretch of the imagination a professional video camera.

The magic that video DSLRs offer is their large sensors (at last when compared to video cameras). No, not for the purposes of increased resolution. 1080 and 720 are what they are, and a larger sensor doesn't provide any higher resolution. Rather, because these larger sensors allow for narrower depth of field. Of course it's not the sensor size so much as it is that for a given aperture and focal length one gets narrower DOF with a larger sensor as a consequence of their using longer focal length lenses for the same image magnification. This is the holy grail for many film makers: the narrow DOF that allows the videographer to isolate a subject and therefore give the scene a more "filmic" look.

Combined with shooting in 24P (another filmic conceit (Def 4.b)) these are the two characteristics that North American independent film makers (Indies) try for when shooting video. In the rest of the world most video producers just don't get it. That's fine. I'm fairly agnostic on the subject though trending more towards embracing shallow DOF and 24 FPS the more I shoot.

The reason for this preamble is to try and shed some light on why film makers are going a bit nutso over video DSLRs, even though these are, for the most part, not very good all-round video cameras.

They're not – you say? How so?

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What We Do and Don't Currently Get with DSLR Video Cameras

As exciting as video-capable DSLRs are for film makers of various stripes, they lack a great deal as video cameras per se. The list below is not intended to be comprehensive, and not every feature lacking is missing on every current video DSLR. Some have one or two desirable video features, others don't. But, for someone who looks at one of the new video DSLRs and says to themselves – self; this is all I need to shoot movies, here's what's often missing or problematic.

Viewfinders and Screen

Serious videographers require both an articulated LCD screen as well as an electronic viewfinder. An EVF allows for more stable shooting when hand-held, and also for clear viewing in bright sunlight. Most current Combocams (the Panasonic GH1 is the only current exception) have just an LCD screen with "Live View" video, and only a handful of the newer models have articulated screens. (A DSLR's optical viewfinder isn't available in LV and video modes).

A fixed LCD makes many types of shooting situations awkward at best. Having only a fixed LCD and no EVF is really like trying to shoot with one eye tied behind one's back – to mix a metaphor.

All pro level camcorders and the top amateur handycams have both, and all higher-end camcorders have EVF's with large eye relief, allowing glasses to be worn. Most are also articulated, so that one can look through the viewfinder while the camera is situated at a low vantage point.

Audio

Of almost equal importance to image quality is audio quality. All video capable DSLRs (Combocams, as I've dubbed them) can record sound, but it's often highly compromised in several ways.

– Less expensive models often only have mono audio recording.

– Because these are primarily still cameras the controls can be noisy to operate and therefore sound can be seriously compromised.

– Audio monitoring is often missing; the ability to listen to what is being recorded through a pair of headphones. Recording sound without audio monitoring is like recording video without being able to see a screen.

– Most Combocams lack the ability to manually set audio levels, relying instead on auto gain control (AGC).

– None of the available or announced Combocams have XLR connectors. Instead they use mini-jacks which, as anyone knows who has used these on location, are the work of the devil. They break and come loose if you look at them the wrong way. XLR connectors are industrial strength and used in pro gear. Anything else is a disaster waiting to happen.

Power Zoom

– Combocams, being DSLRs at their heart, lack power zooms, which virtually all video cameras have as a matter of course. Amateurs use zoom more than is good for them (or their audiences), but having the smoothness of a power zoom mechanism when needed is welcome, and very hard if not impossible to emulate on still camera zoom lenses without expensive and bulky accessory gear.

Redrock Video DSLR Accessories

Peaking and Zebras

– Real video cameras provide two aids to assist exposure and focus, peaking and zebras. Zebras are similar to the flashing highlights that one gets on a DSLR's on-screen review image, but with several advantages. Firstly, they are "live" so that one can adjust exposure before shooting a single frame. Secondly, on most of the better low-end, and all the high-end video cameras, one can adjust the point at which the zebra pattern starts and stops.

Stops, you ask? Yes. For example, you can specify in the menus that the zebra pattern will only show in areas between 80% and 90% of maximum exposure. Anything above 90% will be ignored. This is great for not being distracted by zebraing on specular highlights and also large blown-out areas such as clear skies.

Peaking is the ability to set the viewfinder to show areas of greatest sharpness. On the new JVC HM100, for example, it turns the viewfinder or LCD to monochrome (which some video shooters prefer to work in in any event) and then shows edges of greatest sharpness in the image with a coloured outline, red for instance. Very handy when doing critical manual focus pulls. (Focus Pulls – manually changing focus during a shot to change the viewer's attention to the desired subject.)

Codecs and Data Rates

Various video and still / video cameras use different video encoding schemes. These range from the inefficient (Motion JPG) to the very efficient (AVCHD). I'm referring to efficiency in terms of data compression. Video produces vast amount of data, and high resolution Progressive can be very large indeed.

The bit rate that a camera uses is also a factor. Generally, the higher the bit rate the higher the image quality, but a lower bit rate can be used when a more efficient codec is applied.

This is too great a topic to be explored here, but be aware that there's no free lunch, and you need to understand the bit rate and the codec being used to make meaningful comparisons, and even then a big variable becomes how easy or difficult it is to work with the files.

Until very recently the highest compression codec, AVCHD, has been a real bear to work with efficiently in terms of editing, but that is now (mid-2009) changing for the better.

Resolution and Frame Rates

Proper video cameras shoot at a range of resolutions and frame rates. Current models can typically shoot at 1080i 24/30/60, 1080P 24/30, and 720P 24/30/60. No Combocams have this versatility, at least as of mid-2009.

It is important for many videographers to be able to match with footage shot on other systems. If a Combocam can only shoot 1280 X 720 (720P), for example, and the footage needs to mixed with others that are 1920 X 1080 (1080i), this can be problematic.

Worse are Combocams that shoot bizarre non-standard frame rates, such as 20FPS. Who thought that was a good idea?

Real-Time Output

Articulated LCDs and EVFs are important, but in many production environments, even fairly simple ones like low budget music videos, external monitors are demanded, and this means having live HDMI or component video output. Among Combocam only the 5D MKII, I believe, offers this.

Jello-Cam

Many advanced amateur and pro camcorders use CCD sensors and therefore do not suffer from a rolling shutter; so-called Jellocam, the effect that one sees with CMOS based video cameras, where there is a temporal difference between the time that the top of the frame is recorded as compared to the bottom of each frame. Thus, if the subject moves horizontally during a shot, or the cameras does similarly, the subject will appear to bend.

There are, of course, CMOS-based pro video cameras such as the Sony EX1 and EX3, and the Red One. And, yes, they do display some image distortion on rapid pans or subject motion, but for technical reasons (more sophisticated on-board processing chips) this is far less that is seen with Combocams.

No ND Filters

With still cameras one uses shutter speed and aperture to control exposure, along with ISO. When shooting video one has "Gain" instead of ISO, but shutter speed isn't really available, unless one is looking for a special effect, and aperture availability is limited because with small sensors one pretty quickly gets into diffraction at smaller apertures and therefore reduced resolution.

For this reason video cameras have built in neutral density filters which can be dialed in in one, two or sometimes three stages. This enables shooting at wide apertures, even in bright sunlight. No Combocam has this capability.

Screw-in ND filters can of course be added to Combocams, but they are slower to use and therefore less convenient.

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The Bottom Line

Video capability in DSLRs represents nothing short of a revolution. A new generation of photographers will embrace what they have to offer and use them to create new forms of art and commerce. In a few years we'll likely think that a still camera that can't also shoot video, or a video camera that can't also shoot stills is strangely underfeatured.

Still photographers will embrace them because they provide a new tool; a new possible means of creative expression. Videographers and movie makers will adopt them because they provide convenient access to that most desirable of traits in film making: shallow depth of field.

Does a Combocam obviate the need for a video camera? Should commercial photographers adding video capability to their repertoire just use one of these, rather than also working with a Camcorder?

It's feasible, but I would advise against it. For all of the reasons listed above, a Combocam, as good as it can be, is limited in its features and capabilities, and therefore there will remain a great many things that they simply can't do, or at least can't do all that well.

Does every still photographer need video. No – of course not. Many don't, and will resent the focus on them (so to speak). I'm old enough to remember when TTL metering, auto exposure, zoom lenses, autofocus, and of course Digital were all new, and all were disparaged by the cognoscenti. That's OK. Being an "old fart" has nothing to do with chronological age, but everything to do with head space.

Camera

Introduction

This tutorial is an overview of video cameras as they pertain to the newspaper industry. As newsrooms become more converged, investment in multimedia equipment is becoming a major factor in purchasing decisions.
Since most print-based newsrooms have little experience in video technologies, this tutorial will help demystify some of the lingering questions regarding video camera equipment purchases.
When purchasing video equipment, one must first break down all of the elements that should be taken into consideration with video capture.
Here are some considerations to make:

What level of camera does my paper need?

A high-end professional camera can actually put an undue burden on an organization with limited resources and staff with technical ability. In some cases, higher-end cameras actually come with fewer automatic features and fewer accessories than their consumer counterparts. Some require the separate purchase of microphones and lenses that usually come standard with consumer-grade cameras. A news organization should be realistic about its needs and funding capabilities. On the other side, a high-end camera offers a huge amount of flexibility to people who are familiar with video or photo camera equipment. Most photojournalists would likely opt for professional-grade equipment.

What media type does the camera capture to?

This is often a difficult choice to make, because there is no best answer. The various media that each camera records to offers different advantages and disadvantages — and at different price points. Most of the time the decision revolves around convenience, durability, capacity and longevity. Hard drive cameras are popular because it makes video transfer a simple process; however, they are well known to be more fragile than tape and solid-state media. DVD cameras are convenient, but have limited storage and also suffer from some durability issues. Tape seems to be one of the best solutions, even for archiving, but isn't very convenient as the logging process is done in real-time. Memory cards, or solid-state media, is quickly becoming a popular choice, but limits the amount of footage you can capture at any given time. We currently recommend purchasing a camera that uses either MiniDV tapes or a solid-state memory card, like SDHC.

Do I need a high-definition camera?

Anyone in the broadcast industry will tell you that HD has become the standard today. While primarily used in the broadcast industry, the Internet is also seeing a proliferation of HD content on sites like YouTube. A news organization could choose to be proactive and start capturing HD content now, or wait until it really gets traction in the industry. The down side to going HD is that it presents a host of challenges with storage and processing, and could end up being a major investment. Either way, no one doubts that HD will play a big part in the future of all media delivery.

What types of accessories will I need to purchase along with the camera?

This is often the most overlooked aspect of purchasing electronic equipment. Most vendors actually sell big priced equipment like cameras at cost and make their money off of the accessories. Often the accessories alone can add up to half the cost of the camera, if not more. Consider the following accessories which might cost more than you think: camera bag, extra batteries, microphones, filters, memory cards, tapes, chargers, tripod and earphones.

What software will I be using to edit this footage?

Software may not typically be part of the discussion in purchasing new equipment, but it should be. You must first make sure the camera footage is compatible with the software solution you plan to choose. Most video editing software can log tape footage, but not necessarily DVD or the newer AVCHD (memory card-based footage). Find a software solution that is right for your organization and is compatible with your computer systems. Consider the workflow before you purchase the camera.

How this tutorial is written:

In this tutorial, we have narrowed down current video cameras into three grades of complexity and price:

• Professional
• Prosumer
• Consumer

Some could argue what this tutorial considers "professional" is less than such by high-end broadcast standards; so note that this was written to pertain to print news organizations attempting to purchase video equipment for the first time.

AG-3DA1 Fully-integrated Full HD 3D solid-state camcorder

AG-3DA1 adalah profesional pertama di dunia, penuh terintegrasi Full HD camcorder 3D yang mencatat ke media kartu SD. AG-3DA1 akan demokratisasi produksi 3D dengan memberikan videographers profesional alat yang lebih terjangkau, fleksibel, handal dan mudah digunakan untuk menangkap mendalam konten serta menyediakan alat pelatihan bagi pendidik.Kurang dari 6,6 pon, AG-3DA1 dilengkapi dengan lensa ganda dan dua penuh 1920 x 1080 2.07 megapiksel 3-MOS pencitra untuk merekam 1080/60i, 50i, 30p, 25p dan 24p (asli) dan 720/60p dan 50p dalam AVCHD. Hal ini dapat merekam hingga 180 menit pada dual SD card 32GB di Panasonic modus ID AVCHD profesional, dan menawarkan antarmuka profesional termasuk dual HD-SDI keluar, HDMI (versi 1.4), dua konektor XLR, built-in microphone stereo dan kembar-lensa kamera remote.

AG-3DA1 itu Mayor Spesifikasi:• Twin-lensa camcorder Full HD 3D (dibuat-to-order)• Konsumsi Daya: Di bawah 19 W (unit utama saja)• Berat: Di bawah £ 6,6 (3 kg) - hanya unit utama• Recording Media: SDHC / SD Memory CardIni camcorder Full HD 3D akan menawarkan manfaat inti berikut:Mudah untuk GunakanSistem 3D saat ini skala besar setup di mana dua kamera dipasang ke rig secara paralel, atau vertikal berpotongan di cermin-setengah. Perekam terpisah juga diperlukan. Dalam AG-3DA1, lensa, kepala kamera, dan perekam ganda Kartu Memori diintegrasikan ke dalam tubuh, tunggal ringan. Camcorder ini juga mencakup penyesuaian stereoskopik kontrol membuatnya lebih mudah untuk digunakan dan beroperasi.Sistem kembar-lensa optik diadopsi dalam bagian camcorder memungkinkan titik konvergensi ** harus disesuaikan. Fungsi untuk secara otomatis memperbaiki perpindahan horisontal dan vertikal juga disediakan. Konvensional sistem kamera 3D memerlukan penyesuaian ini dilakukan dengan cara PC atau prosesor video eksternal. Ini camcorder baru, bagaimanapun, secara otomatis akan mengkalibrasi ulang tanpa memerlukan peralatan eksternal, yang memungkinkan pengambilan gambar 3D segera.Lebih FleksibelMemori solid-state berbasis file sistem pencatatan menawarkan fleksibilitas yang lebih besar untuk menghasilkan video Full HD 3D di lebih menantang penembakan lingkungan. AG-3DA1 adalah berat lebih ringan dan lebih kecil daripada rig 3D saat ini, sambil memberikan fleksibilitas gaya menembak genggam. Setup dan transportasi disederhanakan, sehingga ideal untuk proyek-proyek olahraga, dokumenter dan pembuatan film.Solid-State Kehandalan dan WorkflowKanan dan kiri video stream Full HD camcorder-kembar lensa 3D dapat direkam sebagai file pada SDHC / SD Memory Card, memastikan keandalan yang lebih tinggi dibandingkan pada tape lainnya, cakram optik, HDD atau lainnya mekanik berbasis sistem perekaman. Ini desain yang solid-state, tidak-bergerak-bagian akan membantu secara signifikan mengurangi biaya pemeliharaan, dan AG-3DA1 akan lebih mampu untuk tampil di lingkungan yang ekstrim dan lebih tahan terhadap suhu ekstrim, shock, dan getaran.Dan pengguna akan menikmati yang cepat, sangat-produktif alur kerja berbasis file, dengan instan, akses random ke konten direkam; plug-in mudah untuk Mac dan PC berbasis platform; dan kapasitas perekaman lebih lama.Lebih TerjangkauMenggunakan desain, standar terintegrasi, AG-3DA1 sedang ditawarkan dengan harga jauh lebih rendah daripada rig 3D tradisional. Transportasi biaya untuk unit ini genggam akan kurang dan lebih cepat waktu setup mengurangi biaya tenaga kerja. Menggunakan standar, direkam ulang Kartu Memori SDHC / SD yang tersedia sudah di mana-mana, biaya media menjadi hampir tidak signifikan.Selain camcorder, Panasonic juga mengumumkan BT-3DL2550, sebuah 25 "profesional-kualitas 3D Full HD LCD monitor untuk penggunaan lapangan, dan AG-HMX100, HD AV mixer digital profesional untuk produksi acara live 3D. Panasonic akan menawarkan alat produksi profesional untuk memungkinkan profesional video untuk membuat konten 3D secara efisien, sehingga konsumen dapat menikmati video 3D menggunakan 3D Panasonic sistem home theater.Untuk mempelajari lebih lanjut tentang AG-3DA1, klik di sinihttp://pro-av.panasonic.net/en/3d/Juga untuk produksi 3D, Panasonic telah memperkenalkan BT-3DL2550, sebuah 25,5-inch LCD 3D produksi monitor dengan resolusi penuh 1200 x 1920, yang memberikan tampilan 3D dengan benar-untuk-hidup warna dalam satu paket, tahan lama produksi panel LCD-tangguh.Untuk mempelajari lebih lanjut tentang BT-3DL2550, klik di sini

Untuk informasi lebih lanjut tentang Teknologi Kendali Panasonic HD 3D, klik di sini.http://3d.panasonic.net/en/

HDC-1500, HD Multi-Format HD Camera

Lens & viewfinder are optional

HDC1500 adalah multi-format HD kamera portabel yang menawarkan pilihan luas interlace dan format progresif, kualitas gambar yang besar, dan fleksibilitas operasional ditingkatkan. Ini menggabungkan CCD Imager baru dikembangkan dan DSP LSI - dua perangkat utama yang memungkinkan HDC1500 untuk mencapai kinerja tertinggi gambar dalam berbagai mode pemindaian. CCD baru dapat menampung semua yang ada dan format interlace scan progresif mulai dari 1080/50i dan 1080/60i untuk 1080/24p (* 1) Dan sebagai perangkat masa depan yang dilindungi, juga dapat menangkap gambar menakjubkan 1080/60P -. Juga sebagai memberikan kualitas tertinggi dan gambar 720/50P 720/60P untuk operasi hari ini.

Highlights
Newly developed three 2/3-inch type 2.2-megapixel HD progressive CCD High-sensitivity of F10 Excellent signal-to-noise ratio of 54 dB A wide variety of capturing modes - 1080/50i, 1080/60i, 1080/24P, 1080/25P, 1080/30P, 1080/60P, 720/50P, 720/60P Industry-first 14-bit A/D conversion	State-of-the-art DSP LSI Ergonomic design Compact and lightweight: approx. 4.5 kg (9 lb 14 oz) Optical fiber digital transmission Versatile interfaces: two HD-SDI outputs, one digitally down-converted SD-SDI output Memory stick storage of camera setup parameters Servo-controlled ND and CC filters

Specifications:
Mass :	Approx. 4.5 kg (9 lb 14 oz, without VF and lens)
Operating temperature :	-20 to +45 °C (-4 to +113 °F)
Pickup device :	3-CCD 2/3-inch type 16:9
Effective picture elements (H x V) :	1920 x 1080
Spectrum system :	F1.4 prism system
Built-in filters :	1: Clear, 2: 1/4ND, 3: 1/8ND, 4: 1/16ND, 5: 1/64ND A: CROSS, B: 3200K, C: 4300K, D: 6300K, E: 8000K
Servo filter control :	Yes
Lens mount :	Sony bayonet mount
Sensitivity :	F10 at 2000 lx (3200K, 89.9% reflectance)
Minimum illumination :	10 lx (F1.4, +12 dB gain up)
Signal-to-noise ratio :	54 dB (typical)
Horizontal resolution :	1000 TV lines
Dynamic range (1080/60i mode) :	600%
Registration	Within 0.02% (all zones, without lens)
Shutter speed selection	1/100, 1/125, 1/250, 1/500, 1/1000, 1/2000 s (1080/60i mode), 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000 s (1080/50i mode)
Modulation depth	45% or more horizontally (800 TV lines at center, 27.5 MHz, with typical lens)

Input connectors: Audio in (CH-1) :XLR-3-31 type (1, female), mic or line selectable Audio in (CH-2) :XLR-3-31 type (1, female), AES/EBU or mic or line selectable Mic in (front) :XLR-3-31 type (1, female) Return control :6-pin (1) DC in :XLR-4-pin type (1)  Output connectors: Test out :BNC type (1), 1.0 Vp-p, 75 Ω HD SDI out :BNC type (2) Earphone out :Mini-jack (1), 8 Ω DC out :4-pin (1), 10.5 to 17 V max. 1.5 A AC utility out :Yes (Output connector differs by region.)