Sony PXW-FS7 Quick Reference Manual
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Sony PXW-FS7 Quick Reference Manual

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Quick Reference Guide

PXW-FS7
PXW-FS7M2
sony.net/pro/PXW-FS7
sony.net/pro/PXW-FS7M2

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Summary of Contents for Sony PXW-FS7

  • Page 1: Quick Reference Guide

    Quick Reference Guide PXW-FS7 PXW-FS7M2 sony.net/pro/PXW-FS7 sony.net/pro/PXW-FS7M2...

  • Page 2: Table Of Contents

    Contents A. Introduction to this guide B. Saving the camera setup C. Choosing the right operating mode D. Preparing the camera and shooting E. Advanced picture settings for Custom Mode F. Detailed guide to the Cine EI Mode G. Slow motion, time-lapse and picture cache H.

  • Page 3: A. Introduction To This Guide

    A. Introduction to this guide A1. Introduction This guide does not replace the user manual. It is intended to be used in conjunction with the user manual and it is recommended that you read both this guide and the user manual to get the very best from the camera.

  • Page 4: B. Saving The Camera Setup

    B. Saving the camera setup B1. All files All files are a great way of quickly changing shooting modes and saving your favorite settings. Once you have the camera setup in a way you are happy with I recommend saving those settings as an All File. See the section on all files for more information.
  • Page 5 B. Saving the camera setup (MENU: File – All File – File ID) Set the file name and select Done when finished. Then save the file: (MENU: File – All File – Save SD Card) Choose an empty “No File” location to save the file in an unused location or overwrite a previously saved all file with the new file.

  • Page 6: C. Choosing The Right Operating Mode

    C. Choosing the right operating mode C1. Understanding the different operating modes Custom Mode and Cine El Mode: The PXW-FS7 has two distinctly different operating modes which are called “Custom” and “Cine EI”. The camera will create high quality images at all available frame rates and resolutions in both modes.
  • Page 7 C. Choosing the right operating mode In the Cine EI mode the camera operates using optimized settings that allow it to capture the widest possible dynamic range and color range. This wide range image will look flat and washed out if viewed directly. But it contains a huge amount of picture information that can be manipulated and adjusted on a computer in post production to achieve the desired final look.
  • Page 8 C. Choosing the right operating mode C1.1 More information on custom mode In this mode you have the ability to change many of the cameras image quality settings including gamma (contrast and brightness range), the matrix (color) and sharpness if you wish to alter the look of the recorded images.
  • Page 9 C. Choosing the right operating mode Custom mode would normally be used for projects that have little or no time for post production grading or adjustment. Where a fast turn-around is important or a simple, straight forward workflow is desired. Although the image quality in custom mode can be very high, it is normally possible for experienced users to get better quality images and greater post production flexibility by...
  • Page 10 C. Choosing the right operating mode To help with exposure and to help gauge what the material will look like after grading the camera can apply a Monitor Look Up Table (MLUT or LUT) to the viewfinder or monitor outputs. The MLUT converts the image from the flat looking S-Log2/3 range to a conventional viewing range.

  • Page 11: D. Preparing The Camera And Shooting

    D. Preparing the camera and shooting Section Index 1. Preparing to shoot 2. The shutter and shutter speed 3. Setting the gain or ISO 4. White Balance in Custom Mode 5. White Balance in Cine EI mode 6. Exposure, Waveform and Histogram 7.

  • Page 12: Preparing To Shoot

    D. Preparing the camera and shooting D1. Preparing to shoot After switching the camera on you may see a message saying “Execute APR”. This is not an error or malfunction. The APR function minimizes the appearance of bright or dark sensor pixels and minimizes sensor noise. Cover/cap the lens and press SEL/SET to execute the APR function.
  • Page 13 D. Preparing the camera and shooting D1.1 Start by setting the country area. The country area setting determines which frame rates are available. Choose PAL Area to enable 50i/50p/25p, choose NTSC Area for 60i/60p/30p//23.98p/24p. D1.2 Next choose the recording codec. (MENU: System –...
  • Page 14 D. Preparing the camera and shooting MPEG HD 422: HD only, the same as the XDCAM 422 codec, 8 bit, 422 at 50Mb/s. Good for news, quick turn- around, small file size. Not best for heavy post production work or grading, Not recommended for use with S-Log2/3. XAVC-I: HD/UHD/4K DCI.
  • Page 15 D. Preparing the camera and shooting ProRes (with XDCA-FS7 only): HD only. ProRes is a widely adapted codec originally developed by Apple for use in post production but now finding use as an acquisition codec. ProRes 422 HQ offers slightly higher quality than ProRes 422.
  • Page 16 D. Preparing the camera and shooting D1.3 Now select the frame size/recording format and frame rate. The (MENU: System – Rec Format – Video Format) page is where you set the frame size and frame rate that will be the cameras base rate. The options available will depend on the country area and codec choice.
  • Page 17 D. Preparing the camera and shooting D2. Shutter Speed or Shutter Angle It is recommended that to avoid issues with flicker from some types of light fixtures that the shutter speed is set to a multiple of the local mains electricity frequency. Please check the mains frequency of the country you are shooting in to determine the most appropriate shutter speed.
  • Page 18 D. Preparing the camera and shooting Shutter speed is the easiest to understand and is similar to how the shutter period would be expressed in a stills camera. With Shutter Speed the shutter timing remains fixed at the speed set even if you change the recording frame rate (unless the shooting frame rate is increased beyond the set shutter speed, in which case the shutter speed will become set to the slowest possible speed for...
  • Page 19 D. Preparing the camera and shooting D2.2 To change the shutter period indication between Speed and Degrees go to (MENU: Camera – Shutter – Mode). To change the shutter speed: Press the Shutter button on the side of the camera body and use the scroll wheel to choose your desired shutter speed or angle.

  • Page 20: Setting The Gain Or Iso

    D. Preparing the camera and shooting D3. Setting the Gain or ISO (Custom Mode) The signal that comes from the cameras sensor can be made brighter by adding additional amplification by increasing the gain of the cameras image processors. This may be useful when shooting in low light situations. However it should be noted that when you increase the camera’s gain, as well as making the desirable image brighter you will also increase the noise seen in the image.
  • Page 21 D. Preparing the camera and shooting ISO can be a little more confusing. ISO is used to determine the correct exposure for a camera when using an external light meter. As different gamma curves require slightly different exposure levels the optimum ISO (native sensitivity) will vary depending on the gamma curve used.
  • Page 22 D. Preparing the camera and shooting D3.2 To select the use of gain or ISO (MENU: Camera – ISO/Gain/EI – Mode). Manual gain control is then done via the gain switch on the side of the camera body the gain or ISO level assigned to each of the 3 switch positions can be set in: (MENU: Camera –...
  • Page 23 D. Preparing the camera and shooting D4. White Balance (Custom Mode) Setting the white balance correctly ensures that white objects in the scene appear white and that the overall color response of the camera is true to life. There are several ways of setting the white balance.
  • Page 24 D. Preparing the camera and shooting D4.1 Preset The white balance can be fixed to a set value. When the white balance switch is set to PRESET the preset value is used. To change the preset value go (MENU: Paint – Preset White) and select the desired color temperature.
  • Page 25 D. Preparing the camera and shooting D6. Exposure, Zebras, Waveform and Histogram Exposure is controlled through a combination of shutter speed, gain/ISO, iris aperture and ND filter. The camera includes a number of tools for measuring exposure. D6.1 Zebras Zebras are commonly used to measure the brightness of either skin tones or highlights.
  • Page 26 D. Preparing the camera and shooting In (MENU: VF – Zebra - Select) you can choose whether to show zebra 1, zebra 2 or both in the viewfinder. The zebras can be turned on and off via the push button on the side of the viewfinder or with (MENU: VF –...
  • Page 27 D. Preparing the camera and shooting D6.2 Waveform Vectorscope and Histogram These are selected via (MENU: VF – Video Signal Monitor). Waveform: The waveform display measures the brightness of the recorded image and displays the brightness levels on a vertical scale that goes from 0% or black at the lower dotted line at the bottom to 109% (clipping point) at the top.
  • Page 28 D. Preparing the camera and shooting Vector: This is a vectorscope which is used to measure the color levels and color hue of what is being shot. In most cases it is not necessary to use the vectorscope. Histogram: The histogram displays the exposure brightness on a horizontal scale where black is at the left and 109% (clipping point) is on the right.
  • Page 29 D. Preparing the camera and shooting The histogram Video Signal Monitor Source: When shooting in the Cine EI mode it is possible to select whether the video signal monitor displays the levels of the recorded signal or the level of any LUT being used. Please refer to the Cine EI section of this guide to better understand which to use.
  • Page 30 D. Preparing the camera and shooting D7. Aperture/Iris D7.1 In Custom Mode the iris of an electronically controlled lens can be controlled automatically or manually. In the Cine EI mode only manual operation is possible. In Custom mode pressing assignable button 2 (iris) toggles between manual and automatic control.
  • Page 31 They allow the use of larger apertures than would otherwise be possible in high light level scenes. The PXW-FS7 has a system of 1 clear filter and 3 neutral density filters to assist with exposure control. The filters are selected via a knob on the side of the camera.
  • Page 32 D. Preparing the camera and shooting D8.1 PXW-FS7 II and the variable ND filter The PXW-FS7 II has an advanced variable ND filter system. When the filter dial is in the clear position there is no additional filtration in the optical path. When you select ND filter dial position 1, 2 or 3 the variable ND filter system is inserted into the optical path.
  • Page 33 D. Preparing the camera and shooting D8.2 The Variable ND filter can also be made to operate automatically by engaging filter position 2, 3 or 4 and then pressing an assignable button that has been assigned the auto ND function. I suggest assigning Auto ND to button 7. (MENU: System –Assignable Button).
  • Page 34 D. Preparing the camera and shooting D9.2 The focus detection area of the auto focus system and the one push auto focus can be altered. If you chose the flexible spot function you can use the hand grip joystick or scroll wheel to move the focus detection area to any part of the frame.
  • Page 35 D. Preparing the camera and shooting D9.3 Peaking The cameras peaking function can be turned on and off via the peaking button on the side of the viewfinder LCD screen. The peaking settings can be changed in (MENU: - VF – Peaking). Often colored peaking is easier to see than normal balck and white peaking so consider setting the peaking type to color.
  • Page 36 D. Preparing the camera and shooting D9.4 Focus Indicator The focus indicator appears as a bar graph across the lower middle of the viewfinder screen with a white box above (Focus Area Indicator). The bar graph measures the sharpness of the image within the box. When the graph is all the way to the left the image is soft.
  • Page 37 D. Preparing the camera and shooting D9.5 Focus Magnification The Focus Magnification Function allows you to magnify the image seen in the viewfinder to closer inspect the focus. Pressing assignable button 4 on the hand grip magnifies the image by 4x, pressing a second time by 8x and the third press returns the image to normal.

  • Page 38: E. Advanced Picture Settings For Custom Mode

    E. Advanced picture settings for Custom Mode Section Index 1. Gamma and color settings in Custom Mode 2. Gamma categories (custom mode) 3. Custom Mode Matrix (color) settings Contents...
  • Page 39 E. Advanced picture settings for Custom Mode E1. Gamma and Color Settings In Custom Mode In Custom Mode you have the ability to change many of the cameras image quality settings including the Gamma Curve and Color Matrix. The gamma curve of the camera can be changed to alter the contrast and dynamic range of the captured image (MENU: Paint –...
  • Page 40 E. Advanced picture settings for Custom Mode E1.1 Suggested gamma settings For shoots that take place under controlled lighting then the standard default gamma curve (STD5 R709) provides pleasing images with accurate contrast. For challenging lighting situations the Hypergamma gamma curves (HG) are very useful.
  • Page 41 E. Advanced picture settings for Custom Mode E2. Gamma Categories The PXW-FS7 Gammas are split in to 3 categories: STD/ HG/S-Log (MENU: Paint – Gamma – Gamma Category). E2.1 STD Standard Gamma. The gamma curves available under this category are all variations on standard television gamma.
  • Page 42 E. Advanced picture settings for Custom Mode STD-R709 Gamma Curve E2.2 HG Hypergamma. These advanced gamma curves are designed to capture a wider dynamic range than the standard gammas with only a small reduction in on screen contrast (normally the higher the cameras capture dynamic range the lower the on screen contrast will be).
  • Page 43 E. Advanced picture settings for Custom Mode The capture range and optimum exposure levels are indicated in the full name of the hypergamma curve, for example: HG4609G40 = HG – 460 – 9 – G40, which indicates HG(Hypergamma), with an over exposure range 460% greater than standard TV gamma.
  • Page 44 E. Advanced picture settings for Custom Mode Hypergamma 1 Hypergamma 2 Hypergamma 3 Hypergamma 4 I find that Hypergamma 4 works very well for brighter outdoor scenes while Hypergamma 3 works well for indoor scenes. Hypergammas 7 and 8 are also very good for challenging lighting situations.
  • Page 45 (14 stops or 1300%). This will result in a very flat on screen image. The PXW-FS7 is primarily designed to use S-Log recording in the Cine EI mode but the option is also offered in Custom Mode to help deal with particularly difficult lighting situations.
  • Page 46 E. Advanced picture settings for Custom Mode E3. Custom Mode Matrix Settings (Color adjustment) The camera’s color reproduction can be adjusted by making changes to the matrix settings. (MENU: Paint – Matrix) There are 5 preset matrix settings designed to give easy access to a number of different color responses.
  • Page 47 E. Advanced picture settings for Custom Mode Standard Matrix Standard Matrix FL Light Matrix FL Light Matrix Cinema Matrix Cinema Matrix Contents Section Index...
  • Page 48 In this example Hypergamma HG3 is combined with the Cinema gamma. E3.2 PXW-FS7 II and the Rec2020 Matrix The FS7 includes an additional matrix that complies with the new Rec2020 color standard. This standard allows for the capture and display of a wider range of colors than possible with Rec-709.
  • Page 49 E. Advanced picture settings for Custom Mode E3.3 The High Saturation matrix can be used to provide vibrant colors for music or pop videos, but it must be noted that in some cases strong colors in the scene you are shooting will reach the maximum recording intensity more quickly.
  • Page 50 E. Advanced picture settings for Custom Mode The F55 709 Like matrix is designed to mimic the color response of the Sony F55 camera. It provides vibrant colors. This matrix can be used when trying to match the pictures from an FS7 to a PMW-F55 that is shooting Rec-709.
  • Page 51 F. Detailed guide to the Cine El Mode F1. Using the Cine El Mode The Cine EI mode is quite different to custom mode and the way a conventional video camera works. In most cases when used correctly the Cine EI mode will result in superior images to custom mode.
  • Page 52 In the Cine EI mode you have the ability to select one of 3 different color spaces and two different S-Log curves. S-Gamut: The original Sony wide range color gamut. Allows a wider than normal color range to be recorded giving greater post production flexibility.
  • Page 53 F. Detailed guide to the Cine El Mode S-Log2: Sony’s second generation 14 stop log gamma curve. Excellent dynamic range, using the cameras full recording range. Can sometimes be tricky to grade well without the use of LUT’s. This is the same curve as used in Sony A7s.
  • Page 54 F. Detailed guide to the Cine El Mode F1.2 Exposing via an MLUT, suggested settings Recommendation: Enable MLUT’s for SDI2, HDMI and Viewfinder. Ensure that the MLUT is OFF for SDI1 & Internal Rec. (MENU: Video – Monitor LUT). Recommendation: Use LUT Category – LUT, LUT Select – P1:709(800).
  • Page 55 F. Detailed guide to the Cine El Mode MLUT operation is limited to ON or OFF for all outputs and internal recording in each of the following situations: The HDMI output is set to 4K/UHD. S&Q Motion is enabled. Lens distortion compensation is set to AUTO (MENU: System –...
  • Page 56 F. Detailed guide to the Cine El Mode F1.3 The Video Signal Monitor can be used to measure either the MLUT level or the Internal Recording level. I recommend measuring and monitoring the MLUT level for the correct operation of the Cine EI mode (MENU: VF –...
  • Page 57 F. Detailed guide to the Cine El Mode F1.4 In the Cine EI mode the way you expose your footage is different to custom mode. In order to obtain the cameras full dynamic range the camera must record at it’s native ISO of 2000.
  • Page 58 F. Detailed guide to the Cine El Mode F1.5 One issue with most LUT’s is that the LUT cannot show you your full recording range. There is however a simple way to check the full range of the recordings by using a function called “High/Low Key”.
  • Page 59 F. Detailed guide to the Cine El Mode The viewfinder image with After the first press of the Hi Low 709(800) MLUT applied. Looking at Key assigned button the MLUT is this image you may be concerned darkened to allow you to check that the brightest highlights will for clipping in the brighter parts be recorded too bright.
  • Page 60 F. Detailed guide to the Cine El Mode F1.6 Changing the exposure index (EI) Changing the exposure index (by using the L/M/H switch) changes the brightness of the LUT/MLUT. It has no direct effect on the recordings, the camera continues to record at it’s native 2000ISO.
  • Page 61 F. Detailed guide to the Cine El Mode This is the 709(800) MLUT By opening the aperture the viewfinder image after switching brightness of the MLUT is restored the EI from 2000 EI to 640 EI with to a normal level. no change to the aperture or shutter speed.
  • Page 62 F. Detailed guide to the Cine El Mode As the cameras actual recording ISO has not changed opening the aperture results in a brighter recorded image. With conventional gammas this would be a problem but with S-Log2/3 there is typically enough headroom in reserve to cope with this deliberate over exposure.
  • Page 63 F. Detailed guide to the Cine El Mode The cameras total dynamic range does not change when you adjust the EI. What you are doing is altering the mid point of the dynamic range. Using a low EI results in a brighter S-Log recording with a deeper shadow range but reduce highlight range.
  • Page 64 F. Detailed guide to the Cine El Mode F1.7 Correct Exposure When MLUT’s can’t be used MLUT’s cannot always be used just for the viewfinder or monitor when the camera is shooting in S&Q motion or when the HDMI output is set to UHD. So in order to expose correctly you must check the exposure level of the S-Log2/3 images directly.

  • Page 65: G. Slow Motion, Time-Lapse And Picture Cache

    G. Slow Motion, Time-lapse and picture cache Section Index 1. Slow and Quick Motion (S&Q Motion) 2. Interval Record (Time Lapse) 3. Picture Cache Record 4. Imager Scan Mode Contents...
  • Page 66 G. Slow Motion, Time-lapse and picture cache G1. Slow and Quick Motion – S&Q motion S&Q motion allows the camera to shoot at a frame rate that is faster or slower than the play back frame rate. By shooting at a lower frame rate than the base frame rate action can be sped up, by shooting at a higher frame rate action can be slowed down.
  • Page 67 G. Slow Motion, Time-lapse and picture cache In order to use S&Q motion the XAVC-L or XAVC-I codec must be selected (MENU: System – Codec). A progressive record format must be used (p) and the base playback rate of any slow motion footage is determined by the selected record format (MENU: System –...
  • Page 68 G. Slow Motion, Time-lapse and picture cache G1.2 Full Scan Uses the full sensor so there is no change to the field of view. However due to the way the sensor is read when shooting HFR, in certain circumstances there may be unwanted artifacts in the footage such as colored rainbow like patterns (moiré) or jagged edges in high contrast areas.
  • Page 69 G. Slow Motion, Time-lapse and picture cache G1.4 Recommendation: For the best image quality when shooing HFR consider the use of Center Scan. NOTE: When the camera country area is set to PAL area the maximum frame rate in HD is 150fps. To shoot at 180fps the camera must be set to NTSC Area (MENU: System –...
  • Page 70 G. Slow Motion, Time-lapse and picture cache G2. Interval Record – Time lapse recording Interval record can be used to capture frames at a preset interval. The frames are then played back as a video clip that significantly speeds up the action in the scene recorded.
  • Page 71 G. Slow Motion, Time-lapse and picture cache G2.1 Recommendation: Set the Interval Time to 1 second and the Number of Frames to 1. Increasing the number of frames beyond 1 typically results in jerky motion. A 1 second interval works well for scenes up to 30 minutes long, footage can always be sped up further in post production if required.
  • Page 72 G. Slow Motion, Time-lapse and picture cache G3. Picture Cache Record Picture cache record can be used to make the camera include a few seconds of video from the period immediately prior to the press of the record button in each clip.
  • Page 73 G. Slow Motion, Time-lapse and picture cache G4. Imager Scan Mode When recording 4K or UHD the full camera sensor is always used. However when shooting in HD it is possible to choose whether to use the full sensor or just the center 2K portion of the sensor.
  • Page 74 G. Slow Motion, Time-lapse and picture cache G4.1 Recommendation: Use Normal Scan when possible as it normally provides the best image quality. Use Center Scan if you need to extend the effective focal length of the lens. When 2K Full Scan is selected When 2K Center Scan is selected an “F”...

  • Page 75: H. Audio Recording

    H. Audio Recording H1. Audio Recording An external microphone should be connected to one or both of the XLR inputs for the best results. However if an external microphone is unavailable there is a small microphone built in to the camera body. This Internal MIC can be selected in the menu and recorded on to any of the 4 audio channels (MENU: Audio –...
  • Page 76 H. Audio Recording H1.2 The correct input reference levels for the type of external audio source you are using is selected by switches on the right side of the camera body. In addition if using an external microphone that requires +48V Phantom Power this is enabled by selecting “Mic+48v”.
  • Page 77 H. Audio Recording H1.4 To view the audio level meters for all 4 audio channels press the “Status” button and use the scroll wheel to select the Audio display page. Press the status button once more to turn off the status display pages. If using manual audio control do not allow the audio levels to go into the red part of the audio level meters, this will result in distortion.

  • Page 78: I. Recording, Media And Troubleshooting

    Recording, media and troubleshooting Section Index 1. Recording, Recording Media and Backups 2. Error messages and common problems Contents...
  • Page 79 Recording, media and troubleshooting I1. Recording, Recording Media and File Backup Always use approved XQD cards. Store unused media in a case to prevent dust and debris from accumulating inside the connector slot. It is recommended that cards are formatted periodically to maintain the best performance.
  • Page 80 Use a new folder to store the contents of each card backed up. Do not attempt to merge files from multiple cards into one folder (unless using Sony’s Catalyst Browse application to manage your content). Contents...
  • Page 81 Recording, media and troubleshooting I2. Error Messages and common problems Restore Media: If on switching on the camera or inserting an XQD card you see the message “Restore Media” do not worry. This is the camera performing routine maintenance on the card to keep the file system tidy and free from corruption.
  • Page 82 Recording, media and troubleshooting Unable to enable MLUTS on the HDMI output in the Cine EI mode: The MLUT can only applied to the HDMI output if (MENU: Video – Output Setting – HDMI Target) is set to Monitor. Unable to enable MLUTS for just SDI2, HDMI or the Viewfinder: MLUT operation is limited to ON or OFF for all outputs and internal recording in each of the following situations: The HDMI output is set to 4K/UHD.

  • Page 83: Index

    Index A1. Introduction B1. All Files: Saving the camera setup C1. Choosing the right operating mode, Custom Mode or Cine EI C1.1 Overview of Custom mode C1.2 Overview of Cine EI mode D1. Preparing to shoot D1.1 Setting the country area D1.2 Choosing the right codec D1.3 Setting the recording format Contents...
  • Page 84 Index D2. The shutter and shutter speed D2.1 Choosing between shutter speed or shutter angle D2.2 Setting the shutter speed D3. Setting the gain or ISO D3.1 What is the difference between gain and ISO D3.2 Selecting gain or ISO D4.

  • Page 85: Aperture/Iris Control

    Index D6. Exposure, Waveform and Histogram D6.1 Using Zebras D6.2 Using the Waveform or Histogram D7. Aperture/Iris control D7.1 Iris in Custom Mode D7.2 Iris in Cine EI Mode D7.3 Getting a shallow depth of field for the filmic look D8.

  • Page 86: Focus And Focus Aids

    Index D9. Focus and Focus Aids D9.1 Auto Focus D9.2 Auto Focus Detection Area D9.3 Peaking D9.4 Focus Indicator D9.5 Focus Magnification Contents Section Index...
  • Page 87 E2. Gamma Categories (Custom Mode) E2.1 Standard Gamma E2.2 Hypergamma E2.3 User Gamma E2.4 S-Log2 and S-Log3 E3. Custom Mode Matrix (color) settings E3.1 Suggested Matrix settings E3.2 The Rec-2020 matrix in the PXW-FS7 II E3.3 Other Matrix settings Contents Section Index...
  • Page 88 Index F1. Using the Cine EI Mode (in detail) F1.1 Colorspace (Gamut) and S-Log2/S-Log3 F1.2 Suggested settings for using LUT’s and exposing via an MLUT F1.3 The Video Signal monitor in Cine EI mode F1.4 Cine EI and MLUT’s explained F1.5 The High/Low Key function F1.6 Changing the Exposure Index F1.7 Correct exposure when MLUT’s cannot be used...
  • Page 89 Index G1. Slow and Quick Motion (S&Q Motion) G1.1 High Frame Rate (HFR) mode G1.2 Full Scan G1.3 Center Scan G1.4 HFR recommendations and notes G2. Interval Record (Time Lapse) G2.1 Interval Record suggested settings and notes G3. Picture Cache Record G4.
  • Page 90 Index H1. Audio Recording H1.1 Connecting more than 2 audio sources (MI Shoe) H1.2 Setting the correct input levels H1.3 Setting the recording levels H1.4 Viewing the audio levels I1. Recording, Recording Media and Backups I2. Error messages and common problems Contents...
  • Page 92 ©2017 Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Screen images are simulated. Sony, XDCAM, Memory Stick, Memory Stick PRO, Memory Stick Duo, Memory Stick PRO Duo, Memory Stick Micro, AVCHD, DV, DVCAM, HDV, XAVC, Exmor, i.LINK, BRAVIA, alpha, XGA OLED TruFinder, SteadyShot,...

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