Camera Operator

Sandie has been shooting digital video camera work for 25yrs or more, complementing her brother’s photography. She started by working on friend’s music videos at drama school and began editing in final cut pro. *COMING SOON: THIS PAGE WILL BE UPDATED WITH VIDEOS TO SHOW THE WORK

Professional 4K Camera or 1080, Sound and Lighting Package (Request by email for a full list of Sandie’s camera credits.)

Broadcast standard and quality: recording 422 in 10 bit with lots of flexibiity for color grading making picture look filmic and for green screen is great as it captures all the color information which makes it easy to key out green and leave the colors you want. Has a filmic look. Clean crisp, sharp, his resolution,low noise picture. Codec 50 megabits per second XAVC 10 bit, (great for post) 42 – AVCHD – standard DV and 4K. Full live steaming and file transfer to the cloud from a remote location is included and BBC broadcast quality is exceeded. Full networking capabilities allowing FTP transfer over network and broadcasts without any accessories in full 4K. Great for when in the field recording and sending back to studio with no drop frame/audio in proxy or hi-res. DCN remote. LAN. Ustream, Wi Fi, Streaming. Control with smartphone, wireless control and viewing. ND filters 1/4 – 1/16 – 1/64. PAL/NTSC switchable (60i/50i SEL), a world camera. Relay recording. Battery can be charged with AC cord. Clear view 24 X and digital extender to 48. Multi interface shoe adapter allows adaption with lavalier handheld without handle. Shoots well over 8 hrs non stop. Dual 4X/8X magnifier option in auto or manual. Remembers manual settings if you need to go to auto, settings in manual are retained. Parfocal lens (including clear zoom) focus is being retained on zoom. 940 by 560 LCD resolution screen and touch panel. Nightmode works in complete darkness and excellent steady shot. Camera profile can easily copy to another camera. Spot focus mode. HDMI timecode output option and SDI/HDMI output control option for external recorders. Headphone volume control for noisy locations. Synced audio on HDMI output. 2 cold shoes. Can be used for legal dispositions in interlace mode. Do a livestream and can stop and start record at the same time with no conflict affecting your livestream.

  • 1-inch stacked Exmor RS CMOS sensor 20 million pixels 4K UHD
  • 4K QFHD and HD recordings up to 30p
  • 120 fps in Full HD XAVC 10-bit 4:2:2
  • 3.5-type LCD touchscreen monitor with 1550K dots
  • High-resolution OLED viewfinder
  • 2.4/5 GHz Wi-Fi networking with support for XDCAM Air
  • Dual media slots with Relay and Simul mode selection extends recording time and flexibility, the camera provides two slots for SDXC and SDHC cards. Slot 1 is also compatible with Memory Stick PRO Duo (Mark 2) / PRO-HG Duo cards. To take advantage, Relay mode automatically switches recording to the second memory card when the first is full. Simul mode enables simultaneous recording to two memory cards (for example to create an immediate back-up version). The two Start/Stop buttons on the handle grip and camera can independently start and stop recording on different memory cards while recording in Simul mode. 
  • Shoot, edit and view HDR content in Hybrid Log-Gamma
  • Fast Hybrid Auto Focus with advanced features. (AF). This system combines both Contrast Detection and Phase.
  • Zeiss Vario-Sonnar T* 12x optical zoom lens. 12x optical zoom, 24x with Clear Image zoom, 48x with Digital Extender. The 12x optical zoom increases seamlessly to 18x (in 4K) or 24x (in Full HD) thanks to the Super Resolution technology of Sony’s Clear Image Zoom. The Digital Extender doubles this range yet again, up to 48x in Full HD.
  • 3G-SDI output, 2.4 / 5 GHz wireless streaming and compatibility with Sony’s air production system, for broadcast environment. Great for long run in studios.
  • Continuous Operating Time: Approx. 160 min with BP-FLX75
  • Recording Format (Video):
  • XAVC Intra:
    • XAVC-I QFHD 300 mode: MPEG-4 AVC/H.264, CBG, Max.600Mbps
    • XAVC-I HD 100 mode: MPEG-4 AVC/H.264, CBG, Max.223Mbps
  • XAVC Long:
    • br>- XAVC-L QFHD 150 Mode: MPEG-4 AVC/H.264, VBR, Max. 150Mbps
  • XAVC Long:
    • XAVC-L QFHD 100 Mode: MPEG-4 AVC/H.264, VBR, Max. 100Mbps
    • -XAVC-L422 HD 50 Mode: MPEG-4 AVC/H.264, VBR, Max. 50Mbps
    • XAVC-L422 HD 35 Mode: MPEG-4 AVC/H.264, VBR, Max. 35Mbps
    • XAVC-L422 HD 25 Mode: MPEG-4 AVC/H.264, VBR, Max. 25Mbps
  • Recording Format (Video):
    • MPEG HD422: HD422 mode: MPEG-2 422P@HL, CBR, Max.50 Mbps
    • MPEG HD: HQ mode: MPEG-2 MP@HL, VBR, Max.35 Mbps
    • MPEG IMX: MPEG-2 422@ML, CBR, 50 Mbps
    • DVCAM: CBR, 25 Mbps
  • Recording Format (Audio):
    • XAVC Intra: LPCM 24 bits, 48 kHz, 4 channels
    • XAVC Long: LPCM 24 bits, 48 kHz, 4 channels
    • MPEG HD422: LPCM 24 bits, 48 kHz, 4 channels
    • MPEG HD: LPCM 16 bits, 48 kHz, 4 channels
    • MPEG IMX: LPCM 16/24 bits, 48 kHz, 4 channels
    • DVCAM: LPCM 16 bits, 48 kHz, 4 channels
  • Recording Format (Proxy Video):
    • XAVC Proxy: AVC/H.264 Main Profile 4:2:0 Long GOP, VBR
    • 1280 × 720, 9 Mbps (Target Rate)
    • 1280 × 720, 6 Mbps (Target Rate)
    • 640 × 360, 3 Mbps (Target Rate)
    • 480 × 270, 1 Mbps, 500 kbps (Target Rate)
  • Recording Format (Proxy Audio): XAVC Proxy: AAC-LC, 128 kbps, 2 channels
  • Recording Time (Continuity)
    • XAVC-I QFHD 300 mode: Approx. 20 min. with 128 GB SxS card at 59.94p
    • XAVC-I HD 100 mode: Approx. 120 min. with 128 GB SxS card at 59.94i
    • XAVC-L QFHD 150 mode: Approx. 80 min. with 128 GB SxS card at 59.94P
    • XAVC-L QFHD 100 mode: Approx. xx min. with 128 GB SxS card at 59.94P
    • XAVC-L422 HD 50 mode: Approx. 240 min. with 128 GB SxS card at 59.94i
    • XAVC-L422 HD 35 mode: Approx. 340 min. with 128 GB SxS card at 59.94i
    • XAVC-L422 HD 25 mode: Approx. 440 min. with 128 GB SxS card at 59.94i
  • Recording Time (Continuity):
    • MPEG HD422 mode: Approx. 240 min. with 128 GB SxS card at 59.94i
    • MPEG HD420 HQ mode: Approx. 360 min. with 128 GB SxS card at 59.94i
  • Recording Time (Continuity)(MPEG IMX 50M): Approx. 240 min. with 128 GB SxS card at 59.94i
  • Recording Time (Continuity)(MPEG HD):
    • HD HQ Mode: Approx. 400 min. with 128 GB SxS card at 59.94i
    • HD SP Mode: Approx. 560 min. with 128 GB SxS card at 59.94i
  • Recording Time (Continuity)(DVCAM): Approx. 440 min. with 128 GB SxS card at 59.94i
  • Recording Frame Rate: 
    • XAVC Intra (XAVC-I QFHD 300 mode): 3840 × 2160: 59.94p, 50p, 29.97p, 25p, 23.98
  • XAVC Intra (XAVC-I HD 100 mode):
    • 1920 × 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 23.98p
    • 1280 × 720: 59.94p, 50p
    • XAVC Long (XAVC-L QFHD 150 mode): 3840 × 2160: 59.94p, 50p
    • XAVC Long (XAVC-L QFHD 100 mode): 3840 × 2160: 29.97p,25p, 23.98p
  • XAVC Long (XAVC-L422 HD 50 mode): 
    • 1920 × 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 23.98p
    • 1280 × 720: 59.94p, 50p
  • Recording Frame Rate:
    • XAVC Long (XAVC-L422 HD 35 mode): 1920 × 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 23.98p
    • XAVC Long (XAVC-L422 HD 25 mode): 1920 × 1080: 59.94i, 50i
  • MPEG HD422:
    • 1920 × 1080: 59.94i, 50i, 29.97p, 25p, 23.98p
    • 1280 × 720: 59.94p, 50p, 29.97p, 25p, 23.98p
  • MPEG HD420:
    • 1920 × 1080: 59.94i, 50i, 29.97p, 25p, 23.98p
    • 1440 × 1080: 59.94i, 50i
    • 1280 × 720: 59.94p, 50p
  • MPEG IMX:
    • 720 × 486: 59.94i
    • 720 × 576: 50i
  • DVCAM:
    • 720 × 480: 59.94i
    • 720 × 576: 50i

Lens

  • Lens Mount: Sony 2/3-inch type bayonet mount

Input/Output

  • Genlock Input: BNC (x1), 1.0 Vp-p, 75 Ω, unbalanced
  • Timecode Input: BNC (x1), 0.5 V to 18 Vp-p, 10 kΩ
  • SDI Input: SMPTE ST292/ST259 standard compliant, 4-channel audio, 1.5G, Poolfeed Recording (upto 1080 59.94i)
  • Audio Input
    • CH1/CH2: XLR-type 3-pin (female) (x2), Line/Mic/Mic/+48V selectable
    • LINE: +4, 0, -3 dBu
    • AES/EBU: AES3 compliant
    • MIC: -70 dBu to -30 dBu
  • Mic Input: XLR-type 5-pin, female: -70 dBu to -3 0 dBu
  • WRR (Wireless Microphone Receiver):
    • D-sub 15-pin
    • Analog CH1: -40 dBu
    • Digital CH1/CH2: -40 dBFS
  • SDI Output: Output 1/2/3/4: BNC (x4), 0.8 Vp-p,
  • Video Output: BNC, SD analog composite/HD-Y selectable
  • Audio Output: XLR-type 5-pin, male, +4/0/-3 dBu (balanced)
  • Timecode Output: BNC, 1.0 Vp-p, 75 Ω
  • Earphone Output: Stereo mini jack (x1) -11 dBu reference level output, maximum monitor volume, 16 Ω load
  • Speaker Output: Monaural, 300 mW output
  • DC Input: XLR-type 4-pin, male, 11 V to 17 V DC
  • DC Output: Round type 4-pin, 11 V to 17 V DC, 1.8 A maximum rated current
  • Lens: 12-pin, lens power source (11 V to 17V DC, 1.0 A maximum rated current)
  • Remote: 8-pin
  • Light: 2-pin
  • Camera Adaptor: D-sub, 50-pin (x1)
  • Ethernet: RJ-45 (x1), 100BASE-TX: IEEE 802.3u, 10BASE-T: IEEE 802.3
  • USB: USB 3.0/2.0 4-pin (type A), USB2.0 4-pin (type B), USB2.0 4-pin (type-A)
  • HDMI: A type, 19-pin (x1)
  • Viewfinder: 20-pin IF for HDVF Series Viewfinder, and 26-pin IF for CBK-VF02, HDVF-L750

Audio Performance

  • Frequency Response: 20 Hz to 20 kHz (±3 dB or less)
  • Dynamic Range: 90 dB (typical)
  • Distortion: 0.08% or lower (-40 dBu input level)
  • Headroom: 20 dB (factory default) (20, 18, 16, 12dB), EBUL

Camera Section

  • Imager: 2/3-type -inchExmor R-inch 4K CMOS
  • Effective Picture Elements: 3840 (H) x 2160 (V)
  • Built-in Optical Filters: 1: Clear, 2: 1/4ND, 3: 1/16ND, 4: 1/64ND
  • Shutter Speed (Time):
    • 59.94i/p, 50i/p: 1/60 sec. to 1/2000 sec. + ECS 
    • 29.97p: 1/40 sec. to 1/2000 sec. + ECS 
    • 25p: 1/33 sec. to 1/2000 sec. + ECS
    • 23.94p: 1/32 sec. to 1/2000 sec. + ECS
  • Shutter Speed (Slow Shutter(SLS)): 2, 3, 4, 5, 6, 7, 8, 16-frame accumulation
  • Slow & Quick Motion Function: 1080p: Frame rate selectable from 1fps to 60 fps
  • Sensitivity (2000 lx, 89.9% reflectance):
    • F10 (typical) (1920 x 1080/59.94i mode or 3840 x 2160/59.94p mode)
    • F11 (typical) (1920 x 1080/50i mode or 3840 x 2160/50p mode)
  • Minimum Illumination: 0.019 lx (F1.4, +42 dB, 16-frame accumulation)
  • White Balance: Preset (3200K), Memory A, Memory B/ATW
  • Gain Selection: -9, -6, -3, 0, 3, 6, 9, 12, 18, 24, 30, 36, 42 dB(TBD)
  • S/N Ratio: 61 dB typical (typical, 1920×1080/59.94i mode, Noise Suppression On)
  • Built-in LCD Monitor: Color LCD, Screen size: 8.8 cm (3.5 inch) diagonal *3 , Aspect ratio: 16:9, Number of pixels: 960 (H) × 540 (V) for Video display, Audio level, TC, battery and media remaining capacity
  • Built-in Speaker: x1
  • Media SxS Card Slots: 2
  • Media SD Card Slots :Proxy (1), Utility (1)
  • GPS: Yes
  • Built-in Network Module: Yes
  • NFC: Yes

Supported Media 

  • High Resolution Video/Audio: 
    • SxS card
    • XQD card (with XQD ExpressCard Adapter, QDA-EX1)
    • SDXC card (with XQD ExpressCard Adapter, MEAD-SD02)
  • Proxy Video/Audio and Utility: SDXC/SDHC

  Lighting and Sound and Teleprompter, full grip etc upon booking the shoot for your needs.

XAVC brings to life the “Beyond HD” vision and has been designed to serve the quality requirements of feature films, HDTV and commercials beyond 1080.

What are the differences between XAVC and AVCHD?

XAVC format provides 4K/HD, 4:4:4/4:2:2/4:2:0 and 12/10/8 bit sampling which can cover a wide range of applications from professional to consumer products, from high-end 4K production through to online streaming and consumer imaging applications. AVCHD, by contrast, is capped at 24Mbps for 1080 50i/50i or 28Mbps for 1080 50P/60P at 4:2:0 8bit sampling and is fully compatible with the Blu-ray disc format. Both XAVC and AVCHD formats adopt the same MPEG-4 AVC/H.264 compression technology, but there is no compatibility between them.

Why not use RAW as the default codec for 4K?

XAVC is designed for moderate data rates of high resolution, high frame rate material, with an industry standard .MXF file wrapper for use in conventional production workflows. RAW captures the entire output from the camera sensor for the highest quality recording, but with very high data rates in a non-interchangeable format. RAW is different with every camera capable of RAW recording and is inextricably linked to the camera’s sensor. It offers you all the flexibility you need using a heavy postproduction process.

How consistent is the XAVC wrapper vs existing MXF formats?

The XAVC MXF file wrapper is identical to current MPEG2 & MPEG4 SStP MXF OP-1a files. Ideal for file delivery and server operation.

Which products support XAVC?

XAVC Intra Frame recording and were specifically designed for digital cinematography production and Long GOP XAVC recording, covering every production scenario from high end digital cinematography, to general broadcast, industrial and consumer.

Are XAVC products only capable of recording in XAVC?

All XAVC products include a multi-codec design and are capable of switching between the new superlative XAVC codec and other legacy codecs. The range of codecs in each product depends on their intended market area. This concept offers choice and a chance for camera operators to contribute to both cutting edge, beyond HD, production scenarios as well as conventional shoots.