Understanding Exposure/Iris on HVR-Z5U

HDR-FX1000 / HVR-Z5 (2008). HVR-Z7 / HVR-S270 (2007). HDR-FX7 / HVR-V1 (2006). HDR-FX1 / HVR-Z1 (2004).
Post Reply
bhoy022673
Posts: 10
Joined: 08 Sep 2011 17:50
Location: Berkley, MA

Understanding Exposure/Iris on HVR-Z5U

Post by bhoy022673 »

With good recommendations from this forum, I purchased a Sony HVR-Z5U camera as VX-2000 replacement. I'm learning how to use it, but am a little confused with the IRIS/EXPOSURE settings and the GAIN L/M/H switches. It looks like I have several more controls than I had on the VX2000.

I understand how I can assign IRIS or EXPOSURE to the wheel. Since I am used to the VX2000, with EXPOSURE assigned to the wheel, the camera operates like the VX2000. As I spin the wheel the F values change, in conjunction with the Gain values.

I'm confused as to the purpose of assigning the IRIS to the wheel. In this mode, the gain values don't change. Is this just giving the user more fine/detailed control over exposure? Do the gain switches then become active?

Could someone point me to an explanation as to what each of these is good for? I would just like to learn how to use the camera properly. I looked at the EXPOSURE FX7 post down below and that helped me learn a little.

My first use of this camera will be to film a concert in a small theater. We'll get everything from bright spotlights, to dark stages. I'm guessing I want EXPOSURE assigned to give me a full range of control. Thanks, I'm having fun so far with this camera.

Bill
acgold7
Global Moderator
Posts: 400
Joined: 14 May 2010 23:03
Location: Woodinville, WA, USA
Contact:

Re: Understanding Exposure/Iris on HVR-Z5U

Post by acgold7 »

I have a fair amount of experience using Z5s to do shows in a theatre. In fact, that's mostly what I use mine for. They are fantastic for this purpose.

My recommendation is not to over-complicate things. If you have a chance to shoot a rehearsal, do so, and try using the cam in Auto. You may be surprised at how well it does. My experience is that both the Auto focus and Auto exposure both work well in theatrical settings (except when the lights go out during scene changes, when the AF goes crazy, as it has nothing to lock onto, as you might expect). Engage SPOTLIGHT mode and set AE SHIFT to -1 or -2, and lock WB to INDOOR, and I think you will be amazed at how well it does.

If it does not perform to your satisfaction this way, then you go to plan B, which is full manual. I think we've already had a discussion on the forum here about IRIS/EXPOSURE on the wheel but I'll have to go back and check to be sure. As I recall, basically when in IRIS mode, the dial controls that and only that. When in EXPOSURE mode, the dial controls Iris until you are wide open, then adds Gain as well.

The GAIN switches are different. They are used only when you are in Manual Gain mode and are not related to the wheel. You first assign a value to each of the three positions or accept the default. Then, when you switch to Manual Gain, first by switching the Auto/Manual switch on the side to Manual, then by pressing the Gain button, the Gain will lock to whatever value the three position switch is set to. Pushing the Gain button again reverts it back to Auto Gain.

I personally rarely use this. I find it is better to set the AGC limit to about 9, at which no grain at all is visible, and let Auto Gain handle everything. Theatrical lighting is usually plenty bright; the key is forcing the cam the let the dark areas remain dark. It doesn't understand dark contrasty theatrical lighting (although the Z5 does much better than other cams of the past) and wants to make everything an even shade of grey. You sort of have to fool it into letting black areas remain black.

You can also muck about with the Black Stretch and Knee settings to find the best results for you.

For my money, there isn't a better cam in its class for this use than the Z5. I can unequivocally say these are the best cams I have ever owned and are the pinnacle of the Sony HDV tape cam (even though I no longer use tape with them).
Adam
Post Reply