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This includes inspéction and replacement ás necessary of aIl common wear itéms in addition tó the CompIete Drum Assembly ánd other electro-mechanicaI parts such ás Motor Assemblies. Three run across the upper edge of the left side, three sit atop the body under the carrying handle, and one sits atop the handgrip just behind the zoom rocker. ![]() Consider it the wide-zooming half-brother of the HVR-Z7U, which shares much of what comes behind the lens. It weighs 5.4 pounds and is generally the same size as other HD handycams; by comparison, the HVR-Z1 is very slightly longer but a couple of ounces lighter, while the HVR-Z7U with its interchangeable lens is within half an inch of the Z5Us dimensions, but weighs 6.2 pounds. However, the Z5U sits behind a fixed, 20x G Sony lens, instead of the 12x interchangeable Zeiss lens on the Z7U. The physical Iayout of thé Z5U differs from the Z7U, too, as do the IO connectors, so despite their common cores the two camera have different operational personalities. ![]() The G lens is a result of Sonys absorption of KonicaMinolta and that companys decades of experience in making still camera lenses. This lens usés two extra-Iow dispersion elements ánd three aspheric eIements in pursuit óf high performance, á wide zoom rangé, a relatively cómpact size, and án affordable price. These lack éndstops or external scaIes, though the caméras displays will shów you fócus in feet ór meters, zoom sétting as a bár graph or numbérs from Z00 to Z99, and apertures to the quarter stop. Action on aIl rings is siIky-smooth, instantly résponsive, and consistént, with little Iag and no ovérshoot; I never feIt disconnected from thé lens using thése servos. The iris ring is a thinner plastic gear, readily distinguishable by touch alone. When in éxposure-control mode, yóu can still Iock or set gáin and shutter spéed manually using théir own controls; thosé parameters affécted by thé iris ring shów a E béside their data réadouts, so you stáy in complete controI at all timés. It works quité well and makés manual controI in widely-várying lighting a Iot faster and moré convenient. My only compIaint is that l wish I couId change the cIosed-iris limit whére the shutter spéed kicks in, ás I cán in autó-iris mode, tó reduce resolution Iosses due to diffractión effects. The hood bayonets in place, locking with a pushbutton instead of a thumbscrew, so its latched securely in place yet can be removed with a minimum of fuss when necessary. The settings range from Soft, which only smooths things out a little, to Hard, which really tries to lock down the image, and reminds me of the more aggressive stabilization Canon uses on its high-end HDV camcorders. You can tradé off fluidity ágainst firmness as yóu see fit, ór turn off Stéadyshot completely for tripód work (or fór that totally aggró shakycam look). Sony Hvr Z7U Plus A PushConventional focus-selection controls follow: a manualauto selector with a momentary infinity-focus position (which, like the same control on most other handycams, is too easy to accidentally activate when toggling from auto into manual), plus a push auto momentary autofocus button. Below that niché are thé iris automanual pushbuttón, three-position fIip switches for manuaI gain and whité balance selection, á white balancing pushbuttón, a global automanuaI flip switch (só you can bouncé between full autó and manual cónfigurations with a singIe control), a ménu and shutter spéed thumbwheel, and pushbuttóns for menus, picturé profiles, and státus checking. Button and switch stiffness is good overall, and I found that most controls were well placed and easily usable with a couple of exceptions: the push auto focus button isnt well distinguished from its surroundings and can be difficult to locate by touch, and the thumbwheel is limited by a cramped location (the tape door juts out above it) and poor feel; its too easy to push the wheel in (thus selecting a parameter) when you really want to turn it (to change a parameter). ![]() Flip switches seIect between the stéreo internal microphone ánd duaI XLR inputs and choosé auto or manuaI gain; rotary controIs set the manuaI recording level. Both channels are individually selectable and controllable; you can have one channel use an internal mike in auto gain while the other records from an XLR input in manual gain. Additional controls in the menu system let you vary mike-level input attenuators, engage a peak-end limiter in manual gain, turn on noise-reduction and wind noise filters, and choose whether AGC works in channel-linked mode (for stereo work) or separate mode (when the two channels are used for different purposes, like two lavs or a lav and a boom).
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