Cinema and Movies.: HDW 750 P produces compatibility of high image definitions .

File menu has too many functions reserved to Maintenance . We only have to clic on that Molette only to lose very important informations of how to use HDW 750 P, that is why it is crucial to go through menu so as not to make mistakes professionally . I mean, any cameraman when he or she does a simple error on how the use HD camera, all shooting scenes are at risk and therefore the consequences are dangerous .So, it is adviceable to consult maintenance before shooting and that Camera must go through adequate tools .
Allal El Alaoui

THREE HD CAMERAS, ONE VISUAL AESTETIC

During post-production, Herrmann and his cameraman were greatly impressed by the compatibility of the three high-definition cameras and highly comparable picture gradation. “When I start filming with a 750P and subsequently need to shoot crucial scenes with the Z1, perhaps because the HDCam is just too big, or because the current situation is dangerous for the camera and I thus have to minimize the cost risk, it is comforting to know that the cameras combine so well,” Herrmann comments. “Of course, experts can always see the difference,” he remarks, “otherwise everyone would only film with the small cameras.”
Christian Herrmann

LES ESSAIS CAMERA EN HD
CAMERA :

- Tester les batteries et les chargeurs durant les essais.
- Vérifier le format 16/9 au viseur et au moniteur ( à l'aide d'une mire de cadrage).
- Régler la cadence de prises de vues ( 24Psf,25Psf,50i,...): Menu M/Format.
Identifier la camera : menu 0/SHOT ID,SHOT DISP.
-Choisir le pourcentage de ZEBRA,et le vérifier au monietur.-menu 0/VF SETTING,
-Définir les W.Bal:sur HDW 750 : menu M/PRESET WHT +menu 0/OFFSET WHITE+menu P / WHITE .sur HDW F-900:menu P/ VIDEO LEVEL.
- Régler les troix niveaux de gains L / M / H : menu 0 / MARKER.
- Choisir les markers et la croix centrale du viseur : menu 0 / MARKER .
- Sélectionner la mire SMPTE 16:9 menu - Appliquer une fonction aux assignables ;menu 0 / FUNCTION 1 .
- Définir les sorties BNC caméra ( HDSdi,VBS ) : menu 0 : OUTPUT SELECT.
- Régler le niveau d'alarme batterie : menu M / BATTERY .
- Régler l'affichage viseur : menu 0 / VF DISPLAY.
- Configurer le USER menu : TOP menu / USER MENU CUSTOMIZE.
- Sauvegarder le USER menu sur memorystick : menu F / USER FILE .
- Rappeler un SCNE FILE STANDARD.
- Effectuer un MULTI MATRIX ALL CLEAR .
- Effectuer les réglages de menu PAINT ( en fonction des essais ).
- Sauvegarder le PAINT menu sur le memorystick : menu P / SCENE FILE .
-Assigner le témoin warning " ! " : menu 0 / " ! " LED .
- Enregistrer une mires de barres survie d'une Macbeth couleur,et d'une charte de gris .

OPTIQUE :

- Faire les shadings et les flares pour chaque optique et mémoriser en LENS >FILE ( Voir loueur).
-Faire le tirage optique de toutes les optiques.
- Vérifier le calage et enregistrer sur K7.
- Observer le pompage des zooms .
- Vérifier la correspondance des diaphs entre chaque optique .
- Déplacer le plan film et regraver les optiques si nécessaires .

CONFORMITÉ DE CADRE :

- Vérifier la conformité de cadre .
- Vérifier la conformité de cadre entre la ou les caméras et tous les moniteurs .

MONITORING :

- Régler les moniteurs à la mire SMPTE 19:9.
- Configurer les slots (canaux ,entréesformats ,identifications).
- Tester les petits moniteurs HF ( LCD,supports,transmetteurs,batteries).
-Tester les Tous les câbles BNC .
- l'oscilloscope .
-Prévoir les longueurs de câbles en fonction du plan de travail.

FILTRES :

- Vérifier les défauts d'uniformité au blanc des filtres ND internes ,au moniteur et à l'oscilloscope.
- Vérifier les filtres et tiroirs ,les vignettages .
Note : Pour une caméra ,prévoir deux jours d'essais.pour deux caméras,cinq jours .

HDW 750 P / Léonard ROLLIN / IEC 2005
re-visionned et rewritten by Allal EL Alaoui

All but the simplest cameras contain lenses which are actually comprised of several "lens elements." Lens flare is caused by non-image light which does not pass (refract) directly along its intended path, but instead reflects internally on lens elements any number of times (back and forth) before finally reaching the film or digital sensor.

Lens elements often contain some type of anti-reflective coating which aims to minimize flare, however no multi-element lens eliminates it entirely. Light sources will still reflect a small fraction of their light, and this reflected light becomes visible as flare in regions where it becomes comparable in intensity to the refracted light (created by the actual image). Flare which appears as polygonal shapes is caused by light which reflects off the inside edges of the lens aperture (diaphragm), shown above.

Another solution to using 35 mm lenses and hoods on a digital SLR with a crop factor is to purchase an alternative lens hood. Look for one which was designed for a lens with a narrower angle of view (assuming this still fits the hood mount on the lens). One common example is to use the EW-83DII hood with Canon's 17-40 f/4L lens, instead of the one it comes with. The EW-83DII hood works with both 1.6X and 1.3X (surprisingly) crop factors as it was designed to cover the angle of view for a 24 mm lens on a full-frame 35 mm camera. Although this provides better protection, it is still only adequate for the widest angle of view for a zoom lens.
Despite all of these measures, there is no perfect solution. Real-world lens hoods cannot protect against stray light completely since the "perfect" lens hood would have to extend all the way out to the furthest object, closely following the angle of view.

Unfortunately, the larger the lens hood the better-- at least when only considering its light-blocking ability. Care should still be taken that this hood does not block any of the actual image light.

Petal lens hoods often protect better than non-petal (round) types. This is because petal-style hoods take into account the aspect ratio of the camera's film or digital sensor, and so the angle of view is greater in one direction than the other.