On the Road with the HVR-V1U Part 5by Steve MullenPublished on Feb 5, 2007 1:00 PM 
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A video pro journeys to the far ends of the globe with Sony’s new HVR-V1U. Steve Mullen provides first-hand accounts of the camcorder’s features and performance exclusively for CamcorderInfo.com.
Part 5
I’m on the road in Asia with an HVR-V1 HDV camcorder on loan from Sony. I am gathering data for my “Sony HVR-V1 and HDR-FX7 (Review, Specs, Recent News, $2599) Handbook” to be released in February 2007. (Yes, I’m running slightly behind schedule.) As I write this report, I am about to leave Chennai for Malaysia.
This year I came in November and arrived at the end of the East coast Monsoon. Therefore, many shooting opportunities have been lost to rain. However, I certainly cannot complain about rain, since there has been 5 years of severe drought in Tamil Nadu where Chennai is located. Moreover, another positive note—the beach area that was devastated by the Tsunami when I was here 2 years ago has been fully rebuilt.
The V1 can process the upper and lower light ranges independently. The diagram below shows the signal output from the DSP as a function of light input from a sensor. It has a “lazy S” shape with two segments on either end of a more linear middle segment: the lower (A-B) segment where Stretch/Compress occurs and the upper segment (C-D), which is the “Knee.”
The Knee shapes the relationship between light input and signal output in the upper range as shown below.
The Knee can be set to Auto, or manually set at Low, Middle, and High. A lower value enables greater apparent latitude while a higher value decreases apparent latitude.
The Black Compensation function offers three settings: Off, Stretch, and Compress. Black Compensation can alter dark grays and black. Although you can use Black Compensation with either Cinematone Gamma types, I only use it when nether gamma type is enabled. Below, Black Compensation is Off.
The Black Compensation function offers three settings: Off, Stretch, and Compress. Black Compensation can alter dark grays and black. Although you can use Black Compensation with either Cinematone Gamma types, I only use it when nether gamma type is enabled. Below, Black Compensation is Off.
When Black Stretch is engaged, the relationship between light input and signal output is altered to prevent the loss of shadow detail. This enables greater apparent latitude.
Black Compress, however, makes shadows appear darker, and thus reduces apparent latitude as shown below.
I have now set my three 24p Presets to:
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Profile
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Button
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Name
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Knee
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Black Compensation
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Cinematone Gamma
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PP4
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6
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Cinema
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AUTO
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OFF
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TYPE 1
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PP5
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Cinema Wide
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LOW
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COMPRESS
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OFF
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PP6
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Cinema High
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AUTO
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OFF
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TYPE 2
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To make it clear, Cinema (PP4) is used for most 24p shooting. When scene contrast is very high, I use Cinema Wide (PP5). On overcast days, or interiors with low contrast, I use Cinema High (PP6). Back home, after reviewing footage, I now would set Cinema Sharpness to “6” rather than the Sony default of “5.”
I also have my three 60i Presets:
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Profile
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Button
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Name
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Knee
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Black Compensation
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Cinematone Gamma
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PP1
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4
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Video
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AUTO
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OFF
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OFF
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PP2
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5
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Video Wide
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LOW
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STREATCH
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OFF
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PP3
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Video High
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AUTO
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COMPRESS
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OFF
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Video (PP1) is used for most 60i shooting. When scene contrast is very high, I use Video Wide (PP2). On overcast days or interiors with very low contrast, I use Video High (PP3). Obviously Cinetone Color is disabled. Color Level is set to +5. Color Phase is set to zero. Sharpness is set at “7” (Normal). These are simply a starting point. I may move Sharpness up to “8.”
In Report #6, we will look at examples of my temple footage to see the effects of Black Compensation and Cinematone Gamma. In Report #7, we’ll look at White Balance. Then, in Report #8, see how much gain we can use without introducing noise.
Coming Up
In Report #6, we will look at examples of my temple footage to see the effects of Cinematone Gamma. In Report #7, I’ll introduce you to the Sony’s Auto Focus capability and in Report #8 we’ll see how much gain we can use without introducing noise. Then, in Report #9, we’ll look at White Balance. Report #10 will be the final report.
In Report #6, we will look at examples of my temple footage to see the effects of Cinematone Gamma. In Report #7, I’ll introduce you to the Sony’s Auto Focus capability and in Report #8 we’ll see how much gain we can use without introducing noise. Then, in Report #9, we’ll look at White Balance. Report #10 will be the final report.
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Steve Mullen owns Digital Video Consulting that offers eBooks on HD production. Currently, DVC (www.mindspring.com/~d-v-c) offers two eBooks: the Sony HDV Handbook and the JVC ProHD Handbook. In February 2007, DVC will offer a new title: the Sony HVR-V1 and HDR-FX7 Handbook.