Videoroomtips, Videostuff, Camera3 DVC Pro AJ-D 700K

The camera controller sits on the far left and controls the two remote cameras. The camera he/she is using at the moment is monitored on the big screen in front of him. Camera 1 & 2'and 3's monitors are up and to the middle over the switcher's area, so that the switcher can see what is on each camera, and so the TECHNICAL DIRECTOR (“TD”) can direct the shots. These monitors are black and white.

Is used as the portable camera that is usually located at the back of the auditorium. The camera 3 monitor in the video room is labeled.. (There are plugs to left,of the stage and behind the stage for this camera as well as overhead in the ceiling space above it.)

If these locations are used, tape the connections so prevent them accidentally being dislodged. We also have to set it up for the change in cable length. (Called "Timing".)

We have to take this down after the Saturday PM service, and after the final Sunday PM services. It is stored in its case in the video room.

First: Set up the tripod on the stand. Use the cups on the stand for a wide stance. Use the prongs on the feet to ensure it does not slip. Two legs at the back....one at the front.

Set it up high enough so that the camera would be at about eye level for comfort in operating, but low enough to enable a more or less straight on shot.

If you extend the front leg out so that the rear legs are almost straight, it will enable you to reach the iris controls etc. from the rear stand without stepping on the camera stand and shaking the shot.

Level the camera head: By adjusting the drop lever in the middle until the level bubble is in the centre. Lock the centre braces and all pan and tilt locks before putting camera on.

The camera locks into place by sliding it forward till you hear a “click”. Gently release the left hand tilt control, to check that the camera is balanced properly on the video head. Set the dial on the tension to 1 and release the mounting plate on the right (hang on) adjust the position of the camera so that it does not tilt down, or back, when you take your hands off the handles. You should be able to let go of the control handles with the tilt control fairly loose, and it will not take a dive on you. You then tighten the tension to about 3 so it will not move if it is slightly jarred or released. When you leave the camera, be sure and tighten the pan and tilt controls fairly snug so it won't move if someone should bump it.

Hook up the power cable (XLR) into the rear of the camera to the DC in jack. The Power Supply has to now be turned on. It is on the floor in the video room.

When using an external power supply other than the AU-B110 AC adaptor, check the pin signal of the EXT DC IN socket. When both a battery pack and AC adaptor are connected, power is supplied from the AC adaptor. When using an AC adaptor, the AC adaptor's power must be set to ON before the unit's POWER switch is set to ON. If this sequence is reversed, the AC adaptor's output voltage will rise slowly and may cause the unit to malfunction. (From the Manual)

The “GenLock” cable (The blue one that is marked) is fastened to the right side rear with a BNC connector to the “GenLock In” jack.

The other blue cable is the “Camera OUT” cable and connects to the Cam OUT BNC connector next to the Genlock input. Make sure these connectors click on properly.

The power supply for the LCD screen is a transformer that is plugged into the power panel on the stand and plugged into the dc in jack on the LCD screen on the lower left.

We also use a portable color monitor on a stand beside the camera, as its color is better and it is easier to focus using this. So, unwrap the cover from the front of it, and tuck it underneath so it tilts slightly upwards. Access the power cable that is wound on the rear retainer, and plug it into the power panel. It turns on with the Volume dial on the left.

There are video IN and OUT BNC connectors on the rear of this monitor, so may you need a little converter to convert one them to an RCA jacks. I have recently made up a cable with shrink wrapped connectors for this.

Plug the video-out BNC on the left rear of the camera, into the video-in of the Monitor. To get the best signal use a short blue cable with BNC connectors on both ends.

"This outputs the video signals (75 termination, rated level) to be monitored. During recording, EE images can be monitored; during playback, playback images can be monitored. While performing settings on the menu, the setting menu can be superimposed onto the shot images appearing on the monitor screen so that the settings can be checked (in which case, the images appear in black and white)."(From the Manual)

The Video out jack from the Monitor goes INTO the top right of the LCD (It is marked).

Screw in the “ZOOM” control cable into the bottom of the lens at the rear of the lens, this can be tricky.

Screw in the “Focus” control cable into the bottom of the focus ring on the camera. This can also be tricky.

To turn on the power to the camera, there is a little power switch on the left front of the camera marked “POWER On and OFF”.

Now the camera is ON,check the IRIS (The rear ring on the lens) to make sure it is somewhere between 2.8 and 4. You will set this later properly. Now turn the camera onto "bars" using the switch second from the front on the left...it is marked "bars" so the people in the video room can check the color.

You can set the brightness etc on the LCD and Monitors just like a TV. Controls are on the right.

Plug in the XLR Clearcom cable into the Clearcom and plug in the headset. Tape the Clearcom to the tripod, that way when I take off the headset, I am FREE!

If you aren’t getting a very good picture, check the filter control at the front of the camera. It should be on the number “1” position for indoors, someone may have used it outdoors and didn’t reset it.

Make sure that the white balance switch is on A and not on preset or B. (B is used for outside or a different light setting).

If the camera has been used elsewhere during the week it is likely that the "timing" may be off. This check is used also if the camera was used at the front of the stage etc. This sets the camera for the length of cable. This should be checked each time the camera is set up, just as the White Balance is checked.

Open the little door on the Left side of the camera. Switch the "Menu" button (lower left) to "SET UP".

Now hold down the top two buttons the "shift and the +" at the top left of the panel, and turn on the camera AT THE SAME TIME.....this sets the menu to the "Engineer Service Mode."

PAGE DOWN (Using shift/item) until you see LEVEL 6/6. Be careful you don't accidentally change any of the settings on the way!!!! If you do... call someone who knows about it.

Then scroll with the Page button to the menu that says "SC COURSE" first. (Note the little #'s that represent the setting, these go from 0 to 255) You need to be in communication with someone in the video room with the FRS radios or the Clearcom.

The Vectorgraph is turned on in the videoroom (See Magni Monitor). The vector has to be set as close as possible to the little dots in the upper right quadrant.

So as you turn the course adjustment, you can get direction as to which way to go in order to get as close as possible. Use the + and - buttons for this. (You should also have the color bars on, and projected to the large screen on the stage so you can look at that too.)

Now go to the "SC Fine" section, and adjust it closer yet. You may have to play with this a bit to get it right., (That is you may have to go back to Course and Fine again) When finished turn the menu button off. Note if you shut off the camera at this point, the next time you turn it on and hold the Shift + buttons with menu on "set", you will automatically go to Level 6/6.

One more thing.....When you use the camera location, at the front of the stage it now becomes CAMERA 7.....NOT Camera 3 on the switcher.....so watch out if you are on the switcher!

You need a cable puller when on this camera to feed the cable when you move about.

Now you can do a proper color bars check with the waveform generator, switcher and other cameras.

In order to set the White Balance you need to get the huge white balance card now stored in the little hallway by Gary's office, and get someone to carry it to the front, and hold it up behind the pulpit area (The Pulpit lighting has to be on and levels set to 160 foot candles).

Now, zoom in all the way using the zoom control on the right handle. Focus with the control on the left. The card has to occupy at least 1/4 of the viewfinder screen (Page 67 Manual).

Located on the front of the camera on the left is a little switch that is labeled AWB (Automatic white balance) push it up. Hold this switch in the “UP” position until you see, “OK” in the viewfinder. (This is called a “response”). Then hold the switch “DOWN”(ABB) until the finder turns black and an “OK” is seen. Now give the poor guy holding the card a thumbs-up. The people in the video room are setting the white balance of camera 1 and 2 at the same time. (See Remote Control unit section).

ABB must be executed again when the MASTER GAIN values on the LOW SETTING, MID SETTING and HIGH SETTING pages of the setting menu are changed, the S IRIS SW item is set to +30 dB at the FUNCTION 2/5 page of the setting menu, or the GAMMA (ON/OFF) item is switched at the FUNCTION 1/5 page of the setting menu. (From Page 66 of the manual)

Now you can zoom into the stage area and focus on somebody there at full zoom, then when you pull back, everything should be in focus. You are now ready to play with some test shots, and get the feel of the camera, by releasing the pan and tilt controls. You should hang onto the handles, or be fully prepared to move the camera should your subject move. However holding onto the handles through a steady shot just makes the camera jiggle and so does people walking by, Be prepared to hear “ CAMERA 3, you are jiggling” from the TD. Sometimes, you can prevent jiggle, but most of the time you cannot due to the nature of the platform you are on. This is why you stand on one thing, and have the camera on another.

During the run through practice at the beginning, the “TD” in the video room will direct your shots and the switcher will switch the shots that will end up on the screen.

Note: The large screen is usually turned on from the upstairs sound booth (See video projector controls).

Usually the PowerPoint presentation is going out to the screen just before the start of the service. Providing the PowerPoint person has got this running from upstairs. You will see it on the PP monitor in the video room The green button #6, on the switcher is on!

This lamp lights when the unit enters irregular operation status for any of the items set to ON at the ! LED page of the setting menu. Applicable items are as follows.

Setting Item	Setting Contents
Gain (0 dB)	The Gain is set to a vaue other than 0 dB
Gain (-3dB)	The Gain is set to value other than -3 dB.
Shutter Switch	The Switch is set to ON.
White Preset Switch	The Switch is set to PRESET.
Lens Extender	The Lens extender is being used
Filter Control	The Control is set to value other than 1.
Super V switch	The Switch is set to ON.