Adjusting the white balance and black balance

Adjusting the white balance

A better picture can be achieved by adjusting the

1

white balance and black balance in the following

sequence: AWB (white balance adjustment)

5 ABB

(black balance adjustment)

5 AWB.

 

There is usually no need to re-adjust the black balance even when the power has been turned off and back on.

The white balance must always be re-adjusted when the lighting conditions have changed.

If the display mode is set to “2” or “3,” messages advising the user of what progress has been made in

the adjustments and what the adjustment results are appear on the viewfinder screen when the black balance or white balance adjustment is commenced.

Set the display mode to “1” if these messages are not to be displayed.

OFor details on the display mode settings, refer to “Display modes and setting change messages” (page 43).

<Notes>

OABB must be performed when the MASTER GAIN

levels have been changed on the LOW SETTING, MID SETTING and HIGH SETTING screens of the

CAM MENU, when the super gain setting has been

changed using the USER button, and when the2 GAMMA (ON/OFF) has been switched on the

CAMERA SETTING screen.

OWith artificial lighting—particularly fluorescent lights and mercury lamps—the luminance may appear to

be constant but the intensity of the R, G and B colors will change in synchronization with the power line frequency. Especially in regions with a 50 Hz power line frequency, mutual interference arises between the vertical sync frequency (approx. 60 Hz) of this unit and lighting frequency (50 Hz). As a result, the hue tends to change with the passage of time or flickering occurs, making it impossible to achieve a proper white balance.

It is recommended that the white balance be achieved using the settings shown in the table below.

Power line frequency

Shutter speed

 

 

50 Hz

1/100

 

 

60 Hz

OFF

 

 

Set the switches as shown in the figure.

WHITE BAL: A or B

FILTER control

OUTPUT: CAM

GAIN: Normally 0 dB

Set to a more suitable gain level if it is too dark.

When the GAIN and WHITE BAL switch settings are changed, messages advising the user of the set positions appear on the setting change message display of the viewfinder screen. (However, this happens only when “3” has been set as the display mode.)

Select the FILTER control setting in accordance with the lighting conditions.

OFor examples of the FILTER control settings, refer to the description of the FILTER control (page 13) in the “Shooting (recording)/playback function section.”

When the FILTER control setting is changed, a message advising the user of the set positions appears on the setting change message display

of the viewfinder screen. (However, this happens only when “3” has been set as the display mode.)

47

Page 47
Image 47
Panasonic AJ- P, AJ-HDC27V Adjusting the white balance and black balance, Sequence AWB white balance adjustment

AJ- P, AJ-HDC27V specifications

The Panasonic AJ-HDC27V and AJ-P series are advanced broadcast-quality cameras that cater to the professional video production industry. Designed with cutting-edge technologies, these cameras are ideal for documentaries, live events, and cinematic projects.

One of the standout features of the AJ-HDC27V is its high-definition capabilities. The camera supports various HD formats, including 720p and 1080i, allowing for flexible resolutions tailored to different production needs. With a 3CCD sensor configuration, the AJ-HDC27V captures stunningly vivid colors and exceptional image clarity, which are critical for professional productions. This sensor setup ensures high sensitivity and low noise, making it suitable for shooting in diverse lighting conditions.

The AJ-P series introduces the innovative P2 card technology, which significantly enhances workflow efficiency. The P2 card system offers high-speed data transfer and reliable storage options. With multiple card slots, it's possible to shoot for extended periods without interruption, as footage can be recorded simultaneously across multiple cards. This feature minimizes downtime, allowing production teams to maintain momentum during critical shooting schedules.

In terms of connectivity, both the AJ-HDC27V and AJ-P models boast a variety of professional-grade interfaces, including HDMI, SDI, and FireWire. These options provide versatile connectivity for various external devices and facilitate seamless integration into existing production systems. Additionally, the cameras support real-time HD image transmission, making them ideal for live broadcasting.

The ergonomic design of the AJ-HDC27V and AJ-P series ensures comfortable handling during extended shooting sessions. The cameras are equipped with user-friendly controls and customizable settings, allowing operators to fine-tune their shooting experience. Features such as focus assist, waveform monitor, and peaking functions empower videographers to achieve precise shots.

Moreover, both camera lines support advanced video compression formats, including AVC-Intra and DVCPRO HD. This ensures high-quality recordings with manageable file sizes, optimizing storage and editing workflows. The AJ-P series also includes built-in scene file settings, enabling quick adjustments for various shooting environments.

In summary, the Panasonic AJ-HDC27V and AJ-P series offer professionals in the video production industry state-of-the-art technology and versatile features that enhance the shooting experience. With their exceptional imaging capabilities, efficient storage solutions, and user-friendly design, these cameras are a reliable choice for delivering high-quality visual storytelling.