松下AG-DVC180AMC摄像机说明书

DVCPRO录象机操作手册所谓DVCPRO是以专业及广播界用户为对象，由松下电器公司开发的数字录象机。

DVCPRO具有如下许多特性：DVCPRO的图象与声音均以数字方式记录；可以重放优美的图象与声音；图象与声音几乎不产生质量劣化；采用1/4英寸带宽的磁带，故盒带小而轻；可以重放民用DV格式功能；首先我介绍一下磁带,DVCPRO磁带分为大型盒带也称L型带可以播放123分钟和中型盒带M型带,可以播放63分钟，这些磁带最怕受潮和碰摔。

所以，磁带不用时应放在带盒内。

磁带右下端有防误抹开关防止误删有用节目,进行编辑时关闭否则编辑不上, 有重要资料打开.说到磁带顺便说下现在因为用DV带的比较多,所以最好采用松下公司生产的专用DV带,否则,对机器伤害很大.现在最新采用P2卡记录,一块P2卡是由4块SD存储卡封装而成,它与传统的磁带和光盘不同,不需要机械装置,P2卡非常结实,,具有出色的抗震性,现在我台采用的P2卡容量为8G,最长可记录32分钟,松下今年推出32G P2卡,最长可以录128分钟,P2卡也有防误删功能,将保护开关拨至PROTECT侧即可.虽然说P2卡具有抗震性,平时保管还是需要放在盒内.因为P2卡研发出来没多久,价格相当高,一盘普通磁带1-200元,而P2卡需要5000元.我想大家在平时生活中都用过录像机,我台现采用的录像机有AJ-D640,650.750,755,955.D93.455,因为455用的比较多先以AJ-D455为例介绍一下其简单操作：首先介绍面板各主要按键功能1 POWER开关按ON一侧时，电源打开，计数器显示区点亮。

2 盒式磁带插槽3 EJECT键按此键时，磁带被卸载并在几秒钟后自动弹出盒式磁带。

计数器显示指示“CTL"时，此显示复位。

4 EDIT/EDIT REC/REC/REC INH灯EDIT:通过9芯遥控器选择编辑模式时。

此灯点亮。

EDIT REC：通过9芯遥控器编辑时，此灯点亮。

教学领域摄像机，用它就对了——松下UX180作者：芦伟来源：《信息化视听》2017年第01期张宁，接触摄录设备近20年，过手机器无数，经验丰富且乐于分享，其撰写的《数字调色的艺术——图解DaVinci Resolve》是国内高校第一本用于调色教学的专业教材。

即将出版的《从“忠实”到“悦目”——数字摄影影像质量控制解析》集张宁十几年摄录像绝学，为又一本数字影像心血之作。

张宁身兼中国传媒大学专业教师、艾沃影业后期制作总监、国家高级摄影师、数字调色课程资深讲师的多重身份，始终践行在技术潮流最前沿。

其丰富的经验和业内知名度，让不少国际知名大厂都愿意将最新产品交于张宁进行使用测试。

这不，前些日子，张宁就对松下UX系列明星机型AG-UX180MC（以下简称：UX180）摄像机完成了深度品鉴。

老朋友张宁与松下可算是老朋友了，他自2001年就在开始使用松下设备，从DVCPRO SD系列到HD系列都用过。

如摄像机AJ-908、AJ-910、AJ-HPX3100，录像机AJ-D955等，这些产品都是当时的主流产品。

张宁至今还清楚的记得松下当时的标清摄像机就采用了“双码率”的专业设计，既可以选择记录25M格式，也可以选择记录50M格式。

25M的时候4：1：1采样，一盘磁带能记录60多分钟；50M的时候是4：2：2采用，一盘磁带可以记录30多分钟。

但不论哪种方式，松下设备摄制的画面色彩都不失丰富鲜艳，而且从用户界面的友好性到功能的稳定性方面都表现非常出色。

松下UX系列，是AVCCAM系列的继承者，刚一发布，就凭借1英寸MOS传感器、高倍率光学变焦、更大广角LEICA DICOMAR 镜头以及记录4K、UHD、FHD高画质影像而备受业内关注。

该系列目前推出三款产品，其中AG-UX180MC和AG-UX170MC主要特色为24mm广角、20倍光学变焦、五轴混合光学影像稳定器（O.I.S.）。

1英寸的高灵敏度MOS感光元件有效像素达946万。

松下AG-DVC系列摄录一体机简明教程一、前言大家好，很高兴能有这么一个机会和在座的各位共同学习松下摄像机的使用方法。

考虑到各位对摄像机，尤其是专业摄像机接触不多，金源有线电视台（湖北宜城）编写了此简明教程，帮助大家对摄像机的使用有一个基本的了解。

教程全文共分两个部分：第一部分的学习主要是对金源电视台目前使用的AG-DVC33、AG-DVC63、AG-DVC180BMS摄像机进行简要介绍。

学习点包括摄像机的基本工作原理、组成部分、主要功能按键的介绍、使用的注意事项、维护和保养。

第一部分是我写的，水平有限，不尽之处还望见谅。

第二部分的学习主要以摄影摄像技术基础知识的讲解为主。

这部分的教材网上很多，讲的也很细。

我们此次学习的这部分内容，也是来自于网络教材。

学习中我会结合教材对各个章节进行介绍讲解。

在正式开始以前，有两点是需要说明：1、虽然课后我会将此教材拷贝给各位，但学习的过程中还是希望能做好笔记，便于你拿到教材后，对一些学习过程中不是很明白的地方对照笔记有针对性的加强学习。

2、因为有些地方的讲解需要前面讲解的知识做铺垫，所以对于学习过程中不懂得地方，可以随时提问，避免影响后面的学习。

第一部分：摄像机简介一、摄像机的基本原理很多没有接触过摄像机的人可能会有疑问，摄像机是如何将图像拍摄下来的？如果中学物理课你还有印象的话，那么小孔成像的实验你应该记得。

这个实验验证的就是光线投射成像的原理。

对一些技术难点进行隐藏后，摄像机的工作原理说起来其实也很简单，摄像机其实是一个光、电、磁转换存储设备。

通过镜头的光学作用将光线聚焦于感光元件（阴极摄像管、CCD）上，由感光元件将光信号转变为对应的电信号，再通过电路使电信号进一步转换为磁信号记录于磁带上即完成了整个摄像过程。

以我们使用的松下数码摄像机为例，光线通过镜头组件，投射到感光元件CCD上，CCD将光信号转变为电信号后通过摄像机磁鼓，以高速旋转扫描的方式将磁信号记录于DV数码带上。

摄像机十年松下篇历史，虽然已经成为了过去式，但是它却留给我们珍宝似的惊喜。

40多年前，美国安培（Ampex）公司推出世界上第一台实用性摄像机。

当时是采用摄像管作为摄像元件，因此寿命低、性能不稳定高昂的制造成本等方面成为了最致命的弱点，使其使用范围一直限制在专业领域，并无缘用于民用领域。

在1976年， JVC公司推出了第一台家用型的摄像机，其使用的是JVC独立开发的VHS格式，VHS是Video Home System的缩写，意为家用录像系统。

VHS系列的代表作就是大家比较熟悉的松下M7、M1000、M8000了。

后来换代产品是M3000、M9000系列。

但VHS摄像机清晰度比较低，所摄画面的水平清晰度只有250线。

为了弥补VHS的不足，又开发出了S－VHS摄像机，它通过使用不同涂层的录像带，提高信号调制的载频、偏频，并增加专用的Y/C信号输出端子使亮度信号和色度信号可直接独立输出等措施，使记录画面的水平清晰度提高到400线。

但因为VHS和S-VHS录像带尺寸较大而导致摄像机体积庞大和笨重，并不适合于家庭使用。

因此在1982年，由JVC研发的VHS－C摄像机和S－VHS－C摄像机便应运而生，它和标准的VHS使用同样宽度的磁带，可以用过适配器在普通录像机上观看，但是它的体积只有92毫米×69毫米×23毫米，比标准的VHS录影带又减小了很多，可以用在手持式摄像机等设备上，质量档次与VHS摄像机和S-VHS摄像机相同。

另外，C型录像带可以通过配送的转换盒在家用VHS录像机上播放，我们国内的摄像机市场也正是由此开始起步。

家用摄像机小型化的脚步并未因VHS-C和S-VHS-C型带的出现而停止，紧接着索尼（SONY）、夏普（SHARP）、佳能（Canon）公司又推出了8mm系列摄像机，即通常所说的V8。

因为V8所使用的录影带磁带宽为8mm，全名为Video8 制式，简称V8，V8磁带较C型带在体积上又有缩小，但水平解析度也降为270线。

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型号：SER.No.（机身编号）：2目录重要安全须知 (4)有限责任 (5)免责条款 (5)前言 (5)关于标记 (6)特点 (6)关于使用说明书 (7)对电脑的系统要求 (7)商标和注册商标 (8)关于著作权 (8)网络安全 (9)注意事项 (10)安装时的注意事项 (13)各部分的名称 (15)镜头安装 (17)插入和取出SD记忆卡*1 (仅WV-SP509H) (19)安装 (20)连接 (24)使用光盘 (28)配置网络设置 (31)故障排除 (33)规格 (34)附件 (38)选购件 (38)补充说明 (39)*1 SDXC/SDHC/SD记忆卡记载为SD记忆卡。

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Panasonic Broadcast AG-DVC20 Menu Information31MenuMenu listMenu figures and illustrations are provided foreasy-to-understand explanations, and so they are different from the actual menu indications.ª[TAPE RECORDING MENU]1)[BASIC][SCENE MODE] -23-[REC SPEED] -19-[BLANK SEARCH] -19-[WIND CUT] -22-[CLOCK SET] -15-2)[ADVANCE][EIS] -23-[CINEMA] -23-[D.ZOOM] -20-[ZOOM MIC] -20-[MIC LEVEL] -20-[DATE/TIME] -32-[INITIAL SET] -32-3)[SETUP][FADE COLOR] -22-[AUDIO REC] -32-[REC LAMP] -32-[DISPLAY] -32-[REMOTE] -17-[BEEP SOUND] -32-[LCD SET] -15-[EVF SET] -15-[POWER SAVE] -32-4)[LANGUAGE] -14-ª[TAPE PLAYBACK MENU]1)[BASIC][DATE/TIME] -32-2)[ADVANCE][BLANK SEARCH] -19-[REC SPEED] -19-[REC STDBY] -29-[REC DATA] -32-[REPEAT PLAY] -26-[MIC LEVEL] -20-3)[SETUP][12bit AUDIO] -30-[AUDIO OUT] -32-[DISPLAY] -32-[REMOTE] -17-[LCD SET] -15-[EVF SET] -15-[POWER SAVE] -32-4)[LANGUAGE] -14-Menus related to taking picturesª[DATE/TIME]This switches between date and time indications.≥The camera-recorder automatically records the date and time of picture taking on the tape.≥You can also show or change the date/time indication by repeatedly pressing the [DATE/TIME] button on the remote control.ª[AUDIO REC]Switches the audio (PCM audio) recording systems.[12bit]:Records audio in “12bit 32kHz 4tracks”.(The original audio signals can be kept after the otheraudio signals are dubbed.)[16bit]:Records audio in “16bit 48kHz 2tracks”. Audio can be recorded in higher quality.(If audio signals are dubbed, then the original audiosignals will be erased.)ª[REC LAMP]Set to [ON] and this turns the recording lamp on during recording, which indicates that recording is underway. Set to [OFF] and this does not turn on the lamp even when recording is underway.ª[DISPLAY]Set to [ON] and the display mode can be switched to all functions. Set to [OFF] and it can be switched to minimum display.ª[BEEP SOUND]Set to [ON] and confirmation/alarm beeps are issued as follows.1 Beep≥When you start recording≥When you turn on the power2 Beeps≥When you pause recording2 Beeps for 4 times≥When a cassette with its erasure prevention tab set to [SAVE] is inserted, condensation occurs, and at other times. Check the sentence displayed on the screen.ª[POWER SAVE][OFF]:When about 5 minutes passed without anyoperation, the standby mode automatically willbe set. In the standby mode, [;] blinks and ittakes time more than usual to start recordingafter you press the recording start/stop button. [5MINUTES]:When about 5 minutes passes without anyoperation, the camera-recorder automaticallyturns off to protect the tape or to prevent thebattery from running down. When you use thecamera-recorder, turn it on again.≥In the following cases, the power may not turn off even when set [POWER SAVE] >> [5MINUTES].≥When connecting to the AC outlet (When using the ACadapter)≥When connecting the DV cable to other equipment Menus related to playbackª[REC DATA]Set to [ON] and the settings (shutter speed, iris/gain values, and white balance settings (-24-), etc.) used during the recordings are displayed during playback.≥When the [AUTO/MANUAL/FOCUS] switch is set to [AUTO], the indication [AUTO] will appear.≥When there is no data, [---] appears on the display.≥If the camera-recorder data of the camera-recorder are played back on other equipment, the settings information is sometimes not displayed normally.ª[AUDIO OUT]This switches the sound to be played back.[STEREO]:Stereo sound (main sound and sub sound) [L]:Left channel sound (main sound)[R]:Right channel sound (sub sound)Other menusª[INITIAL SET]When there is a menu that cannot be selected depending on a combination of functions, set to [YES] for changing the menu settings back to the initial shipping condition.(Language setting cannot be back to the initial shipping condition.)32。

AG-DVC180BMC手持式DV摄录一体机1/3英寸47万像素3CCD强大的手动功能提供完美的画质拍摄摄像机同步功能，实现多机位时码同步提供电影Gamma曲线拍摄功能，提高图像宽容度，接近电影胶片效果铝镁合金机身，强大的稳定性产品特征详细规格Sub navigation of Feature卓越的画面色彩杰出的易用性系统的灵活性卓越的画面色彩与同档次产品比具有高质量的图像和较高的灵敏度。

25P逐行扫描模式让您能够制作具有特殊效果的节目采用LEICA Dicomar镜头和OIS功能，制造出卓越的画面色彩AG-DVC180B采用Leica DicomarTM 镜头，集合了徕卡光学技术的精华。

低散射镜片的使用减少了色偏差，提高了分辨率。

多层处理将杂散光和拖尾降至很小。

图像会非常锐利、明晰，着色非常美丽，层次感很强。

镜头系统有11组共15个镜头，包括3个非球面镜。

松下先进的OIS(光学图像稳定系统)有效地补偿了手持拍摄时因抖动对画面造成的影响。

具有自动矫正功能的光学处理保证了清晰．明快的图像质量。

47万像素，3CCD成像系统，提供面向超高画质的F11灵敏度松下将AG-DVC180B设计为同档次中具有很高灵敏度和图像质量的摄像机。

它的核心采用了专为广播级和专业级开发的1/3英寸。

47万像素3CCD RGB系统。

新型的镜头设计实现了很高的F11灵敏度。

这样AG-DVC180B可以在低于3Lux的光照环境下进行拍摄，比如在夜晚进行新闻采集。

高信噪比意味着图像暗部噪波非常少，而在阳光或聚光灯的高亮度下会降低亮度，这都会提供出众的画面质量。

12Bit A/D转换提供高成像质量AG-DVC180B采用了同广播级摄录一体机一样的12Bit A/D转换处理器。

逐行CCD具有精确的数字化对比度和色彩捕捉能力，A/D转换器支持伽玛选择和其它优良的下游成像调节这是得到丰富成像效果的关键之一。

高灵敏度慢门功能（累计模式）慢门功能采用图像累积技术使帧频快门速度减少一半或非常多。

《电视摄像》实验指导手册教研室：数字媒体技术教研室编订人：张哲文学与传媒学院实验教学中心目录实验教学大纲 (1)实验一摄像机的基本操作 (3)松下DV摄录一体机（AG－DVC63MC）使用手册 (4)一、使用注意事项 (4)二、主要部件及其功能 (4)1.部件及按钮说明 (4)2.电源相关 (6)3.盒式磁带 (9)4.寻像器 (11)5.LCD监视器 (12)6.设置手动或自动操作模式 (12)7.音频输入选择和电平调节 (17)8.显示 (19)9.菜单操作 (26)10.开机拍摄 (29)11.播放 (29)12.将摄录一体机安装到三角架上 (34)实验二摄像机的景别及构图 (35)实验三固定镜头拍摄 (36)实验四推拉镜头拍摄 (37)实验五移摇跟镜头拍摄 (38)实验六摄像综合运动拍摄训练 (39)实验七摄像机综合训练 (40)实验八电视空间构成 (42)实验九电视专题片拍摄（选做） (43)实验十DV作品拍摄（选做） (44)实验十一电视短剧拍摄（选做） (45)附：电视摄像十八忌 (46)实验教学大纲课程名称：电视摄像英文名称：TV Photography设置形式：非独立设课课程模块：专业基础课实验课性质：专业实验课程编号：0104704课程负责人：张哲大纲主撰人：张哲大纲审核人：张哲一、学时、学分课程总学时：64实验学时：16课程学分：4二、适用专业及年级影视多媒体技术专业二年级三、课程目标与基本要求电视摄像实验，是在学生学习掌握电视摄像课程的基本理论之后，将电视摄像理论与基本应用技能融合在一起的一门配合影视多媒体技术专业基础课《电视摄像》非独立开设的专业实验课程。

实验内容包括主要包括技术操作与艺术创作两个方面。

通过对电视摄像技能与技巧的训练，学生能熟练地掌握摄像机及其附属设备的调整和使用方法以及基本的拍摄技术，能锻炼学生的形象思维能力，能培养学生的画面创作思维，独立完成电视节目的摄像任务。

摄像机型号系列类型机型备注松下AG-DVC200MC DV专业肩扛专业DV摄像机松下AG-DP800S-VHS专业肩扛VHS摄录一体机松下AG-HMC153MC AVCCAM DV手持SD卡高清摄录一体机松下AG-HMC73MC AVCCAM DV肩扛AVCHD便携摄录一体机松下AG-HVX200MC P2PALM DV手持高清P2摄录一体机松下AG-HPX173MC P2PALM DV手持P2HD摄录一体机松下AG-HPX500MC P2专业肩扛P2高清专业存储卡式摄录机松下AG-HVX200MC P2DV手持高清P2摄录一体机松下AG-HMC43MC DV手持松下DVC-180AMC DVCOM DV手持DV摄录一体机松下DVC-180BMC DVCOM DV手持DV摄录一体机松下AJ-D215E DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D400E DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D600MC DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D615MC DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D815MC DVCPRO50M专业肩扛DVCPRO50摄录一体机松下AJ-D913MC DVCPRO50M专业肩扛DVCPRO50摄录一体机松下AJ-D908MC DVCPRO50M专业肩扛DVCPRO50摄录一体机松下AJ-HDC27HMC DVCPROHD专业肩扛可变帧频高清摄录一体机松下AJ-HDX900MC DVCPROHD专业肩扛DVCPROHD摄录一体机松下AJ-HPX3000MC P2HD专业肩扛P2HD高清摄录一体机松下AJ-HPX2100MC P2专业肩扛高清记录的存储卡式摄录机松下AK-HC3500MC高清摄像机专业肩扛新一代高清多格式摄像机JVC GY-HD111HDV专业肩扛HDV摄录一体机JVC GY-HD101HDV专业肩扛HDV摄录一体机JVC KY-27CE S-VHS专业肩扛VHS摄录一体机佳能DM-XL1MINIDV DV肩扛专业MINIDV摄像机佳能DM-XL2MINIDV DV肩扛专业MINIDV摄像机佳能DM-XM2MINIDV DV肩扛专业MINIDV摄像机佳能XH-A1HDV DV手持HDV高清摄录一体机佳能XH-G1HDV DV手持HDV高清摄录一体机佳能XL-H1HDV DV肩扛HDV高清摄录一体机索尼DSR－PDX10P DVCAM DV手持索尼DCR－VX1000E/2000MiniDV DV索尼DSR－PD150DVCAM DV手持索尼DSR－PD190/198/2100E DVCAM DV手持索尼DSR－250P DVCAM DV肩扛索尼DSR－130P DVCAM专业肩扛索尼DSR－200P/200AP DVCAM专业肩扛索尼DSR－300P/300AP DVCAM专业肩扛索尼DSR－570WSP DVCAM专业肩扛索尼DSR－600PL DVCAM专业肩扛索尼DSR－390P DVCAM专业肩扛索尼DSR－650WSPL DVCAM专业肩扛索尼HVR－HD1000C HDV DV肩扛HDV数字高清摄录一体机索尼HVR－150C HDV DV手持HDV数字高清摄录一体机索尼HVR－V1C HDV DV手持HDV数字高清摄录一体机索尼HVR－A1C HDV DV手持HDV数字高清摄录一体机索尼HVR－Z1C/Z5C HDV DV手持HDV数字高清摄录一体机索尼HVR－27C HDV DV手持HDV数字高清摄录一体机索尼HVR－DR60HDV DV手持HDV数字高清摄录一体机索尼HVR－M15C HDV DV手持HDV数字高清摄录一体机索尼HVR－M25C HDV DV手持HDV数字高清摄录一体机索尼HVR－S270C HDV专业肩扛HDV数字高清摄录一体机索尼HDR－FX1E HDV DV手持HDV数字高清摄录一体机索尼HDR－FX1000E HDV DV手持HDV数字高清摄录一体机索尼HDR－FX7E HDV DV手持HDV数字高清摄录一体机索尼HDW－790HDCAM专业肩扛高清晰度数字摄录一体机索尼HDW－790P HDCAM专业肩扛高清晰度数字摄录一体机索尼HDW－F900R HDCAM专业肩扛高清晰度数字摄录一体机索尼PDW－700HDCAM HD422专业肩扛高清专业光盘摄录一体机索尼PDW－F355L HDCAM HD专业肩扛高清专业光盘摄录一体机索尼PDW－F355K HDCAM HD专业肩扛高清专业光盘摄录一体机索尼PDW－F335L HDCAM HD专业肩扛高清专业光盘摄录一体机索尼PDW－510P XDCAM专业肩扛专业光盘摄录一体机索尼PDW－530P XDCAM专业肩扛专业光盘摄录一体机索尼PDW－539P XDCAM专业肩扛专业光盘摄录一体机索尼DVW－970BETACAM专业肩扛数字Betacam摄录一体机索尼MSW－930MPEG IMX专业肩扛MPEG IMX格式摄录一体机索尼UVW－100P BETACAM专业肩扛模拟BETACAM摄录一体机索尼DXC－537P BETACAM专业肩扛模拟BETACAM摄录一体机索尼DXC－620P BETACAM专业肩扛模拟BETACAM摄录一体机索尼PMW-EX1XDCAM EX专业手持索尼PMW-EX1R索尼PMW-EX3XDCAM EX专业手持索尼1500c DV 肩扛肩扛式摄录一体机摄像机型系列类型机型备注松下AG-DVC200MC DV专业肩扛专业DV摄像机松下AG-DP800S-VHS专业肩扛VHS摄录一体机松下AG-HMC153MC AVCCAM DV手持SD卡高清摄录一体机松下AG-HMC73MC AVCCAM DV肩扛AVCHD便携摄录一体机松下AG-HVX200MC P2PALM DV手持高清P2摄录一体机松下AG-HPX173MC P2PALM DV手持P2HD摄录一体机松下AG-HPX500MC P2专业肩扛P2高清专业存储卡式摄录机松下AG-HVX200MC P2DV手持高清P2摄录一体机松下AG-HMC43MC DV手持松下DVC-180AMC DVCOM DV手持DV摄录一体机松下DVC-180BMC DVCOM DV手持DV摄录一体机松下AJ-D215E DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D400E DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D600MC DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D615MC DVCPRO25M专业肩扛DVCPRO摄录一体机松下AJ-D815MC DVCPRO50M专业肩扛DVCPRO50摄录一体机松下AJ-D913MC DVCPRO50M专业肩扛DVCPRO50摄录一体机松下AJ-D908MC DVCPRO50M专业肩扛DVCPRO50摄录一体机松下AJ-HDC27HMC DVCPROHD专业肩扛可变帧频高清摄录一体机松下AJ-HDX900MC DVCPROHD专业肩扛DVCPROHD摄录一体机松下AJ-HPX3000MC P2HD专业肩扛P2HD高清摄录一体机松下AJ-HPX2100MC P2专业肩扛高清记录的存储卡式摄录机松下AK-HC3500MC高清摄像机专业肩扛新一代高清多格式摄像机JVC GY-HD111HDV专业肩扛HDV摄录一体机JVC GY-HD101HDV专业肩扛HDV摄录一体机JVC KY-27CE S-VHS专业肩扛VHS摄录一体机佳能DM-XL1MINIDV DV肩扛专业MINIDV摄像机佳能DM-XL2MINIDV DV肩扛专业MINIDV摄像机佳能DM-XM2MINIDV DV肩扛专业MINIDV摄像机佳能XH-A1HDV DV手持HDV高清摄录一体机佳能XH-G1HDV DV手持HDV高清摄录一体机佳能XL-H1HDV DV肩扛HDV高清摄录一体机索尼DSR－PDX10P DVCAM DV手持索尼DCR－MiniDV DVVX1000E/2000索尼DSR－PD150DVCAM DV手持索尼DSR－DVCAM DV手持PD190/198/2100E索尼DSR－250P DVCAM DV肩扛索尼DSR－130P DVCAM专业肩扛索尼DSR－200P/200AP DVCAM专业肩扛索尼DSR－300P/300AP DVCAM专业肩扛索尼DSR－570WSP DVCAM专业肩扛索尼DSR－600PL DVCAM专业肩扛索尼DSR－390P DVCAM专业肩扛索尼DSR－650WSPL DVCAM专业肩扛索尼HVR－HD1000C HDV DV肩扛HDV数字高清摄录一体机索尼HVR－150C HDV DV手持HDV数字高清摄录一体机索尼HVR－V1C HDV DV手持HDV数字高清摄录一体机索尼HVR－A1C HDV DV手持HDV数字高清摄录一体机索尼HVR－Z1C/Z5C HDV DV手持HDV数字高清摄录一体机索尼HVR－27C HDV DV手持HDV数字高清摄录一体机索尼HVR－DR60HDV DV手持HDV数字高清摄录一体机索尼HVR－M15C HDV DV手持HDV数字高清摄录一体机索尼HVR－M25C HDV DV手持HDV数字高清摄录一体机索尼HVR－S270C HDV专业肩扛HDV数字高清摄录一体机索尼HDR－FX1E HDV DV手持HDV数字高清摄录一体机索尼HDR－FX1000E HDV DV手持HDV数字高清摄录一体机索尼HDR－FX7E HDV DV手持HDV数字高清摄录一体机索尼HDW－790HDCAM专业肩扛高清晰度数字摄录一体机索尼HDW－790P HDCAM专业肩扛高清晰度数字摄录一体机索尼HDW－F900R HDCAM专业肩扛高清晰度数字摄录一体机索尼PDW－700HDCAMHD422专业肩扛高清专业光盘摄录一体机索尼PDW－F355L HDCAM HD专业肩扛高清专业光盘摄录一体机索尼PDW－F355K HDCAM HD专业肩扛高清专业光盘摄录一体机索尼PDW－F335L HDCAM HD专业肩扛高清专业光盘摄录一体机索尼PDW－510P XDCAM专业肩扛专业光盘摄录一体机索尼PDW－530P XDCAM专业肩扛专业光盘摄录一体机索尼PDW－539P XDCAM专业肩扛专业光盘摄录一体机索尼DVW－970BETACAM专业肩扛数字Betacam摄录一体机索尼MSW－930MPEG IMX专业肩扛MPEG IMX格式摄录一体机索尼UVW－100P BETACAM专业肩扛模拟BETACAM摄录一体机索尼DXC－537P BETACAM专业肩扛模拟BETACAM摄录一体机索尼DXC－620P BETACAM专业肩扛模拟BETACAM摄录一体机索尼PMW-EX1XDCAM EX专业手持索尼PMW-EX3XDCAM EX专业手持。

Programmable Customizable Autofocus and Optical Image StabilizationThe new AG-UX90 and AG-UX180 camcorders include the ability to program and customize how the autofocus and image stabilization systems respond. This gives you the ability to tailor the autofocus and/or the image stabilization to be most effective for your particular needs,or for any given shot. This paper will explore the customization options and show you what is possible, and make some recommendations on what settings may be useful for different shooting scenarios.AutofocusAs part of their Leica-certified Dicomar lenses, these cameras have integrated autofocus ca-pability. The autofocus system has been substantially upgraded with the inclusion of a micro-drive focus unit, which allows for tighter tolerances, finer movements, and faster response than prior camcorders could do. The combination of ultra high definition resolution and a large 1” sensor require fast response and high precision; not only does the new micro-drive focus unit accomplish that, but Panasonic went even further by allowing you to customize the speed and sensitivity of the autofocus system.The camera default autofocus system provides suitable performance for a wide variety of typi-cal shooting needs. However, while the default settings may serve well for general purposes, you can definitely significantly improve the focus performance for specific shooting scenarios. The programmable autofocus system consists of four menu item settings:First, there’s an overall on/off setting for the Custom Autofo-cus system. If you set “CUSTOM AF” to OFF, then the defaultautofocus system will be used. If you want to take advantage ofyour customized settings, you need to set this to ON.Once you’ve enabled the CUSTOM AF option, the first custom-izable parameter is AF SPEED. This governs how quickly (orslowly) the autofocus motor works. The range is from -5 to +5,with 0 as the default setting.Initially you may think that you’d always want this set to the absolute fastest setting (+5) and, in fact, there are certainly times when +5 works out best. However, do be aware that the faster the focus motor drives the lens elements, the more noise you may hear (especially if you’re us-ing the onboard microphone to record sound). The default setting of 0 is a reasonable speed that is still very quiet. The fastest speed (+5) is very quick, and results in a faint increase inmotor noise. If you’re using a shotgun or lavaliere microphone on your subject, you’ll probably never hear the difference in motor noise at all.Setting a slower speed may be desirable as an artistic statement, or when the anticipated range of focus isn’t expected to change much (such as a sit-down interview); with a slower focus speed you may find that there are less incidents of “focus hunting” and gentler transitions between focus points.Setting a faster speed definitely helps get better focus performance in unpredictable environ-ments (news/live events) or when needing to track a subject who’s rapidly changing distance from the camera; for example, when filming a professional football game or a kid’s soccer game you’ll find that the focus tracking is much improved when the focus motor is permitted to move at top speed.The second major parameter that you can customize is the AFSENSITIVITY. This parameter governs the autofocus system’sresponsiveness to initiating a refocus procedure (i.e., it controlshow “sensitive” the autofocus system is towards thinking it needsto refocus the image). The range of settings are from 0 to 10, andthe default setting is at 5.To understand the idea behind the AF SENSITIVITY setting, imagine that you are filming a sit-down interview, and your subject is sitting in a rocking chair and gently rocking back and forth just a few inches. Each rock forward brings them a couple of inches closer to the camera, each rock backwards takes them a couple of inches further away from the camera. Now, in a scenario like that, you’re probably going to be just fine using manual focus and splitting the difference, as the subject is not likely to drift out of focus to any substantial degree at either their closest or furthest points; however, if left on autofocus, this could create a scenario where the camera is constantly feeling like it needs to refocus, and could result in significant amounts of “focus hunt-ing” which could ruin your footage. In a scenario like this, if you had decided you wanted to use autofocus, you could set the AF SENSITIVITY lower; by doing so, the focus system will delay its instinct to respond immediately. In effect, the lower you set this parameter, the longer the camera will delay before taking action. It may recognize that the image should be refocused, but it won’t act instantly, it will “take a breath” (as it were) before responding. If the sensitivity were set low enough, it’s entirely possible that the subject will move back into focus before the auto-focus system even attempts to refocus, and therefore it could potentially defuse any potential “focus hunting” that otherwise would have taken place.Another example of when low sensitivity might be desirable would be when a one-person crew is conducting a stand-up presentation or interview. Perhaps the camera is positioned 15 or 20 feet away from the reporter and their interview subject, and the reporter chose autofocus be-cause they knew the camera would be unattended. In this scenario, you would generally want the autofocus to be quite “sticky” on the subject, and not easily distracted or diverted. If a pass-erby were to walk between the camera and the reporter, a normal autofocus system would prob-ably become distracted by the intervening person and want to focus on them, leaving the re-porter and their subject out of focus when the intervening person leaves the camera’s frame; the camera would then have to focus on the reporter and subject again. But with the custom autofo-cus, the camera could be set on very low sensitivity (AF SENSITIVITY of 0, for example); in this case the camera would ignore the intervening person for a while, leaving the focus “stuck” on the reporter. If the intervening person clears the frame quickly, the camera will very likely still be focused on the reporter and won’t have to refocus at all.On the other hand, there are shooting scenarios where instantaneous response is desirable, if not mandatory. If the task involves tracking a moving subject, you would definitely want to increase the sensitivity. Imagine filming a football game from the end zone, where a wide receiver is running straight towards you at top speed. They may be covering 40 yards in five seconds or less! Y ou would want the camera to be as sensitive as possible, refocusing the moment it feels it’s lost sharp focus, and you’d want the focus motors operating as fast as possible, to track such a fast-moving object. Any time you’re filming fast-moving objects that are changing the distance between themselves and the camera (such as horse racing, car racing, track & field events, etc.) you would probably be served best by making the camera as fast and sensitive as possible. Just do be aware that when the sensitivity and speed are at their fastest, that’s when the camera is most likely to make quick/small focus moves which might result in a little bit of “twitchiness” to the focus; the focus is most stable when the sensitivity and speed are slowest, and it’s most re-sponsive when those settings are at their fastest.Finally, there is a fourth parameter you can control regarding thefocus system, and that’s the size of the area in the frame that theautofocus system will evaluate for focus purposes. Y ou can usethe AF AREA WIDTH menu item to set how wide, or how nar-row, the area it will evaluate will be.When set to its widest, the camera will take into account most ofthe width of the frame, and about 1/3 the height of the frame. Ifyou were filming a football team, this focus area might be suitablefor capturing the full line of players, and the focus system wouldchoose the best focus setting that kept the focus sharpest through-out the entire red frame.Alternatively, you can set the frame to be narrower, even to a verynarrow degree. The image to the left shows the focus frame at itsmost narrow. In this setting, the camera will ignore everythingoutside the red frame, and will only determine focus on what iswithin that red frame; this small size might be useful to isolateone player out of the whole line of players, and keep that player inOptical Image StabilizationThe cameras have a comprehensive optical image stabilization system, utilizing an extremely high-precision image stabilization unit incorporated into the lens. The finer the resolution of the image, the tighter the tolerances must be in order to suitably stabilize the picture, and the UX180 and UX90 have a newly-designed high-resolution stabilization system specifically engi-neered to cope with the demands of stabilizing ultra high definition images.Like the autofocus system, the optical image stabilization system is customizable; you can pro-gram it to perform better under certain circumstances. When you know what type of motion you can expect (a stable tripod shot, stationary handheld, walking/running handheld, etc) you can optimize the performance of the image stabilization to deliver the best results under each condition.The optical image stabilization system can be enabled or disabled either in the camera’s menus, or by using the O.I.S. button on the side of the camera. Additionally, when not shooting 4K or UHD, you can enable the Hybrid O.I.S. system, which adds digital stabilization to the optical image stabilizer and makes it even more effective. The programmable Custom O.I.S. applies to the optical image stabilizer, whether or not you’ve added the Hybrid O.I.S. system. The rest of this document assumes that you have enabled the O.I.S. system before proceeding.The programmable image stabilization consists of three menu items:First, there’s an overall on/off setting for the Custom O.I.S. system.If you set “CUSTOM O.I.S.” to OFF, then the default optical imagestabilization parameters will be used. If you want to take advan-tage of your customized settings, you need to set this to ON.There are two major parameters you can set for the custom O.I.S.system, BLUR AMPLITUDE and BLUR FREQUENCY. Bluramplitude refers to how large the motion is that the O.I.S. systemwill be working with; the bigger the movement, the more “ample”it is. The blur amplitude has five options; the smaller the numberyou set it to, the smaller the movements that the O.I.S. system will attempt to compensate for. A setting of “1” directs the O.I.S. system to expend all its energy on canceling out only the smallest movements. This setting would be best for a stationary shot where the camera isn’t expected to move at all. Generally, if you had the camera mounted on a tripod, the camera wouldn’t be expected to move unless it was subject to perhaps some low level of vibration or being inadvertently bumped or, in the case of being mounted on a wooden plat-form, there might be some very minor motion caused by people walking across the platform. In those cases, setting the blur amplitude to “1” directs the camera to be hyper-responsive to tiny motions.The larger you set the blur amplitude, the larger the motions the camera is expected to be able to attempt to compensate for. For example, if you were holding the camera as steady as you possi-bly could during a handheld interview, perhaps a setting of “2” would be appropriate. Obviously no person can hold the camera as steady as a tripod could, so you might expect there would be some minor wobble or slight hand shake, and with a setting of “2” the camera would be able to cope with the slightly larger movements as compared to the tripod-steady setting of “1”. If you expect to encounter larger movements, you should set the blur amplitude higher. If instead of tightly holding the camera for an interview you were generally walking and aiming the camera at various subjects, you might need setting “3” for that. If you’re encountering larger movements (like running with the camera, or trying to film from the deck of a rocking boat) you should set it all the way up to “5”.On a setting of “5”, the camera will try to compensate for a full range of movement, from tiny movements all the way up to large moves, but it will be less effective at compensating the tiny movements than it would have been on a lower setting like “1” or “2”. On the lower settings, the camera focuses more of its energy into compensating for the minor movements, and is more effective at canceling them out. As such, if you’re expecting a relatively stable camera position, you should set the blur amplitude smaller and it will deliver the most stable results. Setting it to a larger number should only be done when you reasonably expect that you will be encountering larger movements with the camera; a setting of “5” would not work well when the camera is on a tripod, for example. The default position is “3” as a general-purpose middle-ground setting.Please understand that there are limits to any image stabilization system, and no O.I.S. is going to be able to compensate for all camera shaking that could occur. It is unreasonable to expect that the camera could completely stabilize handheld running footage, for example. These rec-ommendations are not guarantees that your footage will be rock-solid and stable; they are only recommendations for settings that may allow the camera its best opportunity at stabilizing foot-age shot under those particular conditions.The second major parameter you can adjust in the O.I.S. system isthe BLUR FREQUENCY. The frequency refers to how frequentlythe camera can expect to encounter unwanted motions that itshould attempt to stabilize. Unlike BLUR AMPLITUDE, this set-ting isn’t directly proportional to its effect; instead, there are threedifferent “personalities” you can ask the camera to adopt.Setting “1” is suitable for a locked-down shot when the camera is mounted on a tripod and it is expected that the camera won’t be panning or tilting. At a setting of “1”, the camera actively and aggressively combats any shake of any magnitude or frequency; it assumes that the camera will always be stable and steady and that therefore any camera motion is unwanted motion. It at-tempts to correct over a wide range of frequencies, whether it’s being tasked with subtle vibration or with something more onerous, such as someone accidentally bumping into the tripod and jolting the camera. Obviously there are limits to how much motion it can compensate for, but itSetting “2” is a more general-purpose setting. It is designed to combat medium to high-frequen-cy motions, and is probably the best setting for when using the camera handheld. This is the default setting.Setting “3” is optimized to eliminate tiny motions (vibration or subtle handheld shake) while minimizing its attention to larger motions. It will aggressively attack small motions, but only mildly attempt to stabilize larger motions. This would be a good setting for when the camera is on a tripod (or even handheld) and you expect to do a lot of panning or tilting; the camera will aggressively respond to minor jitters but shouldn’t interfere with the panning or tilting moves when using setting 3.SummaryCustomizing the autofocus or image stabilization systems can lead to sharper, clearer, more stable footage in a wide variety of shooting circumstances. Panasonic’s innovation of putting these parameters in the user’s control lets you tailor the camera to deliver better performance for the type of shots you expect to encounter.。

P anasonic BroadcastAG-DVX100AMechanical Parts ListCONTENTSAG-DVX100AP/AN AG-DVX100AE/EN,DVC180AMCRef. No. Parts No. C.B.A. PageRef.No.Parts No. C.B.A. PageE1 VEP03G55A VTR PRT-16 E1 VEP03G55B VTR PRT-33 E2 VEP23597A CAMERA PRT-21 E2 VEP23597B CAMERA PRT-38 E3 VEP01914B POWER PRT-24 E3 VEP01914B POWER PRT-41 E4 VEP01922A POWER2 PRT-26 E4 VEP01922A POWER2 PRT-43 E5 VEP05395A H/FAMP PRT-26 E5 VEP05395A H/FAMP PRT-43 E6 VEP04817A RSIDE PRT-27 E6 VEP04817B RSIDE PRT-44 E7 VEP06E92A CAMERAOP1 PRT-27 E7 VEP06E92A CAMERAOP1 PRT-44 E8 VEP06E93A CAMERAOP2 PRT-27 E8 VEP06E93A CAMERAOP2 PRT-44 E9 VEP28272B EVFA PRT-27 E9 VEP28272B EVFA PRT-44 E10 VEP28275B EVFB PRT-27 E10 VEP28275B EVFB PRT-44 E11 VEP001E7A MENU PRT-27 E11 VEP001E7A MENU PRT-44 E12 VEP06F70A HANDLE1 PRT-27 E12 VEP06F70A HANDLE1 PRT-44 E13 VEP06F04A HANDLE2 PRT-28 E13 VEP06F04A HANDLE2 PRT-45 E14 VEP04828A MIC PRT-28 E14 VEP04828A MIC PRT-45 E15 VEP06E94A FTALLY PRT-28 E15 VEP06E94A FTALLY PRT-45 E16 VEP000Y2A EVRCONNECT PRT-28 E16 VEP000Y2A EVRCONNECT PRT-45 E17 VEP000Y3B VCCONNECT PRT-29 E17 VEP000Y3B VCCONNECT PRT-46 E18 VEP000Y4A LCDOPENSW PRT-29 E18 VEP000Y4A LCDOPENSW PRT-46 E19 VEP000Y6A REAR JACK CONNECT PRT-29 E19 VEP000Y6A REAR JACK CONNECT PRT-46E20 VEP000Y7A EJECT PRT-29 E20 VEP000Y7A EJECT PRT-46 E21 VEP04819A REARJACK PRT-29 E21 VEP04819A REARJACK PRT-46 E22 VEP06E96A POWERSW PRT-29 E22 VEP06E96A POWERSW PRT-46 E23 VEP06E90A ZOOMSW PRT-29 E23 VEP06E90A ZOOMSW PRT-46 E24 VEP000Y9A TOPOP PRT-29 E24 VEP000Y9A TOPOP PRT-46 E25 VEP22351A GYRO PRT-29 E25 VEP22351A GYRO PRT-46 E26 VEP04858A SIDEJACK PRT-30 E26 VEP04858A SIDEJACK PRT-47 E27 VEP04815A EXT MIC CH2 PRT-30 E27 VEP04815A EXT MIC CH2 PRT-47E28 VEP04865A EXT MIC CH1 PRT-30 E28 VEP04865A EXT MIC CH1 PRT-47E29 VEP06E89B MODESW PRT-31 E29 VEP06E89B MODESW PRT-48 E30 VEP01923A DCIN PRT-31 E30 VEP01923A DCIN PRT-48 E31 VEP01915B BATTERY PRT-31 E31 VEP01915B BATTERY PRT-48 E32 VEP26257A MONITOR PRT-31 E32 VEP26257A MONITOR PRT-48SERVICING FIXTURES & TOOLSRef.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks1VFM3010EDS DV ALIGNMENT TAPE (COLOR BAR)1NTSC MODEL ONLY2VFM3110EDS DV ALIGNMENT TAPE (COLOR BAR)1PAL MODEL ONLY3VFM3000EDS DV ALIGNMENT TAPE (LINEARITY)14VFK1217TAPE END/BEG DET CASSETTE18VFK1308P MEASURINGBOARD19VFK1309A EVR CONNECTOR BOARD110VFK1694EVR EXTENDER BOARD111VJA0941DCCABLE1K2GY2DZ0000312VFK131730PIN FLAT CABLE213VFK180972MM ATTACHMENT RING114VFK1164TAR4343MM ATTACHMENT RING115VFK1164TCM01COLLIMATOR SET1(INFINITY LENS)16VFK1345CC FILTER HOLDER117VFK1346STEP DOWN RING118VFK1659STEP-UPRING1(43MM-49MM)RING1(49MM-62MM)19VFK1660STEP-UP20VFK1341CC FILTER (LB40)1NTSC MODEL ONLY21VFK1342CC FILTER (LB80)1PAL MODEL ONLY22VFK1347CC FILTER (LB120)123VFK1884CC FILTER (LBA2)124VFK1888CC FILTER (LBB6)125VFK1885CC FILTER (LBB2)1NTSC MODEL ONLY26VFK1886CC FILTER (CC C10)1PAL MODEL ONLY27VFK1887CC FILTER (CC C20)1PAL MODEL ONLY28VFK1409A MEASURINGBOARD129VFK1233MECH. NEUTRAL PLATE130VFK1266GEARDRIVER131VFK1149B POSTDRIVER132VFK1151A NUT DRIVER (2.5MM)133VFK1810LISTA MEASURING BOARD134VFK1186LISTACABLE135M0R265MORLYTONEGREASE136VFK1300A/D CONVERTER BOARD1PRT-1PRT -2MECHANICAL CHASSIS ASSEMBLY (1)MECHANICAL CHASSIS ASSEMBLY (1)Ref.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks UNIT1(M)1VEG1573CYLINDERCASE13VSC4639SHIELDCABLE14VES0928FLEXIBLE5VMA0D82CAPSTANCOVER16VMA9179RADONPLATE17VMD2373RAIL1CASE18VSC4640SHIELD9VSR0114MODESW1(M)GEAR1(M)10VXA5407CAM11VXL3242S BOAT ASS'Y1(M)12VXL3243T BOAR ASS'Y1(M)13VXA5417GEARBOX1(M)14VXA5612RADON ARM ASS'Y115VXL2461T2 ARM ASS'Y115-1VMB2789T2 ARM SPRING116VXL3103CLEANING ARM ASS'Y1(M)17VXL2470S1 ARM ASS'Y118VXL2471T1 ARM ASS'Y119VMA0P25CYLINDER HOLD ANGLE121VXA5387GARAGEASS'Y122EYHS77Y7DEW SENSOR ASS'Y123VMD4706FLEXHOLDER124VMB3518CLEANINGSPRING125VMP7361CASSETTE BLINDER PLATE1101VHD0878SCREW1102VHD0989SCREW2103XQN14+B4SCREW2104VXQ0439SCREW3105XQN14+B35SCREW2106XQN14+BQ4SCREW2107XQN14+B15SCREW7108XQN14+B2SCREW2109VHD0882SCREW4WASHER2111VMX2027CUT112XQN2+CF3SCREW1113VHD1285SCREW2114XQN2+B2FZ SCREW2E5VEP05395A H/R AMP C.B.A.1PRT-3PRT -4MECHANICAL CHASSIS ASSEMBLY (2)MECHANICAL CHASSIS ASSEMBLY (2)Ref.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks PULLEY11VDG1445DRIVEPULLEY12VDG1031CENTERGEAR13VDG1032SENSOR4VDV0265TIMINGBELT15VMA9178PINCH PRESSURE PLATE17VMA9181BRAKE ROD SUPPORT (T)18VMB2776SPRING1SWITCH1K0MZ550000019VSH0067MIC20VSJ0114SOLENOID121VXA5401BRAKE ROD ASS'Y122VXA5408T3 ROD ASS'Y123VXA5411LED HOLDER ASS'Y124VXA6576COVER PLATE ASS'Y125VXL2454P IDLER ARM ASS'Y126VXL2455FR IDLER ARM ASS'Y127VXL2462T3 ARM ASS'Y128VXL2732PAD ARM ASS'Y1(M)SPRING128-1VMB2788TENSION28-2VMB2787PAD ARM SPRING129VXL3244TENSION ARM ASS'Y1(M)30VXL3161PINCH ARM ASS'Y1(M)31VXL2466EJECT ARM ASS'Y132VXR0355SUPPLY REEL TABLE1(M)33VXR0356TAKE UP REEL TABLE1(M)34VXZ0319TAKE UP MAIN BRAKE134-1VMB2782T MAIN BRAKE SPRING135VXZ0321SUPPLY MAIN BRAKE1(M)35-1VMB2783S MAIN BRAKE SPRING136VXZ0322FF BRAKE ASS'Y1(M)36-1VMB2784FF BRAKE SPRING137VXZ0441REV BRAKE ASS'Y137-1VMB3388REVSPRING137-2VMB3389REV BRAKE SPRING1101VHD0884SCREW1102XQN14+B15SCREW2103VHD0883SCREW5104XQN14+B35SCREW3105VMX2503 C PULLEY WASHER1106VMX3122WASHER1107VMX2504WASHER1108VMX2027CUTWASHER1109VMX2028WASHER1110VMX2394WASHER1PRT-5FRAME & CASING PARTS ASSEMBLY (1)PRT-6Ref.No.Part No.Part Name & Description PcsRemarksRef.No.Part No.Part Name & Description PcsRemarks79VMZ3341SHIELD INSULATION PLATE 211VWJ1583SIDE JACK FLEX.180VMG1514POWER HEAT SINK SHEET 11 2VWJ10E5050L0FLAT CABLE1 81VSC5471POWER HEAT SINK SHEET 1 3VML3710CLUTCH SLIDE PLATE 1 82VMG1515POWER HEAT SINK SHEET 214VMP7341CLUTH ANGLE 1 83VGQ6923VF CASE (L)1AG-DVX100AP/AN5VGH4612JACK NAME PLATE B 1 83VGQ7346VF CASE (L)1AG-DVX100AE/EN/DVC180AMC 6VGH4615JACK NAME PLATE A 1 84K4ZZ04000026BATTERY CATHER 1K4ZZ04000026 7VJF1470SIDE JACK CAP 1 85VWJ10E5050L0FLAT CABLE2 8VKM5983CENTER FRAME1 86VMG1520TOGGLE SW CUSHION 1 9VMZ3318AWB COVER HOLDER SHEET 1 87VJF1468XLR CAP2 10VKW3078AWB WINDOW 1 88VMG1517LENS HEAT SINK SHEET (2)1 11VMD3345TRIPOD FRAME1 89VMZ3356FPC PROTECT SHEET 1 12VMZ3323EVR INSULATION SHEET 1 90VMZ3357FPC LOCK SHEET 1 14VGQ6902MIC SWITCHING KNOB HOLDER 1 91VMZ3345LED INSULATION PLATE 1 15VGU9246ZOOM CLUTCH KNOB 1 92VMZ3376JACK GUIDE SHEET 1 16VGU9194MIC SWITCHING KNOB2 93VSC5519EARTH PLATE 1 17VMG1460SLIDE SW RUBBER COVER 6 94VSC5525EARTH SHEET 118VGU9214SLIDE KNOB 4 95VYK1A28BACK CASE ASS'Y 1AG-DVX100AP 19VGU9200CAMERA OP BUTTON 1 95VYK0Y43BACK CASE ASS'Y 1AG-DVX100AAN 20VGQ6896FOCUS KNOB HOLDER 1 95VYK1A17BACK CASE ASS'Y 1AG-DVX100AE/EN21VGU9213FOCUS SLIDE KNOB 195VYK1A18BACK CASE ASS'Y 1AG-DVC180AMC22VGU9211FOCUS BUTTON 1 96J0ZZZ0000042SHEET1AG-DVX100AE/EN/DVC180AMC23VGQ6894ND SWITCHING PIECE 1 24VGQ6906HOLDER BLIND SHEET 1 25VGU9222ND SWITCHING KNOB 1 26VMB3681FOCUS KNOB SPRING 1 100XQN2+B4FN SCREW 3527VGQ6905ND FILTER HOLDER 1101XQN16+B4FZ SCREW 3 28VGU9228IRIS BUTTON 1 102XYN26+A6FZ SCREW 4 29VGQ6897SPEAKER HOLDER 1 103XYN2+C4SCREW 5 30VEK9842SPEAKER ASS'Y1 104XQN16+BJ4FZ SCREW2 31VMP7330SPEAKER HOLDER ANGLE 1 105XQN2+C5SCREW 6 32VMT1347SPEAKER HOLDER CUSHION 1 106XWG2WASHER 1 33VMT1367P.C.B. HOLDER CUSHION 1 107XQN16+BJ3FZ SCREW 1 34VGU9250RUBBER BUTTON 21 108XQN2+B35FN SCREW 2 35VGU9251RUBBER BUTTON 31 109XYN2+F5SCREW 236VGU9202RUBBER BUTTON 11 110XYN2+C6SCREW 237VSC5460SIDE (R) SHIELD PLATE 1 111XQN2+BJ6SCREW 238VMZ3317P.C.B. PROTECT SHEET 1 112XQN2+B3FZ SCREW 239VGQ7175ND KNOB SHEET 2113XQN2+BJ4FZ SCREW 6 40VGQ7637HINGE COVER1 114VMX3286WASHER 1 41VGU9212AUDIO ROTATING KNOG2 115XQN2+B4FZ SCREW 20 42VGU9197MONITOR LOCK KNOB 1 116XQN2+BJ4SCREW3 43VGP5997SIDE CASE (R)1 117XQN2+B6FZSCREW1 44VMS7187LCD LOCK SHAFT 1 45VMP7331OPENER HOLDER ANGLE 146VMB3661POP UP SPRING 147VGQ6901MONITOR KNOB1 E2VEP23597A CAMERA C.B.A.1AG-DVX100AP/AN48VMB3659MONITOR OPENER SPRING 1E2VEP23597B CAMERA C.B.A.1AG-DVX100AE/EN/DVC180AMC 49VKN0169SPEAKER NET1 E3VEP01914B POWER C.B.A.1 50VGU9223W.BAL KNOB (LOWER)1 E4VEP01922A POWER2 C.B.A.151VGU9217W.BAL KNOB (UPPER)1 E6VEP04817A R SIDE C.B.A.1AG-DVX100AP/AN52VMG1418RAIN COVER RUBBER (B)1 E6VEP04817B R SIDE C.B.A.1AG-DVX100AE/EN/DVC180AMC 54VMG1286CUSHION RUBBER4 E7VEP06E92A CAMERA OP1 C.B.A.1 55VMZ3316MONITOR FPC PROTECT SHEET 1 E8VEP06E93A CAMERA OP2 C.B.A.1 56VGQ40883CCD BADGE TAPE 1 E11VEP001E7A MENU C.B.A.1 57VGB03223CCD BADGE 1 E16VEP000Y2A EVR CONNECT C.B.A.1 59VGP6006BACK PANEL1 E18VEP000Y4A LCD OPEN SW C.B.A.1 60VGU8582BATTERY LOCK BUTTON 1 E25VEP22351A GYRO C.B.A.1 61VMB3210BATTERY LOCK SPRING 1 E26VEP04858A SIDE JACK C.B.A.1 62VGU9218MODE SELECT KNOB 1 E27VEP04815A EXT MIC CH2 C.B.A.1 63VMP7340DCIN ANGLE 1 E28VEP04865A EXT MIC CH1 C.B.A.1 64VGL1012MODE PANEL LIGHT 2 E29VEP06E89B MODE SW C.B.A.1 65VGU9219CAMERA/VCR BUTTON 2 E30VEP01923A DC IN C.B.A.166VGU9209JOY STICK BUTTON 1E31VEP01915B BATTERY C.B.A.1 67VGU9199MENU BUTTON 168VGQ6924VF CASE (R)1AG-DVX100AP/AN68VGQ7347VF CASE (R)1AG-DVX100AE/EN/DVC180AMC 69VMZ3315BATTERY BLIND SHEET 1 71VMG1516CCD HEAT SINK SHEET 172VGQ6886EVR COVER 1 73VWJ13E5085L0FLEX. CABLE 1 74VWJ1585R SIDE FPC1 75VMP7357P.C.B HOLDER ANGLE1 77VMZ3340SHIELD INSULATION PLATE 11 78VSC5478CAMERA P.C.B. SHIELD 2FRAME & CASING PARTS ASSEMBLY (1)PRT-7Ref.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks74VXP2356ZOOMRING11VMS7186ROTATINGSHAFT2 75VEE0T93MIKIO1 2VMZ3371POWER INSULATION SHEET C176VXY1738S MECHA CHASSIS ASS'Y1(M)3VMX0531CLATCH SPACER177L6DABBHC0001ZOOM MOTOR ASS'Y14VGU9203REC CHECK RUBBER BUTTON178EVAJGGUA3B14ZOOM ENCODER15VGQ6903ZOON LEVER CASE (R)180VXQ1193PRISM ASS'Y16VGQ6904ZOON LEVER CASE (L)182VYK1A07GRIP COVER ASS'Y1AG-DVX100AP/AN 7VGQ6996ZOOM HOLDER (R)182VYK1A08GRIP COVER ASS'Y1AG-DVX100AE/EN/DVC180AMC 8VGQ6997ZOOM SPRING HOLDER PIECE183VMP7739ANGLE19VGQ6928ZOOM SW HOLDER184VMZ3406SHEET110VMB3663COIL SPRING ZOOM111VGU9215ZOOMLEVER112VEE0U25EJECT1113VMT1350CASSETTE COVER GASKET1100XUC15FX E-RING314VGP5801SIDE CASE (L)1101XQN2+B3FN SCREW715VGU9206EJECTKNOB1 102XQN16+BJ3FZ SCREW4 16VGU9216EJECT LOCK BUTTON1103XQN2+BJ4FZ SCREW1917VMB3662EJECT LOCK BUTTON SPRING1104VHN0194SPACER118VGQ6899EJECT KNOB FIX PIECE1105XQN16+B4FZ SCREW219VJF1469H.PCAP1 106XQN16+BJ4FZ SCREW820VGU9204POWERBUTTON1 107XTB26+6GFZ SCREW221VGU9205S/SBUTTON1 108XYN2+C6SCREW2 22VGU9201POWER LOCK BUTTON1109VMX2535WASHER123VGQ6998S/S BUTTON HOLDER1110XQN2+B35FN SCREW424VGQ6884S/S HOLDER PIECE1111XQN2+B4FZ SCREW1125VMP7337LOCK LEVER HOLDER ANGLE1112VHD1546SCREW126VMS7211PIN2 113XQN2+BJ5FZ SCREW4 27VMP7339CASSETTE LOCK LEVER1114XQN2+C6FZ SCREW128VMS7203EJECT LOCK PIN2115VHD1100SCREW329VMB3680EJECT LOCK BUTTON SPRING1116XQN2+B4FN SCREW1630VGH4733GRIP COVER WINDOW1AG-DVX100AP/AN117VHD1538SCREW130VGH4734GLIP COVER WINDOW1AG-DVX100AE/EN/DVC180AMC118VHD0866SCREW231VGP5804CASSETTECOVER1 119XYN2+C6SCREW132VGF0952SHIELDPLATE1 120XQN14+CJ4Z SCREW2 33VMP7338CASSETTE COVER FIX ANGLE134VMP6741BELT HOLDER ANGLE135VFB0215GLIPBELT136VMP7325GLIP BELT ANGLE (FRONT)1E1VEP03G55A VTR C.B.A.1AG-DVX100AP/AN37VMP7501HOLDERANGLE1 E1VEP03G55B VTRC.B.A.1AG-DVX100AE/EN/DVC180AMC38VMC1092CASSETTE DOWN SPRING1E17VEP000Y3B VC CONNECT C.B.A.139VMC1835LINK DUMPER SPRING1E19VEP000Y6A R JACK CONNECT C.B.A.140VMA9219OPEN ANGLE (A)1E20VEP000Y7A EJECT C.B.A.141VMS5748LINK PIN (B)1E21VEP04819A REAR JACK C.B.A.142VMA9220OPEN LINK (B)1E22VEP06E96A POWER SW C.B.A.143VMA0P91LINK ANGLE1E23VEP06E90A ZOOM SW C.B.A.144VMX2397ARM STAND ROLLER1E24VEP000Y9A TOP OP C.B.A.145VMS7293ARM STAND PIN146VMS5747RINK PIN (A)147VDP1653ROTATIONROLLER148VGP5998TOPPANEL149VGU9195RECBUTTON150VGU9210REC/DUBBUTTON251VGU9249AUDIO MONITOR BUTTON (-)152VGU9196AUDIO MONITOR BUTTON (+)153VMG1478TOP SW BUTTON RUBBER154VMP7432TOP SUPPORT ANGLE155VYK0Z96LENS CAP ASS'Y156VGH4614LENS NAME PLATE158VMG1463DUSTPROOFRUBBER359VMP7336MECHA HOLDER ANGLE160VMZ3295MECHABARRIER161VGQ6885BOTTOMCOVER162VKA0340GLIP DUSTPROOF RUBBER163VGU9255HOOD FIX PIECE164VYF2861LENS HOOD ASS'Y165VMP7605LENS HOOD WINDOW166VGQ7077MECHA DUSTPROOF COVER167VMT1348CASSETTE COVER GASKET (U)168VXP2360FOCUS RING ASS'Y169VDW0855FIX RING ASS'Y170VJF1472FLEX.HOLDER171VXW0635CAMERA LENS ASS'Y1AG-DVX100AP/AN71VXW0636CAMERA LENS ASS'Y1AG-DVX100AE/EN/DVC180AMC72VGQ7078RUBBERCAP173VEE0T92INTMIC1FRAME & CASING PARTS ASSEMBLY (2)HANDLE & EVF PARTS ASSEMBLYRef.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks1VMP7328HANDLE SLIDE ANGLE12VGU9214SLIDEKNOB13VMG1460SLIDE SW RUBBER COVER14VKH0410HANDLE15VGQ6888HANDLE FRONT COVER16VJF1421SHU17VMC1697SPRING18VYF2863REAR TALLY COVER ASS'Y110VMG1479HANDLE S/S BUTTON RUBBER111VGU9207HANDLE S/S BUTTON112VYK0K76MIC CASE ASS'Y120VGQ6352DUMPER HOLDER PIECE121VGQ6891MIC P.C.B. HOLDER122VGQ6878MIC RUBBER FIX PIECE123VMG1459MIC RUBBER HOLDER124VMP7329MIC HOLDER ANGLE125VGQ7862HANDLECOVER1AG-DVX100AP/AN25VGQ6873HANDLECOVER1AG-DVX100AE/EN/DVC180AMC26VGQ6887MIC CASE (LOWER)127VYQ2773HELICOIDASS'Y129VGQ6890EVF FILTER HOLDER130VWJ1586EVFFPC131VMX2967PBSPACER132L5BDDXE00001ACTIVE MATRIX LCD PANEL133VGQ7088LCDMASK134VGQ6926LCDCASE135VMC1612EVF EARTH SPRING136VMP7360EVF COVER ANGLE137VMC1808EVF EARTH SPRING138VGQ6927EVFCOVER139VGP5799EVFCASE140VGQ3855DIOPTER ADJUST BRACKET141VGU6944EYE SIGHT ADJ. DIAL142VMG1286CUSHIONRUBBER243VXW0567EVF LENS ASS'Y144VYK0K51EVF EYE CAP HOLDER ASS'Y146VYQ2548EVFASS'Y149VGQ6892EVF HINGE COVER152VMZ3361SHEET154VMS7303EYE SIGHT KNOB SHAFT155VKC0594VFHINGE1100XQN2+C4SCREW6101XQN2+B4FZ SCREW9102XSN2+4FC SCREW1103XSS2+4FZ SCREW4104XQN2+BJ3FZ SCREW1105XYN2+J4SCREW1106XQN2+BJ4SCREW4107XWG2WASHER2108XQN2+BJ5FZ SCREW3109XQN2+BJ4FZ SCREW12110XQN16+C25FZ SCREW1111XQN2+CJ6FZ SCREW3112XQN16+C3SCREW4E9VEP28272B EVF A C.B.A.1E10VEP28275B EVF B C.B.A.1E12VEP06F70A HANDLE 1 C.B.A.1E13VEP06F04A HANDLE 2 C.B.A.1E14VEP04828A MICC.B.A.1E15VEP06E94A F TALLY C.B.A.1HANDLE & EVF PARTS ASSEMBLYLCD PARTS ASSEMBLY12981001011011011021021021611141510E32E32-1LCD PARTS ASSEMBLYRef.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks ASS'Y1AG-DVX100AP/AN/E/EN1VYK1A13LCDASS'Y1AG-DVC180AMC1VYK1A10LCD2VGP5803LCD CASE (LOWER)18VGQ4758BLIND SHEET (A)19VXD0357LCD HINGE (2)110VGQ6468HINGE COVER (LOWER)111VGQ7638HINGE COVER (UPPER)1(LCD)114VGQ6644BARRIER(LCD-B)115VGQ6297BARRIER16VYK1A12LCD CASE (UPPER) ASS'Y1AG-DVX100AP/AN/E/EN16VYK1A14LCD CASE (UPPER) ASS'Y1AG-DVC180AMC100XQN16+B2FN SCREW1101VHD1451SCREW5102XQN16+B3FN SCREW4C.B.A.1E32VEP26257A MONITORE32-1VEP06E29A HALL SENSOR FLEX CARD1PACKING PARTS ASSEMBLYWhen replacing any of these components, use only the same type.Ref.No.Part No.Part Name & Description Pcs Remarks Ref.No.Part No.Part Name & Description Pcs Remarks 1VPG0V37PACKINGCASE1AG-DVX100AP1VPG0U36PACKINGCASE1AG-DVX100AAN1VPG0V38PACKINGCASE1AG-DVX100AE1VPG0Y22PACKINGCASE1AG-DVX100AEN1VPG0T56PACKINGCASE1AG-DVC180AMC2VPN5826CUSHION(LOWER)13VPN5825CUSHION(UPPER)14VPF0884POLYETHYLENEBAG15VPN5930PARTITIONPLATE16VFA0402WIRELESS REMOTE CONTROL17VFC3891SHOULDERBELT18VMG1458EYECAP19VPF0179POLYETHYLENEBAG110VYC0890MIC HOLDER ADAPTOR111XSB4+6FZ SCREW212VPF1016POLYETHYLENEBAG2PCS:3 AG-DVX100AE/EN/DVC180AMC13XSB4+12FXKS SCREW214VYC0870MIC HOLDER ASS'Y115VPK0825ACCESSORYBOX116VEK8722DC CABLE ASS'Y117K2CB2CB00006POWER CODE1AG-DVX100AP17K2CA2DA00030POWER CODE1AG-DVC180AMC18VQT0F36OPERATING INSTRUCTIONS1AG-DVX100AP18VQT0E17OPERATING INSTRUCTIONS1AG-DVX100AAN18VQT0F37OPERATING INSTRUCTIONS1AG-DVX100AE18VQT0J59OPERATING INSTRUCTIONS1AG-DVX100AEN18VQT0F38OPERATING INSTRUCTIONS1AG-DVC180AMC19VPG0V39PACKINGCASE1AG-DVC180AMC20K2CP2DA00001POWER CODE1AG-DVX100AAN21K2CT3DA00001POWER CODE1AG-DVX100AE/EN22K2CR2DA00005AC CORD1AG-DVX100AE/EN23J0KG00000013FERRITECORE2AG-DVX100AE/EN/DVC180AMC24DE-852DB AC ADAPTOR1AG-DVX100AP/AN24DE-811DB AC ADAPTOR1AG-DVX100AE/EN24DE-811FB AC ADAPTOR1AG-DVC180AMCPACKING PARTS ASSEMBLY。

Evolution 180180° Indoor CameraThe next step in panoramic situational awareness12MP Sensor with6MP Dewarped Panoramic+ View• Seamless panoramic surveillance with no blind spots • 12MP high-resolution sensor • True Day / Night with IR cut filter • Up to 30 fps at 2.0 MP • PoE or 12 VDC powered • 3-year warrantyAdvanced features• Built-in 3D dewarped panoramic video • Panoramic+ Views• Oncam Angle Compensation Technology (ACT) • Scene Offset Angle Control • Configurable privacy regions• Polygonal video motion detection regions • Local alarm digital input and output • External microphone input• Local MicroSD card slot for event recordingCompact and Versatile design• Multiple interior mount options • Clean and simple design • Quick and easy installation• Convenient wall-mounting enclosure• Mounting boxes included for multiple mounting angles: 0°, 25° and 45°• Mounting boxes allow for conduit pendant mounting • Black or white models available36748-10136748-102The next step in panoramic situational awarenessThe next step in panoramic situational awarenessNorth America . . . . . . . . . . . . . . . . . . . . .180****5564 Latin America . . . . . . . . . . . . . . . . . . . . . +5255 5259 9511 Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . .+39 0362 17935 Asia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .+65 6818 0963 Australia and New Zealand . . . . . . . . .+61 1300 089 419 Middle East and Africa . . . . . . . . . . . . . .+971 4 399 5525© 2018 March Networks . All rights reserved . Information in this document is subject to change without notice . MARCH NETWORKS, March Networks Command, March Networks Searchlight, March Networks RideSafe, and the MARCH NETWORKS logo are trademarks of March Networks Corporation . All other trademarks are the property of their respective owners . 060-3364-00-B The next step in panoramic situational awareness© Copyright 2018 Oncam Global Group AG. All rights reserved.Oncam Grandeye is the trade name of Oncam Global Group AG. Specifications and configurations subject to change without notice.。

松下3CCD数码摄像机：AG-DVC180A 180B[DV拍摄&制作《入门教程》松下3CCD数码摄像机：AG-DVC180A 180BDVC180B传输场景文件功能：通过DV电缆（1394线）连接，可以将一台机器上的场景文件传输至另一台180B，这个功能可以保持两台机器设置的一致性。

松下AG-DVC180AMC满足专业要求的图像质量，可移动性及多功能性AG-DVC180MC打破了DV摄像机以往的传统观念，提高了图像质量，丰富了产品功能并且使操作更加方便简易，因此更加适合专业人士的使用。

作为首个在同类产品中具有25P电影拍摄功能的摄像机，AG-DVC180MC已经提到了许多电影工作者和图像制作人的广泛认可。

现在，向大家隆重的介绍AG-DVC180AMC。

这款机器使DV摄像机又向前迈进一大步。

在整理了众多AG-DVC180MC使用者的建议后，松下公司在原有基础上进行了相应的改进，使得AG-DVC180AMC同以往的机器相比能够提供更高的图像质量及更加丰富的拍摄功能，更重要的是，她的高水准和改进型设计更满足专业人士的需求。

AG-DVC180AMC改进内容增加的25P拍摄功能辅助聚焦、增益（最大到+12dB）及彩色显示已经增加到25P模式中强大的色彩还原优化的亮色分离功能和高性能的镜头组件配合以低散射的光学镜片组，实现了更加生动逼真的色彩效果。

新的Cine-Like Gamma曲线和增强的图像处理增加新的Gamma曲线和彩色矩阵。

同时也加入了V DTL Level调整。

通过慢门功能提高拍摄的灵敏度，创造出更生动的效果慢门（积累模式）功能使快门速度降至1/3秒、1/6秒等，使得在夜间拍摄时捕捉到更生动的画面。

平滑的变焦及聚焦环手动变焦环及手动聚焦环的阻尼变得更加舒适，你会感觉到操作上和专业镜头一模一样。

辅助聚焦和新的记录模式寻像器可设置成黑白图像显示。

拥有三个用户自定义按扭（User1、User2、User3）可以通过这三个按钮直接完成三种不同的设置。

松下180摄像机的经常使用把持之邯郸勺丸创作作者：佚名文章来源：无极年夜师的博客点击数：540 更新时间：2011-6-27对分歧的设备使用各不相同, 家用级就不说了, 从专业级的设备（如180B、190）, 到广播级的DVCPRO、DVW系列；从标清到高清；都有着各自共同的功能特点.作为摄像师, 要尽量把设备的各种功能用好用熟, 这样才华将设备的功能发挥的淋漓尽致.可是作为初学的摄像师, 要想把所有功能都用好是很难的.作为初学时间不长的摄影师, 能够掌握比力经常使用的功能键, 就可以完成95%以上的拍摄了.本项将以松下-180B为例：一、经常使用功能键的调节：◆白平衡：是摄像机色彩还原的基础, 因为CCD无法像人眼一样会自动修正光线的改变.白色是各种颜色的基础色, 摄像机只要将白色正确还原, 那么其他颜色的还原也就准确了.物体颜色会因投射光线颜色发生改变, 在分歧光线的场所下拍摄出的图像会有分歧的色温.①白平衡种类：白平衡主要有室外光、室内光两年夜类.室外光包括晴天、多云、阴天等等, 室内光包括钨光灯、荧光灯、镝灯等等.②调节方式：主要有自动白平衡和手动白平衡两种方式.◆自动白平衡：通常为摄像机经过精心设定的自动调节设置, 它可跟随着画面中的白平衡基准点, 以此来到达白平衡调校.这种自动白平衡在室外的准确率是非常高的, 可是在室内光线下拍摄时, 效果较差, 而在多云天气下, 许多自动白平衡系统的效果极差, 它可能会招致偏蓝.◆手动调节白平衡：一般来说, 你需要让摄像机知道, 什么颜色是白色, 摄像机就会通过修正白纸上反射光的颜色, 使其它颜色准确还原, 调白的时候将白纸拿到要拍摄的地址, 由一人拿起白纸, 倾斜45度角, 让白纸充沛受光, 然后按摄像机的白平衡调节键【AWB】2秒钟左右, 待显示屏中呈现OK字样的英文, 调白即宣告胜利.如果显示过亮或过暗, 则需要用光圈将曝光调至正常值, 然后再调白.在没有白纸的时候, 也可以用白墙、白盘子、白地毯等纯白色物体调白, 方法年夜致相同.◆预置白平衡：180自带预置功能, 分别为3200K和5600K.在来不及调节白平衡的时候, 使用预置白平衡基本上也可以拍出白平衡年夜致准确的效果.可以方便的使用镜头右下方的【AWB】来切换.◆光圈和ND：一个画面的亮度是否恰到好处, 是由光圈来调节的.过暗、过爆城市降低画面的质量.影响画面的条理.光圈就是利用镜头内部的虹膜（叶片）的开合, 调节画面的通光量.光圈越年夜（数值越小）, 则通光量越年夜, 反之越小.在光圈调节不了的情况下就要用ND灰片来调节了, ND灰片有8分之1和64分之1, 灰片的概念是, 控制光通量.例如1/8ND就是允许1/8的的光通量经过.一般在光照强烈或者太弱时加灰片和去灰片.还有就是灰片的使用不影响色温.◆焦距：就是镜片(透镜)与感光元件(CCD.CMOS)之间的距离焦距与成像之间的关系：焦距越短,视角越年夜而景物越小, 28mm以下为广角, 适合拍摄风景焦距越长, 视角越小而景物越年夜, 200mm以上为长焦, 适合远摄.中焦适合拍摄人像.◆变焦：是利用推拉镜头来引导观众的视觉.比如拍摄远方的一个人, 通过推镜头慢慢将镜头推进, 把人放年夜, 让我们更加看得清楚.反过来说, 通过拉镜头, 从人的近景拉出来, 展现在观众眼前的是这个人所处的整个环境.容易呈现的问题：①拍摄时一个镜头变焦拍究竟, 而是要经常变换镜头、变换角度.②没有目的反复推拉镜头：变焦太滥于使用变焦镜头会令观众难于了解画面意图, 注意在变焦前后先定镜（固定画面）很多于3秒.③速度不匀, 忽快忽慢 , 给人以画面及情节很不连贯的感觉.◆自入手动转换：以180B为例, 它的光圈、焦距、变焦、白平衡, 都是可以根据自己的需要, 设置成自动或手动的, 自动方便, 手动精确、稳定, 各有优势, 摄像师要根据实际情况加以利用, 遇到复杂光线且又没有时间细调节时, 可以考虑使用自动功能, 需要精确控制, 必需使用手动功能.◆增益：在光线比力暗的处所, 通过光圈也达不到需要的亮度时, 可以开启增益来增加画面亮度.增益是通过摄像机的电子电路放年夜图像的亮度来提升通光量的, 可是, 电路放年夜图像会给图像带来噪点和马赛克的, 所以光圈能调节时, 尽量不要开增益.以防止带来画面质量的下降.◆【ZEBRA】斑马纹的使用：翻开180B的LED后面的【ZEBRA】按钮, 机器上呈现了斑马纹控制选项.斑马纹默认的显示选项有两种, 80%和100%, 一般大都是用80%.（数值可以根据自己的习惯在菜单里调节）◇ 80%斑马纹：有纹的处所标明曝光将要过度.一般拍摄, 高光部份存在斑马纹, 只要不超越20%-30%, 是正常的.◇100%斑马纹：有纹的处所标明曝光到达最年夜值, 画面已经失去条理.此时应调节光圈,尽量减少斑马纹的呈现.斑马纹是一种曝光指示电平, 告诉你哪里是曝光正常, 那里是已经曝光过度.曝光缺乏的画面黑, 暗部条理失去了, 可是有些处所亮的部份过曝, 暗的处所有严重曝光缺乏, 所以必需有所取舍, 或者在小范围局部补光, 以降低光的反差.◆180B的电子快门：松下180B摄像机一般在其身正面设有一个自动电子快门ON/OFF开关和转换按钮.从1/50、1/60、1/120、1/250、1/500、1/1000、1/2000共有7档：电子快门就是控制CCD图像传感器的感光时间, 感光越长, 光信号的强度也就越长.电子快门的特点：无运转噪声、速度快, 而且越快的快门他的景深越小, 可以配合变焦, 拍摄出浅景深的效果.1/50低速电子快门适合一般拍摄, 1/60-1/120的快门速度可以用的来拍摄投影, 高速电子快门适合非移动性拍摄, 比如水滴, 车流, 高运植物体等等.1/50秒 1/2000秒从上图可以看得出, 1/50秒的水珠, 景深比力年夜, 前景到布景都是很清晰的, 水珠成柱状不成形；1/2000秒的的水珠, 景深比力浅, 前景清晰布景虚化, 水珠呈圆形, 形状还原准确.注意：电子快门速度越快, 则感光度越低, 应加年夜光圈或相应提高监视现场的光照度.反之则感光度高, 在光线欠好的情况下用1/50档的光强度最好.要注意和光圈的配合.二、音频方面的调节：◆音频旋钮：调节录制的声音的工具, 在拍摄时要实时监测音频电瓶的状态将正常的声音尽量控制在-10-0这个区间, 最年夜音尽量不超越2个红点（爆竹声例外）.◆如何使用外置话筒：180的内置（立体声）话筒, 功率较小, 质量较差, 尤其是在录制婚礼仪式或讲话时, 近处的杂音和远处的主音混杂在一起, 听着非常乱.况且由于自身功率的原因, 拾音范围很小.外置话筒在一定水平上有了较年夜改善, 优质的指向性（也趁心型话筒）话筒在瞄准主要目标时自动将主音增强、把周边的杂音削弱, 使声音更加清晰、纯洁.◆说了外置话筒这么多好处, 怎么设置才会是双声道啊？首先把180的CH1和CH2 SELECT按钮全部拨至INPUT 2, 然后把INPUT1和 2开关都拨到ON, 这时把180 摄像机翻开, 音频电平一动不动, 已成静音.这时把话筒拔出I NPUT 2卡农接口上, 你会发现, 音频电平开始动了, 这说明, 你胜利了！三、180的拨盘F1 - F6是什么意思, 有那些作用机器出厂时预置了6个场景文件分别在这6个档位中, 即F1-F6.◆F1为（正常拍摄文件）◆F2是（闪烁的光照条件下拍摄文件, 红色会更加突出）, 比如室内灯光◆F3是（使拍摄对象更清晰的文件, 他提高了整体的比较度和锐度, 使色彩更加浓郁艳丽）, 比如婚礼拍摄, 庆典活动◆F4是（扩年夜了较深部份的比较度）, 适合拍摄落日◆F5是（25P模式）下面会详细说明◆F6是（拍摄类似片子场景的文件, 仿胶片效果）和F5相比, 图像更加柔和, 宽容度更好的片子画面风格.可是色调似乎不如 F5明快.场景的详细参数是可以手动设置的, 这也是180比索尼190或同级别摄像机更加强年夜的处所, 可是最好在调节时要参考标准监视器, 这样才会更准确.四、180的25P问题：◆25P和50i是什么关系？清晰度那个更好？25P是逐行显示, 50i是隔行显示, 清晰度固然是25P要高很多了！◆好多人问过我, 什么是25P？25P和标准的格式有什么分歧？25P是松下模拟片子的拍摄模式,摄像机以每秒24张的速度拍摄, 保管了片子的一些特点, 然后实时转换成25帧逐行视频（PAL制）, 他在高光点的控制、条理、宽容度、图像清晰度上都有较年夜提升！◆为什么拍摄时画面是抖得, 这样能用吗？看起来确实显得不连贯,这是因为录制时虽然实时转换成25帧了, 可是显示器还是显示的转换前的24帧！比PAL制视频的25帧少了一帧, 所以就有丢帧的感觉了, 经过屡次使用证明, 拍摄转换后的视频, 非常流畅, 画质有了较年夜提升, 令人满意.◆编纂25P视频需要注意什么？听说个他人（概率很小）在压缩成DVD后观看时, 有轻微的不顺畅问题, 应该是部份软件编纂压缩方法对25P支持的不是很好, 换个软件或增加一些decode器, 效果就非常完美了.说明：本文是我根据4年的使用经验撰写而成, 属于一家之言, 力求把最经常使用的功能用最通俗的语言论述清楚, 因能力有限, 如有分歧毛病的处所, 请及时指教并修正.松下180B摄像机使用技巧1白平衡, 优先选择的顺序为：预置——手动白平衡——自动白平衡（一般不采纳）.白天室外一般选择5600K的色温, 能暗示出晨曦和夕阳的温暖色调, 还能在日中时（即使是阴天）暗示出被拍摄对象正常的色调, 就算略有偏差, 也在完全能接受的范围内.白天室外拍摄切忌时不时地调白, 这样看似很专业, 但等做后期的时候, 你会发现分歧时候拍摄的工具, 色调往往纷歧样, 说不定还需要后期校正颜色, 预览不流畅不说, 输出也很费时, 是个费力不讨好的差事.室内光线很多都比力复杂, 但基本上年夜大都舞台的面光色温都是3200k, 这个需要在拍摄前观察一下, 可以让灯光把舞台的面光翻开, 然后把白平衡调到预置3200K, 看人的脸色是否正常, 如果正常或者略有偏差, 即可放心年夜胆使用预置3200K, 如果偏差较年夜, 则使用手动白平衡对白, 如果采纳追光的话, 一般的追光的色温都是5600K, 不外也需要事先确认一下, 如果没有年夜的偏差, 便也可放心年夜胆使用5600K的色温, 如果偏差较年夜, 也应当手动校白.为了取得比力好的舞台效果, 舞台上一般还有很多各色的效果光, 如果在这时候使用自动白平衡, 那么这些效果光存在的意义也就不年夜了, 所以, 拍摄室内一定不能使用自动白平衡.2 曝光, 年夜景的曝光应以环境曝光正确为准, 小景的曝光应以人物曝光正确为准, 总之, 要保证主要信息的曝光是正确的.最好看的曝光应当是感觉到被拍摄的对象细节最为丰富, 这个要多加观察和练习.买了机子几天了, 这两天白天出去处处拍摄试机, 晚上把机子和电脑用1394线连接起来, 在电脑上一项一项的试验参数, 对此机的使用方法略有体会, 高手看了莫笑.1.180b自动白平衡不太好, 使用时最好关闭白平衡自动跟踪, 白平衡有两个自界说设置和预设.使用时在现场环境中, 拿一张白纸（我用5寸相纸做的）, 设置到其中一个自界说设置上, 把镜头瞄准白纸, 要全部覆盖住, 然后设置白平衡, 这样就根据现场环境校准了白平衡.两个自界说在一般情况下够了.实在不成绩打到预置档, 室外用5600, 室内用3200.在自动模式下拍摄, 也要取消自动白平衡, 这样拍出来的画面基本不会呈现年夜的问题.2.180b拍摄时lcd和取景器对亮度反应不太准确（这是液晶的通病）, 观看角度分歧亮度也分歧, 所以不能一次来衡量画面亮度.技巧是把斑马图翻开, 设置为80%或85%, 当你对主题取镜头是（比如人脸）, 调整曝光度到脸部最亮的处所刚好呈现斑马图为准, 这样拍摄的画面脸部曝光舒服.3.拍摄时尽量不要开增益, 翻开增益噪点会增加, 环境暗时先把光圈往年夜调, 实在不成了再开增益, 固然最好的法子是加灯了.正常拍摄时不要随意调整快门, 1/50 的快门在绝年夜大都情况下够了.4.在场景文件中把细节电平调负值、细节降噪调正值可以降低噪点, 但画面也会变柔, 年夜家可以根据需要调节.色度电平是调饱和度的, 色相和色温我想年夜家都知道什么意思, 伽马曲线有点像ps中的曲线, 主要影响比较度.其他的还没搞清楚.5.正常拍摄时, 只要事先调整好机器, 拍摄时的调整用机身左侧的几个键就足够了.6.外置话筒使用, 把外置话筒拔出input2插孔, 翻开lcd在面板把CH1 select 和CH3 select全部设置到input2, 这样话筒输入的就是双声道了.以上几点体验, 有分歧毛病之处, 欢迎拍砖, 共同提高.松下180B最佳画质设置：经过一段时间的使用,通过以下的设置得出自己认为最满意的效果,通过和190P同一场景下的比较,个人认为已经超越了它,180B逆光下的效果是190P没法比的,除耗电量年夜一点,还没发现有什么缺点.喜欢入手的朋友也请试试看吧,也希望正在使用180的朋友把您贵重的使用经验发上来,让年夜家借鉴一下.2进入场景设置细节电平 0垂直细节电平 0细节降噪 +3色度电平 +2色度相位 +3色温 +2主消隐电平 --4自动光圈电平 +1伽玛曲线标准拐点低黑色矩阵标准1肤色细节关闭垂直细节频率细逐行关闭最后选保管/初始化点是然后选SAVE然后选YES 听见几声嘀嘀响就OK了,然后退出菜单.2进入场景设置细节电平 0垂直细节电平 0细节降噪 +2色度电平 0色度相位 +3色温 +1主消隐电平 --5自动光圈电平 0伽玛曲线标准拐点低黑色矩阵标准1肤色细节关闭垂直细节频率细逐行关闭最后选保管/初始化点是然后选SAVE 然后选YES 听见几声嘀嘀响就OK了,然后退出菜单。

松下网络摄像机介绍一、Panasonic BL-C10 产品特点通过PC远程观看图像通过松下的 BL-C10 网络摄像机，在你出差时，就可以轻松通过因特网观看你家中、办公室中的情况，而且是动画的、高质量的, 分辨率最高达640 x 480的图像。

网络连接，不需用电脑松下网络摄像机直接连接到你的集线器、交换机或路由器，安装松下网络摄像机的地方只要有网络接口，不需要电脑直接连接。

而且观看时只需要打开IE或Netscape的网页浏览器，输入网络摄像机的地址、用户名、密码，即可24小时观看。

只需通过标准WEB浏览器便能进行观看及控制*利用松下网络摄像机的远程控制云台，你可以通过网页浏览器控制摄像机的角度、将现场的图像通过Email 发送到你的邮箱中，这一切已经集成在每部网络摄像机中。

*要把摄像机连结到因特网，只需要一个因特网帐号以及所需的相关硬件例如网线、DSL modem或一个作为10Base-T 以太网连接的集线器或路由器。

你也可以预订一个域名服务。

摄像机需要连接上因特网，否则不能运行。

通过因特网上观看动态画面时，其帧频的大小受网络连接的上传速度及其它因素影响。

在同一个操作界面上能同时显示12台摄像机的监控画面你能同时观看到多达12 个的摄像机监控图像，并且每幅图像都是该台摄像机的连接控制页。

通过摄像机自动发送邮件每台摄像机都预置了电子邮件软件, 当摄像机被连结到因特网时, 它能通过时间设置传感器或可选的安全传感器进行触发，使其自动地向任何指定的邮箱发送邮件。

可通过任何因特网设备观看图像你能通过计算机的任何因特网激活设备观看图片或影像, 包括手提电脑甚至是已联网的液晶可视电话。

能将数据记录到指定的WEB站点或硬盘上摄像机利用内置软件通过FTP传输协议记录数据到指定的WEB站点。

同样也能使用相同接口将数据记录到本地计算机的硬盘上。

安全功能*作为有效的安全功能, 当所设置的可选传感器（例如动作、声音、亮度）受到触发时，你将能收到一个电子邮件或通过摄像机将数据进行记录。