Introduction to Using the Sony HDR

Institute for Multimedia Literacy
School of Cinematic Arts
University of Southern California
Introduction to Using the Sony HDR-SR11
Video Formats
The SR11 shoots in 7 possible video formats. 4 HD (high definition) settings, and 3 SD (standard
definition) settings. They are HD-FH, HD-HQ, HD-SP, HD-LP, SD-HQ, SD-SP, and SD-LP.
HD
SD
FH
pixels: 1920X1080
29.97 fps
142.4 mbits/sec
mpgv codec
HQ
pixels: 1440X1080
29.97 fps
127.7 mbits/sec
mpgv codec
pixels: 720X404
29.97 fps
8.9 mbits/sec
mpgv codec
SP
pixels: 1440X1080
29.97 fps
126.7 mbits/sec
mpgv codec
pixels: 720X404
29.97 fps
5.4 mbits/sec
mpgv codec
LP
pixels: 1440X1080
29.97 fps
123.7 mbits/sec
mpgv codec
pixels: 720X404
29.97 fps
3.1 mbits/sec
mpgv codec
Recommendations
HD SP. Good quality. Reasonable file size.
NOTE: Both HD and SD recordings now work with ‘LOG AND TRANSFER’ in FCP (New feature 2010).
Quick Start
Once you have checked out the SR11 for use, the first thing you will want to do is check to make sure
the battery is charged. Lock the battery into place on the back of the camera, then turn the camera on
to check your battery life. If the battery is low, plug the power cord (included in the kit) into the DC
IN slot located under the power switch to charge it.
Turning on the camera
To turn on the camera, push in the green tab and slide it down so the indicator is in the "On" position.
Open the LCD screen on the left side of the camera in order to access menu options via the touch
screen.
Basic Settings
To select between HD and SD
Press the Home button in the upper left side of the LCD screen. Select the manage media tab on the
bottom of the home menu (4th tab from the left), and select "Movie Media Set". You should then be
presented with the following options: HD HDD, SD HDD, HD Memory Stick, and SD Memory Stick. To
shoot in SD, select the SD HDD button. To shoot in HD, press the HD HDD button (RECOMMENDED).
These setting will record the video to the built in hard drive on the camera.
To select between the secondary video settings (LP, HQ, SP, and FH[HD only])
Press the camera settings button on the lower right corner of the main screen. Once the camera menu
is open, select the tab furthest to the right (the one that looks like a tool box). Once on that tab, select
the upper left button, labeled "REC MODE." Select that, and then pick the secondary video setting of
your choice. (NOTE you can also access these settings from the HOME menu by pressing the toolbox
tab, again on the far right, then choosing the 'movie settings' option, and then 'rec mode')
Shooting
Once the video settings are taken care of, you can go ahead and start shooting!
NOTE: Although you are ready to shoot now, you might want to white balance, set exposure, etc. for
best picture quality. For instructions on these advanced settings, refer to the Advanced Settings
section.
To shoot, return to the main camera screen. To do so, keep pressing the button in the upper left hand
corner until it turns back into the home symbol. If you have somehow entered the playback mode, you
can press the button on the lower left corner of the screen (shaped like a camera) to return to camera
mode.
Once you are in camera mode, simply point the camera at your target, and press the red button on the
back of the camera labeled start/stop to start recording. When you are done recording, press the
button again to stop recording.
Audio
ALWAYS LISTEN WITH HEADPHONES – this is the only way you’ll catch a problem and save your
sound!
Built in vs. external
While the camera comes with a built in microphone, most people find they get cleaner sound while
using an external microphone. As such, we recommend using an external microphone like the ones we
provide with the video kits.
Blue Tooth Mics
Our new blue tooth kits make interviews easy. Simply attach the receiver (the large squareish piece) to
the hot shoe on top of the camera and turn it on. The blue light will flash. Then, turn on the
microphone (the piece with the clip). It’s blue light will also flash. Hold the mic and the receiver close
together until both lights are steady blue. This means they are in sync and ready to go. Then simply
clip the mic onto your subject and start shooting.
How to use our external mics
First, plug the small audio cable from the audio box into the small red 'mic' jack on the camera (on the
right side of the camera, near the front, at the top). Then, check the audio switches on the back of the
audio box, and make sure they're set to mic, NOT line. If you record sound when it's on the "line" input,
it will be distorted and unusable. Then, plug the XLR audio cable (the one attached to the microphone)
into the audio box using the 'RIGHT' three pronged socket on the front of the audio box. Turn on the
microphone and plug the headphones into the camera's headphone jack, located on the right side of the
camera, near the front. Use the headphones to check your audio and make sure your sound levels are
adequate. The camera has two choices for audio levels: "Normal" and "Low". We suggest always
recording on "Normal" unless you are recording particularly loud audio (such as a concert or horror
movie scream). Be careful not to record your audio at too high a level, or clipping (distortion) will occur
- this is NOT fixable in post. You can also adjust the level of the mic on the audio box. If you are only
using one microphone plugged into the 'RIGHT' audio jack, you may flip the switch on the back of the
audio box from 'S' (stereo) to 'M' (mono). Doing this will record the signal from your mic onto both the
left and right tracks. You can still set the levels of the left and right tracks independently using the
level knobs on the back of the audio box, if you like.
If you have set everything properly, and are still hearing a hum or buzz, try flipping between 'G2' and
'G1' on the back of the audio box.
Shotgun
For a shotgun mic, plug the audio cable into the audio box and attach the mic to the top of the camera
via the shoe mount on the top of the camera, or use a boom pole. To test the level, put on headphones
and snap your fingers approximately 3 inches away from the mic. Do not tap the mic to test, no matter
what you've seen in movies. This is bad.
Lav
Again, plug in the audio cable from the receiver into the audio box and be sure everything is turned on.
Clip lav in desired place and test the level by having your subject speak. You can adjust both the levels
and placement of the mic to better the sound.
Advanced Settings
White Balance
White balancing your camera ensures that all your color tones will be correct (ie, the reds will be red,
etc.). To do this, the camera balances based on what you select as "white", and sets the other tones
accordingly. There are several options to white balance the camera. To get the the white balance menu,
touch the menu button in the lower right corner of the screen. Touch the third tab at the bottom, which
shows a camera with a small number "3" next to it. Touch the "White Bal." button in the top left. There
are four options. "Auto" lets the camera automatically decide what is white, and balances accordingly.
While convenient, this is not always correct, and if there is a shift in light or tonality while you are
filming, the camera will noticeably correct it, resulting in color changes in the middle of your shot. The
"Outdoor" option should be used in areas of bright natural light - it selects a shade for white that is
common in outdoor settings (this does not always work for overcast). Because it balances the white to
bright, natural sunlight (which is often yellow), this option will give your image an orange or yellow tint
when used in improper settings. The "Indoor" option works the same way, but for indoor, often
fluorescent, lighting. When used in improper settings it gives the image a blue or purple tint. The last
option is "One Push", or manual white balance, which is always the most accurate. Select "One Push".
Then find a completely white surface (a sheet of blank paper works well) and zoom in on the surface
until it fills the entire screen. There should be no visible color than the white object, otherwise, the
reading will not be accurate. Select the button directly underneath the "one push". You will see an
adjustment in the color of the paper, depending on how it differs from the previous settings. Press "OK"
to return to the menu, and the backwards arrow to escape.
Manual Focus
The camera defaults to automatic focus. While useful, this causes problems if you want to focus on a
particular object, or make in-shot adjustments, such as a rack focus. You can override the automatic
focus with the manual focus option. Touch the menu button in the lower right corner. The "Focus"
button should appear on the first page of the menu in the top left. Select it, then select "Manual". You
can also select whether you are focusing on large outdoor objects (the mountains) or closer objects (a
portrait). Once selected, exit the menu. To focus manually, zoom in all the way on the object you wish
to focus on. Adjust the focus using the small, silver knob located under the lens at the front of the
camera. When in focus, zoom out to your chosen frame.
Manual Exposure
By default, the camera will set its exposure automatically. Exposure determines how bright or dark
your recorded image looks. Using the auto-exposure is convenient, but tends to produce overly bright
shots, and can cause drastic shifts within your shot if you move from light to dark environments. To
control exposure manually, press the menu button in the bottom right corner of the main camera
screen. Select the 2ndCamera menu tab. Press the 'exposure' button, then choose 'manual'. You will
now be able to make the image brighter by pressing the '+' sign, and darker by pressing '-'.
AE Shift
Another way to exert control over the exposure settings without operating in full manual mode is to use
the 'Auto Exposure Shift' setting. Using this feature allows you to adjust the target exposure value of
the camera's auto exposure feature. This is useful if you are trying to achieve an overall 'look' in a shot
that is brighter or darker than the camera's default auto exposure target value. This setting is
accessible from the same camera menu page as the Manual Exposure setting explained above.
Other Useful Settings
There are many other customizable settings you can utilize with this camera. You can explore them by
pressing the 'Home' menu button in the top left of the main camera screen, then pressing the 'toolbox'
settings menu tab on the far right of the home menu screen. From here, you can access many
important 'Movie Settings' from the 'Movie Settings' Menu (Including most of the settings described in
this document). You will also find settings here for: STEADY SHOT, ZEBRA LINES, GUIDE FRAMES,
and the ability to assign different functions to the manual DIAL on the front of the camera.
The 'Settings' menu is also where you will find 'Sound/Display' settings menu which allows you to
adjust the LCD SCREEN and TURN OFF THE ANNOYING BEEPS.
Importing to computer
How to Hook the Camera up to the Computer
(**NOTE: These instructions apply to Macintosh Computers running OSX Leopard with Final Cut Pro 7. Which is what you'll find in
our labs.**)
Switch the camera on, and slide the panel on the right side of the camera forward to reveal the mini
USB input. Plug the USB cable included in the kit into the mini USB input, and plug the other end into
the USB slot on your computer.
On the LCD screen, select the upper left "USB Connect" option. You're now connected!
You should see a 'No Name' disc image appear on your desktop.
DO NOT OPEN OR ALTER THE 'NO NAME' DISC
Once you have connected the camera to the computer, simply launch Final Cut Pro.
Name and save your project and set your scratch discs appropriately (See other IML Support
documentation or staff for instruction).
Then, from the FILE menu select the 'Log and TRANSFER' option (NOT log and capture). FCP should
automatically detect the camera and load its contents into the preview screen. You will see a list on the
left half of the Log and Transfer Window of all of the clips you have shot. If you like, at this point you
can select each clip one by one and give it a unique name, and even set in and out points if you only
want to import certain parts. All of these values are input on the right half of the log and transfer
window. Once you have entered any appropriate criteria for your clips, you can drag them into the
'queue' area to begin importing them to your computer (they will be imported into your capture folder
as determined when you set your scratch disc at the outset of this process). If you simply wish to
import everything you shot, you can select all of your clips at once and simply drag them into the
queue.
Because FCP cannot natively edit the AVCHD Codec used to create your clips, this transfer process
includes an automatic recoding of your footage using the Apple Pro Res encoder, by default. When you
begin working with your transferred HD footage in a FCP Sequence, it will be important that your
sequence settings match your clip settings. If you are starting with a fresh sequence, FCP will offer to
automatically adjust its settings to match those of your footage.
A Word on Backing Up Your Work in a Tapeless World
Once you return the camera to our office, we will erase the hard drive, and your footage will only exist
in whatever location and form you have chosen. It is HIGHLY recommended that you always keep your
priceless footage in at least TWO places at all times. It would be a good idea to copy the entire
contents of the 'No Name' drive into a secure location, separate and distinct from the drive you will be
using for your primary work.
When in doubt, come and talk to us!
Lab Techs are available for one on one consultation and in depth camera tutorial sessions