It very well may, I think you have to be a bit careful with adapters as the machining can be hit or miss and you also don't want to add excessive weight to a mount that's not designed for it. I used a support. Can't remember any of it now but it wasn't expensive stuff.

@@BenHelweg Alrighty, thank you

Thanks for watching. For 2/3" it is 4.8-48mm. You'd have to do a conversion to find the equivalent focal length to compare with your image circle size of choice. I used a D-tap power cable with adapter to the lens comm cable, easy to find online. Some shots are with the extender to cover super35 and I think some are without and using sensor crop mode in C300. It's been too long and I can't remember!

@@BenHelwegHey Ben, thanks for the info. Have a good one

That would probably be for the SMF tube, which Sony used for the HVC-2800, the standard MF Trinicon tube used in models prior to the 2800 has a lot of lag in the picture, and doesn't have much of a great low light sensitivity

@@Syn_Host I recently won an HVC-2800 in an auction, so I'll see how it compares to my 2200.

It was just VCR font with some blurring I believe

@@BenHelweg nice. But in a digital program like premiere? or with a hi8 cassette analog editor?

Thanks for sharing your story!

Hi Asier, cool! I dare say the C2 may even be older than the Z31 although I can't be sure of that. I get the feeling that the Z31 was a prosumer/budget model whereas something like the C2 was higher tier news gathering. I'm glad to hear it's working well and would love to see some footage from it. Keep a look out for bad pixels but I suspect you'll be alright. Easy enough to compensate for it if there is. Perhaps you can comment here if you do get some uploaded and I'll check it out!

Very very good question. I initially encountered this too and even bought a kramer RGB clamper in the hope to mitigate it. But then by complete chance I came across a hitachi va-z31 rgb adapter on eBay and it sorted all of that out internally. It has four BNC connectors (r,g,b,sync). Oddly the signal isn't a perfect match with the composite so I have to get my hands on a waveform and some card slot extenders and do fiddling and alignment.

I also watched your video. You have far greater knowledge than I do, altough I will say that after nearly destroying another tube camera I have (a sony DXC-M3) I spent a lot of time reading service manuals etc so picked up some knowledge along the way, which helped me. I never found a service manual for the Z31 although it shares similar operation to the other camera and as such a lot of the setup and alignment are the same. The sony service manual has thorough steps for doing alignment and the right process to do things etc. In my quest to solve the RGB conundrum before I purchased the VA-31, I also tried clamping the rgb signal from the encoder side with capacitors and wasn't able to get it to work either.. (I have a picture of that!). I discovered that someone online had a paper copy of the standard op manual, so I paid him to scan it in for me, hoping it would have some technical info it, but it doesn't have much. But it's still worth having. You can download it here: www.manualslib.com/manual/1117033/Hitachi-Fp-Z31.html The sony M3 service manual is out there online but I could dig up my copy if you can't seem to source it. I could always take apart my VA-31 RGB adapter and take some photos of the internals for you if it helps. You may be able to reverse engineer it and create your own in a jiffy box or something. I had to pull it open to attach a v-mount battery plate to the back and I recall there not being much going on inside. It may be almost impossible for you to find a second hand one online and I feel like people probably bought them as an option to use for monitoring on a high resolution RGB monitor or crt projector at the time. I have some other videos on here shot with the RGB adapter and many which I haven't uploaded yet. One of my music videos 'Gutful' was shot with this setup and a DSLR (I should have shot the whole thing on it). My setup involved piping out of the VA-31 into a custom SCART cable with BNC tails on it, and then into a OSSC (open source scan converter) which outputted picture perfect 576i over HDMI into my blackmagic video assist. I tried cheaper SCART converters but they were all trash and unreliable and I wanted this thing for shooting critical stuff and music videos etc. In particular I wasn't happy when I used it on that gutful music video, and it's used on this cat video as it has lots of weird interlacing artefacts and points when it's mystery de-interlacing/scaling process unhinges and messes things up. The OSSC was sooo much better even at only 576i because it is rock solid and crisp and clear. I sidelined the camera project for a while for a number of reasons (mostly getting a reliable SCART cable happening) but I still have it all and still love the camera. It resolves extremely well with decent lenses and no doubt that Canon EJ prime? does a great job on your one. I guess I'd better get back into it and record some more.

Hello! Thanks for your interest. I was actually going to write a blog entailing the trials and tribulations I went through trying to get RGB from this camera. Perhaps I still will. Funnily enough I started with a DXC-M3 and CCU-M3 and originally tried to get RGB that way, and it took me some time to learn that Sony offered different two different cables for that camera + CCU combo, one for VTR work and one for RGB monitoring. When I picked up the Z31 for a great price I hooked it up to the CCU-M3 too and was sad to find that it didn't output RGB at all and after looking inside at the connector and what was connected to it, it makes sense. There are only VTR lines, sync and composite connected - no RGB.y I tried to tap into the RGB lines that come off the encoder board inside the camera (and progressively go up in voltage as they go from board to board up to the tube amp side, and it was all in vain as they have a large DC offset and or other issues. Adding capacitors to these didn't change anything so I ended up buying a Kramer video clamper to try and help but then I discovered there is an RGB adapter for the Z31 called the VA-31. This thing connects onto the back of the camera and interfaces through a hidden connector if I remember correctly. I miraculously came across one when I was looking for a tripod plate, and it was infuriating that because of US post it cost twice as much as the heavy tripod plate (which came to Australia from germany!) I couldn't let it go and I'm pleased to report that it works well, although my camera has somewhat different colour and picture compared to composite. I actually prefer the look that composite gives (except that it's noisey, grainier, has less fidelity and is much harder to turn into a HDMI or 1080 picture). My goal for the whole project was to have a portable camera with portable recorder that captured the best possible image, and although I got some really great results with composite going into my Blackmagic decklink card, I could not match this in a portable battery powered operation, as all the portable or dedicated composite converters are pure junk and inherently noisy, whereas the decklink does a much better job. I got excellent results with the OSSC, VA-31 and video assist 5" recording at 576i into ProRes but I haven't done much testing since this video because I was interested in other projects and I was struggling to mount the OSSC and get a reliable BNC-SCART cable. In fact SCART is the crappiest connector in existence, it can be pulled loose very easily which I was annoyed with and I got very sick of trying to roll my own BNC connectors to these crappy cables or bodging in thicker coax into the tiny scart shells. But I'm much better at all of that now and I will attempt it again. If you'd like me to open up my VA-31 and photograph the insides for reverse engineering I'd be more than happy to. I don't believe there was much going on inside the thing.

Oooh lots to comment on there. I always liked the look of those betacam SX camcoders, sounds like you have a fair bit of gear! We went to a video sale late last year and they were giving away WRR-855s for $1 because they're no longer legal to run in Australia (800mhz is totally off limits). I figured I could maybe sell it on to someone overseas or someone wanting a new shell for a broken or banged up model... For $1 I had to try! I remember those ECM-88 mics sounding good. Thanks for the nice words about the F23 footage, I still need to shoot some actual subjects and do some better grades - this was pretty slapped together but I just had to get out and shoot something. I can understand it being based on the HDC-1500, they appeared about the same time yes? On a completely side note, I've been obsessed for years with the HDC-100 and 300, the HDVS 1125 line analogue HD system, and I suppose they're grandaddies of the 1500. Imagine the beauty of an analogue video-tube pickup device displaying in HD! In fact you can see it on the 1993 Bob Dylan 30th anniversary video, which is shot with HDVS and a grab bag of CCD and Saticon cameras (you can see when they switch to the tube cameras because of the occasional bright light has a trail on screen). The F23 is totally way too bulky but I kind of like that about it. Though it'd be very hard to run around all day with it. I intend to use it with my easyrig mostly or with a cinesaddle. The SRW-9000 seems like a great camera and I considered it, in particular the PL mount version but in the end settled for the F23. The SRW-9000 also seems quite sizable and big but I'm sure the weight is properly distributed and most of all it has all the proper controls and audio control etc.. The F23 is very cine-centric and not even remotely suitable for run and gun shooting but I still think I can get around that pretty easily and would just use a sync recorder for sound. You can actually stick a mic with phantom power into the back of the F23's interface box and it records an uncontrolled but acceptable scratch track. With the SR-1 you can control audio but I don't think I'd ever go down that route! There's so many affordable lenses out there for 2/3" right now it's crazy. I'd literally kill a man to get my hands on a 3.7mm Zeiss digiprime but they rarely come up and when do seem to disappear quickly. I reckon I've seen you comment on other videos as well around youtube, but I could be wrong.

I'm really glad to hear it! Answered some of your points in another comment, but I thought I'd chime in here. The service manual has come up online a few times but at a ridiculous price. I never bothered with it even though I desperately wanted it. However I did pay some guy to scan his paper copy of the instruction manual and I made it available here: www.manualslib.com/products/Hitachi-Fp-Z31-4188153.html I assume you've probably already seen that. The other hitachi camera, the Z1 may also be very similar in components although I think it's CCD, but probably retains the same RGB encoder stuff. I did learn a great deal about the RGB side of things from the Sony DXC-M3A service manual in which a lot of that and the alignment setup stuff carries across. You should be able to find that online for free, hit me up if you can't as I still have it. It's an absolute tome of hundreds of pages but is a work art.

Sorry for the late reply, to answer your question - I love the Z31. It blew my mind when I first used it. One of my videos shows some tests I shot in my old studio going straight into a PC's decklink card via composite, and I thought it looked great. RU-vid's compression pretty much removed all trace of checkerboarding from the composite and it looked good. It has a high resolution image and in the right circumstances looks almost filmic. My youtube profile photo is actually a screengrab of some footage I shot with the Z31 and some gelled dedos, but that instance was over RGB. The RGB has great colour detail and it really benefits from a sharp modern lens, not an old cheapie like the one it came with. I have a Sony M3A as well but I kind of destroyed it by trying to power it up with a needlesshigh current power supply and accidentally reversing the polarity (I am a moron). I'd picked the camera up on a job in another state and left all the power connectors etc in that state, so I was desperate to try the camera and screwed up there. I let it go for about 10 seconds while I tried to figure out why it wasn't working and then smelled that sad smell of burning silicon. There is no breaker or fuse in the M3. It still worked but wouldn't run the viewfinder anymore. Ended up using it for a few videos before it started to flake out and died completely. I tried to repair it with some new transistors and components but my soldering wasn't very good at the time. It kind of works now but I need to revisit it and maybe try a different high frequency transistor and re-do the burnt trace.

Interesting! Now that would really be something. I've just seen those SLR magic 1.33x PL lenses, only trouble would be getting hold of those and a Pro35!

Ben Helweg Yeah, I was surprised how cheap they are at 350 CAD for a set: ontariocamera.com/product/slr-magic-1-33x-anamorphot-cine-lens-set-with-35-50-70mm-lenses-pl-mount/ For some reason other sites were listing them at 18,000 USD. What a strange thing.

Thankyou. I did a few calibrations at the time and I think it was taken care of in its lifetime.

William Schmidt-Hansen Thanks William. I look forward to shooting some more stuff with the camera. I would like to get my hands on an OSSC scan converter for more tests.

Regrettably I had to sell this, but there's an absolutely outstanding manual made by Tascam that you should be able to find on the internet. It goes into extreme detail on sound theory and things before even talking about the 244.

I see. Thank you for your reply sir and have a nice day.

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It's actually quite impressive the quality you can get with a clean feed straight from camera. RGB is even better than the composite video. In future I'd like to get my hands on a proper xRGB Mini converter (as opposed to the cheap chinese SCART RGB adapter) as the xRGB has a multitude of controls and options, whereas the chinese one is a bit of a mystery box and has issues with interlacing artefacts and weird auto brightness on composite for some reason. Interestingly, the composite capture into a blackmagic decklink is superior in quality to the chinese adapter upscaled. I assume it has far better A-D chips involved. That and you're forced into capturing at 1080 50p, which isn't ideal for storage space. Some of the single tube cameras tend to be a little bit iffy too, I'm not entirely sure why.

BMD Intensity Shuttle has RGB inputs ;)

PiDsMedia Ah if only it was that easy! The shuttle and other BMD stuff only accept YPbPr RGB, in which there are two colour channels and a luma channel. Green is derived from the difference information of the blue, red and luma channels. With a camera like this, the colour signal (RGB Composite Sync) is very different and instead is three separate channels of R,G,B colour and a separate sync (so four channels in total) and this sync is derived from either it's own Sync channel or from Composite or genlock. Same system is used in things like commodore 64 Sega etc. They're not compatible colour systems and the blackmagic line is more designed for connecting up to newer Betacam style equipment. (Though I do believe some older Sony cameras have YPbP colour circuitry inside that can be sent to a CCU). Some confusion comes from the SCART connector supporting the original RGBCSYNC (as it would sending directly to each colour tube in a tv) and also YPBPR in later years when TVs started coming out that could differentiate between whatever signal the user sent down the RGB channels (such as a dvd player).

Funny, my Intensity Shuttle USB3 has RGB marked inputs, not YUV, aka YPbPr. Amusingly, you're explaining this stuff to a person who has "Advance Cert TV Repair" in the qualifications, and is exGlobalTV Enginnering dept :D Saw the ad for the lens - might be messaging via FB if it's not sold soon - I reckon it'd go well on a G85.

Ah that's interesting! Perhaps you're right, as the USB3 model has component inputs in addition to the yellow/red/white composite and audio (unlike all the other blackmagic stuff that asks you to input Y on the green connector and requires that you switch in the configuration between Component and Composite in the software preferences. All the images I've seen of the intensity shuttle show inputs for Y in, Pb in and Pr so I'm not sure why yours states that it's RGB, but perhaps it's a new revision. Also I see the manual states that it's a 'component' analog input only, and mentions (Y,R-Y, B-Y) (Y,Cb,Cr)or(Y,Pb,Pr). There is a difference between the implementation that I'm referring to (RGB+Sync) and more newer ones, just as there's a vast difference between YUV and say RGBHV. I've owned the Intensity Extreme Thunderbolt, the plain old Intensity Pci-e and the Decklink HD/2K Pci-e and unfortunately none of them worked with this hitachi camera's RGB. But then why would they? As I mentioned above, all of these have only had three inputs on the breakout cable, and if you were to connect all three RGB outputs from camera to card, then there would be nowhere to connect the Luminance sync to. I can't see why the Intensity USB3 would be any different considering that Blackmagic seem to love using the same AD chips across the board (I had to buy their damned video assist 5" just so I could record 1080p50), but quite frankly considering the time I've wasted on this project - I'd love to be wrong. I will mention that one of the key ideas behind this whole idea was that the camera would be portable and wouldn't need to be tied down to a CCU or be constantly connected to a laptop or such. That one could pick up the camera and have it all self powered and have the recording/processing gear all onboard but I'm yet to find a better way of doing this so far. Feel free to get in touch about the lens if you wish, you're welcome to test it.

Should have been set correctly in this video with that star chart. However it could do to have focus set at the tube side and a proper alignment. You generally want to avoid bright sources, but the Saticons were apparently less prone to damage and much quicker to recover. You wouldn't want to leave something stationary and bright going down the lens for a long time though, especially the sun. I've treated this one to some bright lights and abuse but there aren't any visible lasting effects.

Matthew Jones بةوي

xxxvide

Vijendra Singh

Vijendra Singh xxxx

Thanks for watching! I'm hoping I don't do any damage with the shooting I'm hoping to do! Might have some new footage soon with my RGB adapter recorded into blackmagic video assist.

Depends on what you're planning to shoot :P As long as you don't aim these cameras at the sun, or keep bright lights turned on them for extended periods of time you should be a-okay. Saticons have a slightly higher burn-in risk compared to lead-oxide based Plumbicons, but they're very strong tubes, with a long operational life. I've had a few close-calls with my ITC-730A, and its held together okay.

👍

I know that feeling.

+B தf ம்பிஎ e . n Helweg thebest

Ohhhhhhhhhhhhhhhhh, now that I watch this video slowly, I have only one thing to say: "Behold!, the perfect woman". I would probably give her a different name, more sexy, like Monica, Candy, Tiffany, Vanessa, AMANDA!!!!, etc. But for now, I'd choose Cherry. Let me see?, let me see?. Ok, here's the remote... push ON (She's buffering). Done. Opens her eyes, moves her neck: "Hi, I'm Cherry, what would you like me to do?". ;) Lesson Number one: "Call me Heroe", lesson number two. Show me your tits then...forget the lessons, just show me your tits, get on your knees and give me head...say something, something dirty, yeahh just like that. Now, "SAY HELLOOOOOOOOOOOO", EXACTLY, YEAH, KEEP ON GOING 'TIL I SAY STOP. Cool!...stop. Bend over, look at the wall and leave the rest to me...while I want you to sing karaoke; ♫♪Give it to me Baby!♫♪