Sony BETAMOVIE BMC-220 Руководство по эксплуатации - Страница 19
Просмотреть онлайн или скачать pdf Руководство по эксплуатации для Видеокамера Sony BETAMOVIE BMC-220. Sony BETAMOVIE BMC-220 37 страниц.
With the Fl L TER set and the white lens cap
in
place on the lens hood, aim the lens at a light
source
(indoors) or a subject from
a
distance
of
at least two meters (outdoors).
Then merely
press the
WHITE
BALANCE button
and the
white balance will be perfectly adjusted
automatically.
When adjusting white balance outdoors, more
accurate
adjustment
can
be made
by setting
the
white balance
in
accordance with the
light
conditions
the subject will be taped
under.
For example, if the subject will be
taped in
sunlight,
put the white lens cap on
the lens
hood
and point the camera toward
the sun. If
the subject
will be taped in shadows, white
balance
should also be adjusted in shadows.
When white balance adjustment is completed
the "W"
lamp in the viewfinder will
go
off.
Press.
Adjustment
completed
Cautions on white balance adjustment
Losing white balance adjustment
The white balance adj ustment is preserved for
about 30 minutes after the power is t urned
off.
If the power is off for more than 30
minutes,
or
if the FILTER selector position is changed
,
the
white blance adjustment will be lost and
the
"
W"
lamp will light when the power is turned
on
.
Set the wh ite balance adjustment again as
outlined
above.
"W" lamp stays on after the WHITE BALANCE
button is pushed.
• Adjustment cannot be made because
of
in·
sufficient light (the
" L"
lamp wil
l
also
light.)
•
Adjustment can
not
be made because
of
the presence
of
certain types of
light,
such
as neon signs or tunnel
lights.
Even if the
"
W"
lamp does not go
off,
the
white balance is
nearly
properly adjusted
by
the position of the Fl L TER
selector,
so record·
ing is still
possible.
Changing light sources
If a major light source
c
hange is
made,
such
as
from indoor to outdoor
shooting,
the white
balance will have to be readjusted
.
When
set·
ting the white
balance,
choose
lighting
condi·
tions that will match those for
actual shooti
ng
as
closely as possible (such as when
setti
ng
up to shoot stage productions with special
lighting).
Because lighting remains basically the same
for a given
source,
the white balance adjust·
ment
does not have to be changed very often.
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