This document provides an overview of how to operate the Sony NX5U video camera. It covers topics such as attaching the battery and memory cards, switching between camera and playback modes, menu settings, and basic shooting techniques. The six chapters cover opening and closing the lens cover, capturing footage, composition and interviewing, sound equipment, lighting basics, and field production essentials.

1. MANHATTAN NEIGHBORHOOD NETWORK
FIELD PRODUCTION
WITH SONY NX5U

2. Chapter 1 Introduction to the Camera 1
Lens Cover….……………….………….………………………………………………….……………1
LCD & Eyecup Viewfinders…….……………………………………….…………….1
Charging & Attaching Battery..…………………………..…….………………..2
Attaching AC Adapter to Power Camera…….……………………..3
Memory Cards & Slots……..……………………………………………………………..4
Power Switch & Record Buttons……………………………………….……..5
Camera Mode vs Play Mode (Visual Index)………………….……6
Tripod Use………………………….………….…….………………………………………………….8
Chapter 2 Capturing an Image 9
Camera Menu Settings……..…..….………………………………………..…………9
Automatic vs Manual Mode….…..………………………………………………..11
Focus & Zoom Controls.……………..………………………………………………..11
Understanding Exposure and Light……….…………………………….13
ND Filter……………………..…………………………….………………………………………..…..15
White Balance……………..……………………….………………………………………..…..15
Chapter 3 Composition & Interviewing 17
Shot Types……..…..….…………………………………………………………………..…………17
Rules of Composition…..…………………………………………………………..…..20
Interviewing Techniques…………………….………………………………………..21
Chapter 4 Introduction to Sound 23
Sound Equipment………..…….…………………………………..…………….…………23
Connecting & Setting up Microphones………………………….….26
Monitoring Audio…………….……………………………………………………….….…..28
Chapter 5 Lighting Basics 30
Video Camera Light.………………………………………………………………………30
Lighting Tips……..……………………………………………………….…………..……….….31
Chapter 6 Field Production Essentials 32
Elements of Storytelling………………………………………………………………32
Organizing & Transferring Media to Hard Drive..…….…….33
TABLE OF CONTENTS

3. Lens Cover
To open or close the lens cover, move the lever
to the OPEN or CLOSE position.
LCD Viewfinder
The LCD Viewfinder is a panel that
folds out near the top handle of the
camera. It operates on a hinge and
does not detach from the camera.
When the camera is powered on
and in CAMERA mode, the open LCD
Viewfinder displays the image the
camera is seeing.
Eyecup Viewfinder
At times, specifically when shooting
outdoors in bright sunlight, it will be difficult
to see an image using the LCD Viewfinder.
In these scenarios, it may be best to use the
standard viewfinder with the attached
eyecup. Move the lever underneath the
eyecup until the picture is clear.
Ch. 1 Introduction to the Camera
1

4. Charging & Attaching Battery
When filming in locations with no access to power outlets, it is best to
operate the camera with a fully charged
battery.
To charge the supplied battery:
1) Set the switch on the AC adapter/charger to
CHARGE.
2) Connect the power cord to the AC
Adapter /charger.
3) Connect the other end of the power cord to
an available wall outlet.
4) Place the battery on the charger by pressing
down and slide it in the direction of the
arrow.
*Always re-wrap charger cables neatly and
secure them with the supplied cable ties. Return the charger base and
cables to the camera bag.
Once the battery is fully charged, attach it to the camera.
To attach the battery pack, press the
battery pack against the back of the
camera and slide it down. There is an
arrow on the battery and it should be
facing down when inserting into the
camera.
To remove the
battery, make
sure the POWER switch is OFF. Push the BATT
RELEASE button and lift the battery pack up
simultaneously to remove it.
2

5. Attaching AC Adapter to Power Camera
When filming indoors or at locations where you have access to a power
outlet, you have the option of attaching the AC adapter to the camera
to receive power. The connecting cord looks similar to the battery and
goes in the same location as the battery pack. To attach the AC adapter
to power the camera, do the following:
1) Connect the power cord to the AC adapter/charger.
2) Connect the other end of the power cord to the wall outlet.
3) Connect the “connecting cord” to the AC adapter/charger.
4) Set the MODE switch on the AC adapter/charger to VCR/CAMERA.
5) Press the attachment on the other end of the “connecting
cord” (resembles a battery) into the back of the camera. Make sure
the arrow on the attachment is facing DOWN. Push in and slide it
down until it snaps into place.
3

6. Memory Cards & Slots
The HXR-NXSU stores recorded video and audio on memory cards. TheNX5U
willaccepteitherSDHCorSDXCmemorycards.ThememorycardmustbeaClass10
andwerecommendacardwithatleast
16GBsofspace.
There are two memory card slots on
the back of the camera protected
by a hinged door. Press the door to
access the memory card slots.
Insert the memory card with its
notched corner facing down until it
clicks.
To eject it, lightly press the card in
once and release it. The card will
then pop out.
There is a small lamp next to each
slot. When the lamp flashes red, the
camera is reading/writing data. Do
not attempt to eject the memory
card or data may be damaged.
*Note: Inserting a memory card in the wrong direction could damage the card. Never
force the card into the slot.
To select which memory card slot to use for recording, first make sure the
camera is powered on and set to CAMERA mode. Press the A or B button
next to the slot where the card you want to record on is inserted. The lamp
of the selected slot lights up green. When a memory card is first inserted,
you will be asked to format the card; follow the on-screen prompts to
complete the formatting.
Memory Card Slot A & Access Lamp
Memory Card Slot B & Access Lamp
4

7. Power Switch & Record Buttons
To power the camera on, press and hold
the green button and push the lever to the
ON position.
There are two record buttons. The primary button is located in the center
of the power switch. The handle record button is located on the camera
handle near the LCD window.
With a memory card inserted and the camera powered on and set to
CAMERA mode, pressing either RECORD button once will begin the
camera recording. The green word "STBY" at the top of the LCD Viewfinder
will change to a red "REC" to indicate camera is recording, and the two
recording lamps will light up red. To stop recording, press either record
button again. The lamps will turn off, and the camera will go back into
standby "STBY" mode.
RECORD Button
POWER Switch
Handle RECORD Button
Recording Lamp
Recording Lamp
5

8. Camera Mode vs Play Mode (visual index)
To record footage, the camera must be in CAMERA mode. To review
footage recorded to the memory card, the camera must be in PLAY
mode.
To switch between CAMERA mode and PLAY mode, power the camera
on and press the MODE button located in the bank of buttons near the
LCD viewfinder and also located on the left side of the camera’s body.
Upon pressing the MODE menu
button button, the MODE menu will
appear in the LCD viewfinder. To
select CAMERA mode, use the
arrow keys to highlight the
CAMERA option, and the EXEC
button to select it. Then select the
MOVIE option.
To watch recorded footage on your memory card, navigate to the PLAY
option in the MODE menu. Then select VISUAL INDEX. You can also select
the dedicated VISUAL INDEX button located on the left side of the
camera under Assign 6 or the top near the LCD monitor to quickly switch
between CAMERA and PLAY modes. (See image on next page)
6

9. Once you are in PLAY mode and want to review the footage, be sure to
select the card (A or B) where your media is stored. You can use the
arrows on the side of the camera or the top of the camera to navigate
through this playback window. You can also simply touch the screen but
be aware that the touchscreen setting could be disabled.
Once you are in PLAY mode, the LCD screen will display a list of clips
saved on the memory card. To watch a clip, highlight it and press EXEC. To
return to thumbnail view, select the VISUAL INDEX button.
7

10. Tripod Use
To attach the tripod plate to the camera, line up the screws on the plate
with the holes on the bottom of the camera, then use a coin to tighten
the screws. When the plate is securely screwed onto the bottom of the
camera, slide and lock the plate with the camera attached onto the
tripod.
When using the tripod, ensure all tripod leg locks are securely tightened
before mounting the camera to the tripod head. Once the camera is on
the tripod, twist the knobs on the tripod to raise and lower the height. Be
sure to hold onto the camera’s handle when adjusting the tripod height.
IMPORTANT: Always remove the plate from the camera and place on the
tripod after your recording is complete.
Remember to return the tripod to the shortest height and lock the knobs.
Always place the tripod in the bag feet first. The heaviest part of the tripod
should be at the top of the bag where the handle is located.
8

11. Camera Menu Settings
Before you begin recording, it is important to ensure all of your menu
settings have been set properly. To
access the menu settings, make
sure the camera is ON. Press the
MENU button located in the bank
of buttons next to the LCD
viewfinder. The menu screen
appears on the LCD viewfinder.
Scroll through the options using the
arrow keys that surround the
execute (marked EXEC). You may
also navigate the menu using the
SEL/PUSH EXEC dial and arrow keys
located on the side of the
camera, illustrated above.
Next, let’s discuss the
recommended camera menu
settings for the purposes of using
the NX5U to create media at
Manhattan Neighborhood
Network. In most cases you will not
have to adjust these settings, but it
is good practice before a shoot to
confirm that you are shooting with
the recommended settings. We
are going to go through select menu setting for each primary setting.
1) CAMERA SET
Gain Set: These settings determine the strength of the camera’s gain
setting. Gain helps add brightness to an image but by increasing gain,
you risk having an image that looks grainy and distorted.
H 12dB
M 9dB
L 0dB
Ch. 2 Capturing an Image
9

12. Hyper Gain: Off - Gain create an extremely “noisy” image making it
appear grainy. You should avoid using gain to make your image brighter
but we highly recommend you DO NOT use hyper gain.
WB Preset: Manu WB Temp - This setting allows the user to manually set the
white balance “temperature” by using the SEL/PUSH/EXEC dial when the
white balance switch on the side of the camera is set to PRESET.
Flicker Reduce: On - This setting helps to reduce flicker from fluorescent
lights and computer screens.
Steadyshot: Off - This setting should not be on when using a tripod.
2) RECORD/OUT SET (RECORD/VIDEO OUT SETTINGS)
Rec Set:
HD/SD Set: HD/Hd
Rec Format: 1080/30pFX, 480/30ps HQ
Rec Button Set: (first setting)
3) AUDIO SET (AUDIO SETTINGS)
Audio Format: Linear PCM
Audio Limit: Off
Headphone Out: Stereo
Int Mic Set:
Int Mic Sens: Normal
Int Mic Wind: Off
XLR Set:
XLR AGC Link: Separate
Audio Manual Gain: Separate
Input 1 Trim: 0dB
Input 1 Wind: Off
Input 2 Trim: 0dB
Input 2 Wind: Off
10

13. Automatic vs Manual
Mode
The NX5U gives users the ability
to take control over their image.
In this chapter, we will focus on
how to manually adjust specific
elements that affect how the
image appears. If you are in a
hurry, having difficulty getting
your image to look appropriate
or not comfortable using
manual settings, simply flip the
switch (Figure D) on the side of
the the camera from MANUAL
to AUTO.
Focus & Zoom Controls
The camera’s lens performs three primary functions: Focus, Zoom, and Iris
(exposure). We will discuss exposure in the next section. The first ring on the
lens or the ring located towards the front of
the camera gives you the ability to focus
your image.
To use the focus ring in MANUAL mode, set
the FOCUS switch (Figure B) to MAN. We
recommend you always have this setting in
MANUAL mode.
The PUSH AUTO (Figure C) button allows the
user to temporarily use the automatic focus
while the FOCUS switch is set to manual.
Holding down the PUSH AUTO button
activates automatic focus for as long as
the button is pressed. When release, the
focus returns to manual control.
11

14. The second ring on the camera’s lens or the middle ring is the ZOOM ring.
Twisting it downwards will zoom in to the shot, while twisting the ring
upwards will zoom out and widen the shot.
The zoom ring isn’t the only way to zoom in and out. There are two zoom
levers - one located on the
camera handle and the
other near the hand strap.
Pressing down on the side
labeled with a W will zoom
out or widen the shot.
Pressing down on the T side
will zoom in or tighten up the
shot.
There is a small switch on the
side of the camera handle
(Figure B). This is the Handle
Zoom Switch. Setting this
switch to VAR allows the user
to determine how fast to zoom in or out by how much pressure is put on
the zoom lever. Setting the switch to FIX sets the zoom to a fixed speed.
12

15. Understanding Exposure & Light
Exposure refers to how much light is entering the camera body and being
“exposed” on its internal sensors. There are several manual functions on
the NX5U that affect the exposure or the brightness of the image. We will
discuss four things that affect exposure and brightness: Iris, Gain, Shutter
Speed, ND Filter.
IRIS
When light passes through the lens, before it enters the body of the
camera, it passes through an opening called an iris. The iris is a small
device that can open up wide or close down tight. This allows the user to
choose how much light can pass through the iris and hit the camera
sensors. The iris is controlled by the last ring (Figure A) on the camera’s
lens, the ring furthest from the front of the camera.
Before you can adjust the iris function, first make sure the AUTO/MANUAL
switch is set to the MANUAL position (Figure H). Next, press the IRIS button
(Figure E) until a caption appears in the lower left hand side of the LCD
viewfinder consisting of an F followed by a number. This indicates you are
able to manual
control the Iris. If you
see a highlighted
“A” before the F
number, this means
the camera is set to
Automatic Iris.
13

16. GAIN
Gain is a function of the camera’s internal sensors that boosts an image’s
brightness even after the iris has been completely opened. This is useful
inflow light situations but has the side effect of adding grain and visual
distortion to the image.
To adjust the gain, do the following:
‣ Make sure the AUTO/MANUAL switch is set to the MANUAL position.
‣ Press the GAIN button (Figure C) until you see a caption at the bottom
of the viewfinder with a number and the letters “dB,” which stands for
decibels, the measurement unit for
gain. A higher number means a
brighter image.
‣ Set the amount by locating the GAIN
switch on the side of the camera
(Figure F) and set it to H (high), M
(medium) or L (low).
It is recommended you keep this setting
on L (low). If your image appears grainy,
you can turn on Automatic gain by
pressing the GAIN button until the gain
number is preceded by the letter “A.”
SHUTTER SPEED
The SHUTTER SPEED should be set at “60” if you want no shutter “effects.”
Lowering the shutter speed will result in blurred images that are sometimes
used to reflect a dreamlike or hallucinatory mood. Higher shutter speeds
don’t make an obvious difference, but can be used to decrease the
amount of blur on high-speed objects in the frame.
To adjust shutter speed, make sure you are in MANUAL MODE. Press the
Shutter Speed button (Figure D) until you see a highlighted number with
no letters following or preceding it on your LCD Viewfinder. Then scroll the
SELECT/PUSH dial (Figure G) up or down to raise or lower the Shutter
Speed. Press the SELECT/PUSH dial in, like a doorbell, and the number will
be save. Again, it is best to keep that set at “60.”
14

17. ND Filter
When shooting in bright sunlight, too much light could enter the camera.
In this case, switch on the ND FILTER, which stands for Neutral Density Filter.
The first setting on the switch allows 1/4th of the available light to enter the
camera. The second settings allows 1/32nd of the available light to enter.
The third setting allows 1/64th of the available light to enter. If you are
having trouble white balancing outdoors, it may be due to too much light
entering there camera. Activate the ND filter and try again.
*Note: If when settings up a shot you notice the image is unusually dark,
check to make sure the ND Filter is off.
White Balance
Just because the human eye looks at a wall and perceives it as white
doesn’t mean that the camera knows
the wall should look white — its sensors
could be set in a way that causes the
white wall to look orange or blue. Light
looks different on camera than it does
to the human eye. To determine the
way the camera sees and records
color, we use a process called WHITE
BALANCE.
To set your White Balance, do the
following:
‣ Make sure the AUTO/MANUAL
switch is set to MANUAL.
‣ Next, locate the White Balance
memory Switch (Figure B). Set the
switch to Position “A.”
‣ Press the White Balance Button (Figure A) marked on the side of the
camera as WHT BAL. You will see an icon appear on the LCD viewfinder
that looks like a black rectangle above two white triangles followed by
the letter A. This is the White Balance icon, the A indicates the manual
setting will be saved under the A position on the White Balance
Memory Switch. You can save another location (for example: outdoors
on B and indoors on A) if you will be switching between locations with
different lighting.
15

18. With this icon in the viewfinder, you can tell the camera what color you
want it to perceive as white.
To White Balance, point the camera at a white piece of paper so that the
white fills the entire view of the screen. Press and hold the White Balance
Set button (Figure C), which has a small white balance icon above it. The
white balance icon in your viewfinder will start flashing rapidly. After a
moment a number will appear — this is the color temperature setting
needed for the paper to appear white. Release the white balance set
button. After a moment, the number will disappear and the white
balance icon will reappear.
When a white balance adjustment value has not been successfully
obtained, the white balance icon will go from rapid to slow flashing. Make
sure the white is filling the screen and that your image isn’t too bright or
too dark, then try setting the white balance again.
Note: You will have to set a white balance every time you change
locations or if the lighting conditions change where you are shooting.
16

19. Shot Types
When composing a shot, it is important to understand how to properly
frame a shot. Below are examples of the most common shot types:
Extreme Long Shot (ELS)
This is an establishing shot. This shot sets
the tone and mood and generally
consists of showing an exterior building or
landscape.
Long Shot (LS)
This shot generally shows the entire
human body, from head to toe.
Medium Shot (MS)
This shot is generally framed from the
waist to the top of the subject’s head.
This shot can consists of a single person or
multiple people.
Ch. 3 Composition & Interviewing
17

20. Medium Close-Up (MCU)
This shot is also referred to as a “Bust Shot” as it is
framed from right below the subject’s bust to the
top of their head. This shot is generally used for
interviews, especially when a lower third graphic
with the subject’s name is going to be added during
post-production.
Close-up (CU)
This shot focuses on either the face or a
specific detail of a subject. The close-up
takes us into the mind of the character.
This shot is known to be used to capture
the emotion of a subject. This shot
should be used after a wider shot has
introduced us to the subject.
Extreme Close-Up
This is an extreme tight shot of an
element of a larger subject. When
shooting people, this can be the nose,
feet, eyes, etc. When shooting objects,
this could be a leaf on a tree, wheel
on a car, etc.
18

21. High Angle Shot
This is when the camera is placed in a high position looking down on its
subject. This causes the subject to appear weak.
Low Angle Shot
This is when the camera is placed low and makes the subject look strong
and powerful. The added height of the subject or object may make it
inspire fear and insecurity in the viewer.
19

22. Rules of Composition
Rule of Thirds
The rule of thirds helps to compose a shot
properly. The goal is to visually divide the
screen into three equal parts vertically
and horizontally. The primary subject (for
people, it’s usually the eyes) should lie
one of those lines or possibly even the
intersection.
Headroom
Headroom refers to how much space there is between the top of your
frame and your subject’s head. Proper headroom leaves about a finger’s
worth of space above your subject’s head. In television production it is
considered bad composition if you cut off your subject’s head or have
several fingers worth of space above their head.
Noseroom/Leadroom
Noseroom is a composition rule in which the composed shot should allow
for some room in front of the subject. Avoid having your subject’s nose
touch the edge of the screen. You also don’t want the back of their head
too close to the edge of the screen. Leadroom is essential the same as
noseroom but it refers to moving objects/subjects.
Noseroom/Leadroom
20

23. Interviewing Techniques
When conducting interviews in the field there are a lot of options for how
to setup the camera and the person or persons on camera. Let’s look at a
few options for interview setups:
On-Camera: Host and Guest(s)
The subjects in this interview setup can
be seated or standing. The host and
and guest(s) are interacting with one
another.
The camera operator can zoom from
a two-shot in the beginning to a MS of
the guest when guest is responding to
questions. This takes technique takes
practice but adds interest to the shot.
On-Camera/Off-Camera
The subject(s) of this interview setup is
on camera while the host is off-
camera asking questions. You typically
cut out the questions being asked by
the host, therefore, the guest must
answer in complete sentences.
HOST GUEST
CAM
CAM
GUEST
HO
ST
21

24. Over-the-Shoulder
This setup shows a portion of the interviewer’s shoulder. The interview will
first be conducted focusing on the subject(s). In some instances, when
using one camera, the camera operator will then switch sides and record
the interviewer asking the questions and edit between the two shots
during post-production.
CAM
G
UEST
H
O
ST
22

25. Securing high quality audio when recording video can be one of the most
challenging aspects of field production. In this chapter we are going to
look at the types of microphones and audio equipment available then
explore how to use those microphones with the Sony NX5U.
Sound Equipment
XLR CABLES
XLR cables are used with professional
equipment such as microphones and
speakers. “XLR” refers to the connector type
on the cable. XLR plugs have three prongs
and XLR sockets have three holes. Some XLR
cables have a small latch on the socket
connector that must be pressed to release a
plugged-in cable.
Note: Always neatly re-wrap XLR cables when returning them to MNN.
SONY ON-BOARD MICROPHONE
This is the “on-board” microphone that comes pre-mounted on all Sony
NX5Us at MNN. While the camera comes
with a built-in microphone, it is best to use
this microphone for the simplest method of
capturing audio. It will only pick up audio
from sources located directly in front of the
microphone.
Input Type: Mic+48V
How to Use: This microphone is mounted to
the top of the camera. Make sure your
subject is approximately 3-5 feet and located directly in front of the
camera.
Purpose: When recording interviews and dialogue, this is the simplest
option when you want to capture multiple interviews in a short amount of
time. This microphone will not result in the best audio so it is usually
recommended to use as a backup microphone or to capture natural
sound such as the sound of traffic, rain, etc.
Ch. 4 Introduction to Sound
23

26. SHOTGUN MICROHPONE + BOOM POLE
The other option for a shotgun mic consists of both the shotgun and boom
pole. This microphone cannot be attached to the
camera so it is important you also request the boom
pole when making a reservation. The camera
operator will need to have an individual responsible
for holding the boom pole. It is best to hold the pole
above or below the subject so that the mic+pole
does not appear on-camera.
Input Type: Mic+48V
Purpose: This is used in situations where there are more people being
interviewed than microphones available. This is also good to use in
narrative and fictional productions where you do not want to a
microphone be visible on the subject.
WIRED LAVALIER
This microphone is referred to as a
“lavalier” because it is small enough to
be clipped to a person’s shirt or collar.
This microphone Is run underneath the
subject’s shirt and clipped onto their
lapel. When reserving this microphone,
you may also need to reserve a XLR
cable to extend the distance of the
subject from the camera.
Input Type: Mic+48V
Purpose: This is used for interviews, preferably seated so the XLR cables to
not appear on camera. These microphones are highly sensitive and best
used indoors.
WIRED HANDHELD
This microphone is typically used for street interviews and field reporting. It
is durable and ideal for outdoors. This mic should be held close to the
sound source to pick up adequate audio levels.
Input Type: Mic
24

27. WIRELESS MICROPHONE SET (HANDHELD/LAVALIER)
MNN currently has two available types of microphone wireless kits
(Sennheiser and Sony). These kits come with a lavalier transmitter, a plug-
on transmitter than can be used with a handheld microphone and a
receiver that is attached to the camera.
Input Type: Mic
Purpose: These microphones are best when your subject needs to be
mobile and free of cables. Another benefit is
that interviews and dialogue can be
recorded from a distance.
Note: If you reserve a wireless kit and you
need to use the plug-on transmitter, you
must also checkout a handheld
microphone. You must also supply your own
AA batteries when using wireless
microphones.
HOW TO USE WIRELESS MICROPHONE LAVALIER TRANSMITTER/RECEIVER
SENNHEISER
‣ Squeeze the two levers on the side and lift up.
‣ Insert the batteries.
‣ With the door open, hold the ON button for three seconds until it turns
on.
‣ Push the door to close.
‣ Repeat the above steps to turn it off and remove the batteries.
SONY
‣ Squeeze the two levers together on the side of the battery door and
pull.
‣ Insert batteries.
‣ Squeeze levers and push to close.
‣ Flip the on/off switch located on the side of the receive/transmitter.
**The plug-on transmitter (Sony/Sennheiser) has a door that slides open by
pushing down with thumbs.
25

28. Connecting & Setting up Microphones
There are two XLR sockets on the NX5U that gives users the ability to
record sound from separate microphones
at the same time. There are two inputs on
the camera labeled INPUT 1 and INPUT 2.
Plug the XLR cable into the input socket
you intend on using.
HOW TO PLUG/UNPLUG THE MICROPHONE
‣ Find the end of the XLR cable with the
prongs and plug into INPUT 1 (Figure A).
‣ The plug clicks in the socket when it is
locked securely in place.
‣ If using two microphones, insert the
second XLR cord into the socket labeled
INPUT 2.
‣ To detach the XLR plug from the socket, hold down the small metal
latch at the top of the camera’s XLR socket and pull the plug out.
HOW TO SETUP THE “INPUT TYPE”
There are three microphone input types: Line, Mic and Mic+48V and their
settings can be adjusted depending the microphone (Figure B). You will
see the mic type noted for each of the aforementioned microphones but
see below for the INPUT TYPE for each microphone available at MNN.
LINE
This input option is selected if you get a line feed from an audio board.
MIC
This input is selected when using the wireless microphone kit and the wired
handheld microphones.
MIC+48V
This input is selected when using the wired lavalier microphone, the
shotgun mic and the on-board shotgun microphone.
26

29. ADJUSTING THE INPUT CHANNEL SETTINGS
Locate the bank of switches on the side of the camera These controls
allow you to adjust the following: audio source, control setting & audio
levels.
AUDIO SOURCE
There are two sets of audio
source switches for each input:
1 and 2. The top set of switches
(Figure C) gives you the option
of using the internal mic (INT
MIC) or INPUT 1 (an external
mic). NEVER use INT MIC as an
audio source. Every NX5U
camera comes supplied with an
on-board mic and that is the
best option for a primary or
backup microphone. Flip this
switch DOWN to select INPUT 1.
The other set of switches directly
below (Figure D) gives you the option of INT MIC, INPUT 1 or INPUT 2. If you
are using a second microphone, flip this switch to the very BOTTOM to
select INPUT 2. If you are only using the on-board microphone, flip this
switch to the MIDDLE to select INPUT 1.
**Again, NEVER select INT MIC as an audio source option.
CONTROL SETTINGS & AUDIO LEVELS (auto/man)
This setting gives you the ability to manually adjust the audio level knob. If
you flip the switch to MAN, you can adjust the knob to to raise and lower
the audio levels. In most instances, you will want this switch set to MAN.
When recording in extremely loud environments, it can be beneficial to
flip this switch to AUTO so you levels do not overmodulate and create
sound distortion.
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30. Monitoring Audio
The most important element of video is capturing good audio. The most
important audio essential is to monitor audio. Audio should be monitored
in two ways, with your eyes and ears.
AUDIO LEVEL METERS
To ensure that audio is successfully coming into the camera, look for audio
level meters on the lower right hand corner of the LCD display. The levels
rise and fall according to the volume of the audio signal being picked up
by the camera. When recording a person’s voice, the levels should stay
consistently in the upper half
of the meters but should NOT
touch the red mark at the
end. If levels consistently hit
the red mark, the sound may
be distorted.
A more effective method of
checking the audio levels is to
activate the STATUS CHECK
button (Figure G) located on
the side of the camera.
The Status Check window
allows you to see which input
is going into which Audio
Channel, the Input Type (Line/Mic/Mic+48V), and a more detailed view of
the audio level meter. Ideal
audio levels for a subject’s
voice should fall between 20
and 10 on this scale.
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31. HEADPHONE MONITORING
One of the most important audio essentials when recording video is
monitoring audio using headphones. While it is important to see that
audio is being recorded by viewing the audio levels, it is just as important
to make sure the sound you are recording is free of any rubbing noises
from jewelry or radio interference when using wireless microphones.
Always wear headphones when recording audio. It is best to wear
headphones that cover the entirety of your ears, but earbuds will suffice.
On the NX5U, you have the ability to listen to the two audio inputs
separately or together. On the back of the camera, located underneath
the eyecup viewfinder is a switch that let’s you monitor channel 1 audio,
channel 2 audio or a mix of both. When listening to a mix of both, you will
hear channel 1 in one ear of your headphones and channel 2 in the other
ear.
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32. Video Camera Light
In some field production situations, you may find you need additional
lighting. When shooting at night or in low light situations, it may be
beneficial to request a video light with the NX5U. Manhattan
Neighborhood Network has two options when attaching a video light to
the Sony NX5U.
SMALL LIGHT
This small Sony light is mounted to the top of the NX5U
by sliding the light onto the “cold shoe” and twisting
the locking wheel until it is tight.
To turn the light on, locate the switch on the side of the
light and push in the green button and lift up or pull
down. You have two bulb options; flip the switch UP to
turn on a single light (1X), flip the switch DOWN to turn
on both lights (2X).
LARGE LIGHT
This large Sony light is also mounted to the top
of the NX5U by sliding the light onto the “cold
shoe” and twisting the locking wheel until it is
tight.
To turn on, push the green button in and lift up
to the ON position. This light also has a battery
indicator so you know approximately how
much battery life remains. It is also equipment
with barn doors so you can adjust the direction
of the light and a brightness dimmer so you
can adjust the amount of light.
ATTACHING THE BATTERY
Both video lights are powered by a Sony battery. To attach the battery,
slide the battery onto the back of the light with the triangle symbol on the
battery facing DOWN. You will hear a clicking sound once it is in place. To
remove the battery, push the battery release button and lift the battery
from the back of the light simultaneously.
Ch. 5 Lighting Basics
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33. Lighting Tips
Video productions in the field can be extremely difficult when trying to
capture an image. There are a lot of settings that can be adjusted on the
NX5U that affect the exposure of an image, as mentioned in Chapter 2.
There are other lighting elements to keep in mind when shooting in the
field.
USE NATURAL & AVAILABLE LIGHT
When shooting indoors and there is sun outside, try to use the natural light
from the windows. Place the subject to that they are facing the window.
Never place a subject’s back to a window as it will make the subject
appear as a silhouette. If you are shooting indoors during the evening, use
as many available lights as possible. Turn on lamps, overhead lights and
any other potential light sources. Avoid placing your subject directly
beneath an overhead light as it will illuminate the top of the subject’s
head and nose, creating a harsh shadow on their face.
SHOOT ON CLOUDY DAYS
When shooting outdoors, the best day to shoot is on a cloudy day. The
clouds act like a filter over the sun and give your image a nice even tone.
If shooting outdoors on a sunny day, try to place your subject in a location
that is shaded so they aren’t squinting their eyes while looking into the
camera.
USE A BOUNCE BOARD
A bounce board or “reflector” is a reflective surface used to “bounce”
light onto a subject and help reduce shadows on the face. Simply position
the board facing a light source and tilt it until the light hits the subject.
High-grade reflectors are available at film and video supply stores but an
even inexpensive, homemade bounce board can help. It can be as
simple as a piece of white foam core (sold at most art stores) or a piece of
cardboard painted white, gold or silver. Different colors give the light
reflected a warmer or cooler tone.
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34. Elements of Storytelling
WHAT IS STORY?
A story is a fundamental way that humans organize and store information. A
story is a selective batch of information. It selects details and arranges them.
When a story takes shape, we’ve taken a string of events and invested them
with meaning. What was important enough to shape into a story..and tell others
about it?
That unsuspected sum is the special mathematics of story. Story imbues meaning
to words, images and events. It also connects us in a very simple way, as listener
and teller.
Stories connect events and create meaning; they also connect people to each
other.
HOW TO WRITE A STORY?
Writing a story can seem overwhelming and difficult. When writing a story, a
common trick is to answer the 5W’s and H: who, what, when, where, why and
how. Any story should answer most or all of these questions. Find a topic or
subject and practice answer the 5Ws and H. Then begin visualizing how you
would want to hear and see that story.
Is the storyteller the narrator? Will you write and record a voiceover based on
the 5Ws and H? Will the storytellers be various individuals who you have answer
those questions or will it be a combination of both.
WHAT IS THE IMPORTANCE OF B-ROLL?
Once you have determined your story and how you want to present it, it is
important to accompany that story with visuals. B-roll is footage relevant to what
the storytelling is discussing. Whether you are the narrator or interviewed subjects
on a topic, it is important to capture images and/or video of the topics being
discussed. For example, if someone is telling a story about grocery shopping in
Florida, you could show (b-roll) images of them in Florida or if possible shoot
video of oranges at the grocery story. Always shoot at least 10 seconds of b-roll
so you have enough to work with during post-production. If you don’t have a lot
of options for shooting b-roll, vary the shot composition to make it appear as if
the it were a new b-roll shot. Avoid using too much of the same thing for b-roll.
The most important thing to remember about b-roll is that you can NEVER shoot
too much b-roll.
Ch. 6 Field Production Essentials
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35. Organizing & Transferring Media to a Hard Drive
Once you have completing recording media for your production, the
next step is post-production. In preparation for editing, it is important you
have a storage device with enough space to hold the media recording
onto the SD media cards.
We recommend you obtain an external hard drive (Mac formatted if
editing at MNN) with at least 1TB of space and 7200 RPM speed.
You can review your clips in-camera and delete any unnecessary
footage. Once you have confirmed the clips you want to use in post-
production, you can begin the process of transferring your clips to your
hard drive.
Before you begin transferring clips, it is extremely important to remember
to be ORGANIZED. When working with digital media, you can accumulate
a lot of files and you want to make sure you know how to find them once
you are ready to begin editing. Here are the recommended steps when
organizing and transferring SD card media onto your hard drive.
*These following steps are specific to MNN equipment and software.
‣ Plug in your external hard drive.
‣ Create a project folder on that hard drive. Title that
folder the name of your show, episode or something
related to your project. Inside of that folder, create
another folder titled MEDIA. This is where you want to
keep all video clips, images, music, etc.
‣ Plug in your SD card into the slot on the back of the
Mac computer. Once your card mounts, click on it to open the contents
of the card.
‣ When an SD card is formatted for use with the NX5U, it creates a special
folder called PRIVATE. This
folder is where all of the
media clips you recorded
on the NX5U are stored.
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36. ‣ Next, you will need to reveal the
contents of the PRIVATE folder to
find your clips. Right-click on the
AVCHD file and select “SHOW
PACKAGE CONTENTS.”
‣ This will reveal the BDMV file. Right-
click on that file and select “SHOW
PACKAGE CONTENTS.”
‣ Now you will see various files and
folders. Your clips are stored in the
STREAM folder with the extension .MTS.
Drag the entire STREAM folder to your
MEDIA folder on your external hard drive.
You can then rename the STREAM folder
to something that relates to the clips.
**You can also drag the entire PRIVATE
folder to your hard drive and then
organize your media.
‣ If you want to review any of the clips on the computer, open
the application VLC. Once open, select the clips you want to
review and drag them into the drop area for VLC Media
Player. The player will automatically begin playing each of the
clips.
‣ After reviewing clips, you can
rename them on your hard drive by
single-clicking the default name and
changing to something specific to
the clip.
‣ After you have transferred and
organized your media, you are
ready to begin editing.
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