|
DSR 1252 MONOCHROME CAMERA
STANDFIRST
It’s back to basics with this sturdily-built,
general-purpose monochrome camera
COPY
It hasn’t quite reached the stage where you need
a degree in rocket science to install a CCTV camera, but it’s getting that
way... The DSR-1252 is a welcome respite, it’s a no-frills, low-light
monochrome camera, that you can have up and running in a matter of minutes,
without recourse to any special equipment, tools or skills. Even the
instruction book is written in a form of English we’re familiar with, though
the one supplied with our sample was clearly out of date as it failed to
mention a couple of quite important back panel controls.
The 0.3-inch CCD has an array of 512 x 582
pixels (effective), with a low-light sensitivity of 0.2 lux (F1.2); resolution
is claimed to be in the order of 400-lines. Externally the layout is entirely
conventional, the cream-coloured case is formed from two steel shells, with
cast alloy end caps. Without the lens it measures 66 x 60 x 130 mm. Standard
1/4-inch UNC mounting threads are built into the top and bottom halves of the
case. At the front there’s a threaded collar configured for a C-mount lens, a
CS-mount adaptor is supplied. Back-focus adjustment is carried out by slacking
off two recessed Allen grub screws, using the key provided, and screwing the
collar in or out as required. It’s a little crude by current standards, but it
works, and there’s little or nothing to go wrong.
On the back panel there is a single BNC
socket for the video output, a standard square 4-pin socket for an auto-iris
lens and a screw terminal for the power supply connections. Our sample --
featuring automatic line-lock -- required a 24 volt AC input; 12 VDC and 240
volt AC versions are also available. There are two mini DIP switch banks, the
upper one has two switches, one for the electronic shutter (fixed 1/50th sec or
auto 1/50th to 1/100,000th sec); the other is for switching backlight
compensation on or off. The lower bank, (not mentioned in the instructions),
also has two switches, one for selecting DC or video control, for the auto-iris
lens, the other one is unused. There are two pre-set trimmers: V-Phase is for
setting line-lock, for multi-camera installations; the other -- also omitted in
the instructions -- is for setting the level for a DC controlled auto-iris
lens. Both trimmers, mounted on a PCB behind the back panel, were slightly out
of alignment with the access holes; some care needs to be taken, to avoid
damaging the pre-sets. A green LED
indicates power on.
Inside the case there are four PCB, all but
one of them using surface mount components. The main video board on our sample
was very slightly bowed, suggesting a rather tight fit. It’s unlikely to cause problems,
but like the mis-aligned adjustment holes, it does suggest a little more care
could have been taken during final assembly. Dominating the interior is the
power supply transformer. The standard of constructions is generally
satisfactory, all of the boards are securely mounted and the interconnections
are neatly laid out. A weatherproof housing is required for an outside
installation.
PERFORMANCE
It’s a simple camera, both to install and
set-up. Low-light sensitivity and resolution are close to the manufacturers
specs. The auto exposure systems are smooth and responsive -- the shutter can
cope with fairly fast changing light levels with ease, making an auto iris lens
unnecessary in most situations. The image is clean throughout the normal
operating range, grain and noise only become noticeable when light levels
approach the lower limit.
CONCLUSION
There were only a couple of small niggles.
The instruction book is in need of an update and a little more attention to
detail wouldn’t go amiss, if our sample was anything to go by. Otherwise the
DSR-1252 is a sturdy, well-built little camera, ideally suited to a wide range
of surveillance applications, where
low-light capabilities and the facility to deal with changing light levels are
important. Image quality is generally good and resolution is pin-sharp, down to
very low light levels.
PRODUCT SPECIFICATIONS
Type general purpose, low-light
monochrome camera
Pick up device 0.3-inch interline CCD
Min. Sensitivity 0.1 lux (f1.2)
Pixel array 512 x 582 effective
Resolution 400-lines
Features C/CS Mount (adaptor supplied),
auto/fixed shutter, backlight compensation, DC/video controlled auto-iris
Synch system internal/line lock
Shutter automatic, to 100,000th sec
Connections video out (BNC), auto iris (std
4-pin), power in (screw terminal)
Dimensions 66 x 60 x 130 mm
Weight 860g
PSI RATING
Product
Product design 8
Build quality 7
Electronics quality 8
Installation
Ease of installation 9
Set-up functions 8
Instructions 8
Manufacturer’s support ?
Operation
Functions 7
Ease of use 9
Performance
Colour fidelity n/a
Resolution 8
Low light 8
---end 1---
HEAD
YC-09 COLOUR CAMERA
STANDFIRST
This slim-line colour camera is designed for
a quick, easy installation with a range of exposure options, to cater for most
routine applications
COPY
The word ‘digital’ emblazoned on the side of the YC-09 created a stir of
interest, until we discovered that it was employed in its loosest sense. It refers
to the more or less standard digital video processing and control microchips,
used in pretty well all video cameras these days. The YC-09 has no special
digital functions, unless you count the involvement of the installer’s own
digits to operate a pair of set-up control buttons on the side of the case.
It’s a neat-looking design, unusually slim
with the case only slightly thicker than most standard lenses. It uses an
0.3-inch interline CCD image sensor with an effective pixel array of 500 x 582;
the manufacturers resolution figure is 330 lines, and low light sensitivity is
just 1 lux, in the gain-up mode. The camera requires a 230 volt AC supply,
which is also used for switchable line-lock synchronisation with other devices
in a multi-camera system.
The construction is simple and reasonably
robust with ABS plastic end-caps and steel shells, top and bottom. The two-tone
grey-black case measures 55 x 50 x 148 mm. A mounting block with a standard
1/4-inch threaded boss can be bolted to the top or bottom of the case
Inside it is quite cramped, with four surface
mount component printed circuit boards in the front half and rear of the case,
and the mains transformer taking up most of the back section. All boards and
component are securely mounted to a substantial-looking steel chassis. Weather
protection is minimal.
On the front there’s a CS mounting collar.
There is a back focus adjustment but it’s very fiddly. The collar slides, or
rather it can be wriggled in and out, by undoing a locking screw on one side,
and jiggling an adjustment screw on the other. The whole assembly is rather
tight and requires some effort to achieve a fine setting. On the right side of
the body there’s a standard 4-pin socket for an auto-iris lens; a small
three-position slide switch immediately below the socket sets DC or video
control, the centre position is for auto-electronic shutter exposure control.
Next to that is a switch for selecting internal or line-lock synchronisation.
On the left side of the body are the main
set-up controls. A four-position side switch selects each function, from left
to right they are: white balance, brightness, sharpness, and backlight
compensation. The adjustment for each function is carries out by a pair of tiny
‘up-down’ buttons. Lastly there’s a slide switch for selecting the gain-up
mode, which gives a 10dB increase to the video signal. The back panel has a
single BNC socket for composite video output, a green power-on LED, a recessed
trimmer for adjusting line-phase, and the captive mains supply cable.
PERFORMANCE
The adjustments have a fairly narrow range --
it’s hard to spot any change with the brightness setting -- and it’s important
to remember not to hold any button down for longer than a second as it cycles
back to the factory default. The sharpness function is more or less redundant,
any setting below peak softens the image, resulting a loss of detail. The
auto-exposure systems have difficulty dealing with bright lights in the scene
area; backlight compensation selects pre-defined areas of the screen, but the
effect is limited and sometimes it’s easier, and a lot quicker, to re-align the
camera. The camera favours auto-iris lens operation, the internal automatic
exposure systems have difficulty coping with large variations in lighting
levels. Gain-up is only useful if light levels remain low; there’s a marked
increase in grain, that persists when light levels increase. Colour fidelity
and noise levels are both satisfactory on well-lit scenes, resolution is as advertised
at a little above 320 lines.
CONCLUSION
Provided lighting levels do not change too
much the YC-90 works reasonably well, though we feel it will give its best when
used with an auto-iris lens, rather than depending on the internal
auto-exposure systems. Image quality in undemanding situations is good, general
operation, installation and ease of use are all adequate.
PRODUCT SPECIFICATIONS
Type compact colour camera
Pick up device 0.3-inch interline CCD
Min. Sensitivity 1 lux (f1.2)
Pixel array 500 x 582 effective
Resolution 300-lines
Features CS-mount, backlight compensation,
manual WB, brightness, sharpness control
Synch system internal/line-lock
Shutter automatic, 1/50th to 1/20,000th sec
Connections composite video out (BNC), power
supply (captive 2-core mains cable)
Dimensions 55 x 50 x 148 mm
Weight 690g
PSI RATING
Product
Product design 8
Build quality 7
Electronics quality 8
Installation
Ease of installation 7
Set-up functions 8
Instructions 8
Manufacturer’s support ?
Operation
Functions 8
Ease of use 8
Performance
Colour fidelity 8
Resolution 7
Low light 7
--- end 2 ---
HEAD
JVC TK-C1360 COLOUR CAMERA
STANDFIRST
Performance, flexibility and versatility are
the key features on this highly sophisticated colour camera from JVC
COPY
At first glance the JVC TK-C1360 doesn’t look
significantly different to most other similarly-sized colour video cameras but
a closer inspection reveals a couple of clues to its real character. On the
side there’s a small label announcing the fact that it has an 0.5-inch CCD, and
the well-populated back panel gives the impression that this a serious camera,
capable of dealing with difficult or awkward situations.
The half-inch CCD image sensor is the heart
of the camera, and the key to the impressive resolution figure of 470-lines. It
also helps with the low-light performance, which extends down to 0.95 lux, (in
gain-up mode), however, what really sets this camera apart from the crowd are
the extensive range of exposure facilities and set-up options, which can be
controlled using a comprehensive menu-driven on-screen display system. These
can either be set from the camera, or remotely, using a built-in communications
facility.
JVC have opted for a conventional-looking
design, it has a two-part steel case, with a cast alloy front cap and plastic
rear panel. A mounting block with standard threaded boss fits to the upper or
lower case halves. The lens collar will take C or CS optics; a large thumbwheel
protruding through the top of the case sets back-focus and lens type. There are
four PCBs inside the box, heavily populated with surface mount components. The
main boards are attached to a cage-like chassis; it feels solidly built, to
JVC’s customary high standard. Apart from a 4-pin socket for DC-controlled auto
iris lens on the right side of the body, there’ s little to see, until you get
around to the back panel.
There are two BNC sockets, one for composite
video output, the other is for external synchronisation. Top centre there’s a
mini DIN socket for external communications, and on the right side there are
two terminals, one for a video-controlled auto-iris, the other is for the power
supply. This can be either 12 volts DC, or 24 volts AC; the latter provides the
camera with line-lock synchronisation. In the middle of the panel there are
five push-buttons for the on-screen display, arranged in a diamond pattern.
Pressing the centre button brings up the main
menu display; there are four options and the exit/store function. Item one is
‘Synch Adjust’, this calls up a sub-menu with half a dozen further sync-related
options and settings. Menu item two is for the manual video presets, these
include iris, colour saturation, pedestal, enhance and hue. The third menu page
covers creating and displaying a camera ident, AGC mode (0, +9 or +18dB), Super
AGC, shutter speed, (32/50th sec slow shutter to 1/100,000th sec in 11 steps),
backlight compensation (four fixed areas, 2 user-definable), average value/peak
value contrast setting, white balance adjustment and highlight inversion
(3-level). The fourth menu page deals with communications protocols.
PERFORMANCE
The range and variety of exposure options
means that there are few circumstances when the TK-C130 won’t be able to
produce a watchable image, using a standard lens. However, the image sensor
makes the most significant contribution to picture quality, within the normal
range of daylight and interior workspace lighting conditions, the image is crystal
clear and very well defined. Colour depth is excellent and there is very little
noise. Our sample easily managed to resolve in excess of 450-lines and in spite
of not having a separated Y/C (S-Video output), cross-colour effects were
minimal. Colour accuracy is maintained under a range of lighting conditions,
even when the primary source is fluorescent tube. Rapidly changing lighting
levels caused the camera no problems whatsoever, and even in very poor light,
it was still able to build up a clear image, using one or a combination of
exposure modes (slow shutter, Super AGC, gain-up).
CONCLUSION
The remote control facility makes this highly
versatile camera even more flexible, enabling adjustments to be made on the
hoof, on the rare occasions when the auto or pre-set systems run into
difficulties. A remarkably well-equipped, high performance camera, that comes
in to its own in awkward or problematic lighting situations, where it’s vital
to maintain image integrity.
PRODUCT SPECIFICATIONS
Type High performance colour camera
Pick up device 0.5-inch interline CCD
Min. Sensitivity 0.95 lux (f1.2), gain up
Pixel array 752 x 582
Resolution 470-lines
Features C/CS mount, menu-driven on-screen
display set-up, external communications terminal, backlight compensation,
highlight inversion, camera ident
Synch system internal/line-lock
Shutter automatic, to 1/100,000th sec
Connections video out & synch in (BNC),
remote control (mini DIN), AC/DC power (screw terminal), auto-iris lens (spring
terminal & square 4-pin)
Dimensions 155 x 65 x 68mm
Weight 660g
PSI RATING
Product
Product design 9
Build quality 9
Electronics quality 9
Installation
Ease of installation 7
Set-up functions 9
Instructions 9
Manufacturer’s support 8
Operation
Functions 9
Ease of use 8
Performance
Colour fidelity 9
Resolution 9
Low light 8
---end 3 ---
HEAD
SONY SSC-C108P COLOUR VIDEO CAMERA
STANDFIRST
This deceptively simple-looking colour camera
can operate in a very wide range of conditions, producing a bright, clean
image, even in poor light
COPY
The Sony SSC-C108 colour video camera is full
of surprises. The first one was a worrying rattle from inside the case. This
turned out to be a tiny loose screw, one of two used to hold a circuit board in
place. The second surprise was an uncharacteristic instability; when the case
was tapped, even quite lightly, the picture lost lock and tore across the top
of the frame. We never did find the cause, though it seemed to be centred on
the power supply module.
Under normal circumstances this would be
quite worrying, however, we put both aberrations down to the fact that our
well-used sample showed clear evidence of having led a tough life. Sony
standards of construction and quality control are normally exemplary. Surprise
number three was altogether more welcome. In spite of what seems like a fairly
basic specification, it performed at least as well, and in some respects,
better, than more sophisticated cameras. This was evident in low-light
conditions, and there’s an added bonus, it is unusually simple to install and
set-up.
This particular model is a mains-powered design,
though it weighs only fractionally more than rival cameras with an external
power supply. Part of the reason is the lightweight construction, the use of
plastic mouldings for the front and rear panels, and a thin gauge steel for the
top and bottom outer case shells. Nevertheless, Sony haven’t compromised on
strength or rigidity, and all major components are bolted to a sturdy metal sub-chassis.
The lens collar will accept both C and CS types, back focus adjustment is
carried out using a large thumwheel, that protrudes through slots in the top
and bottom of the case.
On the right side of the body there’s a
standard 4-pin socket for an auto-iris lens, the DC/video selector switch is
next to it. On the rear panel there’s a single BNC socket carrying the
composite video output signal, and a miniature 4-way DIP switch, for selecting
AGC on/off, normal or turbo mode AGC, backlight compensation on/off and
CCD-iris function. Two presets -- one for iris level, the other for setting
V-phase -- are situated next to the captive mains supply lead.
Because of the camera’s inherent simplicity
there are few preliminary adjustments to bother with, other than selecting the
correct mode for an auto-iris lens -- if used -- and setting the DC level control. The SSC-C108 has automatically
selected internal or line-lock synchronisation, again there’s only one preset
to be concerned about. The exposure options are mostly concerned with operating
in poor or problematic lighting situations. The backlight compensation setting
is quite rudimentary, though it works reasonably well if the light source is
off to one side and occupies no more than 20% of the screen area. The various
AGC options are configured to do most good in very poor light, especially the
turbo mode. This takes low light sensitivity down to remarkably low levels,
albeit with some increase in grain, though even that is significantly below
what we have become accustomed to on many other mid-market low-light colour
cameras
PERFORMANCE
The Hyper HAD CCD clearly has a lot to do with
this camera’s impressive low-light capabilities, though the well designed video
processing circuitry has an important role to play as well, judging by the very
low levels of picture and colour noise.
The exposure system is able to handle a very
wide range of illumination levels, from near dark to bright sunlight, without
any manual intervention, even when fitted with a simple lens manual/fixed iris
lens. Colours are bright and richly detailed, they’re generally accurate too,
especially in natural and mixed light. The auto-tracing white balance system
has the common problem of a slight yellow colour caste, when dealing with predominantly
tube lighting.
CONCLUSION
Apart from the puzzling intermittency problem
on our sample, which we’re reasonably satisfied is a one-off, the SSC-C108 has
few if any vices. Picture quality is good in almost all lighting conditions, and
it adapts quickly to change.
PRODUCT SPECIFICATIONS
Type low light colour camera
Pick up device 0.3-inch hyper HAD CCD
Min. Sensitivity 0.9 lux (f1.2)
Pixel array 512 x 582
Resolution 380-lines
Features C/CS mount, auto tracing white
balance, turbo AGC, auto backlight compensation, video/DC auto-iris
Synch system internal/line lock
Shutter automatic
Connections composite video out (BNC), auto iris (standard 4-pin)
Dimensions 135 x 70 x 55 mm
Weight 500g
PSI RATING
Product
Product design 8
Build quality 7
Electronics quality 9
Installation
Ease of installation 8
Set-up functions 8
Instructions -
Manufacturer’s support 8
Operation
Functions 8
Ease of use 8
Performance
Colour fidelity 9
Resolution 8
Low light 9
---end---
Ó R. Maybury 1997 0112
| 
