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Camera chain composition

Sony HXC-100

Camera control unit

  • HSCU-300— Camera Control Unit

Remote control panel

  • RCP-1500— Remote Control Panel

Large studio viewfinder

  • HDVF-C730W— 7-inch LCD Color Viewfinder

ENG viewfinder

  • HDVF-20A— 2-inch CRT Viewfinder

Tripod plate

  • VCT-14— Tripod Adapter Plate
USEDAvailable

Sony HXC-100 – Camera Chains & Accessories

The Sony HXC-100 is a professional HD studio camera system designed for broadcast, live production, and large-scale television facilities.

Sony HXC-100
€6,900ex. VAT

The Sony HXC-100 is a professional HD studio camera system designed for broadcast, live production, and large-scale television facilities. This robust camera delivers exceptional image quality with advanced sensitivity and color reproduction, making it ideal for news studios, sports coverage, and multi-camera productions. The HXC-100 features integrated fiber optic connectivity for remote operation and long-distance camera control, enabling flexible studio configurations and reducing cable infrastructure requirements. With its modular design and extensive lens compatibility, the system supports both studio and field production workflows. The camera incorporates Sony's proven image processing technology with enhanced contrast and dynamic range capabilities. Built for mission-critical broadcast environments, it delivers consistent, reliable performance with redundant control systems and professional-grade construction. The HXC-100 is widely deployed in high-end broadcast centers and production facilities worldwide.

FAQ

What CCU and control infrastructure do I need to operate the HXC-100 in a multi-camera studio setup?+

The HXC-100 requires a compatible Sony CCU (Camera Control Unit) for video processing, camera control, and signal distribution. RS-422 serial control is used for camera parameter adjustment (iris, gain, white balance, etc.). In a multi-camera environment, you'll need one CCU per camera head or a shared CCU with fan-out architecture depending on your configuration. The fiber optic output enables long-distance deployment—verify your CCU supports both fiber input and HD-SDI output to your router/mixer. Confirm the exact CCU model compatibility with your systems integrator, as different CCU generations have different feature sets and control protocols.

Can I integrate the HXC-100 into an existing SDI-based router and switcher infrastructure, or are there format/timing constraints I should know about?+

Yes. The HXC-100 outputs HD-SDI (1080i/720p per spec), which is compatible with standard 3G-SDI routers and production switchers. However, confirm your router and switcher support both 1080i59.94 and 720p59.94 (or your required frame rates) before purchase. The camera's genlock input synchronization capability is critical—your router and CCU must provide stable reference timing. If you're running mixed formats across cameras, test frame-rate compatibility with your downstream equipment. Request a pre-integration meeting with your systems team to validate timing budgets and cable loss over fiber-to-SDI conversion distances.

The spec sheet lists 2000 lux minimum illumination at F4.7—what's the practical performance in typical news studio and sports venue lighting?+

The 2000 lux figure (89 dB gain, F4.7) represents the illumination threshold below which signal-to-noise degrades noticeably. Modern studio lighting typically runs 2000–4000 lux, placing the HXC-100 at the lower comfort range; sports venues vary widely (500–2000 lux). The 60 dB SNR with gain boost indicates acceptable noise performance in well-lit environments. For marginal lighting (e.g., indoor sports), expect visible noise and reduced color fidelity. Test the camera in your actual venue before commitment. Pair it with fast studio lenses (F2.8 or wider) to maximize light gathering and reduce reliance on electronic gain.

What fiber optic interface does the HXC-100 use, and do I need to budget for separate fiber-to-SDI converters or are they built into the camera head?+

The HXC-100 integrates fiber optic output directly (verified per specification), eliminating the need for external converters on the camera end. However, at the CCU/control room, you must provide fiber-to-HD-SDI conversion hardware to feed your router. Confirm the specific fiber connector type (typically SC or ST) and whether your facility's existing fiber plant matches; multimode vs. single-mode distance ratings also vary. Budget for quality fiber media converters or a fiber-capable CCU that includes integrated conversion. Remote camera runs beyond ~300m benefit from fiber's EMI immunity—quantify your actual distance requirements and consult your integrator on converter specifications and redundancy.

How does the HXC-100 behave in high-temperature OB van and outdoor live-broadcast scenarios, and what cooling or thermal management is required?+

Operating temperature range is 0°C to 40°C per specification. In an OB van, daytime exterior temperatures can exceed 40°C; internal van temperature may climb further without active cooling. The three 2/3-inch CCD sensors generate heat; passive cooling alone is insufficient in marginal conditions. Ensure your camera head is mounted with adequate ventilation (avoid enclosed cable runs that trap heat). Monitor thermal status via CCU diagnostics if available. For summer sports or outdoor events, consider reflective protective covers or active fan cooling around the camera head. Verify the CCU and fiber-to-SDI converters also remain within operating range—they're often the thermal bottleneck in compact OB configurations.

What studio lenses are compatible with the HXC-100, and are there any motorized lens control or servo requirements I should account for in system design?+

The HXC-100 accepts 2/3-inch studio lenses per specification. This accommodates a wide range of Sony, Canon, Fujinon, and Zeiss studio zooms designed for broadcast. The camera supports motorized lens servo (focus, iris, zoom) via the CCU's control outputs, provided your selected lens includes servo motors. Non-motorized prime lenses are compatible but require manual focus and iris—practical only for fixed-position cameras. Confirm your lens suite includes servo capability and that your CCU supports the control protocols (typically RS-422 lens control lines). Budget for lens adapters if mixing different servo generations. Test your specific lens models with the CCU before deployment to verify command responsiveness and focus-tracking reliability.

What are the wear items, firmware maintenance requirements, and spare-parts availability I should budget for over a 5–10 year ownership cycle?+

CCD sensors and optical coatings are primary wear items; expect gradual sensitivity loss and potential dead pixels after 5+ years of heavy use. Shutter blade assemblies (if equipped) degrade with frequent iris cycling. Firmware updates for the camera head and CCU may be available; verify your integrator can apply updates in-house and maintain compatibility with your switcher and routers. Sony's broadcast support for legacy HD systems (HXC-100 is mature hardware) has contracted—confirm parts availability through your dealer before purchase, particularly for sensor replacements and CCU modules. Budget 10–15% of initial system cost for spares (backup lens servo motors, optical elements) and keep a qualified service center relationship active.

Can I run multiple HXC-100 cameras from a single shared CCU, and what's the practical limit on camera count before I need a second CCU or fan-out solution?+

Standard Sony broadcast architecture uses one CCU per camera head. Shared CCU configurations (one CCU feeding multiple camera heads via fan-out distribution amplifiers) are technically possible but reduce independent control of each camera's gain, white balance, and iris. Most production facilities prefer dedicated CCUs for reliability and operational flexibility, especially in multi-camera news and sports. If budget constraints force sharing, verify your CCU model supports simultaneous multi-output and that your distribution amplifier is Sony-compatible with proper 75-ohm termination and sync distribution. Confirm with your integrator whether your intended production workflow (cut/dissolve vs. full shading of all cameras independently) tolerates shared-CCU limitations.

The HXC-100 outputs 1080i and 720p—do I need to make a format choice at setup, and can I switch formats mid-production or between shows without recabling?+

Both 1080i and 720p formats are available (per specification) and typically selectable via CCU menu settings; firmware and installed option boards may affect availability—confirm with your dealer. Switching formats between shows (off-air) is standard practice and requires CCU reconfiguration and router re-patching to match downstream switcher expectations. Mid-show format switching is not recommended and risks sync loss. If your facility requires simultaneous 1080i and 720p output (e.g., different international feeds), you'll need dedicated camera heads or multi-output CCUs. Document your required format(s) and confirm CCU output architecture supports them before purchase.

Are your used / ex-demo units tested and warranted?+

Yes. Our used and ex-demo units undergo a full functional inspection — sensors, video outputs, control signals, optics and mechanics — including a colorimetry and sensitivity test. Each product is tested by our technicians and comes with a 90-day warranty. Contact us for the specific warranty terms of the unit you are interested in.

Technical specifications

Video Format1080i/720p HD (SDI/Fiber output)
Sensor TypeThree 2/3-inch IT CCD sensors
Horizontal Resolution1000+ TV lines
Minimum Illumination2000 lux (F4.7, 2000K)
Sensitivity2000 lux (89 dB, F4.7)
ConnectivityFiber optic and HD-SDI, RS-422 control
Lens Mount2/3-inch studio lens compatible
Signal-to-Noise Ratio60 dB (with gain boost)
Operating Temperature0°C to 40°C

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Product : Sony HXC-100 – Camera Chains & Accessories

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