Sony HXC-100 – Camera Chains & Accessories

The HXC-100 operates with Sony's professional CCU lineup, including the RCP-1500 and RCP-5500 remote control panels via RS-422 control protocol. Confirm your specific CCU firmware revision supports HXC-100 integration before deployment. The camera's three 2/3-inch CCD sensors require a CCU capable of processing multi-chip HD output. Consult Sony's current compatibility matrix or your systems integrator, as control protocol versions evolve. Both fiber optic and SDI infrastructure require corresponding CCU interfaces—verify your facility CCU includes both signal and control connectivity matching your deployment topology.

The Sony HXC-100 delivers HD-SDI output (1080i/720p), not 3G-SDI. Standard 75-ohm coaxial SDI cable supports HD signals to approximately 300 meters depending on cable quality and environmental factors. The integrated fiber optic output extends signal transport beyond copper limitations—ideal for OB vans and remote studio configurations where long-distance signal integrity is critical. For runs exceeding 300 meters via copper, fiber optics becomes mandatory. Verify your router or vision mixer accepts both SDI and fiber inputs; some facilities require format conversion or distribution amplification.

The HXC-100 features a 2/3-inch studio lens mount, compatible with all standard 2/3-inch broadcast lens designs (servo zooms, primes, and anamorphic glass). Common pairings include Canon ND, Fujinon ZA series, and Zeiss broadcast optics. Ensure your lens includes iris, focus, and zoom servo connectors compatible with your RCP control panel. The camera's 1000+ TV lines horizontal resolution demands high-quality glass to avoid optical bottlenecking. Confirm servo protocol alignment (12-bit serial, etc.) between your lens and RCP before integration. Older or non-broadcast 2/3-inch lenses may lack servo interoperability.

At 2000 lux (F4.7 iris, 2000K color temperature), the HXC-100 achieves 89 dB sensitivity—acceptable for studio environments with controlled lighting. This is not 'minimum' in the survival sense; rather, it's the specification baseline for acceptable image quality. Below 2000 lux, noise increases and color fidelity degrades. News studios typically operate 1500–3000 lux; sports require 3000+ for fast motion and shadow detail. If your facility averages below 2000 lux, budget for supplemental lighting or expect reduced dynamic range and increased grain. Fiber and SDI outputs carry raw sensor data—no in-camera noise reduction masks underexposure problems.

The Sony HXC-100 is a legacy HD-SDI/fiber system predating IP video adoption. It does not natively output ST 2110, SRT, or SMPTE-based IP formats. Integration into modern IP workflows requires external video gateways or encoders (not supplied) that convert HD-SDI output to IP packets. If your facility is transitioning to all-IP infrastructure, evaluate whether the HXC-100's SDI ecosystem aligns with long-term strategy. For hybrid facilities (SDI + IP coexistence), SDI-to-IP conversion appliances are market-standard, but add latency and cost. Consult your systems architect on gateway compatibility before commitment.

The HXC-100 operates reliably from 0°C to 40°C ambient. Above 40°C, CCD sensor thermal noise increases, degrading signal-to-noise ratio (nominally 60 dB with gain boost). Extended operation beyond 40°C risks accelerated sensor aging and potential shutdown via thermal throttling. OB vans and outdoor ENG deployments in hot climates require active cooling (fan kits, thermal shielding) or operational discipline (extended break intervals). The camera head generates internal heat; ensure CCU ventilation is adequate. At minimum operating temperature (0°C), allow warm-up time for sensor stabilization. Tropical or desert productions should verify thermal management options with Sony field engineers pre-deployment.

The HXC-100 excels in both roles. Its modular design—separate camera head, CCU, and RCP—suits fixed studio racks where space and access control are managed. Fiber optics enable remote head placement (30+ meters from CCU), ideal for studio configurations minimizing cable clutter. For OB vans, the tri-sensor CCD architecture and ruggedized connectors (fiber, SDI, RS-422) withstand repeated setup/strike cycles. However, legacy SDI infrastructure becomes a constraint: newer vehicles adopt IP; retrofitting an all-SDI van with IP capability requires additional gateways. If purchasing for a van with 5+ year lifespan, factor long-term SDI ecosystem availability. Studio deployments face fewer infrastructure migration pressures.

The HXC-100 requires annual CCD sensor calibration (white balance, black level) to maintain color fidelity and comply with broadcast standards. Fiber optic connectors demand cleanliness; dirty ferrules degrade signal—include optical cleaning tools and training. RS-422 control cables are prone to intermittent failures; maintain spare shielded cables. SDI connectors and fiber ports are wear items in high-use facilities; budget replacements every 3–5 years. Sony service centers provide CCD refurbishment and component replacement; verify local service availability before purchasing. Digital color bars and test pattern generation (via external pattern generator) are essential for troubleshooting. Keep firmware revision records for CCU/RCP compatibility audits.

Yes, every used or ex-demo unit is tested and covered by a 90-day warranty. In the event of a failure, the round-trip transport cost is shared equally between the customer and Broadcast Depot.

Yes, Broadcast Depot ships worldwide. We arrange transport on quotation, or you can use your own carrier. Delivery usually takes 3 to 5 days. OB vans are delivered by driver or collected on site.

Yes, in case of an error or if you would like another product from our stock: returns and exchanges are possible with no time limit. Contact us to arrange it.