It's CRITICAL that you calibrate your Z1 monitor using the color bars. That's why they're there, and why they offer the calibration.
Be sure you hood the LCD panel as well for best/most accurate results.

I use Picture profiles religiously.
My most common profile:
Color-+3
Sharpness-+9
Aperture-Locked to f4

Be sure your gain is ALWAYS in manual mode. I shoot with everything manual, but you may not wish to. However, gain in auto mode can really mess you up.
AGC-off
Skin Detail-Type 2/medium
Black Stretch -on if it's at all low light/off if it's lit well
CineTone-Type2
CineFrame-CF30

"Be sure you hood the LCD panel as well for best/most accurate results."

Hmm, that depends (that should become my catchphrase! ;-) )

For correct absolute measurement of black level you need either a chipchart, or alternatively put the lens cap on. Do this in conjunction with a program such as Hamlets Vidscope (by far the best realtime software waveform IMHO, and cheap for the DV and HDV versions). Then you can set the black level nicely.

Now, as for calibrating a viewing monitor (which is seperate from setting up black level scientifically IMHO) you need to set it up for the light in which you are viewing in. Hooding the monitor will stop glare. But in order to be able to look at the monitor without having to go up close and shielding it, it should be regularly adjusted for the viewing conditions. This will change from shot to shot, from time to time.

"I shoot with everything manual, but you may not wish to. However, gain in auto mode can really mess you up."

I would go further and say to ALWAYS shoot manual. I say this to any shooter. Even people who are unsure. The best way to progress is to take that extra step. Then when you are comfortable with manual use you won't be able to go back to auto, ever.

Camera settings are a matter of choice. However for scientifically measured settings for a specific purpose, you can't go wrong with Alan Roberts BBC consultation papers. Download the PDF for the FX1/Z1 here;

http://www.bbc.co.uk/rd/pubs/whp/whp034-add20.shtml

Note that these are for the PAL version.

Simon, no argument from me, just trying to say the same thing in more words.
Some folks don't like fully manual; although I do. The camera can't reach it's full potential otherwise, but of all the auto functions, i'd have to say Gain is the most deadly, with aperture coming second.
Having a hood on reduces glare and bounced light, and provides the "truest" picture, even if you haven't calibrated the panel. For me, shooting without a hood is just a mistake waiting to happen. fortunately, there is always color correction and pan/crop. :-)
To add to Simon's fine post, I'd also add that you should shoot with a monitor whenever possible. Whether it's HDV Rack, or using a component in LCD panel...or even at worst an SD monitor. it makes a big difference on SD sets, and a huge difference on an HD set.
HDVRack on full screen is a very sweet feature on any laptop. (Alt+Enter if you haven't seen it yet)

Goddamit. You won't believe it. This producer, who wanted to make an investment, well, he bought the FX1...
Gone are my thoughts of hooking a good shotgun (Neumann or Sanken) on the cam with shock absorber and use the second channel to tap in the board with a wireless Tx so I have the discussions between the artist and recordist.
Gone is the 50i too, to eventually pull a good 24fps finish line.

Yep, I told him the bad news and will wait; he'll try to get an exchange tomorrow.

Thanks for the numbers, I'll start with that if he can get the Z1U. For sure.

How do you calibrate the FX1 monitor? I find nothing in my manual.

gone is the 50i but you can hook up a shotgun or anyt other mic via an adapter such as this , or others.
http://www.bhphotovideo.com/bnh/controller/home?A=details&Q=&is=REG&O=productlist&sku=412996

No Black Stretch in the FX1 also. Sigh...

Sure, I've been mentionning the Beachtech box to him so we can hook it up to the cam but will wait to see what's his move now concerning the cam itself. I guess if he can't exchange it, we'll use this box for the interviews and the rest of shooting.

I looked at the box before I bought the FX1 and decided tat if you are going to drop another $350 for a XLR converter might just as well get the Z1 in the first place. I got the cheap Shaw in-line transformer for my XLT mics and it works great.

MH, you just read my mind all the way.

SPOT:

1) How do you set AWBS?
2) AGC: Don't you mean 0 gain? "Off" is a limit of 18db
3) Why CF30? I thought general consensus was that 60i de-interlaced in Vegas was better?
4) BBC setting say when using gamma it is critical not to overexposure. Do you agree and hence do you use Zebras = 100+?

Michael

SPOT:

1) How do you set AWBS?
2) AGC: Do you set at 0 gain? "Off" is a limit of 18db
3) Why CF30? I thought general consensus was that 60i de-interlaced in Vegas was better?
4) BBC setting say when using gamma it is critical not to overexposure. Do you agree and hence do you use Zebras = 100+?

Michael

I'm replying again to re-activate this post as a result of the reference to it in another current post.

Note the BBC comment #4 above about being sure to slightly underexpose when gamma is on. My recent tests have shown this to be true. I got some great footage this week on the FX1 with color set to +2, Cineform30, gamma on and Zebras at 90 with just none showing. All else center/default. Try to get iris f4 or bigger. If you have good ND filters and matte box then try to stay exactly at f4. I leave shutter at 60 and gain always OFF (IE set manually to 0). I.E. I control exposure with ND filters first then fine tune with iris.

I'm not sure if its right to use Cineframe 30 though. As I said before I don't see what it can give you that 60i does not have. You can render in post to the format you want. Please someone explain this to me.

Yes, this is the post I referred to above.

I think the issue of shooting 30p relates to a smoother feel to the video as compared to 24p, and shooting 30p might give you a superior image compared to rendering out 60i.

I think, when you convert 60i to 30p in post you are de-interlacing by either blending or interpolating. Blending results in compiling 2 separate frames (odd and even) that were shot at two different times - albeit one right after the other. Any motion will result in slightly different images being combined. Interpolating is guessing at the filling in the missing odd or even lines. Either way, a frame shot de-interlaced, full frame, might arguably be a superior frame to a deinterlaced one generated post.

Please note: I've been studying this a little, but I'm not really in the big leagues when it comes to this tech. I do know that, when I applied DSE's picture profile to my Z1 and captured 30p with HDConnect - the resulting images were killer.

Darryl