The bench test 2: Exwave of the future

What our experts say …

By what appears to be common consent amongst manufacturers of video surveillance cameras, most general-purpose models are required to be bland utilitarian objects that grate with just about any type of decor, but every so often someone breaks the rules.

You can tell straight away that the Sony SSC-E478P is much more than just another cream-coloured rectangular box with a lens on the front and wires coming out of the back, and the unmistakable hand of a top flight design department is evident from the sleek, uncluttered lines. The unusual shape fulfils the basic needs of a video camera, which is to see, and be seen; yet it also blends in easily with contemporary decorative styles.

In fact it's all a clever sham. Take away the front and rear shrouds that cover up the unsightly bits (the lens and wires) and you have what appears to be a bog standard video camera, on the outside at least.

However, needless to say, being a Sony creation, the features list and performance are far from routine.

Resolution is the top priority, and with a claimed 540 lines there really isn't much, if any, competition in its price bracket (around £200). This is in large part thanks to a newly developed 1/3-inch 'SuperExwave' interline CCD with 440k pixels (752 x 582), coupled to some advanced digital signal processing.

It has full day/night capability, utilising a motorised IR cut filter, which yields low light sensitivities of 0.5 lux in colour mode and 0.055 lux when it switches to monochrome operation.

Sony has decided to keep things simple, and it relies heavily on automated exposure systems, with a minimum of user/installer adjustments. These include switchable AGC and backlight compensation settings, full auto white balance, and a simple two-stage level adjustment for day/night switching.

Additionally it has been fitted with a set of I/O terminals that allow the day/night mode to be switched externally, or to use the camera's switching system to control another device, such as an IR light, for example.

The distinctive looks are almost entirely due to the screw-on front and rear covers, and they give it an unusually elongated profile, measuring some 25cm from front to rear. Some forethought is necessary with positioning, particularly in tight corners, though the rear cover can be easily dispensed with if clearance is a problem.

The front shroud is glazed with a neutral density filter window, and there's space inside for an auto iris lens – Video or DC controlled type – which can be up to 4.5cm long (C/CS fitting). This connects to a standard 4-pin socket on the side, with the cable passing through a small cut-out on the side of the cover. The only other item of note on the side of the camera is a recessed screw for the lens back focus adjustment, so we'll move swiftly on to the back panel.

This is also fairly sparse, with a BNC socket in the top right corner for the video output. To the right of that is a 7-way DIP-switch. This is used to set AGC (on/off), backlight control (on/off), CCD/Auto Iris selection, white balance (normal/special – sodium light etc), Day/Night (on/off, switching level and speed).

Immediately below the DIP-switch is a standard 2-pin Telefunken mains socket; a low voltage 12-VDC/24 VAC model is also available, in which case the socket is replaced by a two-pin screw terminal for the power feed. A 3-pin spring terminal is adjacent to the power connector and this handles the I/O connections for the Day/Night facility, and to the left of that are two recessed presets for adjusting vertical phase and incident light level.

The only obvious absentee is a ‘power on’ indicator; it's possible that Sony decided it would be superfluous since it wouldn't be visible when the rear shroud was fitted. It's not huge problem, but nevertheless a simple LED can be a useful diagnostic tool that at least confirms that the camera is being powered.

Standard 1/4-inch mounting threads are fitted to the top and bottom of the two-part plastic case, which offers relatively little in the way of weather protection, so additional measures will need to be taken if the camera is going to be used outside or in a hostile environment.

It is unusually crowded inside the case, with two large PCBs and the power supply module bolted to a tough looking steel chassis. We've become accustomed to a high-level of integration in camera circuitry, so we were a little surprised to see what amounts to several wiring looms connecting the various components together, and whilst we have no concerns over the integrity or reliability of the connectors, it does look uncharacteristically untidy for a Sony product.

The high level of automation means that aside from fitting and setting up the lens and flicking a few DIP-switches, installation should take no more than a few minutes. The instruction leaflet supplied with the camera is up to Sony's usual high standard, with all of the information needed for a simple, speedy and straightforward installation.

Performance

Our sample performed flawlessly. Resolution was as advertised at well over 500 lines, and in decent light the picture was crisp, bright and packed with fine detail. Contrast balance is also better than average and colours look natural under a wide range of lighting types and conditions.

Backlight compensation is particularly effective, and the exposure system operates smoothly, responding quickly and accurately to both slow and rapid changes in lighting levels.

Low light sensitivity is a major plus point on this camera and even at the limits of operation – close to zero lux – the camera still manages to produce a bright viewable image with significantly lower than average levels of picture noise and grain.

In spite of some slight misgivings over the complexity of construction, it proved to be a very rigid and stable design and showed no signs of instability during the customary punishment session with the Bench Test rubber mallet.

What the manufacturer says ...

Discover a world-first 540 TV line resolution at an incredibly affordable price with the new Sony SSC-E473P.

It features newly developed DSP technology, generating a horizontal resolution of 540 lines. The day/night camera provides optimised security in both day and night shooting scenarios, with near-infrared sensitivity in night mode.

The SSC-E473P features state-of-the-art SuperExwave technology, achieving extremely high sensitivity levels, with a minimum illumination of 0.55 lux at F1.2 in colour mode and 0.05 lux at F1.2 in black and white mode.

The camera comes with a new slim and stylish design, and features external day/night control input and day/night control output terminal. There is also Wide Auto Tracing White Range - ATW Pro and ATW.

The new E-series cameras are the ideal solution for environments such as sheltered car parks, airport luggage areas, warehouses and shipyards, in which typical analogue CCTV cameras cannot capture high quality images.