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Showing results for tags 'Monitors'.
Hi everyone, I wanted to get some opinions on what some of your favourite monitors to use on camera are? I am in the middle of researching which monitor would be best for future proofing and using on commercial sets and run and gun documentary type style projects while filming exteriors and interiors. There are a few features I am looking for: Above 1,000 Nits (for using on bright exterior days) HDMI & SDI input & output Colour accurate Offers Waveforms, false colour, histograms, selection of aspect ratios, etc Preferably between 5inch and 7 inch monitors A side question would be does anyone know of monitors like this where you can set the false colour values? This is surprisingly quite rare. Are there any thoughts I should keep in mind before purchasing? Also what are you opinions on monitor recorders such as the new Blackmagic video assist 12g? Any recommendations would be gratefully appreciated. Thank you.
Today, RED Digital Cinema® introduces the DSMC2® Touch 7.0” Ultra-Brite LCD Monitor to its line of innovative camera accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides the most intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. A 1920x1200 resolution display panel provides 2,200 nits of brightness to overcome viewing difficulties in bright outdoor environments, and the high pixel density (at 323 ppi) and 1200:1 contrast ratio deliver exceptional image quality. The Ultra-Brite display mounts to RED’s DSMC2 BRAIN®, or other 1/4-20 mounting surfaces, and provides a LEMO connection to the camera, making it an ideal monitoring option for gimbals, cranes, and cabled remote viewing. Shooters can use a DSMC2 LEMO Adaptor A in conjunction with the Ultra-Brite display for convenient mounting options away from the DSMC2 camera BRAIN. A demonstration of the new monitor, priced at $3,750 (U.S.), can be seen here: https://youtu.be/sF2PmdoAZoM Link to Ultra-Brite images here.
To the Bay Area photographic and videographer community: Announcing: The Grand Opening of the Bay Area's newest broadcast equipment supplier. We are Draco Broadcast: the maker of the Dracast lighting brand as well as other production equipment brands such as..... • Magicue Teleprompters • Laizeske Camera Monitors • A&J Camera Sliders • and many more! We have a newly renovated showroom with spare studio space and will host monthly seminars, product swap meets, and other events. In addition, we will be offering rental services and providing a place for consignment sales. Right now, we're running a special promotion on the products: Kingjoy VT-860 Tripod - $31.99 each MaxxMove Rize H4 4K Action Camera $49.99 each Dracast Silkray LED 400 Soft Light -$203.49 each Dracast 140 Ring Light -$149 each We offer incentives for referral business. Please stop by and let us know if there's any service we can offer your organization. We want to become an integral part of the local broadcast community. For more information, visit dracobroadcast.com or call 408-229-9222. Thank you, Aaron Street General Manager
Hey there, I'm unsure where to start, so I'm just going to say it all. I have a feature which was graded in FCPX using both a macbook pro and a calibrated monitor. Because most people initially watching the film were going to do so on their computers, we thought it best to find a middle ground for exposure and color so that it could be played on a computer, television or in a theater. Now that the film has been accepted to play publicly, we've been told that the blu-rays will be authored by an outside company for exhibition. That company mentioned that each film should have been graded on a monitor, calibrated using SMPTE PLUGe bars, as that is how the projector has been calibrated. Those bars are essentially all one shade of black on a macbook, so now I'm concerned that once projected, my blacks may look lighter than originally intended. What confuses me is that I have tested out my own blu-ray on a few different televisions, and the contrast and color looks good. When projected, could it really be vastly different? Should I re-grade another version specifically for projection exhibtion? And if so, does that mean I would need to bring down all my blacks? We used the scopes and everything is on the line, nothing crushed. And if that's the case, are studios grading several versions for broadcast and streaming? I know it's quite a bit to digest. Any thoughts would be welcomed! Go easy on me, I'm still learning. Thanks so much!