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Showing results for tags 'monitor'.
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I resolved the issue with the camera blinking the monitor, apparently you change it from HDMI to DVI. Second problem, and more severe, is an issue where the camera will not turn back on. So here is what happens. We shoot, and when we take a break, I turn the camera and the Lilliput off. When I go to turn it back on, I here the mirrored shutter open, I turn on the Lilliput, and the Camera doesn't respond, no signal goes to the monitor, nothing. The only thing I could do is, pull out the battery, and try again. I almost wanna just Turn on the camera first, wait a while, then turn on the monitor. Has anyone had this issue. I need to solve this ASAP. I just was called last minute to shoot a project. Got towards the end of the shoot when I started having these issues. Luckily that was done, but in two weeks I got another shoot for the entire month, as well as the following two months. Please let me know, I'm anxious to hear more about this issue. -Sean -
Hello guys! I’ll DP soon a new short film. Unluckly the Arri Mini I asked is already out on another production and we'll be shooting with the Epic Dragon and Cooke S4. Most of the film will be handheld and on movi. I wanted to have some insights on a few doubts I have. - apart from the red LCD, I asked a smallHD monitor + BNC cable for the 1st AC so he pulls the focus remote for the whole film. Is that a good way to go? - now, for the director monitor, I’m thinking to use a Teradeck connection so I’ll have the director in a different room for there's no much space. I have never used a teradeck. Can I use it on the Movi, connected to the Epic Dragon? what’s the signal that reaches the director monitor? full HD? (keeping in mind I’m shooting 4K RAW). How’s the set up, do I plug via HDMI the Teradek to the Red? does my SDI output to the 1st AC monitor still work properly? - one side question, I’m shooting in Europe (France). Does a 2.5K HMI already requires a generator? thank you a lot for your inputs :) Stefano
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Transvideo 12" CineMonitorHD12 3DView Super Bright Field Monitor with 2x HD SDI and 2x HDMI inputs. In great working condition with a couple of minor scratches that cannot be seen when displaying an image. Located in London, can deliver to US or anywhere else. Includes a manual written by Alain Derobe describing the theory and basics of 3D-steroscopic shooting. Asking: $7,000.00 Payed - $11,500.00 - New: https://www.bhphotovideo.com/c/product/886425-REG/transvideo_hd12cinevolsb3ds_12_cinemonitorhd12_3dview_s.html
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Hi all, I'm looking foward to buy a new monitor to take with me on set. wich brand and model would you recomend. thanks for reading and comenting. J.
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I have a Cinemaquest Ideal-Lume Pro bias light to sell. It's in mint condition. My son used it a few times and maybe has 10 hours on the bulb. I bought it new for $379 and still have the original packaging. I'm asking $260. I'll work with you if you can pay with Paypal.
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Steadicam Ultra 2 Sled + Transvideo 8" New price!
pierre sansoucy posted a topic in Cine Marketplace
New PRICE: 8500$USD I sold a Steadicam Ultra 2 Sled with Transvideo 8" Monitor. The equipments are in perfect condition and come in the steadicam case. 8500$USD. Please note it sell without batteries and Alexa of course. Shipping not included.
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Hi everyone, I sold a Steadicam Ultra 2 Sled with or without Transvideo 8" Monitor. The equipments are in perfect condition and come in the steadicam case. I ask 7900.00USD for the Sled and 3500.00USD for the Transvideo. Accept 11,000USD for complete set. Please note it's sell without batteries and Alexa of course. Here some informations: Sled: Open Ultra-Rigid Stage Programmable "Go-To" Trim Motors Auto-Centering Stage Trim Ultra High-Precision Gimbal Positive Locking New Low-Profile Post Clamps Transvideo monitor: HDSDI Transvideo 8" UltraBRITE2 Color HD Monitor 1024 X 576 Resolution Picture Zone Displays Data in Separate Window SDI input with Reclocked Loop Through HDMI input on Mini Type C Connector The monitor supports standard definition PAL and NTSC signals as well as 720p, 1080i and 1080p. For more infos, please contact and I will send you pics also. Pierre sansoucypierre@yahoo.com Montreal, Qc, Canada
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http://feelworld.cn/ShowInfo.aspx?id=377&py=5-5-Aluminum-Design-IPS-1920x1080-Full-HD-HDMI-3G-SDI-On-camera-Monitor-with-Waveform-VectorScope-Histogram-G55 Is a new product (has only been listed on Amazon since May 31st, & was announced on Twitter by Feelworld a bit earlier in the year) that looks exciting! Like a SmallHD 502 (US$1.2K) but at half the cost (US$650). Though yes, it misses a few important features the SmallHD 502 has, such as 3D LUT support. But the Feelworld G55 still is a feature packed display: 1. 1920×1080, 1000:1 contrast, IPS wide view angle H/V 160°2. 3G/HD/SD-SDI, HDMI input and loop-through output 3. Monitoring via 3.5mm stereo headphone jacks4. Built-in LED tally indicators (Red, Green, Yellow) 5. Special Features: *Waveform (RGB, YUV, Y (Luminance) *Vector Scope *Color Histogram *Histogram *Focus Assist (Red, Green, Blue, White four color optional highlight over parts of the image in focus) *Embedded Audio Meter *False Color *Zebra Exposure *Internal Color bar *Squared Segmentation *Camera Mode *Scan Mode (Auto, Over Scan, Full Screen) *Real time video zoom-in (Standard, 4x, 9x,16x) *Anamorphic Mode (1.3x, 2.0x, 2.0x mag) *Pixel to Pixel *Center Marker *Safe Area (80%, 85%, 90%, 93%, 96%) *Marker Type (16:9, 4:3, 2.35:1, 1.85:1) *Marker Color (Red, Green, Blue, White, Gray, Black) *Check Field (Gray/ Red/ Green/ Blue) *Image Flip (Horizontal, Vertical, Hor&Ver) *Image Freeze6. Titanium Metal Frame Design The Feelworld G55 has a bigger brother, which appears to have the same specs except for a larger (& bit higher resolution) screen ( 7" 1920 x 1200), the Feelworld G70:http://feelworld.cn/ShowInfo.aspx?id=425&py=7-Aluminum-Design-IPS-1920x1200-Full-HD-HDMI-3G-SDI-On-camera-Monitor-with-Waveform-VectorScope-Histogram-G70 http://www.bhphotovideo.com/c/product/1251099-REG/feelworld_fwg70_g70_7_ultra_thin_full.html -
Hi, I'm shooting some content at the moment where I need to be offset monitoring wirelessly, I was wondering if anyone can recommend a small wireless monitoring setup which is not overly expensive (if such a thing exists). I only need a 5"-7" monitor, but it would be good if it could all be battery powerable (monitor and transmitter/receiver) .. doesnt have to work over crazy distances, just into a neighbouring room etc.. Thanks for any help, much appreciated!
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I know that there are a lot of these out there that are getting shelved as HD wireless monitors have taken over. Hoping that someone has one to sell for a reasonable price. I would like to add to my Arri 416 kit, which I offer at an very low rate so as to keep filmmaking on film affordable. Would be a bonus if located in NY. Please PM me. -
Hi gang, I once worked with a shooter who had an F55 hooked up to a cheap computer monitor and I wonder what type it was and how it would be possible. The camera was shooting 4k I know that for sure but not sure if it was outputting 4k. Any know of a computer monitor that has sdi inputs? Or did he maybe have a converter from sdi to hdmi? Any thoughts or tips for a decent set up that wont cost the earth.. Thanks, Adam Dodd.
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FOR SALE 2nd HAND TV-LOGIC 5.6" LCD MONITOR - TV Logic 5.6” LCD HD/SD-SDI HDMI Reference monitor with waveform - TV Logic Battery Bracket - TV Logic Acrylic Filter - Hoodman 5.6” Monitor Hood - TV Logic D-Tap to mini XLR power cable - TV Logic Lemo RED to mini XLR power cable - TV Logic Lemo ARRI to mini XLR power cable PRICE: 1.100 USD
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Hey guys I have a pile of gear for sale. The reason for sale is that I barely use the gear. Here's a list Bartech wireless FF/ with Heden Motor and extra gear drives Kit. $1800 K5600 Jokerbug 400 HMI $1200 K5600 Jokerbug 200 HMI $1000 Steadicam pilot - $1000 Kinotehnik LCDVF $500 Cinestar 8 $2000 U7 motors X8 $75-each Carl Ziess Cinemiser OLED $350 Wireless transmitters And much more..... Make your offers reasonable. all my gear is in decent shape and mildly used. PM me for more pictures as the site won't let me upload everything here. Goodluck
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Hey everybody, I've seen that in all TV logic focus assist menu there is an option that says "focus assist level", with the possibility of dealing numbers (in % as measuring unit) that I can see change the sensitivity of the device. I was wondering how should the level be changed according to the scene brightness for example. I've realized most times the device reads everything like if it was in focus when clearly it is not and I was wondering if anybody had tips/workflow to share on how regulate and use the focus assist function in the best way to take advantage of it because most times I find it misleading more than helpful! Thanks in advance, Davide -
IBC 2015, Stand E55, Hall 11 Amsterdam, Netherlands (9 September 2015) - Paralinx today announced Ace, a compact and affordable point-to-point wireless monitoring system that fits perfectly with the run-and-gun nature of today's filmmaking environment. The first glimpse of the all-new Ace will be at the IBC trade show in the Vitec Group booth (11.E55). Ace offers numerous improvements over Paralinx's original Arrow product line, including improved signal robustness and a tougher physical design. The Ace transmitter and receiver units feature a lightweight, rugged enclosure made from ABS plastic and aluminum, and deliver uncompressed HD video over a maximum range of 300 feet (100m). "With Ace, our goal is to provide a professional wireless system that camera operators, focus pullers, and directors can integrate into their setups with the smallest and lightest possible footprint, while keeping the price point accessible," said Greg Smokler, general manager of Paralinx. Shipping this month in either SDI or HDMI models, the Ace transmitter and receiver are both designed to accommodate a wide range of accessories. With threaded inserts built directly into the chassis, the end-user can mount a variety of small battery plates to the unit. Ace SDI systems are priced at US$1799.95 (€1649.95) and HDMI systems are priced at $1299.95 (€1199.95). Additional SDI receivers are US$949.95 (€889.95) and HDMI receivers are US$749.95 (€699.95). -
Hello all, As I've been expanding my crew and becoming more involved with just directing actors, I've been looking to buy an external monitor for my BMPCC so I won't have to work back and forth to check shots. My question is, do any of you guys have a suggestion for an external monitor for the Blackmagic that is under the price of $200? Thanks! John
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Hey guys I have a pile of gear for sale. The reason for sale is that I barely use the gear. Here's a list of some available items. Bartech wireless FF/ with Heden Motor and extra gear drives Kit. $1800 - SOLD K5600 Jokerbug 400 HMI $1200 K5600 Jokerbug 200 HMI $1000 Steadicam pilot - $1000 Kinotehnik LCDVF $500 Cinestar 8 $2000 U7 motors X8 $75-each Carl Ziess Cinemiser OLED $350 Wireless transmitters And much more..... See link for some pictures. https://www.dropbox.com/sh/h5no4caa36clp6l/AAB7VX7DfiQlx7nhY9sAxotma?dl=0 Make your offers reasonable. all my gear is in decent shape and mildly used. PM me for more pictures as the site won't let me upload everything here. Goodluck
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Hi everybody, I'm trying to really get the difference between RGB and YCbCR. The problem is that I cannot find a consistent answer to this question. From what I know they are both signals. I know that RGB is always a 4:4:4 signal while YCbCr can be subsapled in different ways. I also know that YCbCr is originated by the RGB because this last signak is redundant so (what does ut exactly mean?). I also would like to know the difference between a 4:4:4 RGB and a 4:4:4 YCbCr, don't they both have the maximum chroma and luminance sampling possible? Thanks so much!
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Hi everybody, I'm still a student and I've never connected a camera to a monitor through a wireless device (I know really common one is the teradek beam). I've tried to look for tutorial but nothing valuable came out. I'll be on a shoot next week that is gonna use ione and I'd like to be prepared so I'm asking for help out here. Another thing I'd like to know is how the wireless follow focus would be connectd to a camera. I also ran into terms like decoder and encoder and I'm looking for an understandable answer to what the difference is. Thanks so much for your help!
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Hello I'm selling my Transvideo StarliteHD OLED Monitor which is practically brand new (only used on a couple of indoor shoots). It is working perfectly and has absolutely no sign of wear. Asking for $1,500.00 Truly amazing little monitor but unfortunately I need something with HDMI. Only a couple of months old, check the attached invoice. Located in LA Thank you!
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For sale TV Logic 7'' Field Monitor LVM-074W Comes with Porta Brace Hood and back-mounted Anton-Bauer mounting plate. 1250 Canadian dollars http://www.tvlogic.tv/Monitors/M_Spec.asp?sidx=33
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Company Brings Quality Field Monitors To Vitec Product line-up LONDON (December 11, 2014) - The Vitec Group today announced that it has acquired SmallHD, the North Carolina company known for its high-quality, high-definition, on-camera field monitors used by videographers, cinematographers, camera assistants and other creative professionals across the filmmaking world. SmallHD will be incorporated into the Vitec Group's Videocom division, complementing its existing brands. SmallHD pioneered the design and manufacture of rugged, future-proofed field monitors based on the company's experience in production, collaborations with other filmmakers, and from extensive customer feedback. SmallHD's association with the Vitec Group will enable it to bring a new range of innovative monitors to customers. "With the rapid increase of independent filmmakers and videographers, the need for quality, high-performing, end-to-end solutions has never been stronger," said Vitec Videocom CEO Matt Danilowicz. "There is definite synergy between SmallHD and Vitec Videocom, especially given that their pioneering drive matches our own. The acquisition enables us to offer another set of professional and innovative solutions for the production workflow, and takes us a step closer to fully addressing the needs of this expanding and exciting market." SmallHD was officially founded in 2009 by Wes Phillips and Dale Backus. The pair, along with a group of friends, had been creating spots for local businesses and entered the Doritos-sponsored Crash The Super Bowl contest with a spot entitled Live the Flavor. The resulting notoriety from winning brought national work in for the team. The demand to complete increasingly higher-calibre work made the SmallHD creatives and production crew aware of a need for better tools. Rather than buying off-the-shelf solutions, they were inspired to create them, specifically field monitors. The DP6 field monitor, their first mainstream product, not only met their own high standards but was immediately sought after by other filmmakers. When SmallHD won an unprecedented second Doritos Crash The Super Bowl challenge in 2010, the company used the winnings to develop its product line and expand manufacturing operations. "We are looking forward to joining the Vitec Group of companies," said Wes Phillips, founder and CEO of SmallHD. "It's exciting for SmallHD to be included among the great brands that they represent. We have aspirations to continue to build outstanding monitors, and Vitec not only encourages that entrepreneurial spirit but offers the support and expertise we need to move forward." SmallHD joins the Vitec Videocom line-up of brands that serves its users in broadcast, cinematography and professional content creation. Other Vitec Videocom brands include Anton/Bauer, Autoscript, Autocue, Camera Corps, Bexel, Litepanels, OConnor, Petrol Bags, Sachtler, Teradek, The Camera Store, Vinten and Vinten Radamec.
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I'm going to at last get a monitor, not just for the bigger display, but for the focus peaking and zebras (to name just a couple of reasons why). Now the first question I need to resolve, is do I get just a monitor by itself (such as one of the SmallHD monitors) or get a combined monitor/recorder (such as from Atomos). Currently my situation is I'm using a Nikon D5200 plus a BMPCC that has just arrived with future upgrading plans of maybe perhaps getting a Panasonic GH4 in a few months from now. (slim possibility it might be instead a Sony A7S, or even a Samsung NX1. Could even be something that hasn't be released yet! I'm in no rush, I'll wait and see) So whatever I'm picking should be suited for what I've got now (& in the near future). Am thinking I've narrowed down my decision to Ninja Blade vs Ninja 2. I'm leaning towards getting the Atomos Ninja Blade (it is worth it over the cheaper Ninja 2???), for a few reasons (let me know if they're good reasons or not! I'm just presuming here): 1) I'm thinking using SSDs could be better than SD cards in the BMPCC (though not being able to record CinemaDNG raw to SSD is a pity) 2) having the ability to tag good/bad takes on set with AtomosOS seems like it could be a big time saver when doing rush edits. 3) no time recording limit with the Nikon D5200 (if I got just a monitor, I expect I'd then get a Blackmagic Design: HyperDeck Shuttle as well. Well, or maybe maybe wait a few months to see if NikonHacker removes the recording time limit on the D5200) But on the flip side the Ninja 2 is significantly cheaper.... so I wonder, is the older Ninja 2's screen satisfactory for pulling focus or is the Blade's high resolution screen going to be a huge bonus here? Probably the biggest point of confusion I have between the two is how the Ninja Blade and Ninja 2 run different version of Atomos OS (with the Blade having the newer version of course), as I can't seem to clearly find any info on what specifically is the benefits of that. (such as around workflow around tagging clips on set and then in post) Thoughts/criticism/suggestions? I'm all ears!
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This is my first time to come to this forum, nice to meet you! I have a question about a monitor to be set in a film production. I have a 27-inch monitor, how can I set up the monitor steadily so that it is easy for the director to view it? I am looking for this type of monitor case (photo attached), however there is no products for 27-inch monitor. So, I want to ask for any suggestion or experience of setting a large monitor in a film production, and hopefully there are some photos for reference, thank you so much!
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I'm looking to build a video carts which a 27" monitor is set on it for fim production purpose. (similar to Image attached) Some question I have: 1. Which brand is cheap but good quality, any suggestions? 2. What kind of essential accessories or products I need to buy or prepare? 3. How can the monitor be set steadily on the video carts? 4. Anything else I should know? Thanks in advance for any info you would like to provide.
