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Found 6 results

  1. 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.
  2. Good day forum, Is there any resources(e.g.case studies, videos, books, websites...etc) that demonstrate professional image acquisition workflow (from set to dailies), covering practice and equipment used in the process. I found the below so far: Capturing the Shot: Fundamentals, Tools, Techniques, and Workflows for Digital Cinematography The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants DITs and Data Management for Features, TV and Commercials
  3. Hey all, I have a project coming up similar to "Carpool Karaoke". For safety/repeatability we'll be using a tow rig. I'm wondering if people have experience/advice on camera monitoring solutions? Right now I'm thinking we'll use Canon 5DMKIII's in cages with HDMI Teradek's mounted sending signal to the production vehicle and use a Decimator or a Black Magic quad viewer to a single monitor. Is there a more light weight or smarter solution? (I'm pretty opposed to go pros). Anything I might be missing? Any experience/advice is much appreciated! Thanks!
  4. Hi everybody, scrolling through the alexa menu I saw items that I'm not sure what the are. - in the recording/rec out menu I see SCAN FORMAT, with the possibility of choosing between P or PSF. What is the difference between them? - in the same menu I also see HD-SDI FORMAT with the possibility of choosing between 422 1.5 SL/DL, 422 3G SL, 444 1.5G DL and 444 3G DL/SL. While I know that 422/444 have to do with the color sampling I have no idea what 1.5G and 3G mean, and same with SL/DL - in the MONITORING/MON OUT menu I see scan format and the options are P or PSF? Is this the exact thing I've ask in question number 1?And why in the frame rate option in this menu it doesn't let me choose 23.976 but only 24, 25 and 30 fps? Thank you in advance for the help!
  5. New Addition to Charger Line Features Compact, Low Profile Design (SHELTON, CT) Anton/Bauer(r) - a Vitec Group brand and premier provider of battery, charging and monitoring technologies for the broadcast, film and video industries - has announced the launch of their new LP Performance Charger Series. An addition to the Performance Charger Series, which was introduced at NAB 2014, the LP Performance Chargers deliver the fastest possible charging sequence in a compact form factor. Available in two configurations, the LP Performance Chargers complement Anton/Bauer's Digital Batteries and Logic Series batteries, and are available in both Gold Mount® and V-Mount connectors. The LP2 Performance Charger, designed to fit into tight spaces and accommodate ease of travel, offers 2-position simultaneous charging. The LP4 Performance Charger, providing 4-position simultaneous charging, is ideal for larger operations. Both chargers are Wi-Fi ready to ensure ease of fleet management for rental facilities, ENG/EFP/OB vehicles, and broadcast equipment depots. Ideally suited for shelves, tabletops or compact spaces, the LP Performance Charger Series features an innovative, efficient charging algorithm for multi-chemistry, simultaneous charging. The algorithm ensures rapid charging while conserving energy, eliminating waste, and reducing cost of ownership. Software constantly monitors the charging process and discharge curves to ensure that each battery is charged to its peak performance. To ensure maximum efficiency in the field, the LP Performance Chargers automatically detect which battery has the strongest charge and prioritizes it, ensuring that a fully charged battery is always available in the shortest amount of time possible. "We are very pleased to be bringing our LP Performance Chargers to market," says Kieran Foster, Vice President of Product Management for Vitec Videocom. "When we introduced the Performance Charger series earlier this year, we knew it was the most efficient charger on the market. However, we were not content to stop there. We've added the LP line to ensure that our revolutionary charging system is available to our customers in whatever form factor they might need it." The LP Performance Charger Series will be available worldwide through Anton/Bauer dealers and rental houses beginning March 15, 2015. For more information, visit www.antonbauer.com or call (800) 541-1667. About Anton/Bauer With more than 40 years of proven experience, Anton/Bauer is recognized as the world's premier provider of multi-chemistry battery, charging, and monitoring technologies for the professional broadcast, pro-video, cinema and healthcare industries. Established in 1970, Anton/Bauer's product offerings feature several signature lines, including the leading Gold Mount® system, the Digital Battery series, Performance Chargers, and the Academy Award®-winning VCLX series. The company's industry-standard products are compatible with every camera brand on the market today, while providing top-tier levels of safety, performance and reliability. The brand's main office is in Shelton, CT, with additional offices in South America, Europe, and Asia. Follow Anton/Bauer on Twitter (@Anton_Bauer), Facebook andYouTube. About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications 818.980.3473 Lisa Muldowney - direct: 760.212.4130 / lisa@ignite.bz
  6. Hey everyone, I'm looking into the whole shooting on 35 mm 2 perf thing right now for my first "professional" short movie, and what scared me mostly about 35 mm was not being able to really see what's being shot other than on a shitty quality video tap or assist, but I read here the other day someone talking about using an HD monitor and feed it the composite signal from the camera and having a much better quality, is this really possible? I read otherwise about the HD IVS by Arri but it seems ridiculously pricey, otherwise, it seems like the Penelope has actually a pretty decent, much better video feed, what do you guys think? Love this forum by the way, so many resources !
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