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Matias Nicolas

SmallHD 702 Bright on camera Request

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Hi, Im gonna shoot a documentary. I need to buy these SmallHD 702 Bright on camera-camera monitor 7' . the thing is our producer, is asking me for cheaper options. Can you help me? 

 

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What output does the camera use? HD-SDI or HDMI? I assume your main concern is 7" size and brightness?

It'll be hard to get a monitor from a reputable company that can give you 7" in size, high brightness, and good quality under $1000 USD. 

Are there any rental houses that might carry the 702 Bright? Might be cheaper to rent.

Possible options if you want to buy:

SmallHD 7" Focus - 1000 nits

Atomos Shinobi 5" - 1000 nits

Lilliput A7S 7" - 500 nits

FeelWorld 7" - 2200 nits

 

 

 

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Small HD Focus LCD is under $1000.. there is an SDI model and HDMI.. 800 nits.. pump up the brightness is pretty much bright day light viewable .. there is a shade you can get for it.. depends what you shooting but I find a 7inch monitor is a bit big as on camera if your moving around a lot .. really for docs wireless is the way to go I think.. teradek Bolt 500.. wooden camera directors cage.. 5/7 inch monitor .. easy and simple.. rental houses will have wireless set ups..

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3 hours ago, Alex Leung said:

What output does the camera use? HD-SDI or HDMI? I assume your main concern is 7" size and brightness?

It'll be hard to get a monitor from a reputable company that can give you 7" in size, high brightness, and good quality under $1000 USD. 

Are there any rental houses that might carry the 702 Bright? Might be cheaper to rent.

Possible options if you want to buy:

SmallHD 7" Focus - 1000 nits

Atomos Shinobi 5" - 1000 nits

Lilliput A7S 7" - 500 nits

FeelWorld 7" - 2200 nits

 

 

 

Im not sure if its HDMI or SDI. I will be nadheld aprox 80% of the shotting, and I love the Small Hd, cause its small. And the bright spec for exteriors. Now that you are asking me about the nits, really I don't now how many nits I really need for exteriors. I think the more nits, the best. I cheeked B&Hphoto for that info and didn't find it. And as we are shooting for 20 days the prod is going to buy 2 monitors. I see that you post 1000 nits, so I think we are ok with 1000 nits... I will check prices and tech specs of the other ones! Thanks !!

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42 minutes ago, Robin R Probyn said:

Small HD Focus LCD is under $1000.. there is an SDI model and HDMI.. 800 nits.. pump up the brightness is pretty much bright day light viewable .. there is a shade you can get for it.. depends what you shooting but I find a 7inch monitor is a bit big as on camera if your moving around a lot .. really for docs wireless is the way to go I think.. teradek Bolt 500.. wooden camera directors cage.. 5/7 inch monitor .. easy and simple.. rental houses will have wireless set ups..

mmmm I Im shooting with Sony F55 ... better SDI no? or HDMI? What are yo thoughts? And, a doubt: If I use the waveform,  from the small hd to monitor the image coming from the F55, in this case Slog 2 - .709 . Its accurate? or better use the Zebra of the camera? 

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Posted (edited)
19 hours ago, Matias Nicolas said:

mmmm I Im shooting with Sony F55 ... better SDI no? or HDMI? What are yo thoughts? And, a doubt: If I use the waveform,  from the small hd to monitor the image coming from the F55, in this case Slog 2 - .709 . Its accurate? or better use the Zebra of the camera? 

Personally I would use SDI.. which of course the f55 has.. 20 days shoot /doc/ handheld ..HDMI is a notoriously weak connection.. not pro level really..

F5/55 Slog on a doc I do this.. hundreds of times and never been a problem.. set your viewfinder and monitor out to Rec709 800 LUT.. then set your exposure as you would shooting Rec 709.. I do it by eye .. but you can use zebra etc.. but basically if it looks OK in 709 your underlying Slog will be totally fine.. I would never shoot with Slog in the EVF.. receipt for disaster,very hard to tell exposure/ lighting as its so dark and you won't be able to see focus  very well as its lacking in contrast..the Slog image was never meant to seen at all 

Big gottcha on the f55.. maker sure you dont set the monitor LUT to Internal /SDI 3 and 4..   internal will mean you will record the LUT !!! once done its good night Vienna .. correctly set SDI 1 and 2 will give you a Luted minter feed 3 and 4 will be Slog feed..

There is a little known trick.. in there assign menu there is a High/Low. option.. set it to one of the assign buttons ..press once it will show what your high lights are doing.. press again it will show you your shadow levels..press third time for off.. in the under lying Slog.. you can just also toggle off the LUT.. but High/Low is a very good quick check.. 

Why Slog 2.. I would advise Slog3.cine.. much easier tho work with in post .. Slog 2 is a bit weird .. its not even in the Venice camera.. dont think anyone's using it much anymore .. very least I would make sure you colorist has previous experience with it..

You know really I would go wireless .. especially as your 80 % hand held.. its so much easier.. than a dir running around behind you trying to see the monitor .. that just doesn't work.. re nits.. the higher you go  is brighter .but there is a limit where the difference becomes very slight..as the numbers go up.. its a not a straight line.. I have 800 and its ok.. but yes 1000 should be fine.. but if your wireless the dir can have a shade or be in the shade.. they will usually do just that.. with a drink ..!

Edited by Robin R Probyn

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On 4/23/2019 at 7:49 AM, Robin R Probyn said:

Personally I would use SDI.. which of course the f55 has.. 20 days shoot /doc/ handheld ..HDMI is a notoriously weak connection.. not pro level really..

F5/55 Slog on a doc I do this.. hundreds of times and never been a problem.. set your viewfinder and monitor out to Rec709 800 LUT.. then set your exposure as you would shooting Rec 709.. I do it by eye .. but you can use zebra etc.. but basically if it looks OK in 709 your underlying Slog will be totally fine.. I would never shoot with Slog in the EVF.. receipt for disaster,very hard to tell exposure/ lighting as its so dark and you won't be able to see focus  very well as its lacking in contrast..the Slog image was never meant to seen at all 

Big gottcha on the f55.. maker sure you dont set the monitor LUT to Internal /SDI 3 and 4..   internal will mean you will record the LUT !!! once done its good night Vienna .. correctly set SDI 1 and 2 will give you a Luted minter feed 3 and 4 will be Slog feed..

There is a little known trick.. in there assign menu there is a High/Low. option.. set it to one of the assign buttons ..press once it will show what your high lights are doing.. press again it will show you your shadow levels..press third time for off.. in the under lying Slog.. you can just also toggle off the LUT.. but High/Low is a very good quick check.. 

Why Slog 2.. I would advise Slog3.cine.. much easier tho work with in post .. Slog 2 is a bit weird .. its not even in the Venice camera.. dont think anyone's using it much anymore .. very least I would make sure you colorist has previous experience with it..

You know really I would go wireless .. especially as your 80 % hand held.. its so much easier.. than a dir running around behind you trying to see the monitor .. that just doesn't work.. re nits.. the higher you go  is brighter .but there is a limit where the difference becomes very slight..as the numbers go up.. its a not a straight line.. I have 800 and its ok.. but yes 1000 should be fine.. but if your wireless the dir can have a shade or be in the shade.. they will usually do just that.. with a drink ..!

Ok, so I ll go SDI. Why do you find best to go SLogcine3? only beacaue of the roll of on the highlights? or what more you find its better?

And, another doubt I have, wich hand held grip would you recommend?  Like sth very lighweight: left hand in the focus, and rigth hand in the grip ..

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Well Im not a grader.. but of the Sony Slog gammas.. pretty much everyone is using Slog3.cine./ Slog3 color Gamut . in Cine EI mode..its pretty much the same as Arri log C gamma.. as both are based on the old telecine Kodak Cineon... and most good graders know how to work with Arri log... the color "triangle " corners ,for want of a better word..of the color gamut are in line with REC 709 "triangle".. nothing weird and Sony "non standard" going on.. as with Slog2.. its just easy to work with and not a massive gamut ..

I have a Vocus wooden handle ,with a wooden camera add rosette .. on so I can pivot the handle flat so the camera can be put on a level surface when you want do that.. but there are tons of them out there.. everyone will prefer what they are used to.. 

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On 4/23/2019 at 7:49 AM, Robin R Probyn said:

Personally I would use SDI.. which of course the f55 has.. 20 days shoot /doc/ handheld ..HDMI is a notoriously weak connection.. not pro level really..

F5/55 Slog on a doc I do this.. hundreds of times and never been a problem.. set your viewfinder and monitor out to Rec709 800 LUT.. then set your exposure as you would shooting Rec 709.. I do it by eye .. but you can use zebra etc.. but basically if it looks OK in 709 your underlying Slog will be totally fine.. I would never shoot with Slog in the EVF.. receipt for disaster,very hard to tell exposure/ lighting as its so dark and you won't be able to see focus  very well as its lacking in contrast..the Slog image was never meant to seen at all 

Big gottcha on the f55.. maker sure you dont set the monitor LUT to Internal /SDI 3 and 4..   internal will mean you will record the LUT !!! once done its good night Vienna .. correctly set SDI 1 and 2 will give you a Luted minter feed 3 and 4 will be Slog feed..

There is a little known trick.. in there assign menu there is a High/Low. option.. set it to one of the assign buttons ..press once it will show what your high lights are doing.. press again it will show you your shadow levels..press third time for off.. in the under lying Slog.. you can just also toggle off the LUT.. but High/Low is a very good quick check.. 

Why Slog 2.. I would advise Slog3.cine.. much easier tho work with in post .. Slog 2 is a bit weird .. its not even in the Venice camera.. dont think anyone's using it much anymore .. very least I would make sure you colorist has previous experience with it..

You know really I would go wireless .. especially as your 80 % hand held.. its so much easier.. than a dir running around behind you trying to see the monitor .. that just doesn't work.. re nits.. the higher you go  is brighter .but there is a limit where the difference becomes very slight..as the numbers go up.. its a not a straight line.. I have 800 and its ok.. but yes 1000 should be fine.. but if your wireless the dir can have a shade or be in the shade.. they will usually do just that.. with a drink ..!

Ok, so I ll go SDI. Why do you find best to go SLogcine3? only beacaue of the roll of on the highlights? or what more you find its better?

And, another doubt I have, wich hand held grip would you recommend?  Like sth very lighweight: left hand in the focus, and rigth hand in the grip ..

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Just now, Matias Nicolas said:

Ok, so I ll go SDI. Why do you find best to go SLogcine3? only beacaue of the roll of on the highlights? or what more you find its better?

And, another doubt I have, wich hand held grip would you recommend?  Like sth very lighweight: left hand in the focus, and rigth hand in the grip ..

ok thanks!!

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