How To Use Camera On Monitor
E'er look at the screen on the dorsum of your photographic camera and wish that it were just a tad bigger, or brighter, or sharper? Yeah, me too. The good news is that there is a solution! External on-camera monitors come up in all shapes and sizes and are packed with additional features that volition make shooting video much more enjoyable. Here is how you can pick the best 1 for you.
What Camera?
Everything ever starts with the camera. For external monitors, there are a few crucial features and specs you need to know before you tin can begin your search:
- Can information technology output make clean video?
- What connectors does it accept?
- What is the resolution and frame rate of its video output?
Start at square one—whether or not your camera will fifty-fifty work with an external monitor. If it can't output video, you tin't apply one. That'southward non to say there aren't other helpful tools for you—dedicated loupes and magnifiers can improve your situation.
Bold your photographic camera can output high-res video, you take to know what connectors it tin use. This could exist a flavor of HDMI, SDI, proprietary with an adapter, etc. There are a bunch and I'm not going to get into them all hither. HDMI and SDI are the most common options these days and where you should offset if your photographic camera has them.
Finally, y'all take to know what resolution and frame rate your camera outputs. If information technology only sends out DCI 4K at 60 fps and the monitor only takes Total Hard disk at xxx fps, y'all'll be out of luck.
Make sure these basic features are compatible between your camera and monitor:
- Resolution
- Frame rates
- Connectors
Now we tin can talk about monitors.
Size, or Bigger Isn't Always Better
Yes, one of the principal reasons filmmakers pick up external on-camera monitors is because the ane on the camera is besides small-scale. However, I do still want to caution you from immediately jumping at the biggest you can get just because you believe it will solve all your problems. If you lot want us to tell you what to get, but get a 5" monitor and be happy.
Now, if y'all do want something a scrap bigger or yous have a larger camera that can handle information technology, then a 7-9" monitor is a perfectly viable choice. There volition be some added weight, so make sure all your mounting arms and other tools tin handle information technology. For mirrorless/DSLR, I would stick to 5", but if you lot have a more traditional pro camcorder or cinema camera or even a rigged-upward mirrorless or pocket camera, the 7" monitor can exist a great addition.
Larger than this isn't brash for on-photographic camera use. It'southward just besides big. Nonetheless, they can exist great field monitors for a director or producer at a remote station.
In general:
- 5-7" is the sugariness spot for on-camera use.
- 7-9" works well for larger kits or remote viewing.
- x" or more than are more often than not field monitors and not designed for on-camera apply.
Resolution and Brightness
I'yard lumping these ii specs together because they relate to the panel. When yous are looking for a monitor, these are disquisitional specs, and going for college-quality models can add together to the price.
Resolution, in the simplest terms, is how sharp the screen can be. It also relates to screen size. A small screen tin can get abroad with lower resolution, since the density of the pixels makes information technology appear sharper. A larger screen volition crave higher resolutions. With on-photographic camera monitors, annihilation between 5-9" volition look very skillful in Hd to Full HD. Anything smaller than v" might be able to go away with less than Full Hard disk and still look great.
Go on in mind the specs your camera can output, as well, and make sure the display and its resolutions can support it. For example, if you are outputting 4K, you lot will want to brand certain information technology can down-calibration and has proper mechanisms for zooming in to 100% for focus checking if the resolution is only Full Hard disk. Nowadays, I would say that a Full Hard disk drive monitor is a good option and nearly good monitors offering it.
Effulgence speaks for itself. This is simply how vivid the screen can get. This matters because if you are by and large filming outside in varying degrees of sunlight, you may need a effulgence heave to see the screen clearly. If a monitor doesn't have a super-high brightness setting, you may need an optional hood and, even then, you might not be able to meet the screen. Brightness is another huge reason to option up an on-camera monitor, since built-in displays commonly lack in this central spec or their loftier-brightness modes speedily fire through bombardment life.
Brighter Is Better
This is a harder spec to estimate, because y'all may not really notice any problems with a low-brightness display until that ane day you lot shoot in the sun. If you intend to do a lot of shooting outdoors or want to guarantee that you have a display for all lighting weather condition, and so some monitors marketed every bit "daylight-viewable" offer 1000 cd/m2 (nit) brightness. Annihilation effectually this should be a proficient target for yous.
Deport in listen:
- For resolution, aim for HD to Total Hd at a minimum.
- High-brightness monitors are useful for outdoors.
Better bets for outdoor use are to pick upward a hood or shade to protect from glare and directly lighting.
Waveforms, LUTs, and HDR
While a bigger, brighter flick may be all you were looking for, if you are purchasing an on-photographic camera monitor y'all volition benefit greatly from having extra monitoring tools. Things like LUTs and waveforms should be on your list.
Starting with standard monitoring tools, there are a few things with which you should work. Zoom-in or punch-in settings can be very helpful for checking focus earlier y'all striking Record, especially if your monitor can pull in a total 4K feed to display on its Total Hard disk drive screen. Then in that location are tools such equally waveforms, imitation color, vectorscope, and RGB parade that help with confirming brightness and color in your paradigm.
Waveforms and other related tools are some of the biggest advantages for separate monitors over built-in options. Even when a camera offers advanced monitoring tools, they usually don't offer the same quality, customization, or resolution every bit dedicated monitors. Having greater fidelity and resolution can assistance ensure your exposure and focus are spot-on, which is becoming more than and more so as cameras introduce new gammas and formats each with their own particular quirks.
Guidelines to shoot for other aspect ratios is another option you may want to have to make sure your original footage can work if yous decide to practise a widescreen crop later or vice versa.
LUTs are likely the nigh important, considering these will permit you lot to preview your prototype with basic grades or corrections applied. Monitors usually come with default options for common log profiles (C-Log, S-Log3, etc.). Besides, better monitors volition let yous load upwardly custom LUTs and and then provide quick admission to turn them on and off as yous shoot. This is very beneficial considering you can make certain your exposure and color piece of work for the way yous intend to push the footage in post.
New in the past few years is the proliferation of HDR-capable cameras and devices. Monitors are no exception, offer versions of HDR preview based on receiving HDR signals or by doing a crude conversion of log footage. This is a handy feature to accept, only I wouldn't call it essential only still. What I would think near is having it, so that you can use it for HDR on fix and so use the monitor once again for grading if you connect it to a computer that supports HDR. This is far from the ideal, pro-quality setups used for HDR grading, but it is a dandy showtime for filmmakers looking to try HDR finishing.
More unique features would be things like anamorphic de-squeeze and various others.
Here's a list of features to accept on a monitor:
- Zoom-in
- Aspect ratio guides
- Waveforms
- Vectorscope
- False colour
- LUT support (custom and built-in)
- False color
- Peaking
- HDR preview
Make sure you take a monitor with a wide range of features. Even if today yous don't use all of them, you volition want something that will last as a monitor and tin can be used on many different cameras.
Monitor/Recorder Combos
Another increasingly common option in the monitor landscape is built-in recording. This means that the monitor tin have the incoming video indicate and process and save it into its own format to its own storage. This is essential to go maximum paradigm quality from many camera systems—though mirrorless and DSLRs come across some of the greatest benefit.
Many cameras really can't record their best quality internally. This can be considering the processing isn't powerful enough, or the photographic camera might finish upward generating likewise much rut and accept to close downwards faster. It can besides be a space-saving measure for the compact media many cameras utilise. The HDMI and SDI output can produce uncompressed video at higher flake depths but will demand a recorder that supports it.
Some other things to look out for are camera-specific compatibilities. ProRes RAW is a corking instance. Many new mirrorless cameras, the Sony a7S 3, for example, offer raw output. Nonetheless, they usually only work with select monitors, such as the Atomos Ninja Five, to record. This is just i example, but there are a few bachelor yous may encounter so do some quick enquiry before you jump into a monitor purchase. You never know, the decision might be easy afterwards you look into it.
Consider:
- Monitor/recorder combos are a corking idea.
- Doublecheck that the recorder will back up the camera'south maximum output.
- Raw video output requires additional compatibility and firmware.
Final Thoughts
On-camera monitors can be complicated, so we hope this helps. Some of my personal recommendations would be the SmallHD FOCUS 5" for a bones monitor and the Atomos Ninja V for a monitor/recorder combo. Both are from reputable brands and offering an incredible assortment of features, plus the 5" size is certainly my recommendation for on-photographic camera use.
Be certain to stop by the Comments section, beneath, if you lot take questions you need answered or want help figuring out what is best for you!
Source: https://www.bhphotovideo.com/explora/video/tips-and-solutions/choosing-camera-monitor
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