FS7: Monitor thoughts

Who is the monitor for? Client? For you to check exposure etc?

If it's just for you and you want LUTs, scopes etc the best option is the Zacuto Gratical. Mucho $$$ though...
 
Well I have did use my HDMI DP6 as a personal monitor on the F3/FS100

To some extent that is now made redundant by the onboard EVF - but I still prefer operating off the bigger monitor when Im not going for a small build.

But the FS100 could give Composite to my (hdmi) DP1 as a director monitor, and my F3/Shuttle had a spare HDMI to give feed the DP1 to feed to director.

So in the 'old days' I could run 2 (hdmi/compostie) monitors off my rigs one for me DP6 and one DP1 for director

Ultimately Im paying the price for cheaping out and not getting SDI monitors from day one (when I owned a 5d)

Now I cant run 2 hdmi/composite monitors without doing my trick of feeding SDI into my hyperdeck shuttle and taking a second hdmi out from there!

Unlike the 5d, all the sony cameras dont have an RGB histo - so all of a sudden Im kind of stressing about white balance - normally I don't stress becuase Im using my own known lights, but for this corporate I will be in a 'venue' that will doubtless be full of odd lights - and the last job I did like that the click WB function was not even working on the camera giving Highligh or Lowlight errors.. result completely having to guess the WB and being in Log mode I was not getting much clue of colour from the screen

Basically I want all the functions of the o7q but in a 5-6in monitor that I can sensibly mount at the side of the camera when it is on the shoulder.

If sony had RGB histo and reliable LUTs 90% of this stress would go away.

S
 
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My DP6 has been with me through hell. I love it (despite the slightly warmer picture).

But my new 7Q+ arrived today and with the free SSDs. It was too good an offer to refuse...
 
I like the 7Q but do miss the size of the TV Logic 5.6 while operating . It was perfect up on my F3's front shoe mount. However the FS7 sits higher on my shoulder now because of better ergonomics with a decent EVF. So while I would still like to use a little on board - its trickier. Its for me not the client so I think I'd like it hanging off the right side of the camera -which as Morgan says is kind of wonky . I can keep my TV Logic but it doesn't support LUTs. The 7Q+ is great but a little large. Why can't everything be simple like it was when I was young and just shot with a B4 camera?

Questions :
How are you guys mounting the 7Q while operating? I'm trying a Berkey top plate with an articulating arm which gets it in the right place but in my experience they always get loose at the point where they screw into the cheese plate. Its probably an inexpensive arm though. Do the better ones lock down at the plate itself better? I don't have problems with the arm not locking , its just that pivot point at the plate. What's a good one?
I also want to be able to mount an LED Sungun when needed and an arm seems best for this with the same issue.

BTW - Liam - Beware the Marshall monitor. If its the same 7" line I've used at a local clients- the color peaking is worthless as you can't adjust it to get rid of false positives. Likewise the waveform is just unreadable. Pretty picture but a complete waste IMHO.
 
Here is my thought process at the moment.

Im going to use a recorder rarely, I own a recorder already. (shuttle)

I want an operator monitor, small and to the left of the camera. This monitor must pedal through luts/no lut and have good exposure tools - my ideal exposure tool is an RGB WFM overlay - simply one can align RG and B when pointing at a grey card to do many useful things with colour.

The 07q is too big for this role.

The DP7 seems to offer luts, WFM but maybe not RGB alignment.

So it is 90% there on specwise paper to perform the task of operator monitor.

It only stands or falls on the GUI - I need it to be super simple - lut on lut off basically.

Employing SDI on the Dp7 gives me another SDI to record to if required and the HDMI out will work for my directors monitor DP1.

Some time in the future I may swap out the DP1 and Shuttle for an 07q especially if I get the back unit and start recording the more complex codecs.

The Dp6 should be upgraded with the DP7, today, as it is broken, the DP1 and Shuttle are not broken but replacing them with a 07q plus would be desirable as funds allow.

S
 
Well that is interesting - seriously - thank you

7.9*5.1in DP7
7.9X6.1 07q

My Dp6 is way smaller, (or feels it!) ive used the DP7 and I thought it was about the same size?

Maybe back to the drawing board.. there is that little transvideo - Ive sent them some questions but no response as is typical of transivideo who can be IMO a bit snotty.

S
 
I've been doing a corporate this week and had the 7Q on the side, hanging off via magic arm, on the top and on the back all with zero issues. Maybe the regular odyssey 7 would be a good shout if you don't want a recorder?
 
Not really.. Just ive been pushed away from the DP7 which has obviously grown since the DP6

For that this thread has been of genuine use!

My 'dream' operator side monitor is the little Transvideo but with an (offcentre) finger focus button. (and LUT support and RGB alignment)

Ive enquired with them as if that is possible.

The other option is to revisit other EVFs

There are a couple of used TVlogics around, I could get one of them and sit out til NAB or whatever..

Time to go to a show or a shop and have a poke around I guess.

S
 
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The DP7 oddly also uses considerably more power than the 7Q when it is only used as a monitor. Moreover the DP7 currently does not pass the LUT along to an external monitor. Of cours sit supports more LUTs than the 7Q does at the moment. Both manufacturers are supposed to fix those limitations so it may depend on who you believe more. I vote for the 7Q on that score. Also be careful the DP7 LED though cheaper has terrible color. So just for a monitor you could get a n Odyssey 7 which looks as good as the DP7 OLED for half the price.

I wish TVLogic had kept up with the times. They have fabulous exposure tools (great zebras and adjustable false color) but a terrible interface so its just too much trouble to use more than one. I keep it at red peaking which is very accurate. If they put a few more buttons on it and had LUT s it would be the ticket.

Sam take the plunge and get away from HDMI - a terribly unreliable cable.
 
More good info thanks Len.

I certainly want to be able to pass a Lutted image to the directors monitor - so the DP7 falls over on that front too!

I could pick up a cheapie SDI for that purpose but my DP1 has been a trooper. (also a director can live with SD IMO)

Im well aware that HDMI sucks and also as I eye up a BMC4k the issue comes to the fore even stronger.

S
 
I would have gone with the 7 just as a monitor, but the possibility of recording, User LUT's , 4 camera multi stream monitoring and switching and 2 SSD's was too hard to pass up on the 7Q+
 
You dont need to convince me it is a good tool - especially with things like the A7s drifting around in the back ground (and the IO industries box cam) - just I think it is a fork where I want a spoon.

S
 
Here's how I'm mounting the 7Q onto a Wooden Camera Nato Handle with a custom D-Tap made by Olof from Westside AV powering both the camera and the 7Q. This is probably as light and sturdy a setup you can get with the 7Q. I barely notice it's there on my shoulder. I got the 7Q mounting bracket off E-Bay for really cheaper. I think it was $15 or something like that.

It's great for R&G and on a Tripod as well

mount01.jpg
 
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