BTM_Pix

As I said, the apps have additional tools beyond what the Panasonic app does though and this mitigates the lower resolution for me. FieldMonitor is more comprehensive but Gmonitor has the same edge detect function. The only solutions if you want to maintain the resolution is to either use cable and a regular field monitor that has its own focus peaking or my current pimping product of choice the CineEye which will give you a combination of both 1080p quality and wireless transmission to an app with the extra focus tools.

I've mentioned this site before but it allows you design foam cutouts for gear. Its predominantly designed for Peli and SKB cases etc. but can give you a good idea of how much space you'll need in a new bag. It doesn't include every brand or model of camera but there are enough to give you a good idea and if you want to be more precise for your own specific gear you can import images of it to trace. This is a really great tool if you are as spatially challenged as I am. Which explains why I've just managed to do this and fit a C100, GH5, MavicPro with controller, two lenses, a Rode NTG2 and spare batteries for all of them with room to spare in a Peli1510 when in my real 1510s with my haphazard arrangements I'm lucky to fit half that in ! https://mycasebuilder.eu

Yes, it would work exactly like that. To be honest though, for this application, the path of least resistance would be to buy FieldMonitor for iOS or GMonitor for Android and use your phone. Both of them tap into the streaming signal as per the Panasonic app but are full screen and have additional focus tools that will make it far easier to do. A lot less hassle with cabling etc as well. Cheaper too.

The camera sends the lens capabilities back to the app to let it know which functions to disable. What you have circled there is the AF selector that opens up the options (multi point, single point etc) when you click it . It also enables the "manual" focus controls for AF lenses to be accessed when its active by swiping up. If you put an AF lens on the camera you will see these options appear and then disappear again if you swap to a manual lens. If you put an AF lens on but your overall focus setting in the camera is MF then this option is also greyed out as, of course, you have no need to change AF modes if you are set to MF.

The transmitter you mean? It can actually be mounted flat on the roof of that cage with a 90 degree adapter and leave enough clearance for the monitor above it. But yeah, once you get any sort of rig involved the options increase a lot. As does the form factor of the whole package so its a lot less Micro

Might be a daft question but why don't you just use the USB audio recording option that the S7000 has built in to go straight out to a small SSD drive like a Samsung T5?

I'm sure we've been here before but.... The only solution is to use your phone with either FieldMonitor on iOS of GMonitor on Android. Both will stream the signal over wifi and offer you enough focus and exposure tools to offer a solution. The resolution is limited but being able to go full screen on a larger screen and the additional focus tools will make up for it.

Shhh...I have one gathering dust in my storage locker doing just that and was hoping to offload it It cost me £15 at a computer fair about 8 years ago because the stall holder thought it was some sort of office dictaphone device.

Its a step up in price but Sony's own 28mm f2 might be an option. Its more of a soufflé than a pancake but it doesn't look too unwieldy on the A6500 Its full frame as well so a bit more versatile if you change to an A7xx Decent run through of it here with the A6500.

If you are talking about for APS-C and don't mind manual focus then the 7Artisans 25mm f1.8 or Meike 25mm f1.8 are both pretty compact. Pretty compact price too.

Yeah thats the beauty of it in that you can scale up or down what monitor you use with it depending on circumstances and there are a few 3 inch Android phones around now that are ideal. Only thing to be careful of with older devices like the iPod Touch is that it needs to be a model that can work on 5.8ghz wifi. I really like the Sidefinder thing that SmallHD did for the 500 series. Pity someone doesn't do it for other monitors as having a 5" monitor in that side on configuration makes so much more sense with narrow cameras.

True enough but its the NPF batteries that add it back on. Having said that, my Ninja V even using one of the slimmer NPFs would have to do some serious low carbing to get down to my phone's level of slenderness Yeah, the fixed battery is a limitation but on the upside finding alternative power sources to keep the phone running is a lot easier.

Its a tough ask these days finding one with AES3 but if you don't mind using a cheap adapter to get to SPDIF then there are a couple of Tascam options at not too horrendous a price. The SS-R100 will give you the rack mount option for just under £400. https://www.thomann.de/gb/tascam_ssr100.htm If you want to save some money, have it double as a field recorder and actually get a higher spec on the recording front then you should be able to pick up a used HDP2 for about half that price. Its a bit of a dinosaur by modern field recording standards but it will get you that digital input that you need which the newer ones lack. https://www.soundonsound.com/reviews/tascam-hdp2

Hey @mercer This might seem like a sledgehammer to crack a nut but bear with me. This is the Acsoon CIneEye HDMI that enables you to transmit the HDMI camera output to your Android or iOS device over wifi up to a range of about 100 metres. For just over £200, it does seem slightly overkill to spend that amount when you are only going to be transmitting about 2% of that range and a cynical view would be that used in the way I've got it here makes it is a very, very expensive virtual HDMI cable . And you'd probably be right in that cynicism or perhaps wrong depending on how you work. Starting with the practicals, here is how I have it mounted to the cage. Initially I was finding it slightly awkward to find a good position to mount it because its tripod mount is on the base so I used the cheap mini ball mount to effectively change it to a 90 degree angle. One happy accident of this is that having the adjustable ball head means that when it comes to changing batteries, the ball head can be loosened and the CineEye can be swung away. The phone is mounted with a SmallRig monitor mount and a cheap adjustable phone holder. This combination means that it can be oriented in every direction so you can have standard rear facing, tilted side view or of course front facing. The mount also means that you can just fold it flat when in front facing mode to make it compact to go in a bag. So once its mounted, what can you do with it ? In short, a lot. It offers a range of selectable monitoring options including Grey Scale Monochrome Focus Peaking Zebras Safe Mark Center Mark Histogram LUT loading And of course a false colour mode There are also options to punch in and also some anamorphic de-squeeze mode but I haven't tested those. The big question of course with these wireless solutions is latency and the figures quoted by Acsoon are 140ms for iOS and 200ms for Android and whilst I've only tested it on Android and wouldn't really challenge their figure. In practical terms, I'm OK with that sort of latency that I'm getting with it in use and bear in mind that my Samsung phone (and possibly yours) needs a build of their app that uses software decoding so is likely a worst case scenario. I haven't used this combo in a heavily saturated WiFi area (though to be fair, the amount of different routers in my house probably does replicate a small town ) so I can't give any idea about performance impact but the CineEye does actually seek out the clearest WiFi channel to use when it boots up so at least there is some method to try and counteract it and the channel can also be set manually. What else can it do that a monitor can't to justify getting one? Well for one thing, as its wireless you can just unclip the phone and go and monitor from anywhere around the set which is a boon for anyone working on their own who is positioning lights or altering a mic boom etc to not have to go back to the camera to confirm the changes. The signal can also be shared by up to four different devices so if you are working in a larger crew then they can have their own feed or you can have it on a bigger tablet on a stand etc Another aspect that can also be beneficial using phones to monitor on is that a lot of them have very high brightness levels. The overall form factor is also helped by how much slimmer a phone is compared to a monitor. As both the phone and CineEye have internal power (the CineEye run time is about 4 1/2 hours) then there is an additional big saving in not having to use additional power. Does all this mean that its better than a dedicated wired monitor ? On a technical level in terms of resolution and latency then thats a firm No. However, its certainly more flexible and far less hassle to power and depending on how you work that might make it more appropriate. More product info here https://www.bhphotovideo.com/c/product/1485196-REG/accsoon_cineeye_wifi_full_hd_5g.html

See, so there was something audio related for you in the thread after all

Coincidentally, I was just about to post that Atomos have been tweeting about demonstrating it working today at the Inter BEE show. Whether that makes it any closer to anyone else being able to use it is another story though.

I think unless you literally have to do work in the field, rather than just would like the option to sit and edit video in Starbucks , then the price of this thing would give me pause to consider the desktop option for the price/performance ratio but also the expandability. I find that there is also a really important discipline aspect to it as well as with a desktop by you having to have it in a fixed place and I find that far more conducive to concentrated working when I have to go to a place with a desk and a chair. With a laptop you can sit on your arse on the couch in the living room and work but it quickly ends up being just the sitting on your arse on the couch part as you are in living room mode rather than workspace mode and lose concentration. Its worth bearing in mind of course that if you did want to sit on your arse on the couch or edit in Starbucks then with a network/decent internet connection you can easily remote back to the mothership monster motherfucker beast desktop from a small laptop and have it do all the hard work. You can pick up a 2015 11" MacBook Air for less than £300 which is ideal for that role and many others. The main point I'm getting round to though is that going back to working at a desk is a good move as we all need to buy these 32:9 monitors ! All that processing power counts for not a lot if you're spending most of your time scrolling and re-sizing.

It was using just the LCD panel that I had for a Pi rather than the Pi itself. Like this one If you actually did want to incorporate a Pi into the equation though, you could use an HDMI to CSI-2 bridge such as this one to get the signal into it in combination with OpenCV to make a solution with monitoring functionality such as false colour, focus peaking etc.

The Pi has a hardware encoder/decoder too, albeit not at 4K. There is no doubt that the extra £50-60 for the Jetson Nano will give you more scope to do more things both in the short and longer term, although the Pi4 has a newer, faster CPU the GPU in the Nano makes it a better package for a lot of applications. The M.2 slot is actually an M.2 Key-E interface that is primarily intended to add a Wifi/Bluetooth interface which the basic unit lacks, unlike the Pi. You can get adapter shields to enable you to add the drives though but its more cost and more form factor as well. The community aspect of the Pi is obviously far more established so you'll find a ton of resources for it to do a myriad of different things and the drivers etc are more mature whereas with the Jetson Nano its very early days in comparison and most users of them (such as me ) are using them for developing machine learning projects so you might not find as much experienced help for the Nano for your particular application. Having said all that, because of the commonality of key parts such as the HDMI CSI converter, screens, drives etc then you won't lose out by going either route and then changing your mind and going the other way ! Comparison here between them for general use.

Lets get the negatives out of the way. The file management restrictions of iOS (which were beyond LumaTouch's control) were a major hassle but that has by and large now been addressed with the release of iPadOS. Another drawback, which again is beyond their control, is that there is no support for ProRes. This may not be an issue for many users but it does rule out being able to use it even with any non-RAW footage from the BM cameras without transcoding so it is something to bear in mind. Ditto if you're using an Atomos etc as the recording medium for a DSLR/Mirrorless. The restriction to one LUT isn't great if you're using LOG or any flat profile that requires a corrective LUT as you then can't add a "creative" LUT on top of that. Some sort of stabilisation would be welcome, although there are stabilising apps for iOS that you can pre-process your footage if you don't mind the extra step/time. On the upside.... The biggest upside is that there is plenty of upside. LumaFusion isn't just a very good editing app for iOS, its a very good editing app full stop. I initially started using LumaFusion strictly as an in the field editing system for cutting and transmitting pre-match build up pieces in sports stadiums but I actually found I liked it enough to use it as an editor in a lot of non mobile situations where I would normally have used FCPX. Its fast, responsive, logical and unless you have that need for using ProRes and/or multiple LUTS then it can be all the editing system most people actually need. The integration with the Gnarbox 2.0 looks pretty compelling, albeit it at a price, but it glues everything together as a viable professional system with ingesting, transcoding and backups etc. The XML export update is very close to release which will move the story on quite a bit as well as you can then do the edit on your iPad and then finish it off in your "real" desktop NLE if you need the extra options so you can have the best of both worlds. One other thing to note is that everyone that I've ever dealt with at LumaTouch has been helpful and friendly and you can see by how far the system has developed that they care about developing it further and listening to users. Having said all of that though and returning to your original question of can it be used in lieu of Resolve then you need to look at how deeply you use the extra functionality of Resolve and how often you would come up against the bumps in the road that I've outlined. If you are just using h264/265 files with a picture profile that can be corrected with the inbuilt controls and you only then need one "creative" LUT then the chances are it could be all you need. If you are using Cinelike D and then the Leeming LUT for example as a corrective and then always add a film simulation LUT on top then you've immediately got a problem. You should go to their website and download the User Guide to gauge how restrictive its features may or may not be for the way you would use it. https://luma-touch.helpscoutdocs.com/article/87-reference-guide

The Jetson Nano is probably overkill for what you need it for. A company called Auvidea make an HDMI to CSI-2 interface that plugs into the camera port of the Raspberry Pi (even the Zero) to enable you to record up to 1080p25 on them. The interface is around £55 but there are similar products available cheaper. With the Raspberry Pi 4 having USB3 ports you'll be able to setup a small SSD capable recorder with a 5 inch touchscreen for about £140-160. Making your own solution also enables you to add additional functionality like auto file backup, upload to an ftp server etc etc

I don't know where you're based but CEX in the UK currently have one for £125. https://uk.webuy.com/product-detail?id=9338716001488a&categoryName=tv-media-players&superCatName=electronics&title=blackmagic-design-hyperdeck-shuttle-2-a MPB are always a good source of used Atomos monitor/recorders. They don't currently have a Ninja 2 but they have quite a few of the later Ninja Blades for a fair price, which will give you a slightly bigger screen and a bump in resolution over the Ninja 2. https://www.mpb.com/en-uk/used-equipment/used-accessories/used-photo-and-video-accessories/used-other-photo-and-video-accessories/atomos-ninja-blade/sku-901933/ The NDI add on is another Atomos product announcement that is still on the missing list unfortunately, which pisses me off because it was a contributory factor for me buying the Ninja V. As was the ProResRAW function of it for the Z6, although I was at least cautious enough on that one not to have have held off buying the Z6 until the update actually landed. The only one of the three AtomX modules that has made it out into the wild thus far is the SDI one, although I suspect the Timecode one might be appearing sooner rather than later now they've acquired the Timecode Systems company. File transfer with the NDI module isn't currently listed as an option.

I don't think you can go far wrong with the Ninja V in terms of what it offers you now and for future expansion. If its just for what you need right now, records on SSD and is cheap then a used Hyperdeck Shuttle V2 would fit the bill and will usually run you between £120-£150. No screen of course and whilst its predominantly a studio device it does have an internal battery that can run it for about an hour and a half so it can be pressed into service as a field recorder. A halfway house between the Shuttle V2 and the Ninja V, again for what you need now of doing 720p50, would be a used Atomos Ninja 2.

The general consensus is that its there but reduced. There are a couple of tests on YouTube such as this one.

Sigma don't publish figures so its all a bit subjective but as way of a quick crude illustration, its a pretty bright day here today so here is the DP0 alongside a Panasonic GX80 which is roughly representative of a lot of average LCDs. The DP0 is significantly brighter (which it needs to be as unlike the GX80 it doesn't articulate at all) and whilst I prefer using it with the loupe, I've got no issues with the brightness using it in these sort of conditions. You'll have to get someone to do something similar on an actual FP for a more definitive illustration but bear in mind that the LCD on the FP is two generations on from the DP0 (2.1million dots versus 900K dots) so I would expect a brightness bump to have accompanied the resolution increase.