Premium Members Iain Baird Posted April 11, 2015 Premium Members Report Share Posted April 11, 2015 Guys, maybe I'm missing something here, but what data are you talking about putting below the 16:9? Not sure how (or why) you'd put the Cinetape info there, but most data is coming from the camera which puts out a 16:9 display, no? Sure, there is the monitor generated waveform and vetroscope, but I'd only use that if I were in the rig and DPing a doc or something. Certainly not saying they should stop making these monitors, I'm saying that I want a 7" 16:9 glass bonded 2000 NIT monitor with a level. For some reason, Travsvideo only makes their highest end monitors in 4:3 and I find the 6" too small and the 8" a bit of a sail. That is my opinion (as well as many of the people who opt to use other brands). Just saying they are missing a section of the market. Their reputation for customer service is legendary. To each their own I suppose - personally I like being able to quickly glance at the cinetape numbers to confirm I'm back within the inch to the same number 1, or maintaining a consistent distance to subject while walking - I don't get distracted by it and was able to make do before but it's just another tool to use. The battery voltage info is easier to check on the screen than looking at the on board battery indicator, again something not neccesary but handy non the less. The timecode display I have to admit is mostly just for having a clock on my monitor - serves no real purpose but to fill in some empty space and make me feel better about the 4:3 annoyance. Would I prefer a 16:9, YES but in the meantime I'm liking mine more than any other monitors I've had before, Greenscreen, 8x8 and 7" 16:9. iB Quote Link to comment Share on other sites More sharing options...
Moderators Alec Jarnagin SOC Posted April 11, 2015 Author Moderators Report Share Posted April 11, 2015 Ian, cool about the Cinetape. I was going to use one in China pointed down to measure exact lens height for the OK Go video I did but the wrong equipment showed up. How do you get the info onto the screen (I was going to mount the display on the monitor arm)? Quote Link to comment Share on other sites More sharing options...
Premium Members Iain Baird Posted April 11, 2015 Premium Members Report Share Posted April 11, 2015 Ian, cool about the Cinetape. I was going to use one in China pointed down to measure exact lens height for the OK Go video I did but the wrong equipment showed up. How do you get the info onto the screen (I was going to mount the display on the monitor arm)? The Transvideo has an input for lens data which has multiple display options when using a smart lens but if it's just getting the cineptape info that the only info that comes up. Since I don't use composite video any more for anything I figured I could use the SD line in my Sled for a more useful purpose. I made a Y cable to feed the signal from the Cinetape to both my MDR3 and into my top stage Composite input. I also made a cable to feed from the composite output on my bottom electronics into the Transvideo data input (Hirose) I'm sure I have the pin outs written down somewhere but I was able to get all of the info from Transvideo specs and Preston specs for how to make the cables. iB 1 Quote Link to comment Share on other sites More sharing options...
Premium Members Aiken Weiss Posted April 27, 2015 Premium Members Report Share Posted April 27, 2015 I am 100% with Alec. He basically biscribed what I am looking for... Quote Link to comment Share on other sites More sharing options...
Marianne Exbrayat Posted May 5, 2015 Report Share Posted May 5, 2015 Just to clarify the monitors native screen ratios: The 5" StarliteHD and 7" RainbowHD are both 16/9 native screens. The CinemonitorHD family has 4:3 screens, with the bottom used for Horizon, Voltage monitoring & alert, and anything else you might want there. If you do it all on a live TV, you can use the bottom part to display lens information (Cooke, Angenieux i/lens + Arri lens data from camera decoded from the SDI) including depth of field... The reason for staying with this shape is that we get a better performance from the screens than comparable 16/9 sizes. Not just from an optical performance pov but also from a ruggedness pov (max & mini temperatures etc...). You can shoot in full sun with your Cinemonitor in Death Valley mid-Summer and the monitor will be fine. It will start up immediately in extreme cold, while others will just not even turn on. We just do not want to deliver a monitor that will let you down in conditions that are not that unusual in the production world. The "extra room" of the Cinemonitors is at the bottom of the monitor, not on the sides where it would eat the scenery. We now modify a lot of Yokes to drop the Cinemonitors lower (below the rods) which also makes the bottom of the monitor disappear from sight if that is what one wants to do. Best to all, Marianne Exbrayat marianne@transvideointl.com Quote Link to comment Share on other sites More sharing options...
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