Using these cameras, you can often take advantage of an external monitor for additional control. Remember, external monitors can offer features like focus assist, although we do have that built in now. We also have the ability to take advantage of things like false colors or overlays like waveforms and histograms that make it easier to see what's going on. On the pocket cinema camera, it uses a very small connector, and you need to go from a micro HDMI. So, I can go from the micro to a more standard HDMI connection, which makes it easier to attach to an external monitor.
Now, once you have an HDMI signal, there are lots of professional adapters out there, from companies like Black Magic, AJA and others, that go from HDMI to SDI, making it easy to attach pro video monitors. Remember, the cinema camera and the production camera do offer a dedicated SDI slot. You have that right on the side there, it is SDI out, and you can take that and run it over to a monitor. For example, I've done just that. You'll see here on the large monitor, I've run my cable from the camera into the back, and I'm monitoring via SDI.
This gives me some additional choices. For example, this particular production monitor from Panasonic, has the ability to bring up a waveform monitor. I can see blue, to make it easier sometimes to check focus, or other details. And, I can even go to a one to one view if I want to see the full quality. Now, other things as you're working will have additional overlays or options. This particular one does offer a very useful ability to see a waveform monitor to gauge exposure. And many smaller, portable HDMI based monitors or portable HD-SDI monitors do have several other tools designed for use in the field.
The other benefit, too, is in a shooting situation where you have a large set with multiple people on it, you can have a larger display. This way, not only do you have a better image for them to see, but you keep extra set of fingerprints off the back of the camera, making it easier for you to control things, and everyone else to see what's going on.
Author
Updated
3/22/2016Released
3/12/2014- Examining the camera bodies
- Attaching and using lenses
- Extending battery life
- Preparing SD cards for recording
- Navigating menus
- Recording audio
- Adjusting camera settings
- Monitoring and recording
- Transferring footage
- Working with DaVinci Resolve
- Keeping the camera up to date
Skill Level Intermediate
Duration
Views
Q; This course was updated on 3/31/2015. What changed?
A: We added two new chapters covering the Blackmagic URSA and Blackmagic Studio Camera.
Q: This course was updated on 03/22/2016. What changed?
A: We added eight movies to cover the new URSA Mini, Micro Studio, and Micro Cinema cameras and Blackmagic firmware changes.
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with Eduardo Angel46m 22s Intermediate
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Introduction
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Welcome49s
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1. Getting to Know the Blackmagic Cameras
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2. Powering the Camera
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Tips to extend battery life2m 51s
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3. Attaching a Lens
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Keeping the sensor clean2m 37s
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4. Storage Requirements for Blackmagic Cameras
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Checking disk speeds1m 13s
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5. Blackmagic Menu System
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Navigating menus1m 44s
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6. Advanced Options to Solve Problems
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Getting focus5m 55s
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Making adjustments3m 6s
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7. Capturing Audio
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Using the built-in mic2m 35s
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Attaching a microphone2m 4s
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Setting microphone levels6m 17s
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8. Adjusting Recording Settings
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Choosing a recording format1m 35s
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9. Monitoring and Recording
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Monitoring dynamic range2m 2s
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Using the built-in slate2m 23s
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Using Blackmagic UltraScope11m 2s
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10. Transferring Footage and Getting the Footage Off the Camera
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Transferring files from SSD1m 10s
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11. An Introduction to DaVinci Resolve with Robbie Carman
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Introduction to Resolve2m 31s
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Resolve for editors5m 19s
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12. Keeping a Blackmagic Camera Up to Date
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Updating a Cinema Camera3m 33s
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13. The Blackmagic URSA
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14. The Blackmagic Studio Camera
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15. The Blackmagic URSA Mini
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16. The Blackmagic Micro Studio Camera and Micro Cinema Camera
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Conclusion
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Wrapping up40s
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Video: Attaching a monitor with HDMI or SDI