Matt Townley
Forum Replies Created
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I don’t know why I didn’t think about this sooner, but I just solved my own problem.
If you use the maximize frame option (the ~ key) on the Timeline, it will expand that frame to fill the screen and still treat the Program window, which is no longer visible, as being open and send video to the external production monitor.
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If you have it docked in a panel and it’s not the active tab, as soon as you play the timeline it brings itself up as the active tab in that panel. It’s really quite annoying.
Yes, I can make it as small as possible or just drag it up so that it’s not really showing (which is my current work around), but this still uses space and creates clutter. For a type A person like myself it seems like there should be a better solution. I could be wrong, but it also seems like it is using unnecessary resources to play it when I don’t need it to.
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I just sold my 27″ Cinema display and got 2 Dell U2412M displays instead. I’ve had the cinema display for a few years and after spending a lot of time at other client’s studios editing, I have to say I think 2x 24″ is just about perfect for me. I got them with a dual monitor arm that mounts on the back of my desk and have a single arm for my production monitor. Great setup and these displays are really inexpensive.
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I’ve never personally tried it, but I know people that use a Slingbox for this purpose. I’ve never used a Slingbox, but making some assumptions based on only knowing the concept of them, I imagine you could take an HDMI out of an I/O device (BMD, AJA, etc) and feed your program out to the Slingbox, which they could then view in real time as you work, while talking over the phone to give notes.
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After reading reviews from others on a few other forums, I just bought my first custom foam insert from https://www.mycasebuilder.com. I am really impressed with the quality and their customer service. Certainly not as cheap as a DIY route like this, but surprisingly more inexpensive than I expected; in face, very reasonable.
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Playback Pro with Simple Sync is made just for this. Not cheap, but reliable and purpose-built.
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Zaxcom, Lectrosonics and Wysicom all make 2 ch receivers, but they are all professional level kits and are going to cost more than the GH4 itself. If you’re looking for something in the Azden price range I’m not sure. I know there are wiring kits that will take 2 mono outputs from 2 individual receivers and sum them into a stereo input cable to go into the camera so you get on an L and the other on R without having to use a mixer or active circuitry. Might be a better/more cost efficient option.
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I’ve been really happy with my F&V K4000 Bi-color LED lights. The 3pc kit is great for simple interview situations. I have Vmount batteries for them and can be completely portable, setup quickly and travels pretty light. Not perfect lights and not quite as nice at the Lite Panels, but a heck of a lot more affordable if you’re looking for “reasonably priced.”
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You need to know how your LEDs are balanced before you can know what to correct for.
You use the orange and blue gels to balance a light to match the ambient light. CTO corrects Daylight to Tungsten, CTB corrects Tungsten to Daylight.
So if you are shooting indoors with mostly tungsten light and your LEDs are daylight balanced, you would add some CTO (orange gel) to balance with the tungsten ambient light.
If you were shooting outside in daylight and your LEDs are daylight balanced, you probably won’t need to add any gel.
Generally speaking…..
Soft White (2700K – 3000K),
Bright White/Cool White/Tungsten (3200K – 4100K)
Daylight (5000K – 6500K) -
+1 for this. I was just looking to see if a GH4 group had been added yet and couldn’t agree more. There are a few groups on Facebook but I think there is certainly room here on the COW for a dedicated forum for it.