CARY, N.C.—SmallHD has unveiled its new OLED 16 4K production monitor that combines OLED’s contrast ratio, exceptional color accuracy, customizable dials, Wi-Fi integration and set-ready construction for on-set workflows.

“Our new OLED 16 4K Monitor addresses the need for infinite contrast, true blacks, shadow detail, precise color reproduction, and zero haloing in a form factor able to withstand the rigors of production,” said Matt Eidenbock, product manager for SmallHD.

The 16-inch production monitor offers 3840 x 2160 (UHD) resolution, true 10-bit color (99% DCI-P3 / 97% Rec.2020), and a 1,000,000:1 contrast ratio for critical exposure control and shadow detail.

“Designed to enhance DIT and DP workflows, it’s lightweight, rugged and comes with professional-grade I/O, multiple mounting points, integrated Wi-Fi functionality, and four multi-function dials that let users customize the way they navigate our award-winning PageOS toolkit,” said Eidenbock.

The monitor is lightweight and portable. Its rugged form factor is an optimal panel size for side-by-side viewing.

The OLED 16 is designed to mount easily on DIT carts, DP stands or at Video Village. The unibody chassis is crafted from aircraft-grade aluminum, and the monitor weighs 10.4 pounds (4.72 kgs). A Smart Rail Connector and 100mm VESA-compatible mount offer multiple mounting points for versatile power and accessory configurations.

The monitor offers professional-grade I/O, including: four 12G-SDI in/out, one HDMI 2.0 in/out, one 4-pin XLR power input, one USB 2.0 (5V / 2.4A), one USB (5V / 1.5A), one USB-C (5V / 1.5A), RP-SMA Wi-Fi antenna connector, 1x RJ45 10Base-T/100Base-TX Ethernet and two 2-pin locking outputs to power external devices like Teradek wireless solutions.

A joystick/wheel, function/menu buttons and four machined dials on the lower front of the monitor offer customizable control over the included PageOS toolkit, including waveform, vectorscope, EL Zone, multiview, false color and LUT workflows.

More information is available on the company’s website.

RALEIGH, N.C.—SmallHD today released a major update for its PageOS software with new features such as Fleet Control, portrait mode, expanded camera control and downstream look up table (LUT) support on 4K production monitors.

The new features reduce setup time and improve consistency on set as well assist users efficiently manage complex monitoring workflows for a variety of production types.

“Our customers are working faster than ever, often across multiple cameras, monitors, and formats on the same set,” said Matt Eidenbock, product manager at SmallHD. “This PageOS update is about removing friction—from managing an entire fleet of monitors to supporting vertical content and camera control in one place. Crews can now spend less time configuring gear and more time focusing on the shot.”

The new Fleet Control capability enables users to manage all monitors at the same time over a network from a desktop app. Fleet Control makes it possible to update firmware and software across all monitors at once; quickly push pages, tools and LUTs to multiple monitors; organize monitors into groups; and maintain consistent color and configuration across the fleet.

Portrait mode presents menu layouts optimized for vertical shooting, eliminating landscape-locked workarounds.

Canon Camera Control is now available, which saves time and effort adjusting Canon camera settings directly for a SmallHD monitor. Canon control is available for the Canon C70, C80, C300mkIII, C400, and C500mkII.

Camera control via dials is now available for the Quantum and Ultra 10 series monitors. Users can assign specific settings to each dial, enabling tactile control for ISO, Shutter Speed/Angle, White Balance, Internal ND and other settings.

The new downstream LUTs feature on 4K production monitors shares graded looks from a 4K production monitor to every village monitor so the entire crew stays aligned on the creative intent without needing more gear.

Download the free update from the company’s website.

CARY, N.C.—SmallHD has launched the Quantum 27, a new 26.5-inch Quantum-Dot OLED monitor designed to deliver postproduction image quality in a compact, set-friendly form.

Building on the Quantum 32, which was launched in 2024, the Quantum 27 offers the same display technology in a smaller, more versatile chassis that’s well-suited for multimonitor setups.

“The Quantum-Dot OLED panel is truly stunning, and we heard from our users that they wanted more flexibility,” Matt Eidenbock, product manager for SmallHD, said. “The Quantum 27 offers the same incredible image quality as the Quantum 32 but in a more manageable size, making it easier to deploy multiple units and speed up decision-making on set.”

Continuing the partnership with Samsung Display, SmallHD is using Quantum-Dot OLED panels that directly emit narrow-spectrum RGB light evenly in all directions, delivering uniform luminance of up to 1,000 nits, extending color gamut coverage to 99% of DCI-P3 and enabling a viewing angle of up to 60 degrees. Consistent color reproduction across the entire screen allows for precise creative decision-making and ensures accurate calibration, SmallHD said.

The Quantum 27 was optimized for set life by offering such features as a handle and feet for easy handling as well as a Universal 100-millimeter VESA mount and ARCA Rail on the back for easy mounting. This monitor includes dials for tactile control and is about 6 pounds lighter than the Quantum 32. Power features include 2x two-pin LEMO power output, a USB-C power output and a USB-A power output. It is also compatible with either Gold Mount or V-Mount battery brackets.

PageOS powers the Quantum Series monitors, the intuitive monitor control center that has become ubiquitous on movie sets. Features include exposure tools like EL Zone, Waveform, Vectorscope and Monitor Calibration Wizard with Calman integration.

More information is available on the company’s website.

RALEIGH, N.C.—SmallHD has launched its durable, bright Ultra 7 monitor, the new flagship in its Smart 7 Series.

The Ultra 7 is powered by the same technology that drives SmallHD’s 4K production monitors. It integrates with Teradek’s Bolt 6 wireless platform and is engineered to perform in any production environment, the company said.

“When we set out to design our next generation of ultrabright handhelds, we knew we had to create a monitor that was a major leap forward,” said Greg Smokler, SmallHD vice president of cine products. “Ultra 7 combines the processing power of our 4K production monitors with a rugged chassis and heat-management system built to withstand the harshest production conditions.”

Ultra 7’s color-accurate touch screen can display up to 2300 nits full-screen luminance. The monitor provides the I/O needed to meet the dynamic needs of cinematic productions, including 6G-SDI inputs for ingest and passthrough of up to 4Kp30 video signals, enabling critically accurate focus and detail when zoomed in pixel-to-pixel. Dual 2-pin power connectors enable users to output power for accessories, SmallHD’s PageOS software can be controlled flexibly via touchscreen or joystick. Large tactile buttons enable customization and function access, the company said.

The Ultra 7 is SmallHD’s first IP-Certified monitor at IP53, defined by protection against ingress of liquids and fine particles. A sealed heat management system allows the Ultra 7 to operate in temperatures ranging from 0 to 40 degrees Celsius (32 to 104 degrees Fahrenheit). The machined chassis is strengthened by a new design that includes raised edges protecting the front-glass of the display and shock-absorbing silicone bumpers that help with tumbles and impacts, it said.

The new monitor incorporates a reimagined quick-release sunhood, which is sold separately. The sunhood clips securely in the front of the monitor with hidden magnets rather than requiring tools or screws, making it fast to convert to a three- or four-sided hood. The new sunhood is constructed with an anti-reflective felt underside that protects the monitor glass when the hood closes and transforms into a durable cover, it said.

The Ultra 7 can be purchased with a fully integrated Teradek Bolt 6 transmitter or receiver inside a chassis that’s the same size as the standard model. The monitor with an integrated Bolt 6 will offer a new rugged antenna cap to reduce damage. It will be available with Bolt 6 750 and 1500 models. Ultra 7 RX kits will ship with handles, a padded strap and a Wooden Camera Micro Battery Plate (GM, VM, or B-mount), it said.

The monitor offers integrated Ethernet and 5-pin USB port that enables PageOS-integrated camera control options anchored to every page for ARRI, RED and Sony VENICE camera. TX and RX models will support wireless camera control via 6GHz spectrum, it said.

SmallHD has priced the Ultra 7 at $2,999.

More information is available on the company’s website.

The Television Academy has announced the recipients of the 75th Engineering, Science & Technology Emmy Awards honoring an individual, company or organization for developments in broadcast technology. The award ceremony will be held on Wednesday, Oct. 18, 2023.

"Advancements in technology are a fundamental part of television production and greatly contribute to the elevation of the storytelling process," said Frank Scherma, chair of the Television Academy. "We are honored to recognize these distinguished and talented engineers, scientists and technologists who are at the forefront of pioneering fundamental advancements in television and storytelling."

"The Engineering, Science & Technology Emmys have always recognized domestic ingenuity as well as major innovators from around the world," said committee co-chair Barry Zegel.

"Half of this year's recipients are headquartered outside of North America," added Co-Chair Wendy Aylsworth, "and it's exciting to see how they are changing the television industry."

The Academy said that the Charles F. Jenkins Lifetime Achievement Award, which honors a living individual whose ongoing contributions have significantly affected the state of television technology and engineering, will be given to Birney Dayton. 

Television technology pioneer, Birney Dayton, was one of the founders as well as CEO and CTO of NVISION, which he ran for 20 years. With the goal of building products to support and drive the development of high-definition television, NVISION has been lauded for their innovative products in digital audio, HDTV routing and other broadcast facility products. Prior to NVISION, Dayton was vice president of engineering for Grass Valley Group leading the development of digital products that streamlined the routing of digital signals through production and operations centers. An innovator in bringing fiber optics to the world of television, he built the first fiber-optic transmission system for over-the-air television, used for the opening ceremonies of the 1980 Olympics. In the late 1980s, Dayton chaired the systems analysis working party of the ACATS (Advisory Committee on Advanced Television Service), which tested and selected the best-of-breed technologies to establish the digital television distribution standard that continues to operate throughout North America. In addition, he helped develop the Society of Motion Picture and Television Engineers (SMPTE) analog and digital component video standards, was co-chair of the SMPTE high-definition electronic-production working group and was awarded the SMPTE Progress Medal for his numerous industry-changing digital audio products and technologies. Dayton has authored numerous industry papers and currently holds 15 patents.

This year's Philo T. Farnsworth Corporate Achievement Award, which honors an agency, company or institution whose contributions over time have significantly impacted television technology and engineering, will be given to the National Association of Broadcasters (NAB).

The National Association of Broadcasters is the voice for the nation's radio and television broadcasters. As the premier trade association for broadcasters, NAB advances the interests of their members in federal government, industry and public affairs; improves the quality and profitability of broadcasting; encourages content and technology innovation; and spotlights the important and unique ways stations serve their communities.

The Academy also announced that this year’s Engineering, Science & Technology Emmy Awards will be given to: 

• Recipients: Chris Deighton, Richard Mead, Adrian Jeakins, Evangelos Apostolopoulos for the Brompton Technology Tessera SX40 LED video processor. Brompton Technology's Tessera SX40 LED (light-emitting diode) video processor has been a key enabler of the revolution in using LED screens for virtual production. To make LED screen-based virtual production even possible requires high-quality, artifact-free processing. The SX40 has become a significant ingredient in a winning recipe utilized in virtual production studios worldwide. Software upgrades have further improved performance and optimized virtual production workflows, ensuring the greatest possible flexibility for the creative team while delivering the gold standard for color accuracy and on-camera visual performance.
• Recipients: Steve Rosenbluth, Thomas E. Burgess, Konstantin Smola, Glen Winchester for the Concept Overdrive Motion System. Concept Overdrive is a valuable tool for virtual production and augmented reality and has become a professional standard for the control of machines and animatronics in television production worldwide. With an acclaimed user interface, the system implements a streaming motion network, real-time constraints and maximally digital motion control, which make it ideal for interfacing with the real world in modern production environments.
• Recipient: International Telecommunications Union – Radiocommunications – Study Group 6 for the Standardization of High Dynamic Range Television (HDR-TV). Since its first publication in July 2016, Recommendation ITU-R BT.2100 "image-parameter values for high-dynamic range television for use in production and international program exchange," more simply known as HDR-TV, has impacted the entire television industry, from cameras, post-production (especially in color processing), delivery though traditional broadcasting OTT (over-the-top) streaming services, and both professional and consumer display/television products. BT.2100 provided the critically important international specifications that have enabled HDR to become widely practiced and enjoyed by consumers.
• Recipients: Raymond Drewry and Jim Helman for the Entertainment Identifier Registry (EIDR). Created by the technical staff at MovieLabs, the Entertainment Identifier Registry (EIDR) unifies the commercial film and television industry around one standardized content ID, one infrastructure for creating and sharing the ID, and one nested data model for describing the relationships between abstract titles, specific edits of each title and their packagings for distribution. EIDR has provided the mission-critical infrastructure that has enabled the explosion in digital distribution of film and television content to an increasing set of consumer devices over the last 10 years.
• Recipient: David Eubank for the pCAM Pro. pCAM Pro is a mobile software application developed for Apple's iOS devices that offers a comprehensive suite of 26 cinematography tools designed for television and film professionals. These tools include calculations to guide decisions on designing camera shots, set design and construction, selecting lenses and camera sensor formats, achieving proper exposure and color balance, creating flicker-free lighting and lighting designs, and functional eye-light and lighting effects, among others. Most notably, it allows for accurate pre-visualization of specific lens and camera pairings, making it an invaluable tool for set crews.
• Recipients: Thomas Riedel, Jake Dodson, Wolfgang Fritz, Jiou-Pahn Lee for the Riedel BOLERO Wireless Intercom. Riedel Bolero's ADR (Advanced DECT Receiver) wireless intercom solution with multi-diversity and anti-reflection technology, delivers greater RF (radio frequency) robustness than ever seen before in the industry. In addition, it offers Touch 'n Go NFC (near-field communication) belt-pack registration and versatile operation as a wireless belt pack, a wireless key panel, or (an industry first) a walkie talkie. It also features bluetooth compatibility for phone connections. It successfully provides clear communications in venues that had previously been difficult or impossible to cover due to physical venue design or competing DECT (digital enhanced cordless telecommunications) systems.
• Recipients: Jeffrey Gray, Russell Hocken, Barrett Phillips, Greg Smokler for the SmallHD Monitor Platform. SmallHD's rugged and daylight-viewable production monitors have become a staple on every production set, from scripted dramas to live broadcasts. SmallHD's hardware platform features an entirely custom electronic architecture that allows for continuous expansion of features and connectivity as well as enabling the unique industry-leading PageOS 5 monitoring software system. From the compact on-camera Smart 5 and Smart 7 series to the 4K production monitor line, SmallHD has created a unified and cohesive series of monitors that allow for accurate and consistent viewing and color reproduction across different cameras and applications, ensuring a consistent creative vision from set to final output.
• Recipients: Meir Shashoua, Yaniv Alon, Shai Fishman for the Waves Clarity Vx Pro. Clarity Vx Pro is a revolutionary noise-reduction plugin that uses the cutting-edge and powerful Neural Networks engine developed by Waves to separate dialogue from ambience at the highest quality without artifacts and in real time, which sets a new standard in post-production. Addressing today's post-production needs, Clarity Vx Pro allows for real-time processing and vastly speeds up and enhances the workflow of dialogue editing and mixing. Clarity works in most DAWs (digital audio workstations) to create immediate, clean results without having to render, bounce, duplicate or consolidate tracks. It allows editors and mixers to listen to the dialog processing as part of the whole mix in context.

The Engineering, Science & Technology Emmys are made possible by Television Academy sponsors Drybar, Franciacorta, JUSTIN Vineyards & Winery, People and United Airlines.

LOS ANGELES—Most, if not all, of my shoots require monitoring multiple cameras at the same time and SmallHD OS5’s addition of multi-view in late 2022 streamlined huge aspects of my work for both myself and my AC (assistant cameraperson) and video village techs. 

Prior to OS5 we relied on third party devices that require their own power, mounting hardware and cable support and thus were adding additional failure points to a critical part of the set infrastructure that most department heads rely on to do their best work: "video village," where monitors and playback have been set up for the director and other members of the production team.

Having integrated multi-view means as many as four cameras can be viewed on the same SmallHD monitor, which saves time and removes the need for additional (sometimes heavily used) camera feed splitter rental equipment. 

4K Cine 13 For Mobility
I became an early adopter of the Cine 24 High Bright monitor from SmallHD and only recently added a SmallHD 4K Cine 13 for the added mobility in the field. Monitors and the accompanying technology have never been an area where I like to cut corners — you should have a great deal of confidence in the image you’re capturing and thus I’m quick to jump on the latest and greatest tech when it comes to monitors especially. 

Both monitors have a gorgeous UHD 4K 10-bit display that I depend on for every shot and I often turn to the multitude of built-in exposure tools like Waveform and False color to make sure my shadows and highlights are landing where I need them. The streamlined exterior design of the Cine 13 and Cine 24 gives us plenty of mounting points alongside the variety of 12G and HDMI inputs and outputs. 

Several of my most recent shows have required me to utilize multi-view on projects like “Dimension 20” and “Game Charger” for College Humor and also the “Informer” series for VICE. We tend to use a combination of both Teradek 6 Bolt wireless and wired inputs into the back of our SmallHD monitors and we rely on wireless for movement heavy handheld, gimbal or Steadicam shots and stationary cameras are often fine utilizing 12G BNC cables. 

It's the Ecosystem
The multi-view feature on the SmallHD 4K production monitors is excellent, but it is the overall SmallHD and Teradek ecosystem that keeps me coming back to this hardware again and again. Having integrated distance markings in the form of RT Overlays with the Teradek RT has been a huge hit with my assistant camera team and lately I’ve also been impressed by the newly released EL Zone exposure tool and how useful it is for making tricky exposure calculations on the fly. 

For me, I’ll be using multi-view long into the future as production schedules become truncated and we’re gently pushed to capture more shots faster. More shots means more cameras and SmallHD’s production monitors alongside their accompanying digital toolset is helping keep my job as a DP as stress free as possible. 

For more information visit https://smallhd.com/

RALEIGH, N.C.—SmallHD today launched its Smart 5 Monitor Series, which includes the Ultra 5, Cine 5 and Indie 5 touchscreen displays. 

The introduction also includes two additional wireless versions of the Ultra 5: the Ultra 5 TX and Ultra 5 RX. Each of the new 5-inch monitors is powered by the PageOS 5 software toolkit, the company said.

“The Smart 5 series was designed in response to significant demand for smaller touchscreen monitors with the same quality and functionality of SmallHD’s Smart 7 and Ultrabright Series,” said Dave Bredbury, product manager for CS Cine. “We shrunk the display and increased the overall capabilities. Finally, users have access to our camera-control licenses for ARRI, RED and Sony VENICE on a 5-inch monitor.”

Together, the Ultra, Cine and Indie Smart 5 Series monitors deliver three tiers of brightness, I/O capability and physical interface options. Each is equipped with multi-touch interfaces. The Cine 5 offers a joystick and back button for camera control functionality. The Ultra 5 includes customizable function buttons for monitor access and control of software functions while wearing gloves. The monitors are encased in a unibody chassis of anodized aluminum and offer multiple mounting points, the company said.

The PageOS 5 toolkit included with the monitors offers EL Zone Exposure Assist, best-in-class waveform and false color, Look-Around Camera Control and Advanced Teradek RT Overlays, it said.

Features of each include:

• Ultra 5 delivering touchscreen functionality with full complement of front-facing physical buttons; 3000nit brightness; 2x 3G-SDI (I/O), 2x HDMI 2.0 (I/O), Ethernet port, 2-pin locking power connector; locking 5-pin USB.
• Ultra 5 Bolt 6 RX 750 and Ultra 5 Bolt 6 TX 750 offering 6GHz connectivity; wireless camera control; seamless operation with Teradek RT for full wireless FIZ control.
• Cine 5 providing a combination of touchscreen experience with side-mounted joystick and back button; 2000nit brightness; 3G-SDI (I/O), HDMI 2.0 (I/O); 2-pin locking power connector; locking 5-pin USB.
• Indie 5 offering a touchscreen-only interface with physical power button and sliding touchscreen-lock switch; 14.4 oz. weight; 1000nit brightness; 3G-SDI (I/O), HDMI 2.0 (I/O), barrel power input; micro-USB connection.

More information is available on the company’s website.

RALEIGH, N.C.—SmallHD has announced the launch of the Action 5 Monitor, a lightweight, 5-inch video monitor with exceptional brightness and ActionOS, a streamlined, version of SmallHD’s industry-leading PageOS 4 software toolset. 

“The Action 5 is the perfect on-ramp into the SmallHD ecosystem of monitors; it offers a simplified user interface, daylight-viewable display, and a lightweight form factor that you would expect from SmallHD–all without breaking the bank,” said Dave Bredbury, product manager for CS Cine. “Whether you’re a newcomer looking for your first monitor or a professional who needs a secondary or backup solution, the Action 5 offers one-touch functionality and the most user-friendly OS on the market, based on the same SmallHD UX and UI found on the biggest Hollywood film sets.” 

The SmallHD Action 5 Monitor features a lightweight 5.5” LCD touchscreen with 2000nits brightness, 1,000:1 contrast ratio, 1080p resolution, 440 PPI, Rec. 709 color and advanced software tools that have been simplified for one-touch functionality, the company said. 

SmallHD’s Action 5 Monitor weighs in at 10 oz, attaches via HDMI to almost any camera setup and comes with a combination battery plate supporting Sony L-Series or Canon LP-E6 batteries right out of the box. The HDMI I/O is adjacent to the power input on the left side of the monitor while the bottom, back, and right sides all provide 1/4”–20 mounting points. The SmallHD Action 5 Monitor comes with a mini-to-full-size HDMI cable, a micro-to-full-size HDMI cable and a custom mounting solution for the camera’s shoe mount. 

The included ActionOS toolset, a scaled-down version of Page OS4—is designed to be mastered in 60 seconds or less. ActionOS allows for one-touch adjustment and selection of tool attributes and characteristics, including Focus Assist, Expose Tool, Look Tool, and Frame. Focus Assist accentuates in-focus areas of the image for at-a-glance adjustments; the Expose Tool incorporates false-color and an exposure scale to ensure proper lighting; the Look Tool offers contrast adjustment for Log-based footage and the Frame Tool provides various frame lines to ensure there is no loss of key data when capturing video, the company explained. 

“Our goal at SmallHD is to help content creators capture their vision with excellence in the most efficient way possible. The Action 5 is another tool in the filmmaker's arsenal that will help them reach the highest of heights,” adds Bredbury. “The drive to create exists equally at both ends of the professional spectrum, and we’re proud to make our product line more accessible, intuitive, and affordable for new filmmakers on a budget or seasoned professionals looking for a reliable backup solution.”

The monitor began shipping on May 24, 2022 at $329.

Action 5 Monitor specifications include:  

• Display:                       5.5” LCD
• Resolution:                 1080p
• Brightness:                 2000nits
• I/O:                             2x HDMI 2.0
• Software:                    ActionOS

 More information is available here.  

RALEIGH, N.C.—SmallHD has introduced the Cine 18 4K High-Bright Monitor, a light, rugged, daylight-viewable production monitor.

The Cine 18 fills the size gap between the Cine 13 and Cine 24 in SmallHD’s 4K monitor line. It offers a portable 4K monitoring solution in an adaptable form factor. With a light aluminum unibody chassis housing and 18-inch edge-lit LCD screen with 4K resolution (3840 x 2160), the monitor offers 10-bit (8+2 FRC) color depth, 100% Rec. 709 coverage, 1100-nits brightness, 1,000:1 contrast ratio, 240 PPI and a 178-degree viewing angle, the company said. 

“It’s a next-level replacement for SmallHD's popular 1703 P3X HD Monitor but with significant upgrades in sharpness, resolution and form-factor,” said Dave Bredbury, product manager.

The Cine 18 measures 18.4 inches (W) by 12.7 inches (H) by 2.5 inches (D), weighs 12 pounds and offers 12G/6G/3G/HD-SDI inputs and outputs. The monitor provides hot-swappable power inputs, multiple accessory power points, 4x removable cheese mounting sticks and a removable bottom cheese mounting rail for added versatility, the company said.

The included PageOS software toolset offers 4K HDR waveform and scopes, Color Pipe HDR color rendering and the Monitor Calibration Wizard, it said.

The SmallHD Cine 18 has a list price of $5,999.

More information is on the company’s website.

DALLAS—I was fortunate to have a busy early career of consistent work on low-budget features, then two seasons shooting second unit and three seasons as the main director of photography on “Chicago Fire.” Following that show I moved back to features until the pandemic hit and I finally had some down time.

Recently I was brought in as the DoP for a new drama series shooting in Dallas. The unconventional thriller, “Cruel Summer,” takes place in a small Texas town over the summers of 1993, ’94 and ’95. Popular teen, Kate, goes missing and Jeanette, a sweet, awkward outlier, goes from being the most popular girl in town to eventually becoming the most despised person in America.

It’s a dynamic story. My philosophy is that powerful visual storytelling comes from collaboration—the director, producers and crew pitch ideas and we go with the best ones. One of my functions is to coordinate how the set runs, and the pandemic brought unique challenges.

ADJUSTING TO THE NEW NORMAL

Safety protocols called for compliance with a zone system that included three Covid tests per week and new working practices. I had my own video village but I didn’t spend much time in the tent. Being very hands-on, I am constantly moving—I’m one of the only people without a chair on set.

The camera package consisted of two Alexa Mini’s with Panavision Primos and wireless transmission via a Teradek Bolt transmitter and four receivers positioned with the focus puller, DP station, director’s monitor and distribution station. Everyone on the team needs visuals, so Teradek’s Serv Pros and Links allowed multicam viewing. Other crew—from hair, to assistant directors, to the boom op—used Teradek’s VUER live video monitor app on their personal devices.

The proliferation of monitors on set has been a major change. No longer just for ACs to use for focus, screens are everywhere and on our set most are SmallHD. The operators have SmallHD 703 7-inch Ultrabrights on camera, the ACs have 13-inch 1303 HDRs and the directors have 1703 17-inch reference-grade monitors.

There’s always a SmallHD within 10 feet of me so I can stay on set to talk to everyone. I can go adjust a camera, then run and talk to the director; I can check waveform and false color with a button press on any SmallHD monitor—and I know they will all match. It’s a real benefit to my working style.

MATCHING SHOTS

SmallHD has become a secret weapon for us because our show is so ambitious. The story follows multiple characters and, time-wise, jumps between three different years, making it a fun creative, visual and editorial challenge. It makes shooting for transitions and edits crucial.

One day the director wanted a pretty specific match cut. We tried SmallHD’s “Image Capture” function for a particular shot and used “Overlay” to quickly line up the image. That would usually require significantly more time, but the director and I were amazed at how fast and useful this function was on the SmallHD monitor. We were soon doing exact matching of shots quickly on the fly: a closeup of a character one year and an exact match cut of the character in a different year—or a different location, or another character—enabling more creative choices. It’s become a signature tool we use on virtually every episode. Now the SmallHD capture and overlay capability is a vital part of my toolbox.

“Cruel Summer” premiered on Freeform, April 20, then on Hulu the next day, and will stream on Amazon International in the future.

Jayson Crothers is a director of photography who lives in Los Angeles. He can be reached at www.jaysoncrothers.com or contact@jaysoncrothers.com.

For more information, contact SmallHD at 919-439-2166 or visit www.smallhd.com.

INDIANAPOLIS—Bayonet Media is an Emmy Award-winning, Midwest-based production company with full production/post capabilities. I have worked with them for the past eight years, producing everything from feature films and branded content to high concept commercials for Jim Beam, Toyota, Walmart, Eli Lilly, Makers Mark, GE and AT&T.

We pride ourselves on creating world-class visuals and realize that takes the highest caliber gear. Long before the pandemic, it was standard for us to go out with an entire crew, marketing agency team, client team and fully equipped Alexa cameras, in addition to aerial and stabilizer rigs. SmallHD and Teradek Bolt wireless video transmitters have long been critical components of our camera package and have grown even more important as we shoot safely during COVID-19. Having individual monitors and remote viewing opportunities allow us to continue bringing brands to life and pushing our creativity forward.

A DIFFERENT KIND OF VIDEO VILLAGE

It’s been a learning curve but we have worked out ways to meet social distancing safety protocols while still respecting the stakeholder’s creative input. We limit the number of people on set to only essential personnel—if you can function off set, that’s safer. In the past, when we shot commercials, we usually had a large number of agency creatives on set. Now, to run a safe set, we limit that to a very small team, sometimes even just one person from the client and marketing agency, with the rest working remotely. We also eliminated the “video village” on set—it was just too tempting for people to gather around a large monitor.

We value everyone’s opinion, which means people need to be virtually connected to what’s being filmed. For viewing we use two workflows: SmallHD monitors with Bolt wireless video transmitters as well as the Serv Pro, which adds the ability to stream the camera, video switcher or DIT cart feed to everyone’s iOS, Mac OS or Android devices on set. We have started implementing its newly updated firmware to enable remote Core (cloud) streaming through the VUER app on client desktops for monitoring off set. This is a game-changer and really shows Teradek’s commitment to its users and products. It’s great to know a product we already had could get better. We are using it on every shoot now.

Gone are the days of peeking over shoulders to see a screen. Now every critical decision maker on set gets individual SmallHD wireless monitors that receive the consistent, zero-delay signal from the Bolt on the camera. The A.D., director and DP each get a SmallHD 703 Bolt 7-inch, 3000-nit bright full-HD monitor with built-in Teradek wireless receiver. Other departments on set and those at home watch on their own iOS devices, thanks to the Serv Pro, so that works out well.

The clients have been very accommodating. On a recent Jim Beam spot, the agency team was really impressed with their individual Focus Bolt 500 RX touchscreen monitors. It’s a nice compact package, feels good in your hands and really shows off the images.

Since COVID-19, every day is longer on set. There’s lots of prep, safety, medics on most shoots, PPE, Purell on C-stands everywhere and social distancing. But things are getting smoother and the wireless SmallHD monitors have been a big part in keeping us shooting.

Kevin Grazioli is EP/head of production for Bayonet Media, as well as a freelance producer. He has produced agency work, episodic TV shows and PBS Emmy-winning documentaries. He can be contacted at kevin@bayonetmedia.com.

For more information, visit www.smallhd.com.

CARY, N.C.—SmallHD is introducing its new reference-grade monitor, the OLED 22 4K production monitor, which the company says carries advanced OLED features.

SmallHD has crafted the OLED 22 around the Small4K Video Processing Architecture, which provides input/output options with eight 12G-SDI and two HDMI 2.0 ports that enable 4K signal processing. The monitor’s chassis includes 36 individual 1/4-20-inch mounting points along the top and sides and weighs in at 9.3 lbs. It also features a removable handle and feet.

The screen measures 21.6 inches, features a >1,000,000:1 contrast ratio with an absolute black point, 10-bit color depth, 3840x2160 resolution, 350nit brightness level and 100% P3/135% Rec 709 color gamuts for true-to-life color reproduction, per SmallHD. The company also says the monitor has no image degradation at any viewing angle.

The monitor’s power options include two hot-swappable power inputs—one three-pin XLR and a slide-on Dual Battery Plate that can be attached via a built-in Smart Rail on the rear side of the monitor. A pair of two-pin locking accessory outputs add power flexibility for additional devices.

In addition, OLED 22 is Teradek Bolt 4K compatible.

SmallHD has also announced a new internal toolset, PageOS4 software, which gives users access an array of curated exposure tools and workflows for enhanced production functionality.

The SmallHD OLED 22 4K production monitor will begin shipping in August, and is currently being offered with a limited-time price of $11,999.

For more information, visit www.smallhd.com.  

LAS VEGAS—Modeled after the 5-inch Focus monitor, SmallHD is set to showcase its first 7-inch touchscreen monitor, the Focus 7, at the 2019 NAB Show. The Focus 7 offers full resolution HD, has power output functionality, is daylight viewable and weighs less than a pound, per SmallHD.

The on-camera monitor features a 1,000-nit bright, 1920x1200 resolution, IPS LCD touchscreen display. A full-size HDMI input allows it to accept video up to 4K resolution at 30fps. It has two integrated Sony L series battery slots that are hot swappable and a 3.5mm barrel output to power small DSLR and mirrorless cameras using battery specific adapter cables.

SmallHD has various mounting solutions for the Focus 7, including 1/4-20 threads and an optional Tilt Arm mounting accessory. The Tilt Arm utilizes the camera’s cold shoe and provides friction-based tilt for monitor adjustments.

In addition, the Focus 7 is equipped with SmallHD OS3 software and SWIPE user interface to be able to access tools like HD waveform, vectorscope, false color and focus assist/peaking, anamorphic de-squeeze, framing guides and unlimited 3D LUTs via SD card.

SmallHD will present the Focus 7 at booth C5725 during the 2019 NAB Show. To register for the NAB Show, visit www.nabshow.com.

CARY, N.C.—SmallHD and Teradek recently put their heads together and came up with the 703 Bolt Wireless Director’s Monitor. This wireless, full-HD monitor allows users to view live takes, previews and playbacks with full stereo audio headphone output from anywhere on set.

The 703 Bolt features a 3,000nit, daylight viewable 7-inch 1920x1080 display, with a built-in Teradek Bolt receiver. The monitor is compatible with Teradek Bolt 500, 1000 and 3000 transmitters. It is capable of receiving and display video up to 300 feet away from the transmitter and can run for more than four hours on a single 90 W-hour battery.

The new monitor is built with a milled aluminum frame and a Gorilla Glass screen. It measures 8.4x4.8x1.21-inches (not including antennas) and weighs 4.35 pounds, including the 90 W battery and handles, which are included.

In addition, the 703 Bolt features SmallHD’s OS3 operating system, which allows the monitor to display two input sources simultaneously for A/B cam monitoring. There is also OS3’s image gallery, which provides quick access and organizes screen captures and other images on an SD card with a thumbnail preview of each image file. The monitor can also handle two SDI inputs simultaneously or a SDI input and SDI output.

SmallHD is offering the 703 Bolt at a starting price of $3,499. A director’s kit, featuring handles, a neck strap, battery bracket and both matte and transparent screen protectors is available for $3,699.

CARY, N.C.—SmallHD has provided a free Operating System upgrade for its family of on-camera and production monitors with the OS3. As part of the upgrade, the OS3 offers new false color and waveform tools, a new battery meter and features a computer-free integration of the SmallHD Color Probe.

The SmallHD Color Probe can be placed in front of any SmallHD monitor and read the test output on the screen to check and correct its calibration.

Additional features of the OS3 include spot metering to indicate the exposure level to a particular area of an image. There is also a new image gallery that provides quick access and organizes screen captures and other images on an SD card by showing a thumbnail preview of each image. The new battery meter can read Sony NPF L-series batteries and now displays the percentage of charge remaining, along with a warning signal when power is low.

The OS3 is available for free download at smallhd.com. The SmallHD Color Probe can be added for $299.99.

CARY, N.C.—SmallHD is making its first foray into the OLED monitor market with the release of the 702-OLED monitor. This 7.7-inch screen offers the features of SmallHD’s 702-Bright monitor with OLED display color accuracy and contrast ratio, with the ability to be mounted on a camera or a director’s rig.

The 702-OLED displays a 24 bit color depth with a 160-degree viewing angle and a 1280x800 screen with 191 pixel per inch density. The monitor offers up to 300 nits of brightness via its adjustable backlight. Input and output ports for both SDI and HDMI are included, with cross conversion of less than a frame of latency. A thumb stick and back button provide the control interface, along with a full-size SD card slot to save frame grabs and load 3D LUTs.

Additional features of the 702-OLED monitor include integrated battery slots for LP-E6 and L-Series batteries; an optional pro battery bracket for Gold/V-mount accessibility and additional mounting points for wireless receivers; SmallHD’s Pagebuilder OS control providing user-defined monitoring options; vector scopes and waveforms; an exposure assist system that supports Arri and Spectrum based false color; the ability to display three customizable scopes on screen at a time; and seven 1Z4-20 mounting points.

SmallHD plans to begin shipping the 702-OLED monitor in March at a market retail price of $1,599.

The makers of “Godzilla” got it right: size matters. But unless you are designing a monster, weight, ease of use, and design also matter. The gear we choose to use in our various modes of shooting has a wide and deep effect on the quality of the work and the amount of energy it draws from us to do it, with monitoring right at the center of that. This is not news; what is news is the availability of smaller, higher quality, lighter, and more functional monitors and viewfinders for us to use on our more compact and/or more modular cameras. Long at the forefront of these developments is SmallHD, and their 502 Monitor and Sidefinder system is extremely well designed and a worthy competitor for your attention.

FEATURES

The 502 monitor (MSRP $1199) is an SDI and HDMI in and out, battery powered, 5-inch LCD monitor, with 1920x1080 resolution. It weighs in at about 9 ounces (255 grams) without batteries and about 14 ounces with two Canon LP-EP6 batteries installed, is about 3/4-inch thick (without batteries), and is made of milled aluminum with a rubberized surface that is easy to grip—but has an occasional tendency to pull away—and has a very solid feel. There are mounting points (1/4-inch-20 threaded) on the bottom, one side, and back. The face of the monitor has a tiny joystick and a button, to navigate the menu system. The display specifications are impressive, both on paper and by eye. On paper, SmallHD lists: 441 pixels per inch, 1500:1 contrast ratio, 8-bit color depth, 179 degree viewing angle, and the ability to display 85 percent of NTSC and 100 percent of Rec 709 color gamut. By eye, the monitor is sharp and accurate, easy to look at closely for long periods of time in a wide variety of conditions (bright sunlight viewing is aided by a hood).

The Sidefinder EVF does not seem to be available separately, which is understandable since it was designed specifically for the 501 (HDMI in/out only) or 502 monitor. It mounts, with a milled aluminum frame, onto the face of the 502. The EVF is hinged to swing away when not in use and is held shut for use by a magnetic clasp. The monitor resolution drops down to 1366x768 for better visual compatibility with the EVF, when the loupe is engaged, then automatically resets to 1920x1080 when the EVF is swung away. The diopter has -2 to +4 adjustment for a wide variety of eyes; the 502’s software has an adjustment for field of view when using the EVF.

The monitor software is where the viewing, test and adjustment, and customization controls are; the menus are navigated by a small nub of a joystick and a back button on the left side of the monitor’s face. There are the controls you would expect: input, output, headphone volume level, aspect, scaling, brightness, image rotation; there are also a wealth of image and sound analysis tools and shooting aids. You can use and display audio meters, histogram, waveform monitor, and vectorscope while shooting, in addition to choosing to view SDI metadata. Shooting aids include exposure and focus assist, zebras, peaking, framing and safe area markers and the ability to capture and display an image over video with a varying amount of transparency. Finally, a 3D LUT can be applied to the incoming video; many can be stored in the device. The collection of monitor settings and tools are stored in a system of pages (one LUT per page, very quick and easy to flip between pages to compare LUTs), a collection of massed presets.

The production kit, reviewed here, comes in an air-tight hardshell case and includes a remote control (has a joystick and two buttons to access and set menu controls for nearly all functions of the monitor), two batteries and a charger kit, rod and hot shoe mounting systems, screen protectors, SDI and HDMI cables, and even a cleaning cloth.

IN USE

I used the 502 and Sidefinder system in several shooting situations, indoors and outside, after a set up and evaluation session with the studio cinematographer Alan Dater and his Sony FS7 camera. It took us a little while to figure out the mounting system properly for the monitor and EVF, but basically set up was pretty easy. We both felt, though, that a pdf manual for field reference would have made things even easier. There is a quick start guide provided and a quick video in the 502’s software, both of which are helpful, and there are numerous instructional videos on line. We verified the monitor’s accuracy right out of the box: deep and solid blacks and very accurate colors, with no visible latency or smeared motion. The ‘pages’ concept for presets is wonderful in use, given some pre-production set up time; on the fly adjustments are also quick with thanks to the very straightforward and shallow menu structure. I very much liked the use of a joy stick and a button instead of a touch screen, which always seems easy until the heat of a shoot. The monitor is very easy to see, even from a fairly oblique angle, and is gentle on the eyes.

It does take a while to get the EVF set up for one’s particular preferences and use, but this is not at all the fault of the unit and has more to do with the individualized nature of using an EVF. One needs to adjust the physical location and angle of the monitor and eyepiece, adjust the diopter to the needs of one’s eye, and adjust the field of view inside the EVF to be able to easily see the entire frame. The 502/Sidefinder is easy on all these fronts, and very confortable in use. If I were to continue using the Sidefinder, I would add a padded eyepiece to make the intersection of my glasses/eyesight and the eye cup more direct and comfortable.

Using the EVF outside on a handheld and constantly moving shoot of a theater piece was equally fine and the unit was easy to look at and unobtrusive. I am generally more comfortable not using the EVF and just working with the monitor; there were a couple moments that convinced me that I would want a sun shade at the ready, but the monitor image held up nicely even in bright sun. My personal preference is for a larger monitor when I am working, and, when I got a chance to try a friend’s 7-inch 702, I realized that that was the best size for me.

SUMMARY

The 502 Sidefinder Kit is a great product and an excellent value. The main individual components, the 502 monitor and the EVF, are well and thoughtfully designed in both hardware and software. Efficiently using a field monitor and an EVF depends so much on personal preference and need, so the usefulness of the unit rests on its ability to be adapted and configured to the needs at hand (or eye). In that light, this combination unit is a big success and a pleasure to use. And it looks great too.

Michael Hanish operates Free Lunch, a video/audio/multimedia production house near Guilford, Vt. He may be contacted at michael@freelunchmedia.com.

CARY, N.C.—After unveiling its new daylight-viewable HDR production monitors at the 2016 NAB Show, SmallHD has announced that it was developed studio editions for both the 17- and 24-inch models. These 1080p production monitors are designed to be used in controlled lighting environments.

1703 Studio model

The 1703 and 2403 Studio models are housed in billet aluminum and hold a 3mm thick polycarbonate screen protector. It also comes with a RapidRail Shoe Mount system for quick mounting and powering of third party accessories.

The monitors utilize SmallHD’s Pages software presets to adapt to professional’s needs. The Multi-View page offers simultaneous viewing of all three inputs, or multiple views of the same input with a different feature or LUT applied. There is also built-in ColorFlow technology that enables custom 3D LUTs through custom display calibration, real-time preview of LUTs to be used in post-production, and the ability to imbed LUTs in the video stream for display on monitors downstream. Built-in HD Waveform is also available for analysis on pre-LUT and post-LUT video data.

SmallHD will officially release the new monitors at the end of May. The 1703 will be available for $2,999; the 2403 will be available at $3,499.

CARY, N.C.—A pair of new monitors have been added to SmallHD’s 700 series, the 701 Lite and 702 Lite. The HD on-set monitors offer 450-nit 720p displays.

The new monitors feature an intuitive operating system with built-in professional software tools like Focus Assist, Exposure Assist, Waveform, RGB Parade and Audio Meters; 3D LUT can be applied to the image in real-time as a post-production preview. The monitors’ Pagebuilder menu can configure presets and allow for multiple users to design tool pages for their specific needs.

Both the 701 and 702 Lite monitors feature full-sized SD card slots to transfer images and LUTs; users have the option of SmallHD’s 3D LUT collection, or custom LUTs that can be added. The SD card also allows the capture of on-screen images from the monitor.

Each monitor is shock mounted and housed in an aluminum chassis. The 701 provides HDMI in and outputs, while the 702 features both HDMI and SDI inputs and outputs, with low latency cross conversion between HDMI and SDI. In addition, all 700 series monitors can run off of either Canon LP-E6 or Sony L-Series battery packs, as well as an AC adapter or P-Tap/D-Tap from a camera battery.

The 701 Lite and 702 Lite monitors are now available at the starting price of $699.

BURBANK, CALIF.—We do a lot of run-and-gun work on “West Coast Customs,” a Fox Sports show on customizing vehicles. To capture the action without interrupting the workers in our garage/studio we do a lot of handheld shooting with the camera in a rig. The SmallHD 502 monitor—when combined with the Sidefinder optical loop eyepiece—helps me work quickly. The image is so right-on that I can often set exposure just by looking at the monitor.

SmallHD 502 monitor mounted on camera during “West Coast Customs” shootCLEAR AND SHARP
The first thing I noticed about the monitor was how clear and sharp the picture was compared to our previous on-camera monitor that wasn’t HD. As my eyes get older, I appreciate how much SmallHD helps me do my job shooting. In Sidefinder mode, it provides the highest resolution image I’ve seen on any eyepiece. You can read all of the 502’s menus and can swing the monitor out from the eyepiece to view it directly.

For an upcoming episode, we shot the installation of a stereo into a Slingshot three-wheeled vehicle we’re customizing for Shaquille O’Neal. I used the Sidefinder when I could get the camera up to my eye, but a lot of the installation went on under the car. So I quickly swung the 502 out from the eyepiece and articulated the monitor to see my pictures when holding the camera under the car; I did the same thing shooting with the camera overhead. You can change the configuration so fast that you don’t miss a beat. And since everything I viewed was full HD, it made it easy to focus.

The Sidefinder mounts so solidly on the 15mm rails on the rig that I can press my eye firmly against the rubber cup around the eyepiece and use it as an additional point of support.

CUSTOM FEATURES
The 502 has a great feature set, with exposure and focus assist tools I can call up on the screen. The monitor’s “Pages” feature lets you group several on-screen tools into a preset, which you can quickly access with a flick of the joystick. I use the peaking and zebra bars often to judge exposure, so I’ve got them on a Page. I also like to view the audio levels on the screen. When our DP Kristoffer May picks up the camera I’ve been using, he can call up his own Pages preset so he can work the way he likes to.

I’m excited about the use of 3D LUTs and the ability to run downstream monitors from the 502’s output. Next time we shoot a commercial with our RED, we’ll be able to show the client what the picture will look like when it finally comes out of post.

The 502 monitor/Sidefinder can cover every camera on which we shoot. With both HDMI and HD-SDI in and out, I can use it on the RED, Canon 5D, or Sony EX3.

And last but not least, the 502 uses LPE6 Canon batteries, which we already have. I can put two of those batteries on the monitor when I start to shoot in the morning, and they last all day. So I don’t have to worry about turning the monitor off between shots. I just leave it on, and when I pick it up it’s ready to go.

Kara Stephens is the producer/director of “West Coast Customs,” Fox Sports’ cable channel show featuring the work of the luxury automotive restyling center. She can be reached atkara@westcoastcustoms.com.

For more information, visitwww.smallhd.comor call 919-439-2166.