Onboard LCD?

[NormLi]

Hi,

First post here although I have been actively reading. I could not find any information regarding if there is an onboard flipout LCD screen or not. I see it in the "RED PRODUCTION CINE PACKAGE" option picture but not sure if it's really part of the camera or not. I also see the optional 5.6" onboard LCD but I'm assuming this is different from the flipout one (if there is one). I'm going to purchase the EVF and maybe the LCD later but it would be a nice option to have a little 3" LCD screen built in as well.

Can anyone confirm? Thanks.

Norm Li
Cinematographer
Vancouver, BC
www.q-films.com

[Gavin Greenwalt]

Hi Norm, welcome to the forums.

There is no integrated viewing aparatus. You will need to purchase the LCD, EVF or use one of the many outputs to a monitoring device of your choice (HDMI, SDI, etc).

[Craig Bowman]

Everything is optional. If you want an LCD you have to add it. If you want the EVF you have to add it. If you want both, you buy both.

The whole idea is total modularity. You only get want you want. There is no flip out LCD that's "built in". That's what make the camera so great. You're not stuck with something you don't want.

[Casey Green]

Hi Norm,

In the early designs of the Red One, initially there was to be a flip out LCD screen, but as the specs changed, and features / functionality improved, it was decided that a seperate larger LCD screen that was reconfigurable was the better way to go.

[NormLi]

Thanks guys.

I like to operate in different ways though. I'm a viewfinder guy when it comes to film cameras and if and when shooting on little DVX/HVX's, it's actually easier to get some shots with a little onboard LCD. The same goes with handheld HVX work. If there is only an option to buy a honking 5.6" LCD, it would be harder for run-n-gun style work having a monitor hang off of it. On large HD cameras, I like to use both the EVF and onboard LCDs.

These days though, shooting mainly on film cameras, viewfinders are the way to go. I guess since the RED is shoulder-mounted as well, it's better to have an EVF and if the need arises to have the 5.6" LCD, rent or buy it for the 1st AC.

[Casey Green]

You may also be interested in the Red pocket Camera announced at NAB. There are not many specs on it yet, but if they do produce it, it would probably be more suited for the type of production you are going for.

We'll see - for now, RED ONE is first.

[NormLi]

I'm actually going for more larger filmstyle. I'm not into handycam stuff. I just like the option of being able to use the camera in different situations.

[Rocco Schult]

..it would probably be more suited for the type of production you are going for.

How do you come to that conclusion ?
NormLi could have shot 10 features and doing a fabulous job as a DP or editor and you might not know.

Btw: Nice sound Norm , )

[Adrian Correia]

Norm does have a fine eye....really nice work.

[NormLi]

lol! That's funny...yea, I wish I did 10 features already...but that's not the case...yet :)

Thanks Adrian, you've seen my reel before? I've updated it quite a bit since I've last posted it online anywhere.
Augenmensch, what did you mean by "Nice Sound Norm"... I'm curious!

[Gavin Greenwalt]

The other option is: run a 6' cable on the EVF and mount up some sort of night vision monocular mounting bracket for it. I know ATN makes a pretty embarrassing looking head mount.

Then you can hold the camera over your head and still use the EVF.

[NormLi]

That's a good idea but I don't think it's necessary...especially if it makes you look like a tool :) lol jk.

[Adrian Correia]

lol! That's funny...yea, I wish I did 10 features already...but that's not the case...yet :)

Thanks Adrian, you've seen my reel before? I've updated it quite a bit since I've last posted it online anywhere.
Augenmensch, what did you mean by "Nice Sound Norm"... I'm curious!

yeah...of course I've seen it Norm! I love Oldboy too!

[Casey Green]

You may also be interested in the Red pocket Camera announced at NAB. There are not many specs on it yet, but if they do produce it, it would probably be more suited for the type of production you are going for.


How do you come to that conclusion ? NormLi could have shot 10 features and doing a fabulous job as a DP or editor and you might not know.

I think I was misunderstood here possibly? I thought Norm Li was asking about if the RED ONE would be suited for certain types of work as was posted here:


Thanks guys.

I like to operate in different ways though. I'm a viewfinder guy when it comes to film cameras and if and when shooting on little DVX/HVX's, it's actually easier to get some shots with a little onboard LCD. The same goes with handheld HVX work. If there is only an option to buy a honking 5.6" LCD, it would be harder for run-n-gun style work having a monitor hang off of it. On large HD cameras, I like to use both the EVF and onboard LCDs.

These days though, shooting mainly on film cameras, viewfinders are the way to go. I guess since the RED is shoulder-mounted as well, it's better to have an EVF and if the need arises to have the 5.6" LCD, rent or buy it for the 1st AC.

I was trying to present a possible solution for the handheld work (where there might not be room for the 5.6" LCD he was referring to.) This suggestion would be in addition to using RED ONE for other work, of course, and was certainly not made to imply anything more. Having a 4K pocket Cam in addition to the RED ONE would definitely give operators more freedom for certain types of setups.

Sorry if that was not clear.

[Rocco Schult]

of course you're absolutely right with assuming a smaller cam might be more versatile in certain situations. I am thinking on how to get that incar or onbike shot even better myself 'get a shorter/lighter cam!' would sometimes be the easiest answer.
I just didn't projected it on Norms post or his work.
And in this forum I found lots of "old doc teaches young apprentice" attitude.
Besides having an arrogant sidenote its just boring.
Even if that was not your intention :detective2: I had to say this.

Norm' (I just shortened your name), well, I just took a look on your page and found: a nice sound!
the work speaks for itself.
btw: who did the 3D ?

Good nite.

[Casey Green]

The nature of forums can unfortunately lead to things lost in translation... as I said before, I'm sorry my original post was not clear in that manner. I made the appropriate effort to correct it in my reply.

Let's please now try to get this thread back on topic, no?

[Casey Green]

Speaking of on-topic... Gibby has posted a great compilation of Specs and Info for the LCD and Viewfinder accessories. (currently it resides in a thread of a different topic name, so it's hard to find off hand. Check it out here:

http://www.reduser.net/forum/showthread.php?t=3154&page=4

By the way, Norm: I see on IMDB you worked on BattleStar... Can you give some incite as to what your experiences on that show were? I believe it is F900s used most of the time? What is the working setup for steadycam shots with the F900? (LCD, Video Assist?)

thanks,

[NormLi]

Hey Casey,

Yeah, I worked on Battlestar last year and they use F900's. I'm not sure if they switched over to the Genesis but they did use some Arri 35-3 35mm for some highspeed stuff last year but I heard that they did some new PhantomHD highspeed stuff of explosions and bullets this season.

What do you mean exactly regarding the working setup?

[Casey Green]

Hi Norm,

well...with the steadycam shots, that is, what type of LCD or monitor system was attached on the F900. Also, how did the video assist work with the steadycam shots? Was it a composite tap output to a transmitter? I'm curious since RED's outputs are all purely digital and may need a D/A converter mounted onboard for similar work.

thx,

[NormLi]

Oh, nothing is attached to the F900. In fact, it's stripped down for Steadicam shots and most, if not all, Steadicams (They had the PRO 2) have a Steadicam monitor on the bottom of the sled for viewing framing. This is attached by I believe BNC cables from the Camera to the D-Box, and D-box to the J-Box, which is hooked up to the monitor. There was a BNC transvideo downconvert tap as well if they wanted to go wireless but most of the time we were hardcabled.

[Casey Green]

btw, augenmensch, I received your apologetic note - thank you for that. I will consider the misunderstanding cleared up. No worries.

[Casey Green]

Oh, nothing is attached to the F900. In fact, it's stripped down for Steadicam shots and most, if not all, Steadicams (They had the PRO 2) have a Steadicam monitor on the bottom of the sled for viewing framing. This is attached by I believe BNC cables from the Camera to the D-Box, and D-box to the J-Box, which is hooked up to the monitor. There was a BNC transvideo downconvert tap as well if they wanted to go wireless but most of the time we were hardcabled.

Oh ok, a standard type of steadycam setup then... I was thinking perhaps they might have used a shoulder-mount shooting style at times or other styles with an LCD attached. The reason I was thinking this is because I imagine RED will allow for those types of luxuries and much more with it's modular cage design.

Thanks for the info. Definitely a great show with a superb look.