The Source Screen has controls to monitor a source (view its video feed), reload the list of available sources, change settings, and view help.
- The top of the screen shows the current Wi-Fi network. If it’s not the same network as your source is using, change it in your iDevice’s settings.
- When your source appears in the list, tap it to monitor it.
- Refresh rescans the network for sources and loads any new LUTs. Usually the source list updates automatically, but sometimes a camera or a Teradek doesn't always show up when it should. Tapping Refresh will make it appear if it is indeed available. If you use iTunes File Sharing to add LUTs while FieldMonitor is running, tapping Refresh reads the new cube files and converts them into FieldMonitor LUTs.
- Settings lets you adjust system settings, control settings, camera options, and Teradek options.
- Help shows this help.
- Auto-Load First Source tells FieldMonitor to automatically display the first source found when it’s launched. This saves a step if you always connect to sources in direct mode (using their own built-in networks) or if you only have one source on your local network.
- There are four Aspect Ratio settings for framelines and masks. Tap a setting to change it. “Full (native aspect)” always uses the aspect ratio of the full frame image; other choices used fixed aspect ratios. Each Aspect Ratio setting includes a customizable preset you can edit:
- You can enter video-style numbers (17x9) or film-style numbers (1.896:1) or pixel
- Width and height must be between 1 and 99999, and the final aspect ratio must be in the range 0.01:1 – 100:1.
- The value shown in the Monitor screen’s Frame Marker control will always be a short, film-style number like 1.9:1.
- Four Safe Area settings let you define the active area shown within a frameline or frame mask.
- Three LUT settings let you assign three monitoring LUTs (look-up tables). Initially, all 3 settings show the built-in LUT; add your own LUTs for more choices. Tapping a setting shows you the list of available LUTS to choose from:
- LUTs built in to FieldMonitor are shown first, followed by LUTs you’ve added.
- Add your own 3D LUTs by importing .cube files.
- You can delete added LUTs when you don’t need them any longer: swipe right-to-left or tap the Edit button to reveal Delete buttons.
- Panasonic Max Resolution requests a 640x360 image from the camera. Turn
this off to use 320x180 images, reducing bandwidth and improving frame rate. Panasonic Max
Resolution defaults to ON; turn this off only if you find the displayed video too choppy or
laggy, or you need to conserve bandwidth for multiple cameras on the same network.
- Sony Max Resolution requests a 1024x576 image from the camera. Turn this off to use 640x360 images, reducing bandwidth and improving frame rate. Sony Max Resolution defaults to OFF; you can turn it on for finer focusing detail, but latency and frame rate may suffer.
- Rocker Control HUD turn on a HUD (Heads-Up
Display) in the middle of the picture for exposure and color rocker controls, so you can
more easily see the values changing. A rocker's value appears in the HUD when you press the
control, and disappears one second after you release the control.
- Restart at 29:59 tells FieldMonitor to automatically restart cameras that stop recording at or just before 29 minutes 59 seconds (restart occurs when any clip stops recording between 29:45 and 29:59). This option allows longer-duration recording using time-limited cameras, albeit with a slight interruption at the half-hour mark.
- Cube: Quickview Preferred toggles whether a Quickview stream is preferred when receiving Teradek Cube feeds. When on, Quickview will be chosen ahead of other stream types, when available. When off, Quickview will only be used if no other feed is found. This option has no effect on the feeds from Teradek transmitters other than Cubes.
- A navigation bar at the top of the screen shows you the current feed and has a < Source button to return to the Source screen and one or two settings buttons: and . If the navigation bar is not visible, tap the screen to show it.
- In Portrait mode (iDevice held vertically), the picture fills the top of the screen and the ’scopes fill the rest of the screen in a fixed layout.
- In Landscape mode (iDevice held horizontally) showing one ’scope, the picture fills the screen and the ’scopes float on top of the picture. Move a ’scope by dragging it, and resize it with a two-finger pinch.
- In Landscape mode showing all three ’scopes two display modes are available: one with all ’scopes movable and resizable, floating on top of the picture, and one where the three ’scopes and the picture share a fixed layout.
- Tap the settings button to display onscreen controls. The controls are divided into panels labeled Hide, Scope, Mark, Image, and Level (Level is only available for camera sources).
Hide adjusts which onscreen elements are hidden when the screen is tapped. Use screen taps to quickly declutter the screen or toggle ’scopes, false-color, the current LUT, and/or markers. Screen taps only hide or show elements that are already turned on: the current ’scope(s), the current markers, etc. So, for example, if you have all markers turned off in the Mark controls, a screen tap won’t turn them on, and a screen tap only hides and shows a ’scope if that ’scope is already enabled. By default, two sets of onscreen controls are affected by screen taps:
- Top-line Controls: those in the navigation bar at the top of the screen, including the < Source button, the source name, and the two settings buttons and . (When the navigation bar doesn't overlay the image, the controls are dimmed instead of hidden.)
- Camera Controls (for camera sources
- OFF | WFM | Vector | Hist | W,V,H | 4-WAY toggles between no ’scopes shown, a single ’scope, and a three-’scope display. W,V,H shows three ’scopes floating over the picture while 4-WAY uses a fixed quad-split layout. W,V,H is only available in landscape orientation.
- WFM | Vector | Hist sets and adjusts the current ’scope: WFM (waveform monitor), Vector (vectorscope), or Hist (histogram). In single-’scope display, tapping chooses the ’scope to display and adjust. When multiple scopes are visible, tapping chooses which ’scope to adjust.
- When WFM is selected: Y |
R+G+B | R,G,B | Y,Cb,Cr changes the WFM display:
Y shows brightness (Y or luma channel) for exposure checking.
R+G+B and R,G,B show red, green, and blue channel waveforms, to look at color balance and color separation.
Y,Cb,Cr shows luma and color-difference signals so you can check to see if saturated colors are clipping.
- When Vector is selected: 100%
| 75% | 2x | 4x sets the vectorscope magnification and target
100% shows targets for 100% saturation colorbar vectors (typical for EBU bars).
75% places the targets for 75% colorbar vectors (typical for SMPTE and ARIB bars).
2x magnifies the vector display by 2x for DSC Labs color charts.
4x gives 4x magnification for looking at camera black & white balances.
- When Hist is selected: Y |
R+G+B | R,G,B | Y,R,G,B chooses the histogram display:
Y shows brightness (Y or luma channel) for exposure checking.
R+G+B and R,G,B show red, green, and blue channel histograms, to look at color balance and color distribution.
Y,R,G,B shows both luma and color-channel histograms.
- Intensity determines how sensitive the
current ’scope is. Decrease to see only the strongest part of the signal; increase to see
every fine detail.
- Scale changes the scale (graticule or overlay) brightness for the current ’scope.
- Transparency adjusts the transparency of the current ’scope when it is shown on top of the picture (transparency isn’t adjustable when ’scopes don't overlay the picture).
- Refresh Rate: slower saves energy; faster uses your battery faster, and may cause the image to break up or latency to increase on slower iDevices (mostly with Teradek sources). The best setting depends on the speed of your iDevice and your personal preferences. The Refresh Rate setting is shared by all ’scopes and camera status displays.
- Frame shows a frameline and/or mask using the aspect ratio and safe area you choose. "Full" uses the aspect ratio of the full image while other choices let you set a fixed aspect ratio. (To change the options available, edit them in the Source screen’s Settings menu.)
- Grid displays an alignment grid. The grid is normally drawn across the entire frame, but if you turn on Grid Inside Frame Marker the grid will be constrained within the frameline or mask instead (when Show Frameline / Mask is on).
- Center shows a marker in the center of the frame.
- Custom displays a crosshair you can position wherever you like. Tap Move Marker, then drag the crosshair where you want it. Tap Done to lock it in place and return to the display controls.
- Show Color | Show Controls switches between color settings and marker controls. The color settings include a sample line showing you the current color, and sliders to adjust it. All markers have hue, saturation, brightness, and alpha (transparency) settings. Frame markers also have brightness and alpha settings for the mask area outside the frameline.
- Flip H and Flip V flip the image horizontally and
- Squeeze Ratio selects the anamorphic desqueeze amount: 1.0x (no desqueeze), 1.33x, 1.5x, or 2.0x.
- Maximum Aspect Ratio is used to side-crop the image to a maximum active width: 1.78:1 (16x9), 2:1, 1.39:1, 2.67:1, or 3.56:1 (e.g. full width, no matter what).
- Note: ’scopes display data for the full image width, regardless of crop settings.
- No LUT | LUT 1 | LUT 2 | LUT 3 selects one of three preset LUTs to monitor the image with.
- You can change the three preset LUTs in the Settings menu.
- Note: VLog-L always uses Luminance Levels 0–255, so make sure FieldMonitor is using those levels when you're shooting log.
- For Panasonic cameras only:
- 16–235 | 16–255 | 0–255 | Legal selects the Luminance Levels used for the ’scopes and false-color displays, to match what the camera is using. If your camera doesn’t have a Luminance Levels setting, use 16–255.
- Movie Mode should be on when your camera is in Creative Video Mode (the mode-dial setting with the movie camera, if your camera has such a mode).
- HDMI Connected should be on if your camera is outputting live video over HDMI during recording.
See About Luma Levels for more details.
- Tap the false-color settings button (if available on your iDevice) to adjust the false-color overlay.
- Intensity sets the strength of the overlay, mixing between the normal color picture and the false-color image.
- The remaining controls set brightness levels to trigger false colors: red and yellow above their levels for overexposure warnings; blue and purple below their levels for shadow-detail indications; and a green level around which the image will be shown in green: use this for neutral gray, skintone, or any other target level you want to monitor.
- Sliding a control all the way to the left turns its color off.
Panasonic and Sony Wi-Fi cameras are supported with a basic set of onscreen controls for exposure, color, focus, and zoom. By default, tapping the screen hides the controls; tapping again brings the controls back (you can turn this off in the Hide settings). Depending on the camera’s operating mode and on-camera settings, different controls will be shown at different times, and the available control options will change.
- The focus area is shown onscreen, as a rectangle or a crosshair depending on focus mode settings. In some focus modes, no focus area is shown. Long-press to move it where you want it to be (with Panasonics, you can also drag it). In some Panasonic modes, you can pinch it larger or smaller.
- The focus area on a Sony can only be moved via remote control in stills mode.
- When you move a focus area, the camera automatically refocuses—not always successfully!
- Panasonics: In Pinpoint AF, long-press to move the focus area. Drag to move the focus point inside the focus area.
- Panasonics: Custom Multi areas are shown as a rectangle surrounding all the selected focus points. Custom multi areas cannot be moved over Wi-Fi; you need to move them on the camera directly.
- Since Panasonic’s contrast-detection AF always hunts, I recommend turning continuous AF off in the camera’s menus. Then long-press or drag the focus area whenever a focus change is needed. (Sonys with phase-detection AF work much better with continuous focusing.) In my experience, 1-Area AF and Tracking AF are the least problematic Panasonic AF modes for video work; your experience may differ.
- STBY | • REC and PHOTO buttons on the left side of the screen let you start and stop recording and grab still photos.
- When you tap •REC to stop recording, it may take a few seconds before the status changes to STBY, while the recording is being saved. The recording-time indicator in the upper-left corner of the image will stop increasing while this happens. If the recording-time indicator keeps counting up, the record-stop command wasn’t received by the camera; tap •REC again.
- Z is a zoom “rocker control” on the right side of the screen. Press the top half to zoom long, the lower half to zoom wide. This control is only available for power-zoom lenses.
- F is a focus “rocker control” on the right side of the screen. Press the top half to focus far, the lower half to focus near. This control is only available for Panasonics in manual-focus mode with remote-controllable lenses.
- If you keep the rocker pressed, the focus change will accelerate after a short time. To make multiple fine focus adjustments, tap the rocker repeatedly instead of holding it down.
- Aperture, shutter, exposure compensation, white balance, and color temperature appear at the bottom of the screen. When they're adjustable, they show a “rocker control”: press the left side to decrease the value, press the right side to increase it.
- Color temperature is only shown when the camera is set to a preset color-temperature mode.
- Color temperature is not adjustable over Wi-Fi on the GH5.
- Exposure compensation is only shown on Sonys when it is adjustable. On Panasonics, exposure compensation doubles as the “exposure meter” readout when the camera is in M (full manual) mode.
- Rocker controls “accelerate” if you hold them down. To make multiple fine adjustments, tap a rocker repeatedly instead of holding it down.
- Panasonic cameras are adjusted continuously when a rocker is tapped or held down.
- Sony cameras are only adjusted on single taps and when a rocker is released after being held down. After you tap or release a rocker, you may see the rocker's setting change back to its original value briefly, before the camera processes the rocker's new setting.
- Panasonic synchro-scan shutter speeds don’t always change with a single tap, or change by the same amount. Just keep tapping.
- If you turn on the HUD, the rocker's setting appears in the center of the screen while you’re adjusting it.
- PinP | FULL (Panasonics only) shows the current image-magnification mode. Press to toggle between modes. This control is only available in manual-focus mode.
- MAG (Panasonics only) lets you toggle image magnification on or off. This control is only available in manual-focus mode.
- AF is used to refocus the picture (with controllable lenses only; with Panasonics, in manual-focus mode only). In autofocus modes, simply move the focus area slightly, and the camera should refocus.
- On Sonys, AF changes to Cancel Lock when focus is locked to a point; you must take a picture, move the focus point, or press Cancel Lock before you can operate other camera controls.
- Peaking is set with the PEAK button (Panasonics only) Note that the peaking signal is not sent over Wi-Fi while recording is in progress. Peaking is only available in manual-focus modes.
Sony cameras always record video clips with levels ranging from 0% to 109%, and FieldMonitor’s ’scopes are calibrated to that range. Sony’s HDMI output is also always 0%–109% when recording video, and in standby when the camera is in movie mode. In still-photo mode, the HDMI range is from -7% to 109%, but it changes to 0%–109% as soon as you start recording. FieldMonitor’s ’scopes always display the image in the 0%–109% range, so that the ’scopes can be used for previewing video levels regardless of what mode the camera is in.
For Panasonics, things are considerably more complicated...
Panasonic video can be encoded with a variety of “Luminance Levels”, spanning different numerical ranges within their 8-bit (or 10-bit) signals. For example, an 8-bit “full swing” signal records black at a level of 0 and white at a level of 255, just like a JPEG image does. A “studio swing” signal puts black at a level of 16 and white at 235, the black and white levels of a Rec.709 video signal. It's also common to find “extended range” signals with black at 16 and white at 255.
In 10-bit modes, 0–255 translates to 0–1020 or 0–1023; 16–235 is 64–940; and 16–255 is 64–1020 or 64–1023 (Panasonic displays it as 1023 in the GH5’s menus). FieldMonitor always uses 8-bit terminology regardless of how your camera is set up.
Panasonics default to Luminance Levels 16-255 when recording video. If your camera does not have a Luminance Levels setting, it uses 16-255.
Cameras like the GH4 and GH5 offer all three choices when set to MOV format. In AVCHD or MP4 modes, only 16–235 and 16–255 are available; in V-Log L only 0–255 is used. Other cameras like the G7 offer 0–255 and 16-255 options.
When shooting stills, and (usually, but not always) when in Creative Video Mode but not recording, the camera uses 0–255.
Are we having fun yet?
Unfortunately, Panasonics don’t tell Wi-Fi apps which Luminance Levels are in use. In addition, the camera’s images transmitted over Wi-Fi will use different levels settings in standby and in record, and those levels will vary depending on whether the camera is in Creative Video Mode and whether it’s feeding video over an HDMI connection—and the camera doesn't communicate that information, either. Instead, you have to manually set FieldMonitor to match how your camera is set up (yes, this is an annoying, confusing hassle: I'm sorry, but there’s nothing I can do to fix it other than to give you manual controls).
FieldMonitor offers four luma ranges in its Levels settings, so that the measurements made in standby match those made while recording. These settings tell FieldMonitor how to adjust the Wi-Fi image so that its levels—and those of the ’scopes and false-color displays—are always correct:
- 16-235: use this when your camera is set to Luminance Levels 16-235 or 64-940. Blacks fall to 0% on the waveform monitor, and whites peak at 100%.
- 16-255: Use this when your camera is set to Luminance Levels 16-255 or 64-1023, or when your camera doesn't offer you the choice. Blacks fall to 0% on the waveform monitor, and whites peak at 109%.
- 0-255: Use this when your camera is set to Luminance Levels 0-255 or 0-1023. Blacks fall to -7% on the waveform monitor, and whites peak at 109%.
- Legal: Use this when your camera is set to Luminance Levels 0-255 or 0-1023. Blacks fall to 0% on the waveform monitor, and whites peak at 100%. Legal shows you the same levels as an internally-recorded file displays in most editors; MOV files with 0–255 encoding include metadata telling a decoder to display the image as legal-range video, not full-range video.
- If you're shooting log, make sure that 0–255 is selected for correct results. VLog LUTs expect data using the 0–255 range; selecting Legal range will show incorrect results.
In addition, you use two switches to tell FieldMonitor whether the camera is in Creative Video Mode (the mode-dial setting with the movie camera), and whether or not you’re feeding live images out HDMI.
If the settings on the camera and in FieldMonitor don’t match, image brightness and contrast, ’scopes, and false-color overlay will change when you go from standby into record or vice versa. (You can test your settings by aiming the camera at a high-contrast scene with clipped whites and deep blacks and watching the WFM as you start and stop recording: the highest and lowest levels seen on the WFM will not change when going between STBY and REC if FieldMonitor is set properly).
If you're worried about mistakes, set any of FieldMonitor’s ranges other than Legal. The ’scopes and false-color will be correct whenever the camera is in record mode (though they may be incorrect in standby mode) and they'll show you exactly what levels are being recorded or sent out HDMI.
© 2017 Adam J. Wilt. Last updated 2017.11.15