The Monitor Screen has controls to change how the picture is displayed and how the ’scopes are shown.
- 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 (♻︎ on older versions) rescans the network for sources. Usually the source list updates automatically, but sometimes a camera or a Teradek doesn't show up when you think it should. Tapping Refresh will make it appear if it is indeed available.
- Settings lets you adjust display controls and Teradek options.
- Help shows this help.
- 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 (1.896x1) 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.
- 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 ’scope controls. The controls are divided into Display,
Marker, Squeeze, and Levels
(Levels is only available for Panasonic 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), vectorscope, or histogram. In single-’scope display, tapping chooses the ’scope to display and adjust. Otherwise, tapping just sets 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 display:
100% shows targets for 100% saturation colorbar vectors.
75% places the targets for 75% colorbar vectors.
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 in the Frame Marker’s controls.
- 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.
- Squeeze Ratio select the anamorphic desqueeze amount: 1.0x (no anamorphic lens), 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.
- 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.
- LUT: uses the Panasonic “VLog to V709 for V35” monitoring LUT to put some contrast and color back into your log images (a future version will let you load your own LUTs).
- Note: VLog-L always uses Luminance Levels 0–255, so make sure FieldMonitor is using those levels when you're shooting log.
- Tap the false-color settings button (if shown 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 cameras are supported with a limited set of onscreen adjustments. Tap the screen to hide the adjustments and see a decluttered screen. Tap again to bring the controls back. 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.
- A focus area is shown onscreen, as a rectangle or a crosshair depending on focus mode settings. Drag it to move it, or long-press where you want it to be. In some modes, you can pinch it larger or smaller.
- In Pinpoint AF, long-press to move the focus area. Drag to move the focus point inside the focus area.
- 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.
- When you move a focus area, the camera automatically refocuses—not always successfully!
- Since contrast-detection AF always hunts, I recommend turning continuous AF off in the menus. Then long-press or drag the focus area whenever a focus change is needed.
- In my experience, 1-Area AF and Tracking AF are the least problematic AF modes for video work. Your mileage may vary.
- 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 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.
- Rocker controls “accelerate” if you hold them down. To make multiple fine adjustments, tap them repeatedly instead of holding them down.
- Synchro-scan shutter speeds don’t always change with a single tap, or change by the same amount. Just keep tapping.
- PinP | FULL shows the current image-magnification mode. Press to toggle between modes. This control is only available in manual-focus mode.
- MAG lets you toggle image magnification on or off. This control is only available in manual-focus mode.
- AF is used to refocus the picture in manual-focus modes (with controllable lenses only). In autofocus modes, simply move the focus area slightly, and the camera should refocus.
- Peaking is set with the PEAK button (note that the peaking signal is not sent over Wi-Fi while recording is in progress). Peaking is only available in manual-focus modes.
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 either 64–1020 or 64–1023 (1020 is the true 10-bit equivalent of 255, but Panasonic displays it as 1023 in the GH5’s menus). FieldMonitor 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.
When shooting stills, and (usually, but not always) when in Movie 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:
- 16-235: use this when your camera is set to Luminance Levels 16-235 or 64-940. Blacks are set 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 are set 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 are set 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 are set 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.
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, the ’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 shown on the WFM should not change).
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.Note that Luma settings are only used to control how ’scopes and false-color interpret the image. The picture itself is unaffected (and uncorrected) by the setting, so you may often see the black level and contrast of the displayed image change slightly when you press record, or when you change Luminance Levels on the camera. Depending on the various factors discussed above, the pictures the camera sends over Wi-Fi may use any of the following luma ranges: 0–219, 0–239, 0–255, 16–235, or 16–255.
© 2017 Adam J. Wilt. Last updated 2017.06.22