Mark Romero 2

9 hours ago, MrSMW said:

I think if you are a dedicated videographer, it shouldn't be a problem...

I shoot hybrid so I am not a dedicated videographer.

All day long I am flicking between shooting stills, lowering that camera and popping up the second one to capture the same scene with video handheld.

Sometimes, I need to do both at the same time such as: entrances, exits, confetti, vows/ring exchange/first kiss and in that case, the freestanding monopod directly in front of me comes into play so I can shoot stills while the video is doing it's own thing. Except vows/rings where I can lock focus.

It's then that reliable AF is required and with the system, it mostly is OK providing the subjects are not moving too fast.

And then there is full ceremony and full speeches coverage but that one is easy. Tripod, slightly wider angle than is needed (can always punch in with 4k) and focus locked off.

It's really (for me anyway) those entrances/exits/confetti times when I need the reliable AF and the total of these parts of the day are around 2 minutes without vows/rings and not much more because focus can be locked for vows/rings.

I can...and do, pop the ZV1 onto the S5 hotshoe as backup at these times as the tracking is excellent and though I don't really want to mix that footage in with the Panasonic S1H/S5 principal footage, for the sake of backup + a 10 second fiddle to pop on the ZV1, why not?

For 2022, I've picked up a gimbal, so that might be 'interesting'...

I don't intend to use it too much and will be getting some practice in over the next 8 weeks until my season starts, but as my S5 was relegated to the static video role only, I decided maybe I could use it a bit more so got myself a stormtrooper white Zhiyun Crane M3.

I put a QR plate on the bottom instead of the standard tiny tripod thing so if it's not in the hand, it's sitting on a proper full size (but still lightweight) tripod. The whole lot; tripod, gimbal, camera & lens, weighs under 3kg so it's really light weight to shift about.

It will be interesting to see how the AF stacks up though...

I can't see myself using it outside of the drinks reception and the couple session and it's primarily for the latter I decided to get and try one. A few minor gentle push in or pull outs I'll just rely on my ninja moves with the S1H and IBIS, but it's any bigger movements where that doesn't work so well. Might try it (the gimbal) on the dancefloor also. Just need to get a bit more dynamism into some of my shooting some of the day...

I have bought a gimbal twice before. And twice sent it back after setting it up. Too big, too heavy, too unwieldy/awkward.

This new set up though I feel...at least ergonomically and from a size & weight POV, is OK.

We shall see however because as is ALWAYS the case with weddings, it's only at weddings that any bit of kit is properly tested!

I am shocked - SHOCKED I say - to hear you got a gimbal!!! 

Is the Apocalypse upon us?

Do I need to keep an eye out for aloft swine???

🙂

On 1/23/2022 at 5:25 PM, herein2020 said:

I have given up on any kind of focus pulling on a gimbal, I just shoot with the deepest DOF I can get away with, use hybrid AF to get initial focus then try to keep the camera to subject distance within the focal plane. For real estate its easy since you can use wide angle lenses, for people its a different story. I've had plenty of takes ruined because of soft footage as the distance changed too much during the take.

Thank you for the reply. 

Yeah, I am thinking of getting back in to shooting weddings / events if, you know, the plague ever ends. So having consistent AF performance is going to become a priority moving forward.

On 1/28/2022 at 5:27 PM, Video Hummus said:

I think this is the way to go. MFT will always kinda suck in lowlight. Would much rather have expanded dynamic range.

I would be very happy with that, although i really like low light performance as well. Unfortunately for my real estate videos I find myself shooting on full frame S1 / S5 at f/4 and ISO 4,000 (second native ISO for V-LOG) at 16mm. So I would need something like an 8mm f/2 lens WITH  lens stabilization in m43 world to get the same field of view and get the ISO down to about 1,000.

Don't think there is an 8mm f/2 with built-in lens stabilization. (Yes, I have a gimbal, but without lens stabilization the IBIS-induced corner warping is horrible, and if I don't have camera stabilization on, I get some horrible micro-jitters).

I don't have any experience with it but heard that the ZV-E10 is better (think it has a bigger sensor so better for low light / indoor shooting). Don't know about pricing though, probably more expensive but you do tend to get what you pay for.

Does anyone have suggestions for a follow focus or something / anything else to help with manual focus, either when shooting on my Weebill S gimbal or when hand holding?

I can do manual focus pulls "ok" (better than the AF-C can do them), but then the camera gets shakey because I am supporting the weight of the body with only my right hand and using the left to focus.

And I have noticed that when shooting with my S1 in 6K mode, the stabilization isn't as effective. 

Saw a video by Paul Byun where he suggested using a nucleus nano on a weebills s, but that looks like you would really make it even harder to keep the gimbal and camera free of shaking.

Anyone have any success with either plugging the gimbal directly into the camera body and using the wheel on the side of the gimbal to pull focus? or by mounting the available motor to the gimbal and using it to pull focus?

Thanks in advance.

59 minutes ago, kye said:

If you're shooting for a more cinematic image then you can manually focus vintage or third-party lenses and the diffusion characteristics will offset the overly-sharpened codecs.  Considering there is no perfect camera, the first thing I'd sacrifice is AF because the alternative is lenses that have reliable focusing (ie, me), are cheaper, and create a nicer image.

Yes, I would / do sacrifice AF first. The major drawback for me though is that my manual focusing skills are still suspect and the weight of the S1 means that my footage is shakey if only one hand is concentrating on supporting the camera and the other is pulling focus.

I'm not sure if the answer is shooting more on the weebill S and using the wheel on the weebill S to pull focus or not. 

1 hour ago, kye said:

I understand this isn't the case for videographers, as that's another whole thing with different goals, methods, economics, target audience and aesthetic.

True, I think that most of the work i do (and hope to do) falls under videographer.

1 hour ago, kye said:

So many people are out there saying they're trying to get more cinematic images, and then they turn around and want lenses to be as sharp as possible wide-open and want AF, which almost completely contradicts the previous statement, as almost every theatre-bound production I've read about deliberately uses softer-rending vintage lenses despite having the budget for basically whatever lenses they'd care to use.

Or... they get a real sharp lens for shooting commercials, and then fill the room with haze ¯\_(ツ)_/¯

2 hours ago, arson519 said:

for how much i like the lumix s1 image quality im going to sell it to get an A7IV and just go all sony because sony has all the good lenses good autofocus all there cameras use same battey they aint playing around like panasonic.

Well... I don't know if I can blame you. 

It's a little hard to get excited about the whole L Mount system because the lenses are pretty expensive and can't be mounted on other cameras (heck, you can now mount Sony E-Mount on to Nikon Z Mount cameras).

I don't mind paying a lot for a lens, but I expect it to autofocus.

And the L Mount ultrawides don't have lens stabilization, so using five-axis IBIS leads to some pretty nasty corner warping when shooting ultra wide.

In the meantime, i gotta keep work on improving my manual focusing skills when either shooting hand held or on a gimbal... without shaking the camera all over the place.

22 hours ago, lebigmac said:

I finally sold almost all my gear and pulled the trigger on the A7IV which is probably the most unreasonable option. Main reason, I guess, is the enjoyment I had with the first A7, which was just fun to hold and operate. Other than that, on the plus side, you have a flip out screen and 10bit. On the other side, you'll get a resolution bump that nobody needs – if, you would get an A7rIII for 600 $ less – at the the expense of comparably lackluster low light performance (deplorable) and rs.    
So, time to get convinced by practice. 

If the a7 IV had full-frame 4K 60p, I would probably have gone for it. Despite my experiences with Sony aps-c cameras.

Keep us informed how it works out.

I am a bit concerned about the low-light noise patterns though. And the inconsistent overheating stories. Hopefully whatever is causing the overheating for SOME users can be fixed in firmware. 

13 hours ago, Trek of Joy said:

a7IV overheating test pt. 2
Did another run test without airplane mode since someone asked the question on FB - had the LCD out and today I plugged a mic in just to try and create more heat. I ran the battery dead and shot 1hr and 50min of 10-bit 422 XAVC S 4k60p. The battery crapped out about 30 seconds after I took the pic. No temp warning and the camera was warm, but wasn't that hot, same for the battery. Below is what I've managed without an overheating shutdown - AF-c and the camera pointed at the TV to get faces/eyes, Steadyshot on, auto ISO that was changing with the different light on the TV, airplane mode, LCD out, temp set to high, prograde 128gb v90's:
-- Over 7 hours of XAVC S 4k60p 10-bit 422 only stopping to swap batteries and delete the file after filling my 128gb card at 1hr 20min
-- Multiple dual recording of XAVC SI at 60p and 24p until cards were full or the battery died
-- Simultaneous dual recording of 10-bit 422 4k60p XAVC S until both cards were full
-- 27min of dual recording with the LCD against the body and it shut down, then another 14 min after immediately restarting - these two runs were after doing all of the above all day yesterday, that's about 9 hours of non-stop recording with no issues, then the shut down
Today's test was the same as above, just airplane off. I can't get mine to overheat unless the LCD is against the body, but I don't shoot that way and knowing it won't overheat with it out - I will not hesitate using this in a professional environment alongside my a7sIII. The a7IV is a winner for me.

Chris

Thanks for the update. Glad to hear it is working out for you.

Had a pretty rough day with my S1 today so I am definitely envious of Sony autofocusing (pretty hard to focus the S1 when one's glasses keep fogging up due to wearing a mask).

15 minutes ago, Trek of Joy said:

Ran some more tests. Took a lot but I finally got mine to overheat. I filled a 128gb card shooting SI at 4k60p which was 27 minutes, no issues. Then I switched to 24p which filled another card in 1hr 8 min, no issues. Then I did a simultaneous recording, 4k60p XAVC S - so it recorded 1hr 20 min to both cards, no issues. So my conclusion is after 7 straight hours of recording - only stopping to swap batteries and delete those long ass takes - my camera has zero issues with the screen out. 

So then I put the screen into the body and did the simultaneous 4k60p recording again. It shut down after 27 minutes recording to both cards. I flipped the camera off and then right back on and hit record and got over 14 minutes more recording before it shut down - again recording to both cards. This was after all the previous recording and the camera was already pretty warm.

I never shoot with the screen flat against the body. I'm 6'2" and never have the camera at eye level, so the screen is always flipped out so I can see it. Over 7 hours works for me, the a7IV is a keeper. A few more shots of the camera in action.

Cheers

Chris

 

Good to hear it is working well.

Wonder if the majority of issues are caused by problematic batteries???

Thanks in advance for keeping us posted.

One thing regarding overheating: I know your first experience occurred during menu setup. When the second overheating warning incident occurred during the ceremony, was that camera setup different than the others? In particular, were the others in manual focus while the  camera that was giving the overheating warning using autofocus? 

I only ask because I have seen some people talk about overheating of the a7S III and it seems like one can leave an a7S III recording for hours in direct sun as long as it is pointed at the ground or a wall, but once the af system is having to track things in the same situation, it might be prone to overheating.

58 minutes ago, SMD79 said:

Saw this thread because I was trying to see how common this issue is. I purchased 3 Sony A7IV cameras. One of them overheated and shut down while setting it up out of the box! I was NOT recording and was in a cool house (64 degrees inside at the time) indoors. I took it out of the box and was setting it up when I saw the overheat warning symbol. I had no card in and had not recorded anything. Kept setting things up and it shut down entirely. It wasn't hot. A little warm, yes, but nothing major and I've shot with Sony Alpha cameras for 8 years now. I'm an experienced Sony Pro member with 7 total cameras and lots of experience so I know how far they can be pushed. I switched to high temp mode and moved on. The issue did NOT happen with my other two A7IV cameras during set up. The LCD was flush to the camera for all 3 camera setups and I'd say it was only 15 minutes in with a fully charged Sony battery when the shut down occurred. Again, without even rolling!

 

We then shot our first wedding yesterday with the 3 new cameras plus my A7siii. All 4 cameras on a high temp setting so they'll last longer. About 15/20 minutes into the ceremony the original camera gets the overheating symbol! The others last the full 1hr ceremony with no warning. It's the same camera that had issues during setup (I labeled each one so I'd know). Pulling out the screen helped and the warning went away but the ceremony was in a cool church in the winter. We film outdoors in summer heat of Los Angeles all the time so there's no way this one will make it thru that. I'm convinced there are bad apples. For me it's 1 in 3 has heat issues. I'll be returning for another unit and will put it through its paces. I'll try to remember to post back but judging by me setting up my 3 cameras and my wife's two cameras (same a7iv cameras) and only this one having issues... I think there's just some bad copies out there. 

Do you know if it was the same BATTERY that you used for setup that led to the overheating as the one you used in the Ceremony that gave you the overheating warning? 

10 hours ago, kye said:

Actually, to elaborate on this a bit more, I only get one chance to shoot something.  So it's the shot I got, or nothing.  In a way this means that I need to be more knowledgeable than a "competent" DP.  On a narrative shoot you can just get coverage and sort it out in the edit later, so a DP just shooting coverage doesn't have to know which will be the best angle, they just have to know how to film a range of them.  Obviously as time and budget reduce, so does the ability to shoot full coverage and therefore choices need to be made about which angles will be kept and which will be cut from the production schedule, so there's definite judgement in that.
Also, as I am shooting my work essentially in POV, I also have less options that are possible, but also less that make sense for what I am trying to achieve, so I'm not having to be everything to everyone in every genre, but I still have one chance to get it right and know how to make these decisions.  I also have no notice, much of the time, although my street photography experience of anticipating moments definitely comes in handy here.

If anyone knows of resources that talk about the whole end-to-end and talk specifics then I'm super interested in that.  You can't learn to bake bread by learning how to grind flour, how to make an oven, how to raise chickens and cows, how to make crockery and cutlery, how to self-publish a cookbook, and how to design a menu for a modestly-priced restaurant.  All of these are specialities, no doubt, but when you add them up you're missing the bit in the middle that actually makes the bread.

I don't know if this will work with your workflow because it is all for big budgets and well planned out sets and lighting, but I find Studio Binder to be good at explaining different looks, from the cinematography to lighting to sound design to blocking, to costumes, to set design and I think also to the script / dialogue. 

They have a lot of videos, so it might be a bit overwhelming deciding where to begin. Maybe just look for a video covering your favorite director first

In particular, maybe start with the series of "The Directing Style of ..." videos at this playlist:

https://www.youtube.com/playlist?list=PLEzQZpmbzckUl3P1gqpM5Awa9U-CxdhVy

However...

If I understand a lot of the shooting you are doing, it is mostly run and gun / one man band / capture the moment / document the place, right?

Or am I misunderstanding what you are mostly shooting?

If it is the former, I wonder if maybe trying to learn from event videographers (like wedding videographers) might not be helpful? They usually have to work in scenes that look nice but they can't control, with lighting they can't control. Maybe some documentary filmmakers as well? (I think wedding photographers might be chasing a lot of the latest trends in their shooting as well, so maybe not a good fit for you.) Anyway, I love White in Revery , although they haven't released much lately.

The other thing I would recommend are look at classic street photographers, as they will give you an eye for working in environments they can't control as well. A lot of them just made the best of whatever opportunity presented itself.

Hope this helps.

6 hours ago, webrunner5 said:

It is just the base one, 8gig memory 256gb SSD. The base M1 Mini has 8 and 8 cores for both. So it is faster and more powerful than my M1 13" Pro that was twice the price. I am not a super fan of the Apple operating system myself. Stupid thing asks for you damn login, password for just about anything you want. They act like everyone is 6 years old using one. It is faster than a i9 Intel for editing I will tell you that. No PC can come even close to the latest ones that just came out. I had a i5 9600 with a GTX 970, 4gb 32gb ram and it was dog crap compared to the little Mini. And the PC was overclocked to hell and gone in both the CPU and the GPU, liquid cooled so that helped it live. I could not buy a new CPU or a GPU for what I paid for the Mini. Then when you move way up you are talking a new motherboard, new memory, bigger power supply on and on. I mostly just use the Apples for photo, video editing. I still like the PC world everyday usage wise. I have an older Sager laptop I use now for normal stuff and my games. But even it sucks for editing other than when I used it for my C100 footage but at MPEG-4 AVC/H.264 24Mbps anything will run it. Photo and video editing is not a poor mans hobby I can tell you that.

I'll be getting one of the new Macs... once they figure out how to run Linux natively on it and I can erase the whatever Apple OS is on there.

28 minutes ago, tupp said:

Yes, set electricians (but rarely the gaffer) arm-out lights from C-stands.  There are three common methods for arming-out with a C-stand:

1. Mount the item on the grip arm and extend the arm "righty-tighty;"
2. "Cantilever" the grip arm with a ratchet strap or a trucker's hitch;
3. Boom the grip arm, using a sand bag as a counter weight.

 

It depends on the size of the stand and the load to be armed-out.  A junior/combo stand will be capable of a larger footprint than a C-stand, and they are much stronger than a C-stand.  A typical baby stand might not be as good as a C-stand for this purpose.

 

There are countless ways to arm-out a light, and there are many booms and cantilevers designed especially to do so.  It's a large and involved subject.

There are just as many ways to suspend diffusion in front of a light.

Here is a basic primer on setting C-stands.

 

In my opinion, booming is the best and most versatile way to arm out a fixture with standard gear, but the cantilever method is most often seen on big sets.  The problem with the cantilever method is that the strap or trucker's hitch has to be reset every time you want to move/adjust the height/angle/extension of the arm.  Since there is always downward stress on that arm, it is a hassle to reset a cantilever.

Again, there are plenty of specially made boom rigs that fit on combo stands or C-stands.  A popular such rig is the menace arm.  Relatively recently, versatile cantilevers rigs have appeared, such as the Matthews Max and Max Mini.

By the way, if you are not familiar with the set lighting hierarchy, you should know that there is usually only one gaffer on set.  The only exceptions to having more than one gaffer occurs when there is a B-unit or C-unit, or when there is a separate rigging crew.  Likewise, there is only one key grip if there is only a single unit and no rigging grip crew.

Here are the typical ranks regarding lighting personnel in most big, departmentalized shows with separate electric and grip rankings:

GAFFER (Electric Department);

       - BEST BOY ELECTRIC;

            -  THIRD ELECTRICIANS (usually 3 or more);

       - KEYGRIP  (Grip Department);

            - BEST BOY GRIP;

                   - GRIPS (usually 3 or more).

Essentially, the electricians do anything that directly involves lighting fixtures and power on set.

The grips are in charge of "outboard" light controls that do not touch the lights, such as flags, scrims, silks, frames, etc., and they also provide some set rigging for fixtures and set pieces.  Grips are also in charge of camera support when it involves a dolly (hence, the dolly grip).

Most grips nowadays will dispute that they take orders from the Gaffer in regards to lighting, but it certainly was that way for a long time.  Until a few decades ago, there was no such position as a "Best Boy Grip."  The "Best Boy" was only a management position in the electric department.  Grips eventually realized that they also could benefit from a middle manager.

 

Thank you for all the excellent info. Really appreciate it. 

One more quick question if I may...

I know there are C-Stands with sliding big legs (to deal with things like stairs or uneven ground) and then stands without a sliding leg. Is either one "stronger"? Meaning, if someone gets a C-Stand with a sliding leg, will it be rated for less weight than a stand with a non-sliding big leg?

Thanks in advance.

Not trying to dogpile, but there were a few videos out there about people complaining that the a7 IV overheated when they weren't even shooting, just going through the menus to set up the camera the way they want it.

Something weird is going on...

19 hours ago, kye said:

 

Sorry to everyone for taking this off topic, but I have to ask something

@tupp : Can I interrupt and ask you a question about c-stands???

Since I know you have experience with such things, do gaffers actually hang lights from c stands on grip arms and gobos? 

I have to ask because so many people on youtube say that the "proper" way to boom lights is use a c-stand and a grip arm, but I have also seen a few people say that is completely wrong. since C-Stands have a narrower footprint than spreader stands are are more likely to tip over (even with sandbags). 

I thought that most gaffers would mount lights either on a spreader light stand, or if they were to use a C-stand, they would mount the light on on the baby pin of a c-stand, and then use a grip arm on a separate c-stand to hold diffusion in front.

I though booming lights was supposed to be done on a light stand with a (counter-weighted) boom arm.

Any insight would be greatly appreciated.

On 12/29/2021 at 12:18 PM, Rhood said:

Hi all,

can't really make up my mind and need to choose as soon as possible.

Options I'm tinkering about

Octabox 150cm with grid (and inner diffusion layer) (only around 50 cm deep which is a good thing)

Ball / lantern softbox 120cm with curtains

Balloon / lantern softbox 65cm (no curtains)

 

What I'm getting it for?

Mostly for round catchlights as I don't have any softbox type for that at the moment.
Portraits / Fashion
Film, table scene top down softbox

What I'm currently leaning most to?
Octabox 150 cm and Balloon / Lantern softbox 65cm

Am I right in thinking that the 150cm octabox and ball lantern 120 cm will produce pretty similar results?
The octabox will probably create larger catchlights, which is most of the time a little more pleasant.
The ball lantern is a lot deeper, don't know how much, which can be a big disadavantage for those table scenes or such.
Is there anything I'm missing?
What is your opinion?

The lantern will spill light everywhere (unless you flag it).

An octabox will be more focused with the light throw.

Ideally, you would want an octabox (or round softbox) as a key light and maybe a lantern as a fill light.

If you want to light from overhead, then maybe the lantern is the best.

3 minutes ago, fuzzynormal said:

...when literally everyone can make decent IQ...

Yup.

Kind of like being a drummer in a world full of drum machines.

4 minutes ago, PannySVHS said:

@Mark Romero 2
Yes, indeed. It is a different sensor though. Watching test videos shows that Varicam holds onto colors much better in lowlight than eva. It also offers 444 video in hd and 2k. I imagine the eva 1 being to varicam what a gh5 is to eva. All three great cams, but Varicam being a fantastic true pro tool for cinema production with an image up there with an Alexa and Red.

Thank you for the elaboration!!!

On 12/21/2021 at 4:48 AM, PannySVHS said:

Gh5 is using rec709 or at least a smaller color space than V Gamut is. I find it easier to grade for shots under natural light.

The S line is using full Vlog and V Gamut. Varicam still has a different response and a very impressive image with its S35 Varicam sensor.

Wasn't the image quality the main selling point of the EVA1 when it came out? (And the cheaper price compared to the Varicam.)

Meaning, wasn't the reason someone would get an EVA1 instead of, say, a Sony FS camera or a Canon C camera was for the image quality? (Not saying the EVA1 was better than those lines, but I guess some people really wnated the Varicam look in a cheaper package.)

On 12/15/2021 at 11:47 AM, Geoffrey said:

This is a strange one and I suspect no-one will have come across it but I was doing some recording the other day using a Zoom H6 and the S5. I used the line out of the Zoom to connect into the camera so I had a guide track for synching the zoom audio in post. The Zoom line out is specifically designed for such a scenario (stated in the manual). But here's the thing, after careful tests and some head scratching I came to the unavoidable conclusion that the phase on any input into the Zoom was inverted once it is laid down as the S5 audio track.

The cable is an unbalanced 3.5mm so it cannot be that so that leaves either a problem with the Zoom line out (unlikely) or the S5 line input (more likely). Either way this is clearly a factory fault. There is nothing that can fix this at source and it is easy enough to invert the phase in post, and in fact mixing both signals in any final project is very unlikely anyway, but still, it should not be happening.

One other fairly obvious observation is that the noise floor of the 55 is noticeably higher than the Zoom which is pretty pleasingly quiet. This is not helped by the fact the Zoom line out is fixed at -10dB so you have to have the S5 at 0dB input at least. Anyone who cares about sound quality and is recording in a quiet environment would do very well not to use the S5 for sound unless you have a high quality mixer that enables you to lower the S5 input level to -6dB at least..

Thanks for the heads up.

You have mentioned "line out" a few times and I just want to make sure that on the Zoom h6 you are changing the output level from line level to mic level output, right? (Page 85 of the h6 manual)

On 12/7/2021 at 4:39 PM, herein2020 said:

I use all adapted EF lenses so I have no way to use CAF. For interviews, I switch to MF, punch in to focus, have the subject sit perfectly still, and manually focus until it is as sharp as it can get, then all I can hope is that they do not move much. A lot of times I'll shoot at ISO4000 just so that I can use F5.6 for more DOF to keep the subject in focus. That tiny screen like you said is very difficult to see and it does not help that the focus peaking is nearly always invisible.  All of the focusing problems really ruin an otherwise perfect camera. 

The focusing problems are why I keep eyeing cameras like the C70.

I have found AF-S to be pretty reliable, even in low light shooting V-LOG profile or in otherwise challenging situations. This is with my Canon EF 16-35 f/4 L on the Sigma MC-21 (along with my native Panasonic 24-105 f/4).

I basically rotate the switch on the back of the camera to MF but leave the AF / MF button on the lens set to AF.  Then I use back-button focus on the S5 (and S1) using the AF On button on the back of the camera.

With my eyesight is a challenge to check focus on the screen, but it does seem to work pretty well. Or I just use my rather inexpensive Portkeys monitor to help. 

Great video. Liked it a lot.