Get the inside scoop on the latest SmallHD 4K Monitor direct from a1st AC out in the field.
Brian Aichlmayr is a Local 600 1st AC in Houston, Texas, but he is also known for his popular shots on Instagram. He has been working as an assistant for 10 years and has been an avid user of SmallHD monitors since the DP6 was released in 2011. Brian was thrilled to beta test our newest 4K production monitor, the Cine 13. Prior Brian has been using the 1303 HDR, so he is able to provide valuable insights into how this new 13 inch monitor compares to its predecessor.
What is your job title on set?
I work exclusively as a 1st AC onset.
Tell us a little bit about your most recent project.
My most recent shoot with the Cine 13 was a vehicle commercial utilizing an arm car, as well as some handheld and dolly work.
What was the camera set up?
We used 2x Arri Alexa Mini LF’s with Panavised Primo Anamorphics- a studio setup for one and a handheld backpack rig for another. The camera setup also included SmallHD 703, FIZ, Teradek 3000, and Anton Bauer batteries.
Share your experience using the Cine 13.
One of the big telling factors between the Cine 13 and 1303 HDR is the weight of the basic monitor. The monitor really shows off the lighter weight while making sure to add new features, like 4x 12G-SDI ports and dual 2-pin power options for attaching multiple aks. It is easy to run a video overlay unit for your light ranger and Teradek while powering off the monitor. The dual gold mount plate is a great addition as well because I no longer have to come up with ways to hot swap batteries off one plate. You can even plug in a block battery now using the dedicated port and run no onboards if wanted. All you have to do is power your aks with two pin LEMOs through the monitor and you’re good.
How did the high pixel-density display and 1500nits+ of daylight-viewable brightness impact your set?
I absolutely love the quality of the panel. As someone who uses everything from a 5” to a 13”, being able to scale down your image on a 13” without losing any quality is amazing. I find it great as a second check when utilizing softer lenses. The Texas sun is always a huge factor during exteriors and the 1500nits+ of daylight viewing helps keep me sharp, no matter the scenario.
How does it compare to other 4K and production monitors you’ve used?
I have not had a chance to utilize many other 4K monitors besides the Cine 24 at this point, but I’ve used quite a few production monitors. The Cine 13 will definitely be a hard hitter as it releases. Its rugged housing and weight versatility really opens up options; whether you're in the back of an arm car or having to carry your focus tree up a flight of stairs. I find that I’m rigging less to the monitor and not having to deal so much with sun shades because of its brightness options. I really look forward to seeing what uses this SmallHD Cine 13 has for other folks.
Why should someone switch to 4K monitoring and what is the biggest hurdle when making the switch?
As a focus puller, you should switch to 4K monitoring because you’re increasing your overall pixel density while future proofing your investment in gear. 4K is right around the corner as the image pipeline progresses in technology. The biggest hurdle? The price. The Cine 13 easily replaces my 1303 for the better in every other aspect.