g'day I'm Sean from Ari and this is a video about the new third-party camera control licenses for the high five we've recently introduced a bunch of new licenses for the high five the high five is our Flagship 3-axis hand unit for remote camera and lens control and out of the box every high five supports triggering Run Stop on nearly every digital cinema camera on the market and with array cameras we offer really in-depth camera control so the high five natively supports changing all your exposure settings and changing your frame rate and triggering Playback and going through a clip list to select different clips to playback it also supports loading custom user buttons and custom user presets which really expands the functionality to cover just about everything that one of our cameras can do so in order to make the high five an even better tool we've just launched two new licenses for camera control on third-party cameras so there's the camera control license key for RED cameras which supports the dsmc2 cameras like this Gemini and also the newer generation RED cameras like the Komodo and the V Raptor and there's a second license key available for Sony camera control which will support both the Venice and the Venice 2. now in order to get camera control working you need to use one of our two newest motor controllers because the older motor controllers like a umc4 unfortunately just can't support the new licenses but you do have a choice between using either the c-force mini RF or the new rear one and both motor controllers offer exactly the same functionality with either of these third-party camera control license options so they also both use the same cables which is nice and if you're using the red license or then you you use the existing cam to Red control cable which has existed for a really long time with the mini RF motor and if you're using the Sony license well you need to make sure you have the newer Sony eight pin remote to cam cable as the Venice 2 doesn't have a 4 pin herozy port and that Port actually doesn't support camera control anyway only run stop so you might need a new cable in that situation now on the red cameras you can change all your exposure settings and you can trigger playback and also go into a clip list and select different clips and on the dsmc2 cameras and on the V Raptor you can trigger user buttons unfortunately user buttons aren't supported by the Komodo at the moment on the Venice you can also change your exposure settings and switch NDS and you can go into playback but no user buttons on the Venice there are a couple of Tricks when you set up both of these types of cameras so I'm going to run you through those now I'll talk about the dsmc2 cameras first and then the red Komodo and V Raptor and then Venice at the end so remember this video is split up into chapters and you can just click the different chapters in the little scrub bar below so I won't be offended if you need to skip to the Venice section now go for it all right let's look at the dsmc 2 cameras so in this instance I have the rear one is the motor controller connected to the high five with a pair of RF 2400 radio modules it would be exactly the same functionality with the mini RF as long as I have the RF emit module in the high five and of course a little bit less range but I have the rear here now the L bus port on the rear is connected to the motors and then I just have my Motors Daisy chained from one to another going into that illbus Port up here the cam Port goes to the camera so we go cam goes down and around and at the back we're using the red control cable which is a y cable so it has cam 7 pin on one side and on the other we have this micro limo 4 pin connector which goes to the control port on the dsmc2 cameras and it splits off to d-tap to get power because we obviously need to power the system so this one DTaP is managing power for the three motors and the rear no problems I also have the serial cable plugged in because I'm running my focus bug up here again with the focus bug license now the control pin out on the the Reds is a little tricky so if you have any dsmc2 camera you will need to make sure you have a module which includes the red control pin because the base bare camera Body by itself doesn't have that and also you can't use the base expander module because that was one of the first modules released and it actually has the old protocol from the dsmc one so don't use that but in general there's no difference between using a gemini or a monstro or a weapon or whatever red camera you have as long as it has that red control port on it in the camera itself you need to make sure that the serial protocol is set to RCP which stands for red command protocol so I'll walk you through that if you go to menu and then go to settings and then set up and then communication click on serial and then from the drop down make sure that you have red command protocol selected now I'd recommend that you set that up before you plug in the rear as it generally requires you to unplug and then replug the camera if you then change the serial Port after you've connected the rear or a c-force mini RF now as soon as I do that on the high five itself if I click on the page button I then get to see the status information from the camera remaining record time voltage what lens table I have selected and I can click on one of the buttons below that and change something like my frame rate now at the bottom left you'll see the user buttons and that's something else we need to set up so if on the camera you go over to menu and then settings and then set up and then keys and then soft keys you'll see buttons one two three and four on the right hand side and they correspond to the user buttons one to four on the high five so I've set user button one here to be exposure check toggle on or off and if I go into Cam user and then hit select on button one then you'll see that the exposure tool comes on the red now the other thing you can do is you can assign one of the high fives physical user buttons to control one of the camera user buttons as well so I've just got button one up here triggering false color on the red too which is kind of nice all right let's look at the Komodo here we have a komodo now I've chosen to run a c-force mini RF motor instead of the rear one they both use exactly the same cable and they both support exactly the same types of camera control with these cameras so no difference there it's just a choice of rigging and radio module support so we have a cam 7 pin connector up here and then the cable goes back to the DTaP for power and then a four pin control input up here now these cameras just like the dsmc2 cameras they don't have a four pin control port on the body themselves you need to use some kind of breakout adapter so we have a bunch of adapters here I've tested four of them they all work but make sure you do your own testing they go from the nine pin EXT connector on the back of the camera to a bunch of things like run stop but crucially that four pin tiny limo serial connector that we need for control the red control connector now these newer cameras don't have a choice of Serial protocols you just have the one which is rcp2 the second version of the red command protocol and except there is one thing you do need to change which is if you go into the menu and then you scroll down to communication and then go to serial you will notice that there are two options board rate and IP address and I need to make sure that the board rate is set to 460 800. if you don't set that rate it won't work properly in terms of camera control from the high five and typically you'll notice if your clip list doesn't load that you haven't set the board rate correctly in the camera so just be aware of that it's not the same board rate as a small HD monitor so make sure you've got it set depending on which device you are using that's it all right and lastly we have the Sony Venice now the Sony camera control license key for the high five will enable you to change exactly the same settings on both a Venice and a Venice 2 and the setup is the same so even though I have a Venice 2 here if you are using an original Venice you can follow along and everything is exactly the same in terms of the motor controller I've got a rear one here that's in host mode and the cable is a cam to remote and d-tap Y cable the c-force mini RF would use exactly the same cable now this cable is new previously we haven't had one which went to the remote port on a Venice we were suggesting a 4 Pin herozi cable for the Venice one for run stop but that port on the camera doesn't support camera control and that Port is actually not on the Venice 2 anymore so if you're going to buy one cable by the remote cable you can do both run stop without the license and you can do camera control with the license now I've got Motors attached via L bus as per normal and my focus bug is going into the serial Port up here on the rear in terms of what you can do well you can put the camera in playback mode and you can go to previous and next clip and of course play and pause in terms of camera control when you're in normal mode on the Sony Venice you can only change the frame rate and the ND filter position unless you go into the special RCP mode which I'll get to but the one thing to note with the frame rate adjustment is that you must change the camera to be in variable frame rate mode not fixed which is pretty straightforward to do now that is it so I would go to page here and then now I can adjust my frame rate by touching on the frame rate indicator and I can you know set that to 30 frames if I want to have more control of the Venice I need to put the camera into the RCP mode which stands for remote control panel because that's like the broadcast remote control panel which you would have a remote Iris operator and paint settings and all of that so I go to full menu by holding down the menu button and then I've got to scroll down to technical and then I've got to scroll all the way down to special configuration and then I have to turn that RCP paint control setting to on now the camera will do a factory reset so save your user setup if you go into this mode so you can reload it later on then you press run that will take I don't know half a minute or something to reboot the camera and I'm also going to reboot the rear because it protocol has now changed and when the camera starts booting up I will turn the rear back on I'll then have to recalibrate the lenses because the power has been lost to the motors that's good to go now and then when this reconnects which it has already we can start the calibration process now the only downside to running the camera in RCP mode is that it changes how the iso is displayed I guess to be more of a broadcast tile setting so I now see that there is gain here instead of iso you can still set the base ISO of the camera in this case it's at 800 at the moment and then I need to add gain to simulate changing my ISO value you'll also notice that the gain setting the shutter setting and the white balance setting are all white instead of yellow which means that I can't actually change them from here I have to do that from the high five so if you select page on the high five and go across you'll now see that there are more options available to you than the previous mode and if I go to EI for example I then get the display to to add DB of gain instead of iso 6 DB of gain is equal to one stop so having the camera at base ISO of 800 with an additional 6 DB of gain is the equivalent to having the camera at 16 100 ISO now we appreciate that there are probably DPS there who don't want to have the iso value shown in DB it's not a familiar thing but until there's a firmware update which allows us to run ISO mode in RCP mode then there's not a lot we can do unfortunately hey it's continuity breaking shown here because I have an update for a feature we didn't think we'd actually make it in time for the video but it has and it's pretty cool that's lens metadata injection for the Sony Venice and the Venice 2. so if you're using a c-force mini RF or a rear one because they have a seven pin cam connector then you can use the cam to Eng cable here which connects to the 12 pin herozi port at the front of the Venice called the lens Port now that's normally where you would connect a Servo grip for a Eng Style zoom and use it with the Venice but we can use the same port and send lens data in which then shows up on the monitoring outputs so here I can change my you know I virus value and I can change my focal position and you can see that the values here on the monitor are changing which is great previously that would only work with arid cameras and all those lens metadata values are also stored with the files that the camera records which can be great for post-production and they fit in with the virtual production streaming workflows as well so all that metadata is now available for users of the Sony Venice have we got it set up well the little cable we have here so 12 pin herozi to cam 7 pin that will take power from the camera but not enough because the lens Port can only Supply one amp at 12 volts which is not enough power to run any of our Motors at full torque and full speed so please always add extra power I have a d-tap to lbus Cable here so that's d-tap to lbus L bus to L bus between the motors and then cam to the lens port on the front there's one other little tricky thing and that is that you need to have this cable connected and a motor attached when you turn the camera on if you have the camera on and you plug in this cable you'll notice that nothing changes you won't get any of the lens matter data values showing it needs to be in there when the camera is turned on so that the Venice knows that you're expecting to use that port and it will then accept all the lens data you can still swing a lens and send a different lens table from your high five or wcu4 to the motor controller while the camera is on and that will update just fine it all works it's just that if you unplug the cable you need to turn the camera off plug the cable in and then turn the camera back on again for you to get the data back so just bear that in mind the other little thing is that because we're now using the cam port on the mini RF motor for lens metadata injection because that's not carried in lbus you need to well it will then mean that you can't use the remote Port back here with that motor because you only have one cam Port so it means you won't get camera control in this particular setup however it is possible to have both camera control and lens metadata injection going you just need to set up something like this I have a rear one in host mode which is wirelessly connected to a high five bit of wc4 would work as well and I also have a c-force mini RF down here but it's in client mode so the radio is off even though the antenna is still attached and the reason I have both of those devices is that I need to have a way to connect two separate cam cables in my system now normally our devices would only have one cam Port like the rear or the c-force mini RF but I need two because I need one for camera control into the remote connector at the back here and I need the second one being cam to lens up the front in order to get the lens metadata working so even though not many people have probably done it like this before it does work you could also use 2C force mini RFS if you wanted to or really two rears actually as long as you have any L bus device that also has a cam Port you can make this system work so to run you through the signal flow we have rear talking wirelessly to high five the rear is going cam to remote and d-tap and that's why I'm getting the power from we then have lbus up here going to my first motor which is the c-force mini motor that's on the iris axis and then that's going L bus into the c-force mini RF and then we have cam from the c-force mini RF into the lens connector on the front here that's that cam to Eng 12 Pin herozi cable all right that's about it I think let us know if you have any questions in the comments down below and thanks so much to ignite Digi to camera hire Australia to Sandy McLennan and to Susan Lumsden ACS for providing the equipment for this little video thanks so much for watching we'll see you in the next one