feelworld 7 tft lcd monitor review free sample

The Feelworld Lut7 monitor is a great find for this price. The 2200nit Touch Screen is a MUST HAVE. I have been able to use it on bright, sunny, beach days without the need for an additional sun-hood because of how bright it gets. That brightness will also save you on those cloudy, overcast days. On-camera monitors tend to throw back a harsh, almost mirror-like, reflection where the Feelworld Lut7 is clean and easy to see (see video for an example and an unboxing). The 7inch screen is nice because it allows you to pull up other items like RGB Parade, Vectorscopes, Grids, Audio Levels, etc. and still have plenty of room to monitor your video (again see video example). This monitor has a lot of the professional features you would find on much pricier models at a more affordable price. False Colors, RGB Parade, Wave, Vectorscope, Audio Bars, Audio and HMDI Out, LUT support...I could go on an on. Again, for this price range it is a great monitor!

FEELWORLD has just released an affordable 3G-SDI on-camera monitor, the FW568S. It features a 6-inch FullHD display, 3G-SDI and HDMI input and output, 450 nits of brightness, custom LUTs support, and an NP-F plate on the back to power wireless video transmitters. It retails for $239.99.

Although FEELWORLD has recently introduced a large 10.1” model, the LUT11S, the company is primarily known for producing 5 and 7” on-camera monitors that are light on your pockets. I personally own the LUT7S PRO as a backup monitor and, although the build quality isn’t great, it’s bright enough to be viewable even when shooting snow sports.

The device offers a set of common monitoring and framing tools, including waveform, vector scope, histogram, peaking, anamorphic de-squeeze, false color, and more. Also, users can now load up to 32 custom LUTs as .cube files, which are added to a series of built-in Log to Rec.709 presets compatible with some of the most popular camera models.

Like most FEELWORLD monitors, the FW568S comes with a plastic construction that keeps it lightweight (203g). In my experience, this isn’t very reliable, especially for run-and-gun shoots, and is something that the company should really improve.

Lastly, the screen features a new menu layout that should be easier to navigate. However, users can only operate the monitor using a scroll wheel button, as the display itself doesn’t seem to be touchscreen.

The new FEELWORLD FW568S is now available for pre-order from B&H. Its official retail price is $239.99. The existing HDMI-only FW568 V2 is also still available for purchase for $119.99.

What’s your favorite 5” or 7” on-camera monitor? What do you think of the new FEELWORLD FW568S? Let us know your thoughts in the comment section below!

If you"ve just started out in video, on-camera monitors may seem like a luxury. Experienced videographers will tell you otherwise. As well as enlarging the display to make recording easier, lots of on-camera monitors can also improve your camera"s video output. Whether you"re shooting on a cine camera, a mirrorless, or a DSLR, an external monitor is a necessity if you want to get serious about filmmaking.

You might think you don"t want to add weight to your setup or make it any bigger but an on-camera monitor is worth it. The extra big display means when you"re shooting you can see a more accurate, live representation of your footage. Should there be a speck of dust on your lens or sensor, you"ll be able to tell much easier on a 7-inch screen rather than a 3-inch screen.

Some of the more high-end on-camera monitors not only increase the size of your display but can improve your camera"s video functionality. For example, when shooting with a Panasonic Lumix S5(opens in new tab) and an Atomos Ninja V external recorder, you can shoot 12-bit RAW instead of 10-bit 4:2:2 with its internal recording option. On-camera monitors are also great additions if your camera lacks features such as a fully articulating screen such as the Blackmagic Pocket Cinema Camera 6K(opens in new tab).

Even if you have features turned on such as focus peaking, zebra lines, and false colors, an on-camera monitor lets you apply frame monitors which can reveal flickers that smaller monitors might not. They also enable you to proof content and show other people on set without having to cram around a small screen.

In this list, we run through the best external monitors and video recorders around so you can get the big-picture experience before you hit your editing suite and it’s too late to re-shoot.

Since the release of the Atomos Ninja V back in 2018, it has become pretty much the industry standard in monitor recorders. It"s a popular choice among both budding and professional videographers and filmmakers thanks to its beautifully calibrated 5-inch HDR display and its ability to support 4K 60p ProRes HQ, H.265, 4:2:2 ad DNxHR. The Ninja V will also support 6K Apple ProRes RAW and it"s the only monitor of this size to do so thanks to a deal between Apple and Atomos. Other features include pro-level monitor tools such as waveforms, false colors, HDR monitoring and LUT support.

If your camera doesn"t support 4K, the Ninja V might be a bit overkill as you won"t make the most out of the features you"re paying for. If you"re just after a monitor so that you can view your video easier, the Atomos Shinobi would be a better option and it will save you money. Alternatively, if you"re shooting some serious projects and need something even bigger, the Atomos Shogun(opens in new tab) which appears later in this list sports a massive 7-inch screen, perfect for using with the best cinema cameras.

With the built-in camera control for various Canon, Sony, Panasonic, Blackmagic, and even Z Cam cinema cameras, this is a great option for anyone wanting a monitor that will help a filmmaker get the shot and be a very helpful visual aid in the composition process.

For a reasonable price, you get a great package that is built to withstand the vigorous day-to-day life of a filmmaker while on set, in the studio, or for on-the-go shooting. Paired with a tough travel case for ease of transport between shoots, great monitor features, and the ability for onboard audio monitoring, the PortKeys LH5P II is a great 5.5” monitor for anyone looking to up their game in the cinematography world.

If you"re just looking for an external monitor and don"t need recording capabilities, the Atomos Shinobi delivers the display quality of the Atomos Ninja V but at a fraction of the price. It"s the perfect choice for vloggers who shoot with a camera with limited screen articulation such as the Sony A7 III(opens in new tab) or the Blackmagic Pocket Cinema Camera 4K(opens in new tab) which has a fixed display.

This is the big brother of the original Shinobi, offering a much larger 7inch display - and billed as the movie directors and focus directors, but also as a great presentation screen for vloggers wanting to see clearly what they are recording. Its bright 2200-nit screen is the key attraction here - but it also does much more than just monitoring your image. With HDR capability - it offers built-in Log conversion, so you can see what your raw footage is likely to look like when edited, and you can even load up your own LUTs via the built-in SD card slot.

7″ is a popular size for onboard monitors for use with digital cinema cameras. I was interested to see how the SWIT measures up against other options that are also available.

We first saw the monitor at NAB earlier this year, and it certainly quelled my interest. For me personally, the four main things that an on-camera field monitor must have are:

The CM-S75C 7″ Full HD (1920 x 1080) monitor is quite a change in direction for SWIT. It has a more modern and streamlined design unlike the companiesS-1073H which looked like it was from the ’90s.

It’s not that hard to come up with a reasonably good looking screen these days and be able to sell it for a few hundred dollars. The problem is there is a lot more to a monitor than just the display. It’s the software and the OS that separates the good and great monitors from the ok ones.

Sure you could go and grab a pretty decent 7″ high bright monitor for under $500 USD, but have a good close look at its monitoring tools and operating system. Most so-called “affordable” monitors leave a lot to be desired on this front.

At the end of the day, a monitor or an EVF is how we judge everything we shoot. Why on earth would you not want to use the best possible option you can afford. A good chef isn’t going to buy an expensive oven and then throw a frozen TV dinner in there and expect it to taste like a freshly made one using quality ingredients. Do you really want to use the equivalent of a frozen TV dinner as your sole monitoring option?

The CM-S75C has a claimed brightness of 3000 nits and a contrast ratio of 1200:1. That makes it on par with the SmallHD 703 Bolt 7″ Wireless Monitor, but it’s still not as bright as the TVLogic 7″ FHD HDR Field Monitor with 3G-SDI and HDMI 1.3 that has 3600 nits.

The inherent problem with any high bright monitor (2200 nits and above) is that they have a hard time displaying rich blacks. Often they lack a good amount of contrast and can look washed out.

So is it actually 3000 nits? To check the claimed brightness of the CM-S75C I shot a white card with a light set at 5600K, and then exposed the image so it was just below 100% so there was no clipping. The monitor was set in its D65 profile.

The CM-S75C gave me a reading of 3,190 lux and a Kelvin color temperature reading of 6540K. Just for reference, it had a CC score of 0. The reading of 3,190 lux exceeds SWITS claim of 3,000 lux.

As far as color accuracy is concerned, the CM-S75C recorded an almost perfect Kelvin color temperature of 6540K. This is by far the most color-accurate monitor I have tested (technically speaking). Just as a comparison, I have included the SmallHD Cine 7’s results above.

The SWIT CM-S75C had a CRI of 83.8 and a TLCI of 79. Again, as a comparison, the SmallHD Cine 7 had a CRI of 48.3 and a TLCI of 29. The only monitor I have tested that scores higher is the Atomos Ninja V. It has a CRI of 90.6 and a TLCI of 79.

Above you can see the brightness level difference between a SmallHD Cine 7 (1800nits), the SWIT CM-S75C (3000 nits, and the Atomos Shogun Inferno (1500 nits). All of the monitors were set at their maximum brightness levels.

You can adjust the backlight on the monitor as well as a ton of other display parameters. The monitor also allows you to auto flip the image or rotate it.

The build quality is pretty good, but it’s not up to the standard of a SmallHD 7″ Cine 7 Touchscreen On-Camera Monitor. It is, however, a lot better than some of the monitors from companies such as FeelWorld, ANDYCINE, and MustHD.

I don’t mind the design of the CM-S75C. It is far nicer to look at (from an aesthetic point of view) than the S-1073H. It sort of reminds me of the SmallHD 702 Bright On-Camera Monitor.

I like that the inputs and outputs are all on the back of the monitor. This means they are out of the way and it makes mounting the monitor onto a short monitor arm or mount a lot easier.

The power on/off switch is located on the back of the monitor. While it isn’t that hard to access I didn’t personally like the design. It feels like one of those power on/off switches that you would find on an old Nintendo Game Boy.

How does this weight compare to say a SmallHD 7″ Cine 7 Touchscreen On-Camera Monitor? Well, the SmallHD weighs in at 567 g (20 oz) without a battery. The ANDYCINE X7S weighs in at 475g (With F970 Battery Plate).

A 7″ monitor is a lot more suited for mid and large-sized digital cinema cameras. If you are using a DSLR, mirrorless, or a small digital cinema camera you may be better suited choosing a smaller 5″ monitor.

Neither SWIT or OSEE states whether the panel is 8-bit or 10-bit, but it’s pretty safe to assume that it is a 10-bit (8+2 FRC) panel. A lot of companies list their monitors as 10-bit even though they are really using a 10-bit (8+2 FRC) panel. FRC stands for Frame Rate Control Technology and an 8+2 FRC panel is basically a way of trying to approximate the color reproduction of a true 10-bit panel. A true 10-bit monitor can display 1024 shades of color, whereas a 10-bit (8+2 FRC) panel can only truly display 256 shades. So what a 10-bit (8+2 FRC) panel does is artificially create in-between shades of color by quickly shifting the pixels to go between certain shades of colors.

For example, you would show the main shade of one color for 75% of the time and then another one for 25% of the time. This creates an illusion for the viewer that they are actually seeing more colors than what can actually be displayed.

As far as display aids go, the CM-S75C has a wide array of options. There are the usual suspects such as peaking, waveform, false color, and focus assist. Below is a list of all of the display aids available.

At first glance, the menu system and layout look very similar to SmallHD’s page builder. In my opinion, SmallHD’s page builder system is the gold standard for monitors, so it’s no surprise that SWIT has come up with something similar. While I am not a fan of companies copying someone else’s ideas, if you are going to base your menu system and OS on an existing product, then SmallHD is a good place to start.

Instead of being touchscreen like most other monitors these days, the CM-S75 C uses a single 5-way joystick to navigate through the menus and OS to make changes.

The CM-S75C uses what SWIT refers to as Scene Layout Edit and Switch. Scenes are like Pages on a SmallHD. You can add up to 8 scenes and add 8 function shortcuts to each scene. Unlike a SmallHD, you can’t see all of the pages at once. You can only scroll from one to another.

If you are familiar with SmallHD monitors you will be able to use the CM-S75. Although I like SWIT’s system, it isn’t as intuitive to use as the SmallHD.

I think in this age of touchscreen devices, people are a lot more comfortable using monitors with this technology, instead of a joystick or a physical button. I personally prefer to have a combination of touchscreen and physical buttons.

The CM-S75C monitor has 30 built-in camera Log to Rec 709 conversion LUTs, including, S-log2/3, V-log, Clog 1/2/3, Log-C, J-log1, RedLog, BMD, FujiFilm, GoPro, DJI etc.

As far as real-time 4K (UHD) down-scaling is concerned, there’s a noticeable delay over HDMI if you are outputting a UHD signal from your camera. This delay is worse than if you are sending a straight 1080p signal to the monitor.

If you are recording 4K (UHD) internally in your camera you are better off selecting to have your camera output 1080p over HDMI than UHD. This certainly helps to decrease the HDMI delay, as most cameras will do a better job downscaling than a monitor will.

The monitor can display 2ch audio meters and it also has a built-in speaker which is a nice touch. The speaker works, but in all honesty, it is pretty bad quality.

The CM-S75C supports DC IN 11~17VDC and it has a power consumption of just 18.8W which although high, is on par with some of the other high bright monitors.

As a comparison, the 2200 nit SmallHD 703 Ultrabright draws 13W, and the 2200 nit FeelWorld 7″ 4K Ultra-Bright Monitor with Loop-Through HDMI and 3G-SDI draws 18W.

The monitor can be powered off a Sony NP series battery via a built-in battery plate. SWIT also have options available for both V-mount and Gold mount battery plates.

I found that the Sony NP series battery plate was well made and there wasn’t any wobble present. I have seen numerous battery plates on monitors where the battery never locks in properly.

The only caveat to the powering is that there is only a single battery plate. A good proportion of today’s 7″ monitors have battery plates so you can use two batteries.

I hate monitors or products that take too long to boot up before you can use them. The CM-S75C is not that quick to boot up. I timed it at about 9 seconds from the time I turned it on till I got a picture up on the screen.

The SWIT doesn’t look like it has any sort of fan, nor does it have any obvious heat sinks. Instead, there are two vents that disperse the heat generated by the monitor. The benefit of this is there is absolutely no noise, the downside is the unit does get hot, and it is exposed to the elements.

According to SWIT, the CM-S75C supports HLG/PQ HDR video display, however, there are no direct settings anywhere in the menu that let you select HLG/PQ.

The CM-S75C isn’t a touchscreen, so you don’t get fingerprint marks all over it. This is a very common problem on all of the touchscreen monitors that are available.

My current favorite monitor is the SmallHD 7″ Cine 7 On-Camera 500 TX Monitor (L-Series). It’s color accurate, has a nice bright display, it has a built-in Teradek Bolt TX, camera control, it’s well built, and it has a great OS.

While I’m not looking to replace that monitor anytime soon, I wanted to see how the CM-S75C compares to the Cine 7 as far as color accuracy, operating system, and the user experience are concerned.

While the brightness is great, the monitor does have a hard time displaying deep blacks, but in saying that, this seems to be a problem faced by all high bright monitors. This was the same complaint I had when I reviewed the SmallHD Bolt 703. This is why I personally find the SmallHD Cine 7 such a good monitor. I think it strikes the right balance between brightness and contrast.

Just because you are basing color accuracy, brightness, and contrast off whatever monitoring or grading monitor you are using there is very little chance that it is going to be seen by someone as intended unless it happens to be shown in a movie theatre (and even then there is still variables).

In the case of giving a monitor to a director, producer, or client, does it really need to be super accurate? That answer is really going to depend on the level of production. For me personally, I would rather try and provide the best image possible so that a director, producer, or client knows exactly what they are getting.

At $899 I think the monitor offers good value for money. Yes, it’s more expensive than a FeelWorld, or ANYCINE, but it’s also a lot more affordable than offerings from SmallHD and TVLogic. The SWIT does a good job at filling that void between very inexpensive monitors and the high-end offerings.

Because it has SWIT or OSEE written on it, there is going to be a lot of pre-conceived bias that this is just another ‘Chinese’ monitor. From my testing that couldn’t be further from the truth.

The CM-S75C is super bright, it has a ton of features, and most importantly, it displays very accurate colors. The only downside and this applies to all of the high bright monitors is that because the backlight is being pushed so hard you aren’t going to get nice rich blacks.

I really like the custom false color function where you can tell the monitor exactly what camera you are using so it can display false color accurately. Too many monitors don’t have this ability and anytime you are looking at false color it’s a crapshoot as to what you are actually seeing.

There really is a lot to like about the CM-S75C. SWIT has done a really good job of making a color accurate, daylight viewable monitor that strikes just the right balance of performance and price.

The SWIT is only the second monitor I have ever used that is truly visible outdoors no matter how bright it may be. It is definitely worth considering if you are looking for a monitor to use in extremely bright conditions.

When it comes to shooting video with a DSLR or mirrorless camera, a monitor is an almost essential purchase. Even if your camera has the basic video necessities such as focus peaking and zebras, simply having a larger view will enable more accurate framing and much more comfortable shooting experience when using a tripod.

Recently I needed to find a budget-friendly on-camera monitor for studio usage, and a bit of research led me to a Chinese brand called FeelWorld. I have no idea what the name means, but the brand’s range of monitors was impressive. Even more so when you looked at the price. The FeelWorld F5 Pro comes in at just under $140.

The further I read down the spec list, the more I knew that this was a monitor I simply had to try. Not only did it seem to tick all the boxes for my own needs, but it also looked like it could be a great monitor to recommend to my readers who are just starting in filmmaking.

The full spec list is published below, but let’s just get this out of the way to start with: This is a full HD monitor with HDMI loop-through and the capability to take in a 4k signal. It has almost ever video assist tool you could hope for, and it can even be powered via USB-C. It comes with a sun hood, a vari-angle hot shoe mount, and it’s a full touchscreen.

So the specifications are impressive and appear to reach well beyond what you would expect at this price point. But is it actually any good? Is this the best budget on-camera monitor for budding filmmakers and YouTubers? Let’s find out…

The full HD panel is rated to 500nits of brightness, with a 1000:1 contrast ratio. Judging by what I saw, I have no reason to doubt this. Contrast looked great, and the IPS panel construction provided reasonable off-angle viewing. Certainly enough for an on-camera monitor where you will largely be stood right behind it.

What’s worth noting is that 500nits is on the lower end of panel brightness. I would say that this is the monitors biggest shortcoming. While some manufacturers will claim 500nits is “daylight viewable”, I disagree. I think a panel really needs to have 1000nits to be genuinely useful in direct sunlight. 1500-2000nits would be better.

That’s not to say you can’t use the monitor outside, but you will want to use the included sun hood and occasionally adjust the monitor angle to keep the screen as shaded as possible. When comparing this monitor to similar, slightly more expensive options such as the SmallHD Focus (800nits), this is one of the differentiating factors. For those that plan on using the monitor indoors, this will be a non-issue.

HDMI loop-through is a feature I didn’t expect to see on such a cheap monitor. Normally you would have to spend several times more money to get this feature, and you certainly aren’t going to find it on lower-end monitors from SmallHD or Atomos. Even if you spend close to $450 on something like a SmallHD Focus 7, you still don’t get HDMI loop-through. It’s certainly a nice feature to have if you want to send the video signal from the monitor into a wireless transmitter, or directly over to a larger director’s monitor.

A total of eight buttons control the monitor functions, two of which are custom function buttons that can have video assist functions assigned to them as you see fit. Personally, I set F1 to turn focus peaking on and off, and F2 to turn exposure zebras on and off.

The buttons are functional, but of course, at this price point, they lack a truly great feeling. Given their positioning on the top of the monitor, often out of your direct view, it would have been good to have a better way to differentiate the buttons by feel. Perhaps adding a small lump to the menu button for example. You could do this yourself by adding a small square of gaffer tape to one or two of the buttons to slightly alter the feel.

This is a touchscreen monitor. Menus can be browsed and altered by touch as you would expect. When the touchscreen is enabled and you are viewing an HDMI feed, you can also swipe on one half of the screen to adjust monitor brightness, and the other half to adjust headphone volume.

Do you need a monitor like this to be touchscreen? No, not really. It goes without saying that if you do use these touchscreen functions you are going to smear greasy fingerprints all over the monitor in short order. Importantly, you can simply disable the touchscreen features and use the physical buttons for menu navigation instead.

Aside from a quick test to see if it worked, I disabled this feature and don’t see myself ever using it. I would expect most users will do the same thing. When comparing the specs and feature list of this monitor to other options on the market I simply ignored the existence of touchscreen functions. I don’t see this as a plus, it’s just not a practical thing to use on a device whose sole purpose is to give you a clear view.

The menu is split into four main sections, and sub-sections expand outwards from there. The menu is completely intuitive. I never once needed to look at the instruction manual. Setting things like the custom function buttons and on-screen displays was a breeze. I really can’t fault the menu system at all. This is a good reminder that while FeelWorld might be producing these small low-budget monitors, this is far from their first rodeo. Their monitor product catalogue is vast, containing a huge variety of monitors for use by small and very large productions. They have clearly developed a very good menu system over many years of experience. It doesn’t look flashy, it’s just simple, clear and concise. I appreciate that.

A sun hood is provided with the monitor. It consists of a plastic frame that snaps into place on the monitor and a 3-panel hood. The hood attaches to the frame using a simple hook and loop. I like that the hood is not entirely rigid, making it much easier to tuck into your camera bag, and less likely to get broken.

It’s hard to fault this feature. Usually, monitors require the separate purchase of sometimes ludicrously priced sun hoods. To get this thrown into the package for an already silly-low price point is fantastic.

The F5 Pro monitor also comes with a hot shoe mounting bracket. This allows you to tile the screen up or down, and again it’s something I find quite remarkable to be included in such a low-priced product. The bracket attaches nicely to the camera hot shoe with a large knurled wheel and never came loose in my testing.

On the right side is a small lever and rotation mechanism. The lever is only for attaching the monitor to the bracket, it does not control the movement of the monitor. Instead, the monitor is tilted using a rather stiff constant friction mechanism. While there is no way to lock the monitor’s movement, I didn’t find that to be the problem. Quite the opposite in fact. Instead, I found the tilt movement to be very stiff, and I feared a little for the strength of the monitor-to-bracket attachment point in the all-plastic monitor case.

The other problem that I had here was the placement of the 5v USB-C power input. Powering this monitor over USB-C is an absolutely brilliant feature, and it’s the sole reason I waited for this new Pro version instead of buying an older version of the same monitor. I really wanted to be able to power the monitor from a small USB-C battery in the field, and with a simple USB-C charger in my studio. I already keep these things in my bag to power my cameras and so many other daily-use accessories.

While this USB power feature does work as advertised, I found that the USB-C port was far too close to the monitor bracket when the screen is tilted forwards. Even my smallest USB-C cables got caught on the bracket, and I was forced to head to Amazon and look for a USB-C right-angle adapter. Such adapters are readily available and cheap, but I don’t like to add additional points of failure to a system. I will probably look for an actual USB-C cable with a right-angle plug on the end soon. If you buy this monitor and intend on using the bracket, I suggest you do the same thing.

I would say that most people using this monitor with a DSLR or a mirrorless camera will probably use the included bracket. Most people using the monitor with larger cine-style cameras will probably use some sort of friction arm to give a wider range of positioning options. If you use an arm, you can mount it to the top, bottom or side of the monitor and you won’t run into any issues with the positioning of the USB-C power input.

The FeelWorld F5 Pro has several different options for powering the monitor, and a pair of power outputs to help you power additional items in your cine rig. The most obvious power input is the ubiquitous Sony NP-F L-Series style of battery connection that is used by the majority of small cine accessories. I tested the monitor using my 47Wh Anton Bauer NP-F batteries and it would basically run all day.

The next option you have is a 12v barrel connector on the side of the monitor. No power adapter is supplied with the monitor though, so you would have to source a mains plug, or use a d-tap to 12v cable from a larger cine-style battery.

The third option is the 5v USB-C input that requires at least 2amps. As I mentioned in the earlier section about the mounting bracket, this USB-C input is a fantastic addition to the monitor, and practically ensures you will be able to power it from items you already own. Should you find yourself in a bind, having forgotten some gear when out on a shoot, I’m sure you could find a USB-C battery or adapter in short order. I love this feature!

The F5 Pro also features two ways to output power from the monitor so that you can power additional items on your rig. The first is an 8.4V DC output from a barrel connector ((5.5mm outer, 2.1mm inner). The main usage for this output would be to power a DSLR or mirrorless camera, as these often require this lower voltage. A quick hunt on Amazon or B&H Photo would find you a dummy battery for your camera and a DC barrel connection cable.

The second output is sort of a reverse Sony L-Series battery, visible clearly on the photo of the rear of the monitor. If you have a second accessory that also uses NP-F style L-Series batteries, you can actually mount that accessory directly to the back of the monitor to power it. This is mainly designed for use with wireless video transmitters or receivers such as the Hollyland Mars 300 PRO.

This is a clever feature because it not only takes care of the power for the transmitter, but it also gives you a really easy way to mount the transmitter or receiver to the monitor. You could use this to create a very small footprint and budget-friendly wireless director’s monitor when pairing the monitor with a receiver. Or you can just simplify your rig’s wireless transmission by pairing it with a transmitter.

If yo do not wish to use this NP-F style power output, you can peel off the sticker on the bulge and then unscrew it to remove it from the monitor. While this bulge doesn’t weigh much, this would make the monitor smaller when packing into your bag.

V-Lock/V-Mount batteries have been shrinking dramatically in size in the last few years. All major cine battery manufacturers now have a “mini” battery series and some of those are small enough to consider mounting onto small monitors such as the F5 Pro. In particular, you’d want to be looking at batteries in the 45-50Wh range such as the excellent Fxlion Nano One, the Bebob V45 Micro or the Anton Bauer Titon Micro 45.

The benefit of using a v-mount battery like these ones is that they can easily power the monitor, the camera and several other accessories simultaneously using d-tap outputs. Watson makes a mini V-lock plate to NPF L-Series battery converter, so these batteries can mount directly on to the back of the F5 Pro. Alternatively, you could mount the battery elsewhere on your rig and run a d-tap to 12v cable from the battery to the 12v barrel connector on the side of the monitor. The F5 Pro really gives you all the options you need.

If you need a monitor case, look no further than the outstanding CineBags Monitor Pack. This small bag feels indestructible and is cleverly designed to hold a 5″ or 7″ monitor, as well as all your cable, arms and batteries.

LCD panel prices have plummeted in the last few years and the FeelWorld F5 Pro is the result. A full HD IPS screen on a monitor with HDMI loop-through, for under $140. Not only that, but it also has a headphone jack to monitor embedded audio, three ways of powering it, including via USB-C, and two ways of powering additional external devices such as the camera and a wireless video transmitter. Quite simply, this monitor is a bargain. Yes, it is made entirely out of plastic so you’ll want to take good care of it on set, but you really can’t fault that on a monitor in this price bracket.

Aside from the host of physical features and the included sun hood and hot shoe bracket, the F5 Pro is also stacked with most of the professional video monitoring features you might want: Focus peaking, histogram, zebras, false colour, anamorphic de-squeeze and safe areas. The only software features that are missing are a vectorscope and RGB parade. To get those you would need to move up their range to the larger 7″ LUT7 model.

If you’re looking to start filmmaking or start a YouTube channel with a limited budget, I think the FeelWorld F5 Pro is a fantastic monitor. From a functional point of view, the one thing you are most likely to struggle with is daylight viewability. 500nits is on the low end. I personally don’t count that as enough brightness to view in direct sunlight, despite what manufacturers may claim. This can be largely solved by using the included sun hood, but it’s something to be aware of if you are usually shooting outside. Inside, the monitor has more than enough brightness.

As my first experience with a FeelWorld product, I couldn’t be more impressed with the value they are offering people with this 5.5″ monitor. I have happily installed mine into my studio to assist with our own YouTube product reviews.

Coming at the top, we have one of the most popular brands from our picks The external monitor from Neewer is right now being used by thousands of users.

In the 1st position, we have the Neewer F100. This is a 7 inches wide external camera screen that features an IPS display panel with 1280 x 800 pixel resolution. This is also the most affordable option on our list, making it a perfect choice for casual users. It also features an aspect ratio of 16:10 with 450 cd/m² brightness levels.

While these features are definitely attractive enough, there’s more. It supports up to 4K resolution output within an ultra-thin outer body. The thickness of the Neewer F100 is only 17 mm, making it one of the most portable options. With the screen, you will get advanced tools such as peaking focus assist, check field, center marker, and many more.

FEELWORLD is also a popular brand for camera accessories. If you wish to get a high-resolution external display, then it might be the right choice for you.

In the 2nd place, we have the FEELWORLD FW568. This is a 5.5 inches external display consisting of an IPS display panel with a standard FHD 1920 x 1080 pixel resolution display. Due to the compact screen size, the FHD resolution offers comparatively more pixels per inch, and hence, better image sharpness. Also, it features Rec.709 color calibration and is suitable for almost all standard cameras in terms of installation.

You can directly connect the FEELWORLD FW568 to even the premium range of 4K cameras and it will work without any problem. The mounting arm of the display offers 360 degrees rotation which is perfect for using it on the go. The FEELWORLD FW568 doubles the functionality by powering your camera via an 8.4 volts DC output. Thus, you can get an extended run time from your camera after installing the unit.

Lilliput A7s is our next choice for the best external camera screen. This screen also offers a 7 inches wide display which might be great news for a lot of you. But along with that, you will find the screen covered by a heavy-duty and durable cover that prevents damage via shocks and impacts. Other than that, the display is capable of Full HD 1920 x 1080 pixel resolution footage on the 16:10 aspect ratio display via the HDMI connection.

The contrast ratio on the Lilliput A7s is especially good as it offers 1000:1 high contrast, which makes the darker area almost pitch black. Also, the brightness level of this display goes as high as 500 cd/m² which works perfectly with the high contrast ratio. Even with the durable packaging, the Lilliput A7s offers great portability as it weighs only 230 grams and fits in all carrying cases with 20.5 mm thickness.

The FEELWORLD F5 is yet another great option featured by FEELWORLD. This is also a compact display with 5 inches display size and a Full HD 1920 x 1080 pixel resolution panel. Thus, you are bound to get high sharpness and color accuracy on this external display. To ensure the same, it also offers Rec.709 professional color calibration which will offer you the most accurate preview of your shot.

You will also find a 360-degree adjustable arm on the FEELWORLD F5 that helps you to adjust the screen according to the position of the lens. It also works as a backup power option for your camera if you connect it via the 8.4 volts DC output port. Another great feature of the FEELWORLD F5 is that it includes some handy image analysis tools like focus assist, histogram, and other related tools.

If you are already investing in an external camera screen, why not buy one like the Timbrecod Video Monitor that offers almost all of the functionalities of your viewfinder. This display is completely accessible with touch and comes with a built-in 3500 mAh battery for a long standby time. With the touch access, you can zoom and adjust parameters such as exposure level and brightness easily. The brightness level on the Timbrecod Video Monitor is about 500 nits.

This is not just an external camera monitor. It is basically an additional smart accessory for your camera as it includes tonnes of visual features such as waveform, scan mode, false colors, image flip, and much more. Still, the screen weighs only 488 grams, making it ideal for your accessory pack. You will be able to adjust the screen 180 degrees by rotating and within 360 degrees by tilting it. Such maneuverability makes it an ideal choice for vloggers.

This camera screen is equipped with some of advanced features that include menu transparency adjustment, histogram, brightness, audio meters, false colour, zooming and several others. It features a 5-inch OCR full-fit screen and a wide viewing angle of 178 degrees. It has light and slim design and weighs just 0.28lbs.

ANDYCINE A6 Pro is not a simple external camera display. Instead, it is a camera field monitor that basically offers the majority of necessary features that you find on a digital viewfinder. All of that is packed within a 5.5 inches compact display which creates the image at a resolution of 1920 x 1080 pixels. And with the standard REC-709 colour calibration, you get the best colour quality and production-grade output with the display.

You will also find a Sony F970power kit attached to the rear side of the monitor. This allows you to attach many additional accessories from the premium accessory collection in the market to the camera. There is a 4K output port provided on the ANDYCINE A6 Pro that allows you to use it as a 4K source for images. Thus, it can be connected to any 4K display and it carries the 4K image from the camera directly to it.

Finishing off our list, we have the VILTROX DC-90HD camera video monitor. This is also suitable for high-end content creators and professional users as it has an 8.9 inches wide display with a resolution of 1920 x 1200 pixels. The screen itself features control options like color temperature settings, peaking focus assist, monochrome, and so on to offer a high level of customization. You can power the VILTROX DC-90HD camera video monitor with either an AC adaptor or a battery.

Within the package, you will find an NP-F550 battery and battery charger included with the VILTROX DC-90HD camera video monitor. Thus, it is ready to go right after unboxing. Once installed, you will be able to freely move the screen around thanks to the cold shoe adapter. As the monitor features an IPS panel, you will get a wide viewing angle on it so that you can get a nice preview even while taking a difficult shot.

Buying a digital display of any kind is a lengthy process. You have to consider a lot of factors such as the size of the display, the resolution and type of the panel, connectivity options, and much more. It stays the same for almost all types of displays whether you are buying a wireless monitor, a desktop monitor, or a handy external screen for your camera.

The display resolution should always be considered before you buy a digital display. It is basically the capability of the display to generate an image of a certain quality. The display quality available on any digital display is limited to its resolution. For example, if you have a 720p HD display, you can only watch the content of the same quality from the display even if you use 4K or higher resolution content as the source.

Along with the external camera screen, you also need to check what accessories are included within the package. In order to install the display over your camera, you will be needing a safe and secured stand that can hold the weight of the display without failing. Also, some additional accessories such as various types of cables, adjustable mounts, and mounting brackets are also equally important. If all of these accessories are included with the package, you will be able to install the monitor on your camera right after unboxing it. This eliminates the need for buying additional accessories later on which also saves additional expenses.

Even though a lot of professional as well as casual purpose cameras nowadays feature a digital display, it is simply not large enough for detailed observation. Professionals who pay attention to the smallest of details prefer using an external camera screen to get the best performance out of their cameras. It is basically a clone of the viewfinder and provides you with a larger preview of the image or video you are capturing.

The external display basically mimics the functionality of a digital viewfinder. Therefore, it does not affect the data captured by the sensor or processed by the image processor. However, you will find noticeable differences in terms of image quality between the original viewfinder and the external screen. To put it simply, the viewfinder offers the true preview of the sensor whereas the screen offers a more realistic preview of how the image will appear on standard viewing devices.

Getting an additional screen for your digital camera is definitely a great addition to your setup. This handy device can be easily connected to any standard camera and offers you an enhanced preview of the content being captured by the sensor. It is definitely a great option for vloggers as they can check a realistic preview of the footage and check how it is going to appear on a standard digital screen. Here, you will find the best options for external camera screens within various budget ranges. If you are not sure which option you should pick, refer to our buying guide available just before. Or, you can simply get one of our recommendations given below.

Neewer F100 is the cheapest option available for an external camera screen and is perfect for hobbyists and casual users. It comes with an IPS display panel and offers HD 1280 x 800 resolution on the display. Even though it is a cheaper option, you will get a 7-inch display which is larger than most premium options.

Lastly, we will recommend the most premium Desview R7 Field Monitor which also happens to be the most premium choice from our picks. This is a special external monitor as you will be getting up to 1000 nits of brightness on it, making it perfect for outdoor usage even on a bright day. The screen size of the Desview R7 Field Monitor is 7 inches and it also offers 1920 x 1200 Full HD resolution.

If you feel like you’d benefit from having an on-camera monitor, the next step is to pick one. There are many options made by Atomos, SmallHD, Feelworld, and others.

There are a few key features that we’ve listed for each of the external camera screens on our list. Go to the buying guide at the end for how to choose an external monitor.

The SmallHD Indie 7 camera monitor boasts a large, bright, crystal-clear display with touchscreen capability. It also has various video assist tools such as professional image analysis, advanced pixel zoom, color correction, and unlimited real-time 3D LUTs. The battery life is not bad either.

The Cine 7 is a large, bright Full HD touchscreen monitor ideal for outdoor shooting. Its features include framing guides and 3D LUT overlays, but it doesn’t support 4K.

The Neewer F100 is a large monitor ideal for a Canon camera. It comes with various “extras,” including an AV/HDMI cable, a hot shoe ball head, a shoe mount, and a sun hood. Screen resolution and brightness are limited, but this external camera screen does offer basic features such as zoom assist, scanning, and color peaking.

The Feelworld F6 Plus is specifically designed for professionals as an on-camera monitor to be used with Canon DSLRs. The display supports Full HD screen resolution and the input/output ports cover all the most popular options.

The T7 is a budget-friendly version of the FW279. It makes up for the lack of 2200-nit brightness with a large screen, slim design, wide viewing angle, and a range of monitoring tools. It includes color calibration technology, a focus peaking filter, a histogram, exposure controls, and a false-color function.

The R7 is one of the cheapest seven-inch monitors. It has a bright 400ppi screen ideal for shooting outdoors. Plus, you can operate it using the touchscreen or buttons (if you’re wearing gloves).

The Atomos Shogun 7 is effectively a seven-inch version of the Ninja V. It is ideal for professionals working with some of the best cine cameras who want external recorders with a large, bright HDR screen.

The Shinobi five-inch and seven-inch monitors are the equivalents of the Ninja V, but you can’t use them as an external recorder. The Shinobi 7 is the bright, seven-inch version with log conversion. So you can preview the look of RAW footage and have the ability to upload LUTs from an SD card.

The Atomos Shinobi is the little brother of the Ninja V. It has a Mirror mode aimed at vloggers on a budget. It doesn’t have recording capabilities but is good for a camera without a fully articulating screen (like the Sony A7 III). It’s also small, light, and bright enough for shooting outside.

It shares the Ninja V’s ability to show HDR pictures that the camera’s LCD might not cope with. And there are plenty of display options such as waveforms and histograms accessible through the user-friendly menu system. It even supports 1D and 3D LUTs.

Blackmagic Video Assist is at the top end of the market for five-inch on-camera monitors. Plus, it’s the only one that can capture Blackmagic’s RAW code video when shooting with a model from its Pocket Cinema Camera range. It also offers 3D LUTs, professional scopes, exposure tools, and focus-assist features.

The Lilliput A7s is the most affordable seven-inch on-camera monitor on the market if you don’t need to record your footage. It has buttons and a scroll wheel rather than a touchscreen. It also fits onto a DSLR hot shoe, can cope with 4K video (with loop-through HDMI output), and has two customizable function keys.

It offers similar bells and whistles to more expensive on-camera monitors. Functions include Pixel Zoom, Audio Level Meters, False Color, Check Fields, Color Bars, focus peaking, a pixel-to-pixel scan, and image flip. All these features are designed to make life easier for videographers.

If you’re looking for a bright, contrasty on-camera monitor, then the BM5 III may be the right choice for you. Its screen is only 5.5 inches and can’t record video, but the brightness rating of 2200 nits is only beaten by the Blackmagic Video Assist listed above.

The real strength of the FW279 is its large, bright, contrasty, high-resolution screen that’s perfect for shooting outside in direct sunlight. The color calibration settings allow for excellent color rendition. And there are plenty of monitoring tools available, such as focus assist, zebra stripes, and histograms. It’s also designed to work with most DSLR and mirrorless cameras.

The Ninja V is a popular monitor due to the well-calibrated HDR screen and support for 4K up to 60fps, 6K Apple ProRes RAW (from the Nikon Z6 and Z7), H.265, 4:2:2, DNxHR, and log formats from ARRI, Canon, Panasonic, RED, and Sony.

There are several factors to consider when choosing an external monitor. These include their size, weight, screen resolution and brightness, touchscreen and recording capabilities, plus the number of input and output ports available.

This is obviously a trade-off. A smaller camera monitor will be lighter and more portable, but a larger one will give you a better view of your pictures or log footage.

The on-camera monitors in this list are all between five to seven inches in size (measured diagonally). But you’ll still need to consider other factors. These include the size and weight of your camera, how you plan to connect them, and whether you’ll generally be shooting handheld, using a gimbal, or from a tripod.

Resolution—This is essential, and we mean not only the screen resolution of the camera monitor itself but the resolution of the footage. Most monitors have a 1920 x 1080 16:9 screen. But that doesn’t mean they can’t display or record 4K UHD video, which has a resolution of 4096 x 2160.

High-end DSLRs and mirrorless cameras now offer many monitoring tools to help videographers, including zebra stripes and focus peaking. However, an excellent external monitor will offer all that and more—plus the ease of use from a larger screen.

Two features that might be very important to you are touchscreen control and the ability to record directly to the monitor. We’ve picked those out separately in our list to make it easier to narrow down your Replace for the perfect camera monitor.

Wireless monitors have the added benefit of giving you the freedom to walk around without being tied to the camera. Some even offer a “focus following” system that lets you adjust the focus remotely from the camera monitor itself rather than the camera.

It’s no good buying one if it won’t “talk” to your camera. So it’s important to work out which video formats and codecs you’ll be using. Also, you need to know which microphones and headphones you’ll be using. And whether your external camera monitor comes with all the right connections.

Some monitors are specifically designed to be on-camera monitors mounted on the hot shoe of a DSLR or mirrorless camera. It’s convenient if the external camera screen has a built-in “tilt arm” that lets you spin the monitor 360 degrees (both vertically and horizontally).

Alternatively, you can simply link the camera and external monitor with an HDMI cable. And most monitors will also allow you to “loop” the footage to other monitors or devices if you’re working with an assistant on set.

An external camera screen can bring significant benefits to your videography workflow. The screen resolution, size, brightness, and contrast will be a step up from the LCD screens usually found on the backs of cameras. That means outdoor shooting will be a breeze—even in direct sunlight!

On-camera monitors also offer touchscreen control, 4K and HD video recording, and plenty of features such as histograms, waveforms, and vectorscopes to help you make sure your footage looks just right.

It seems impractical to spend thousands on afield monitor since most cameras already give you a preview of your subject. But if you want to create intelligently framed shots with a creative punch, having one of the best field monitors can really hand you that competitive edge.

Shooting under direct sunlight is probably a videographer’s worst nightmare – that or a sudden downpour while working outdoors. While we can’t do anything about the weather, the Feelworld FW279 is designed so you don’t need to hide in a shady corner when the lighting is working against you.

Let’s start with its standout feature: its 2200-nit brightness setting, which is over double the regular 1000-nit brightness of standard monitors. Paired with the monitor’s max brightness capacity, the great pixel density, high-quality resolution, and 1200:1 contrast ratio work together to prevent the display from being washed out by ultra-bright sunlight.

As if that isn’t enough, FW279 boasts color calibration technology, which allows for precise color reproduction. No distortion and only real colors captured in real-time; that’s Feelworld’s guarantee. Add in the great monitoring tools, and you’ve got yourself an impressive field monitor for high-level videography.

Another product that made our list is the Feelworld T7, a budget-friendly camera monitor that features some of the monitoring tools you’ll see in FW279 but with different display features and a different price.

The 450-nit brightness is a far cry from FW279’s whopping 2200, but this field monitor is still great thanks to its 160-degree viewing angle, which enables you to easily see your frames. Along with this is a range of monitoring tools. In addition to color-calibration technology, it comes with a peaking filter, a histogram, false colors, and other features that make recording a breeze.

Budget monitors with decent displays were hard to find until the Neewer F100 completely changed the game. Designed with a built-in speaker, a headphone port, and composite inputs, this monitor is quite impressive. It’s also capable of displaying images with an ultra HD 1280×800 resolution.

The F100 package comes with an AV/HDMI cable, a hot shoe ball head, a shoe mount, a sun hood, and other accessories that can help you enhance your shooting. The monitor draws power from a 12-volt AC adapter or L-series battery, enabling you to record anywhere. And the F100 has scan, zoom assist, and color peaking features that can help you make adjustments as you shoot.

Finding a budget field monitor is tough. But while many inexpensive models lack advanced functionality, the Andycine A6 Plus gives you lots of power at a lower price point.

Its 5.5-inch 1920×1080 display delivers clear images for different shooting applications. It also has a 1000:1 contrast ratio, making it a great monitor for brightness adjustments.

And this functional device has video-assist features that go beyond the basics. Other than the standard histogram, false color, and peaking tools, you also get 3D LUT support via an SD slot, which is more common on higher-priced field monitors.

Its viewing angle is decent at 170 degrees, while its contrast ratio is 1000:1. As a rule of thumb, the higher the contrast ratio, the better your monitor will be at producing a viewable display even when shooting outdoors. But hey, there’s nothing that a sun hood can’t fix!

It also offers a long list of monitoring tools, including focus peaking, a histogram, and a timecode display. Its biggest downside is its 500-nit brightness setting, which is decent but not outstanding.

The Atomos Ninja V gives you the best and the most accurate previews of your photos and video footage. Compact in size but packed with features that boost efficiency, this device is a strong option for professionals.

Its 5-inch HD display offers a wide array of functionality, including a playback and recording option. Other external monitors can’t directly record 10-bit 60p video, but the Ninja V steps up and shows the world that it’s possible. You can even record 4K 10-bit HD video straight from your camera via an HDMI 2.0 cord.

These features, along with focus peaking, multi-level exposure tools, and a 1000-nit brightness setting, make the Ninja V a great monitor for all occasions.

The Lilliput A11 is another superb field monitor. It benefits from an excellent-quality 1920×1200-resolution screen fitted into a 10.1-inch 8-bit LCD display. This includes 320-nit brightness and full lamination technology so you can see everything as clearly as possible.

We like the multi-angle mounting support complete with the ¼-inch multi-angled screw holes. Combine this with the VESA 75mm and gimbal brackets, and you have a versatile field monitor that you can position in a number of ways to complement your photography and videography. The basic package includes the monitor, an F970 plate, various mounts, an HDMI A/C and Micro HDMI cable, and a DC adapter.

Another budget-friendly monitor is the Desview R5, which puts high-end features just a touch away – literally! With the monitor’s touch-sensitive screen, you can make all the adjustments you want with just a single tap or pinch.

The R5 gets you access to high-tech monitoring features such as a waveform (for brightness), a vectorscope (for chrominance such as saturation and hue), and LUT support (for color manipulation). Likewise, this device enables you to adjust brightness and the color gamut via two modes: PQ and HLG. Together, these tools allow you to make essential adjustments while shooting.

The Shinobi field monitor won’t let you down when you’re shooting outdoors thanks to its 1000-nit brightness setting and 5-inch HDR display. You’ll be able to see crisp images even when you’re shooting in daylight. Nothing beats the Feelworld FW279 for outdoor shooting, but even so, the Shinobi’s brightness setting is still very respectable.

Additionally, the compact and lightweight build make this a great outdoor monitor. Aside from its great on-the-go features, this device makes our list because of its unique technology. It includes a remarkable screen processing system that extends battery life and endurance, along with a selfie Mirror mode that makes vlogging simpler and more enjoyable.

If you want touchscreen functionality, the Portkeys LH5P II is one of the best field monitors available. It has a large 5.5-inch touchscreen with a brightness of 2200 nits and a 1920×1080 resolution, and the glass is tempered for superior durability. The display is housed within a robust metal frame that should withstand the rigors of travel and on-site photoshoots.

The menus and interface have also been improved. Everything is easy to access, and you can also utilize a range of custom settings. The monitor has a built-in wireless control module that supports both BMPCC 4K & BMPCC 6K. And you can directly connect your camera using a control cable.

We like the various advanced features that allow you to improve the display quality and playback. Examples include check field, grids, audio meters, image flip, color temperature, peaking, zooming, direct camera control, and display flip. These allow you to get the most out of your camera and the field monitor.

Included in the set are the monitor, a short antenna, a LANC control cable, and a USB control cable. Additionally, you get a hard-wearing plastic carry case.

The perfect monitor should be tailored to your specific needs. Do you focus on still photography or do you specialize in capturing videos? By setting priorities, you can ignore the features that won’t add value to your workflow.

News flash: Not all camera monitors have recording capabilities. But before we compare the difference between non-recording and recording monitors, let’s first discuss the typical camera setting.

Field monitors with recording capabilities cannot alter the details your camera produces, but they help you produce better outputs by reducing lossy data compression, which results in media distortion. Also, a recording monitor provides video outputs in a wider range of formats that greatly match popular video-editing software. And it doesn’t stop there. When you’re out on a shoot, a recording monitor will give you features that non-recording monitors lack.

Most cameras offer a small preview on the rear LCD. But while this is useful, a field monitor will give you a larger view and better flexibility when setting up your compositions. And by identifying small issues in advance, you can make on-location tweaks that’ll prevent you from spending extra time editing.

As a general rule, wider monitors require more head movements, making it more convenient to use monitors in the range of 5-7 inches. Also, these monitors usually come with extra tools such as a waveform, peaking, a vectorscope, and false color. Larger monitors are best mounted on a separate device for added comfort and stability.

Weight is an important factor for many on-the-go videographers. While lightweight monitors help boost productivity and lessen fatigue, heavy monitors can do the complete opposite. More importantly, weight can affect stability and balance, especially when you’re shooting outdoors.

So if you’re comparing two brands that have equally useful features, check the weights. It may not seem like much, but a monitor that’s a few grams lighter can make a big difference.

By definition, video resolution refers to the density of pixels displayed on your device. Field monitors are commonly available in two types: High Definition (HD) and Standard Definition (SD).

SD videos usually start at 640×360, while most HD videos are at 1280×720 (720p) and above, with 1080p videos categorized as Full HD. While 4K resolution is emerging, Full HD is more than enough to help you get a clear view of your footage.

When you use a field monitor with a low resolution, it usually scales your footage to allow you to view your shots on the full screen. This introduces scaling artifacts, which can be problematic when you’re reviewing your shots on-site.

What you want is to view unscaled footage that lets you see the real quality of the images you produce. You can do this by looking for a monitor with 1:1 pixel mapping, which is a display technology that gives you an exact preview of your output.

Do you frequently shoot outdoors? There are camera monitors that give you better control over brightness, but generally, 1000 nits or so can give you the flexibility you need. You should also check on the field monitor’s contrast ratio, which affects brightness and color.

SDI, on the other hand, is the professional standard for processing signals. Depending on the quality, SDI cables can transfer digital data up to 390 ft (118.9 m) or, in some cases, 2,500 ft (762 m).

While your camera may already have the tools you need, a good camera monitor can mean a significant difference in your shooting and