feelworld 7 tft lcd monitor review price

The frame of the FEELWOELD T7 is made from aircraft grade aluminum which means you get an incredibly sturdy metal that barely adds any weight to your camera. It’s also comfortable enough and and still light enough which makes it perfect for bracing the mounting points.

IPS Wider View Angle 160°Viewing Angle become very important, as the camera operators may shift his/her position relative to the monitor during the shot. T7 IPS 160° wide viewing angle allows the operator to have a clear, easy-to-see image as their position shifts.

Specially designed to merge portability, and functionality, 18mm thickness 320g the T7 gives you freedom to shoot well anywhere. See your picture accurately, consistently and clearly, regardless of your position.

Hot Shoe Mount can be connected with the DSLR, Slide and other shooting components to facilitate the shooting and monitoring of different scenes, can also be connect to tripod.

The T7 has a flexible battery system that supports F970 battery plate (standard), D28S/D54, LP-E6 and U60 battery plate (optional), and also can powered by power adapter (optional). Note: When you turn off the monitor, you need to press the power button, and you can"t pull out the power cable directly.

FEELWORLD T7 portable design with professional features, easy to set up and check your shots,widely use for shooting movies, field photography,broadcast,fashion, micro-film, wedding records, party pictures,television advertising, etc.

The Audio Level Meters provide numerical indicators and headroom levels. It can generate accurate audio level displays to prevent errors during monitoring. The audio meter is green, and will turn yellow when exceeds -20dB, and turn red when exceeds -9dB.

HDMI Input/ Output Support Format: 480i/576i/480p/576p; 1080i (60/59.94/50); 720p (60/59.94/50/30/29/25/24/23.98); 1080p (60/59.94/50/30/29.97/25/24/24sF/23.98/ 23.98sF); 4K UHD 3840×2160p (30/29.97/25/24/23.98Hz), 4096×2160p (24Hz)

Compatible Battery：Sony F970, F960, F950,F930, F770, F750, F730, F570, F550, F530, QM91D, QM91, QM90D, QM90, QM71D, QM71, QM70D, QM70, QM51D, QM51, FM71, FM70 series.

FeelWorld T7 Camera Top Monitor features a native display resolution of 1920 x 1200. It can display signals without scaling, while it scales higher and lower resolution content to fit the screen. The IPS screen allows for off-axis viewing of 80° up/down/left/right, and features a brightness of 450 cd/m2 with a contrast ratio of 1200:1. The monitor incorporates an HDMI input and output. The T7 features useful functions into its small size including peaking, zoom, pixel mapping, anamorphic de-squeeze, frame lines, markers, and image flip. The monitor includes a Mini HDMI to HDMI cable, sunshade, shoe mount adapter, and L-series type battery plate.

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 editing workflow. Below are some of the tools you may come across as you look for the right field monitor:

Audio channels are not a necessity, but it’s good if your monitor supports at least two audio channels. A handy tool for videography projects, an audio channel will help you efficiently track the sequence of your audio and video data.

Photography and videography are not just about finding the right angles. They also help you creatively tell stories. What better way to do that than with a monitor that can help you make major and minor tweaks while shooting? By investing in a field monitor that matches your needs and expertise, you can streamline your workflow and get amazing results.

We invested in our first camera monitor a few weeks ago. We didn’t want to spend loads, but at the same time we didn’t want to get something which was a total waste of money.

First of all, it can be both plugged into the wall, or powered by batteries. What is great about this monitor in particular is the type of batteries it uses. It uses Sony NP batteries, which are the same batteries we use for our cameras, lights, pretty much anything we use here at the Film Look. So compatibility is great.

I haven’t used many monitors before, so I can’t say if the quality of this screen is better or worse than another particular monitor. What I can say is that it is certainly better than the screen on the back of the Sony A7s, which might seem obvious but it’s worth pointing out to those who are sitting on the fence about getting their first monitor. With a bigger and brighter screen, you can certainly see a lot more detail in your image. The resolution is ideal for this size, 1280x800 is more than enough, you can barely see the pixels, unless you look real hard! It also comes with a sunshade that velcros on. Very handy!

After reading some reviews of the cheaper range of camera monitors, a lot of people had complained about latency issues. Well, this has pretty much none. You can use this monitor as a perfect shooting guide for framing. The very little latency it has (because all video devices have latency, some are just better than others) it will not disturb your shooting.

This monitor will not survive many drops. It has a cheapish plastic feel, and I imagine if I really wanted to, I could snap it with enough force (if I really tried, that is!)

But, if you don’t intend of kicking it around, I’m sure this won’t be a problem. We don’t need armoured kit because we usually don’t get into situations which warrant such tough equipment. But I imagine if you are in tougher situations and are prone to dropping things, this isn’t the monitor for you.

We chose the FW759 over the FW759p. The P version comes with a bunch of extra abilities; histograms, under scan, exposure, and false color. But for the extra £40, we really didn’t need those extra features because the cameras we use already have them and we usually shoot with both the monitor on, and the camera screen for extra visuals.

So far this monitor has come in really handy. We not only use it for framing and keeping focus on the job, but we spin it around and use it as a guide when presenting to the camera. We also hook it up to the top down for framing our overhead shots.

In all honesty, I wouldn’t have thought a camera monitor would be so useful. So if you are in two minds whether to get one, just get it, they really handy!

Monitor manufacturer FEELWORLD has just released a new affordable 7-inch monitor, featuring a Sony NP-F style battery plate on the back to host and power a wireless video transmission system. Built on the legacy of the original F7 monitor, the FEELWORLD F7 PRO is now available for $239.

A few days ago, we covered the release of the PortKeys HS7T Metal Edition monitor, with its most exciting feature being a plate on the backside of the device to host a wireless video transmission system.

The new monitor has a 7-inch touchscreen IPS display with a maximum resolution of 1920×1200. The 16:10 aspect ratio provides some extra vertical space for monitoring tools.

The screen has a viewing angle of 180°, a contrast ratio of 1200:1, and a peak brightness of 500 nits. This level of brightness is a little disappointing since it’s way too low to make the monitor usable under bright sunlight. Moreover, it only represents a 50-nits increase over the original F7.

The FEELWORLD F7 PRO offers several input and output power options. The monitor can be powered using either a Sony NP-F battery or via a 12V DC power input. Moreover, a 5V USB-C port offers an extra power supply option, while an 8V DC output can provide power to your camera.

Just like the original F7, the PRO version is packed with the most common monitoring tools to precisely control your image. These tools can be displayed independently or in an all-scopes mode.

The FEELWORLD F7 PRO is now available for purchase on the FEELWORLD website, coming at an affordable price of $239. FEELWORLD is also offering a discount during the first week of the release, when using the promo code FEELWORLD F7 PRO at the time of purchase. Included in the box are a Micro-HDMI Cable, a Sunshade, and a Mini Hot-Shoe Mount.

FEELWORLD F7 PRO Review 7 Inch Touch Screen DSLR Camera Field Monitor with 3D Lut HDR Waveform F970 External Power Install Kit 1920x1200 4K 60Hz HDMI Input Output 8.4V DC Output…

There are so many budget 7″ monitors on the market and choosing which one to get is a bit of a crapshoot. What a lot of people don’t know is that there is very little difference with the actual panel being used on all of these monitors, as there is only a handful of manufacturers in the world who make them. So when choosing a budget monitor you should look more closely at the operating system, build-quality, after-sales service, and general usability. Don’t get me wrong, image quality is also important, but with budget monitors, a lot of them are going to look quite similar.

AndyCine is a Chinese company based out of Shenzen and they have been around for a few years now. They seem to have a reasonably good reputation based on comments I have read from people who have bought their products previously. I have never reviewed an AndyCine product before, but as always, every product no matter who it comes from gets the same balanced and unbiased treatment.

They a leading global online wholesale supplier of electronic related products especially in video and photography. and PC Monitor. Their commitment is to provide a wide range of high quality, trendy fashion products at stunning factory direct prices along with a class-leading customer service experience to our worldwide community of customers. Their target is to provide their global customers with high-quality products at competitively low factory-direct prices.

The screen is a 7″ 1920×1080 (8+2 FRC) IPS LCD panel. According to AndyCine it has 2200 cd/m2 of brightness, a contrast ratio of 1200:1, and a PPI of 323.

The monitor features a pretty basic design. The inputs and outputs are all on the bottom of the monitor, there are two battery plates on the back, and a series of buttons on the top.

There is nothing overly unique or special about the design of the monitor. Personally I don’t like the large ANYCINE 4K or Ultra-Bright labeling on the front of the monitor.

The build quality is fairly average and it does feel very plasticky. The buttons don’t inspire any confidence, and the HDMI ports are not countersunk which is dangerous as they face straight down. The buttons are also quite noisy when you press them. If you shake the monitor quite gently you can hear the top buttons and dials moving around.

Look, the build quality isn’t the greatest, but that doesn’t necessarily mean that you will run into any issues. You just need to know what to expect if you buy one of these monitors. If you compare the build quality of this monitor to a SmallHD, or even some Atomos models, it isn’t nearly as good.

The monitor does have a bit of weight to it, and if you are using it with a hybrid mirrorless or small digital cinema camera then you may find that an issue. I personally think a 7″ monitor is too big for a hybrid mirrorless or DSLR. A 7″ monitor is much better suited to a mid-sized or larger digital cinema camera.

The mounting holes are made well and you can attach monitor arms or other mounting solutions without anything wobbling around or moving when it shouldn’t.

As I mentioned earlier, the input and outputs are located on the bottom of the monitor. The HDMI In and Out are not countersunk so there is no protection.

On the bottom of the monitor, you will also see two strange indents with holes that are covered up. This is where the SDI ports would go if you bought a different version of the monitor. AndyCine has obviously just made the same casing for both models and they just cut out the plastic covers that cover the holes out for the SDI/HDMI version.

The operating system of the monitor uses a combination of buttons, a scroll wheel, and touch screen functionality. This allows you to use the monitor completely via touchscreen operation, or through the use of buttons. It is nice to have both options because if you are using the monitor in cold conditions you may have gloves on and touchscreen is then not always the easiest to use.

You shouldn’t confuse the touchscreen functionality with the same sort of way it works on a SmallHD or an Atomos. On the AndyCine C7 the touchscreen operation isn’t implemented nearly as well. In saying that, it is still pretty good for a budget monitor.

The monitor does have pinch to zoom. The pinch to zoom does work and you can drag the position around on the screen, however, it didn’t always work, and on occasion, I would have to do it more than once to get it to work.

To bring up the main menu you can double-tap on the screen. However, I did also find that like some Atomos monitors, I had to continually double-tap the screen to try and bring up the menu. It wasn’t always as responsive as I would like.

Having used SmallHD’s fantastic Page OS system over the last few years it is very hard to go back to anything else. In saying that, AndyCine has a pretty good job with the operating system and it is better than most other monitors in this price range.

The monitor draws 20W and it can take an input voltage of 7-24V. It utilizes dual Sony NP battery plates. Batteries can be hot-swapped on the monitor.

There is nothing worse than a monitor that has a very noisy fan. Some of the Atomos offerings sound like there is a mini hairdryer being used in the same room. The AndyCine is relatively quiet and the two fans are barely audible. You will not pick up any fan noise if you have this mounted on your camera.

Image quality and usability are at least to me, the two biggest boxes that need to be ticked with any monitor that is going to be used in a professional environment.

The images appear almost too sharp for my personal taste, however, I think most people would be happy with it. It is hard in a review to show you screen quality. You really need to see a screen yourself to be able to judge quality.

The screen only covers 100% of Rec.709, it doesn’t cover DCI-P3, nor will it cover Rec.2020, etc. Strangely the monitor does have HDR settings that include HLG P3, HLG.2020, and HLG.709. I’m not sure what good these modes would be given the monitor only covers a Rec.709 Color Gamut. They are really more like simulated views of what HDR would look like.

The light sensor that detects ambient light levels and automatically adjusts the screen for optimal brightness is a little bit of a double-edged sword. While it does certainly work, if you place your hand in front of the monitor to press one of the preset buttons, the monitor starts to darken because it thinks the environment you are in is getting darker. This is just something you need to keep in mind when you are using it. You can, however, change the Backlight light sensor to Manual instead of Auto.

I tested the monitor by shooting a white card and exposing it at 100 IRE on a waveform. I then played back that clip and measured the brightness using a Sekonic C-800. The AndyCine C7 monitor had the backlight set to manual and the backlight brightness at 100. It recorded a brightness level of 2348 lux, which exceeded the claimed figure of 2200.

How does that figure compare to similarly priced monitors such as the pnbe 7″ 2000 NIT HDR Monitor that I recently reviewed? I measured the pnbe monitor with the backlight set to high, the brightness at 100, and the gamma set to 1.6. As you can see the monitor recorded a brightness level of 2030 lux, which slightly exceeded the claimed figure of 2000. The trouble with the pnbe monitor is that when you turned the brightness up to achieve 2000 nits it became all milky and unusable,

As far as color accuracy is concerned (the monitor’s Kelvin color temperature was set at 6500K), the AndyCine C7 recorded 6439K. This was a very good result.

The brightness of the AndyCine C7 is impressive and unlike some other ‘affordable’ high-bright monitors the image doesn’t look washed out when the brightness is at its maximum level.

As I just mentioned the operating system and the way the touchscreen functionality works could be a little better, but I’m not going to complain too much because this is a sub $300 USD monitor.

With monitors, you need to be able to access assist tools quickly. With the AndyCine C7 this is possible to do and I think most potential users will be happy with the way it works.

The monitor is easy to mount, but I don’t like that the HDMI connectors are not countersunk. When you have these ports on the bottom of the monitor you get forced to place the monitor in certain positions when it is on a camera so the HDMI cable doesn’t ens up hitting something.

The pbne 7″ 2000 nit monitor was one that I recently tested, and as it falls in the same sort of price range as the AndyCine I thought I would compare the two.

To maintain a fair playing field I output the exact same image from the Kinefinity Mavo LF to both monitors. That way I could see exactly how each image appeared.

There are not actually that many other 7″ Ultra-Bright monitors that have touchscreen functionality (particularly in this price range), however, I will list monitors that have similar brightness (2000 nits and above) and size:

The AndyCine C7 is a pretty good monitor. It is bright, sharp, and the colors it displays are reasonably accurate (although maybe slightly oversaturated). The operating system and touchscreen functionality could be better, but for a monitor in this price range, they are better than most of the competition.

In saying that it is very hard to fault a monitor at this price and I don’t want to sound overly critical, because at $269.99 USD it offers pretty good value for money, especially if you are after a high-bright 7″ monitor that also has touch screen functionality.

At the end of the day, in a lot of cases, you end up paying for what you get. Nobody should be buying a sub $300 USD 7″ high-bright monitor and expect that it will be as well built or as good as say a Small HD Cine 7. There will always be compromises that have to be made if you don’t want to spend a lot of money.

AndyCine has done a pretty good job with the C7 and I think anyone who will be looking at a sub $300 USD monitor like this would be reasonably happy if they purchased it. The touchscreen functionality is what makes it stand out from other monitors in this category.

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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.