feelworld 7 tft lcd monitor review made in china

I was mildy surprised with the video quality of this imported monitor and the delivery too since it was shipped from China. I was looking for a better resolution monitor than the 720p or 1080p resolution monitors and found this one. They offered free shipping and it appeared within six days, obviously air shipped from China to the U.S. then trucked to my home. But I noticed several package variations by other retailers on this same monitor.

I ordered it with the battery and charger package and ordered an extra battery. I suspect I won"t need the second battery often after recording two hours at a program recently and the monitor stil had battery power remaining. So I will rotate them to get the most of both batteries. Always better to be safe than sorry to have a spare battery for pro recording events. The foldable sunshade is nice even inside due to bright lights issues, but really has lots of adjustable screen brightness.

The higher resolution 1280p monitor is nice especially seeing better detail than the smaller camera display. What"s even nicer is it shows video noise in low light conditons whereas the camera display wouldn"t show the video noise. That helps on providing proper lighting if needed.

Lots of adjustment on the brightness and I cut the brightness back to save battery power. and the size is perfect and I like the multiple redline markers to keep your subject inside the markers as a safety precaution versus using the camcorder display. Also has picture freeze for attention to fine details in one frame, image flip maybe for a teleprompter monitor (I"m going to try this after my telerompter arrives), and focus assist. Many other features with too many to list.

Other nice features include picture zooming and panning if needed to expand the subject for detecting lighting issues like bald heads, right? Custom programmable buttons if needed to make quick adjustments versus going through the menu to do the same thing. As other reviewers have said, this product has a USB port for software downloads, which is interesting if they offer new features.

Cons: I think the speaker audio is tinny and the mfr could have added some bass to it to make it sound better. The speaker audio was clear though, but just tinny sounding, The headphone audio sounds much better, depending on your headphones. The package includes a circulating and adjustable extension for use for shoe mounted accessories such as this monitor. It works OK, but not built as strong as I would have liked. It has four different screw locking adjustments, one for the shoe, one for the adjstable angles, one for the outside extension barrel, and one for connecting to the monitor. The adjustable angle extension seems too loose when making adjustments, but not a big deal.

Quizá lo único que hasta ahora me tiene pensando es que al grabar de noche el monitor arrastra un poco la imagen, sin embargo en la grabación eso no sucede.

Ronnie, in regards to the latency, since this is a 1080p monitor in which the firmware has been updated to handle 4K input, the long latency may be due to the performance of the in-monitor scaler. Have you tried setting the HDMI output from the camera to 1080p and seeing if the latency improves? I would not be surprised if the in-camera"s scaler performance for 1080p HDMI output is superior to that of the monitor"s.

Also, selecting "P2P" will disable the in-monitor scaler and 1920x1080 input should then appear on the 1920x1200 LCD monitor with small black bars above & below. This setup should produce the least latency.

Latency is important to me because I shoot soccer with a HC-750. I"ve tried to use a Lippitut 7" 5DII (480p) with this camera. It"s OK for framing the action, but the res is too low to closely observe the action. (It works better for semi-static athletics like High-Jump  and it"s nice to have in the field for review purposes when working with a coach.) Even with its supplied hood, the reflectivity of the Lilliput"s screen is very high and wearing a cap only helps a little. Have you tried the FW-760 outside yet in bright sunshine?

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!

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 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!

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.

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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You get great build-quality and some of the best color reproduction I’ve seen in a monitor. It also ticks all the right boxes when it comes to tools and scopes for monitoring your recordings, support 3D-LUT monitoring, anamorphic de-squeeze, 10-bit color, 4K up to 30fps (for higher framerates at resolutions 4K and above you need to convert the signal to HD – but most cameras does this today) and takes both NP-F and V-mount batteries.

It also has a headphone 3.5mm jack (and a built-in speaker), which is nice so that you can monitor your audio even if your camera doesn’t have a headphone output.

Another really cool thing about this monitor is that it has both SDI in and out and HDMI in and out. So you can use with both mirrorless cameras like the BMPCC4K or GH5 or bigger cinema cameras like the URSA Mini.

The ANDYCINE X7S takes F970 batteries, which are not included (the battery plate is included, of course, and comes installed). But you get both D-Tap to DC cable and an SDI cable.

And the CM-S75C on-camera monitor is no different. The 7″ monitor packs a bunch-of-features for a fraction of the price, you’d normally have to pay it.

The 1200:1 contrast ratio makes the blacks ok, despite the high-brightness (a common problem with monitors that has nits above 2000). Also, it has the ability to show PQ and HLG.

You also have the ability to load your own 3D-LUT via the in-built SD-card slot when you’re monitoring flat profiles like S-log, V-log, C-log, RedLog, BMD, etc. And it comes with 30 build-in LOG to Rec709 LUTs.

The screen itself has a resolution of 1920x1080p and is daylight viewable with 2200nits. The contrast ratio is 1000:1 which isn’t quite enough to render deep blacks. But none of these ultrabright monitors does that.

But luckily this little monitor comes with all the tools needed for correct exposure, so that shouldn’t be a problem. And, of course, you get tools for focus, zoom, etc.

It’s a rugged build monitor with an aluminum chassis and gorilla glass. But this also makes the monitor heavy, so it’s better used as a field monitor on it’s own stand if you use smaller cameras.

The ikan SAGA SX7 has both HDMI in and out as well as SDI in and out. So whether you’re using mirrorless or DSLR cameras or bigger cinema cameras you can connect them to the ikan.

The S7X supports both V-mount batteries as well as DV batteries, and it comes with a V-mount battery plate attached and a dual Sony “L” battery adapter.

You also find function buttons at the top of the monitor as well as a menu scroll wheel and exit button. So – as you might have guessed by now – this isn’t a touchscreen.

The monitors comes with all the professional tools you’d expect from a field monitor including Blue Only / Mono, Focus Assist, H/V Delay, H/V Flip, Luma(Y’) Zone check, Time Code Display, Vector scope, Waveform, and more.

Good all round monitor for film dolly grip work. Comes with EU plug for charger, a bit whatevas as a convertor is supplied, any jug plug will do instead if that annoys you.

The P7S has extensive monitoring tools, including histogram, focus assist, embedded audio, false colors, zebra exposure, ratio marker, anamorphic mode, zoom etc. It could help you create the wonderful shots.

FEELWORLD P7S provides 7" an 8-bit IPS screen with 1920x1200 resolution, 323ppi pixel density, professional color calibration to overcome natural LCD color drift. The P7S displays sharper images, better text clarity and color reproductions regardless of your shooting conditions. The P7S has a wide viewing angle so that everyone on set can review the action.

FEELWORLD P7S ultra-high brightness monitor uses the "golden size" 7-inch panel. The P7S monitor not only has the resolution and pixel density to make every shot look amazing, the high bright 2200nit screen at almost 5 times the brightness of conventional field monitors lets you shoot outdoors without reflections washing out your image. This makes it a great choice for gimbals, Steadicam and director"s monitors, delivering a crisp image without the bulk and viewing angle restrictions of a sun hood.

The frame of the FEELWOELD P7S 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.

It’s no surprise the P7S’s simple, practical design makes it the ideal choice for the filmmakers, cinematographers, photographers, and videographers prefer due to its size and weight for field production. It"s easy to add professional monitoring to any SDI or HDMI camera with FEELWORLD P7S! And also it"s easy to connect, easy to mount, with a slim and simple design.

FEELWORLD uses the professional Rec.709 HD color standard, and uses the color calibration technology, with the professional instrument calibration at the factory, it can achieve monitor calibration efficiently and get accurate color reproduction easily, do not distort the color, show the real image when you shooting video.

FEELWORLD monitor support ITU standards and HD video Rec.709 standard consistent color space, advanced image processing technology, so that the image clearly presented, the color is extremely natural, to ensure accurate color reproduction, to reproduce the physical nature of shooting, enabling users to accurately evaluate the quality of various input video signals.

The menu controls are intuitive and easy to use. On the top of the monitor, you’ll get the full button layout. Three different feature buttons which are programmable to the various features that you use the most. Maybe you could set one of the shortcut keys to the image flip function so that the screen can be flipped over quickly when shooting upside down.

The monitor will automatically save the parameters you have previously set, and keep the original settings when you turn it on next time. It does not need to be reset, which is convenient and simple.

The compact design of the P7S includes 4K HDMI and 3G-SDI so you can connect them to virtually any DSLR, prosumer or professional camera! The HDMI connection is compatible up to 4Kp30 and the SDI connection has compatibility up to 3G, support for almost all signal. You can also monitor audio using the 3.5mm stereo headphone jack or, the built in speaker.

The P7S has 3G-SDI, 4K HDMI in and loop-out, allowing it to not only display live signals, but also send them out to other monitors simultaneously. It"s the ability to display live picture on multiple displays at once while still maintaining the original video quality.

Transmission to film crew director monitoring at the same time. Without the cable more flexible to transition between scenes effortlessly for outdoor shooting.

The FEELWORLD P7S is an ideal camera-top monitor for DSLR and mirrorless camera shooters. Because the P7S provides auxiliary power out; allowing shooters to power their cameras. With a battery adapter cable (Optional), the P7S extends camera run-time, while providing a more usable display. Plus, you can monitor audio using the 3.5mm stereo headphone jack.

FEELWORLD P7S features standard 1/4” mount points (left, right, bottom) for attaching it to cameras and rigs. When you are using the upside down installation, you can turn on the image flip function to maintain the correct orientation.

For power, there"s a 12V DC input and a F970 battery plate (standard). You could connect the 12V DC input you get continuous power or you can run it off of Sony compatible F970 rechargeable batteries. You can also choose D28S/D54, LP-E6 or U60 battery plate to install other different types of batteries for power supply.

The P7S does not include a battery and needs to be purchased separately. Since the P7S is super bright, it"s high consumption:≤18W. Please note that different battery usage times for different capacities are different. Choosing a larger battery capacity can extend the monitor"s operating time, and the Sony F970 can use about 2-3 hours. When you use the P7S indoors, you can extend battery life by lowering the backlight of your monitor. For the power adapter (optional), use a DC7-24V output with a power supply greater than 18W, such as a 12V / 3A power adapter.