feelworld 7 tft lcd monitor review in stock

The "False Color" feature alone is worth the entire price of the monitor. The False Color features helps to get your lighting exposure perfect every time. It"s super easy, and takes only a few minutes. (check YouTube for vids on how to use False Color)

(1) Monitor is not 4k. The "4K" in item title is misleading and refers to the 4k pass-thru using the HDMI input and output jacks. However the resolution is more than sufficient for our non-4k shooting.

And here"s one compelling reason to have V-Mount: Changing battery or powering down monitor stops our Canon M50 DSLR from recording. (recording stops when camera"s video out switches from external monitor to internal flip screen LCD monitor, or visa-versa) (issue is with the camera, not the monitor, and other cameras do this too) Therefore it makes sense for this camera to handle industrial sized "V-Mount" batteries. Especially since majority of amateur, semi-professional, and professional shooting takes place outdoors and requires batteries rather than directly plug-in power.

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 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 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.

The FEELWORLD LUT7S monitor displaying your content at 323 pixels per inch (PPI), enables clear and precise field monitoring. The panel is made of optically bonded glass with an anti-reflective coating. But what really sets it apart is its light-emitting diode (LED) backlighting, which displays a 1200:1 contrast ratio and sRGB / Rec.709 Color Gamut. The wide 160º viewing angle makes it easy for multiple members of the crew to watch it at the same time.

The innovative touchscreen LCD user interface provides incredible control. You can uses simple tap and swipe gestures for the important monitoring functions. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus you can load 3D LUTs!

Transmission to film crew director monitoring at the same time. Without the cable more flexible to transition between scenes effortlessly for outdoor shooting. Display live picture on multiple displays simultaneously.

There are 3 standard sized mounting points. Using the bottom 1⁄4 inch hole, you can securely attach it to the top of your camera. The 1⁄4-inch holes on the left and right sides can be mounted on other equipment with magic arm, bracket, etc., for the entire crew to monitor the screen.

Provides S-log2/3, V-log, Log-C etc, to convert log mode to REC709 for all major cameras. The LUT loading function makes the color calibration work of the previous shooting easier and more intuitive, optimizes the workflow and improves work efficiency. User creative 3D LUT cube or calibration 3D LUT cube can be uploaded to monitor by SD card.

VectorscopeVector scope shows how saturated the image is and where the pixels in the image land on the color spectrum. It can also be displayed in various sizes & positions, that allows users to monitor color gamut range in real time.

RGB HistogramRGB histogram is a graphical display of the distribution of tones, shows the Red, Green and Blue channels histograms. Suitable for HD-SDI and HDMI signal monitoring.

All Scopes ModeThis mode shrinks your video image to approximately the size of a 7" display and tiles your choice of waveform, vectorscope, histogram, and embedded audio on the border of your video.

The Audio Level Meters provide numerical indicators and headroom levels. It can generate accurate audio level displays to prevent errors during monitoring. Under SDI audio, it supports 4-ch embedded audio meters display. Under HDMI audio, only 2 channels audio displays are supported.

Safety Marker for View Finding and Composition (70%, 80%, 90%, 16:9, 16:10, 4:3, 5:4, 1.85:1, 2.35:1). You can switch the Mark color between Yellow, Red, Green, Blue, White and Black according to different tone of the subject.

There are a variety of ratio marker (16:9, 16:10, 4:3, 1.85:1, 2.35:1); the transparency of the ratio marker has 4 display effects optional (0%, 25%, 50%, 75%). You can switch the marker colors between yellow, red, green, blue, white and black according to different tone of the subject.

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.  Because the FEELWORLD LUT7S monitor is the ultra bright, we recommend use Sony F970 battery, two F970 batteries can use 4-5 hours.

The monitor install one F970 battery can be used about 2 hours, and install two F970 batteries can be used for about 4-5 hours. You can choose install 1 or 2 battery base on your need.

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.

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.

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!

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…

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!