need to replace lcd touch screen on camera made in china

Well, I managed to do it the hard way. When my new screen arrived I still had not located an online tutorial of any kind, so I just started disassembling the thing; fortunately the X70 has a semi-articulating screen so it was a more or less discrete part and didn’t require opening up the whole camera. Step one: remove the battery. Step two: remove five screws in the frame where the screen rides. Step three: disconnect the two (one large, one small) electronic connections that mate the camera’s computer to the circuit board affixed to the screen’s metal backing plate. Step four: remove the tape securing the screen assembly to the articulating frame. Step five: using a spudger, gently pry off the circuit board mentioned in step three. It is affixed to the metal backing plate with double-sided tape, which you’ll need a new piece of when reassembling it later. Step six: remove the old screen assembly. Step seven: do everything in steps one through six, but in reverse. Took a couple of hours, including a trip to the store to buy an eyeglass repair kit to get the tiny Phillips head screwdriver I needed. Saved a whole lot of money.

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“Original” screens are those containing LCDs manufactured for Apple. “Copy” screens are compatible replacements entirely designed and manufactured by third-party companies not associated with Apple.

LCD display panel can have poorer resolution (i.e. looks “coarser”), worse brightness, contrast and vibrancy and reduced refresh rate amongst other problems.

Changes in specification from original can result in battery and performance issues. Certain badly-engineered screens could even damage the backlight circuitry.

Customers who bring their iPhones to us for a screen repair are offered two choices of replacement- an original or a “copy” screen. The most common response is “Is there a difference- and which one would you recommend?”

Originals are those screens containing LCDs that were manufactured for Apple. So-called “copy” screens are compatible replacements, but designed and manufactured entirely independently by third-party companies, typically in China.

Our answer is simple- the original screen is the one we’d go for ourselves, every time. Some people think we make more money on them, but this isn’t the case. We recommend originals because they’re far higher quality and the price difference is fairly small.

We’d rather only fit original screens. The only reason we don’t is that many people will shop around and choose purely on price. As such, we need to offer the cheaper copy screens to remain competitive and avoid losing these customers. In some cases, they didn’t even know there was a difference in the first place- especially since it’s not in some shops’ interest to draw people’s attention to the issue!

This may well be the worst copy screen we’ve ever come across. As a result, the unfortunate customer has ended up paying twice to have their screen replaced- we’re sure that had they been properly informed, they would have chosen an original in the first place.

While the difference in price between copies and originals can vary across devices, it’s generally around £10 – £14 extra to have an original screen fitted. This really isn’t a lot considering the improved quality and reliability.

We compare our prices to our competitors- and we know that we come out of it favourably. While we have to offer copy screens to remain competitive, we always advise customers to go for the original.

When you’ve spent- directly or indirectly- several hundred pounds for an iPhone with a Retina display, it doesn’t make sense to replace it with a lower-quality screen that can make a £400 phone look like a £40 one! Not only that, but you’re likely to have fewer issues, and a longer-lasting screen.

There’s nothing stopping any random person without training or experience opening up a smartphone repair shop. As a result, the industry is full of companies with little skill or experience who are only interested in getting hold of your money and installing the cheapest parts they can find.

Many- if not most- don’t even acknowledge the existence of copy screens, let alone explain the difference to the customer. Hardly in their interest to do so if they only fit cheap, low-quality copies. Some of them can hardly be blamed- they know so little, they’re not even clear on the differences between OEM, non-OEM and copy displays themselves! Others can be more deliberately misleading… and some outright lie.

Generally, these shops are looking for the cheapest price on replacement screens.. When offered a copy at a half or a third of a price of the original, they’re going to go for that. That might be fine if they offered the customer a cheaper price- what we disagree with is selling “supermarket beans” (i.e. the copy screens) at “Heinz beans” prices!

Heading towards the “blatantly fraudulent”, we’re aware of companies that shamelessly fit copy screens while claiming them to be original. Worse, they’ll take your broken original screen and sell that to a recycler for more than they paid for your copy!

Obtained or manufactured “off the clock” via the same production line that produced them for Apple- in some cases, from the stockpile of parts that didn’t meet Apple’s standards, or

Apple tightened up their supply chain around 2015, which reduced the number of screens available for repairs and increased their price dramatically. A lot of companies went bankrupt, and Chinese manufacturers responded by making their own “copy” screens from scratch. At first, these weren’t much cheaper than the Apple ones, but the price soon fell.

We should be clear that- despite the name- “copy” screens aren’t direct copies of the Apple originals. Rather, they’re compatible replacements that have been designed from scratch and- as a result- vary in some respects that have an effect on usability and quality.

One of the most important differences between an original and a “copy” screen is how the digitizer (touch sensor) is designed. Apple has it manufactured as part of the LCD itself, whereas the copies have it on the glass.

Although there are only a small number of manufacturers of the bare LCDs themselves, these are then bought by countless other companies who add the remaining components needed to turn these into a complete working screen. As a result, you could easily end up with an LCD from the best “copy” manufacturer, but the digitizer/touch (as part of the separately-manufactured glass) from the worst.

There are countless digitizers out there, and you can only take the supplier’s word that the quality is good. Many ship good ones at first, then switch to cheaper parts to make more profit. This is particularly bad with the iPhone 6S and 6S+, since Apple moved the chips responsible for touch processing onto the LCD itself. As a result, you’re not just getting a copy screen- you’re getting copy chips too.

The performance specification (power drain, etc.) of most copy screens isn’t identical to the originals. As a result, they can drain the battery more quickly and mislead the operating system which was optimised for the original screen design.

It’s even possible that this mismatch could damage your backlight. We do a lot of subcontracted repairs for less-experienced shops, and get backlight repairs in almost every day. We’ve had cases where we fixed the circuit, fitted the new copy screen to test it, and had it break the circuit again!

Copy screens can disrupt the touch ID fingerprint reader. With the 6S, 6S+, 7 and 7+, the home button- part of the 3D touch- is part of the screen assembly. Frequently the home button flexes on aftermarket designs don’t work properly and stop the touch ID working- annoying if you use it to unlock the phone or log in to your bank.

We’ve seen many lift away from the frame that holds them in place. This usually results in the flex cable getting torn, and the screen needing replacing. You don’t even need to have dropped the phone- this often happens through general everyday wear and tear.

That brings us to another major issue with the copies. When you drop an Apple original, the glass often breaks, but if the LCD itself is intact, you can continue to use it until it’s fixed. With the copies, the touch/digitizer is on the glass and stops working when that’s broken. Even worse, the LCD itself is more likely to break due to the thinner and more fragile glass.

We’re not convinced this will happen, since Apple recently changed their repair policy to accept iPhones with third-party screens. However, it is possible that copy screens could be stopped from working via an iOS update, since those make a number of security checks.

Introducing the world’s most advanced self contained studio camera! Blackmagic Studio Cameras have the same features as large studio cameras, miniaturized into a single compact and portable design. Plus with digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so you can create amazing images even in dimly lit venues. It even works under moonlight! Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks and much more! You can even add a focus and zoom demand for lens control!

Designed as the perfect studio camera for ATEM Mini, this model has a 4K sensor up to 25,600 ISO, MFT lens mount, HDMI out, 7" LCD with sunshade, built-in color correction and recording to USB disks.

Designed for professional SDI or HDMI switchers, you get all the features of the Plus model, as well as 12G-SDI, professional XLR audio, brighter HDR LCD, 5 pin talkback and 10G Ethernet IP.

While Blackmagic Studio Camera is designed for live production, it’s not limited to use with a live switcher! That’s because it records Blackmagic RAW to USB disks, so it can be used in any situation where you use a tripod! The large 7" viewfinder makes it perfect for work such as chat shows, television production, broadcast news, sports, education, conference presentations and even weddings! The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time. Because it’s so lightweight, it’s perfect when you"re constantly changing locations and doing different kinds of work.

Large broadcasters use expensive studio cameras that are extremely large, so they’re not very portable. The distinctive Blackmagic Studio Camera has all the benefits of a large studio camera because it’s a combination of camera and viewfinder all in a single compact design. It features a lightweight carbon fiber reinforced polycarbonate body with innovative technology in a miniaturized design. The camera is designed for live production so it’s easy to track and frame shots with its large 7" viewfinder. The touchscreen has menus for camera settings, and there"s knobs for brightness, contrast and focus peaking. Plus a tripod mount with mounting plate is included for fast setup!

In advanced cameras, ISO is a measurement of the image sensor’s sensitivity to light. This means the higher the ISO the more gain can be added so it’s possible to shoot in natural light, or even at night! The Blackmagic Studio Camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it"s optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera, or remotely from a switcher using the SDI or Ethernet remote camera control.

The amazing 4K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. That means you can now use cinematic images for live production! Plus, when combined with the built in DaVinci Resolve primary color corrector you get much better images than simple broadcast cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 3840 x 2160 which is great for both HD and Ultra HD work. Plus, all models support from 23.98 fps up to 60 fps.

With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses are incredible quality because they"re designed for use in high resolution photography. Plus, the active lens mount lets you adjust the lens remotely! To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let you adjust the lens from the tripod handles just like a large studio camera! This means you avoid camera shake when adjusting the lens, so you can track shots and operate the camera without taking your hands off the tripod! It gives you the same feel as an expensive B4 broadcast lens!

The large 7" high resolution screen will totally transform how you work with the camera because it"s big enough to make framing shots much easier. The Pro model features a HDR display with extremely high brightness, perfect outdoors in sunlight! On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. You can even apply 3D LUTs for monitoring shots with the desired color and look. The touchscreen also has menus and you can load and customize presets for different jobs. The included sun shade can be folded to protect the screen for transport plus it"s compatible with sun shades from the Blackmagic Studio Viewfinder!

Blackmagic Studio Cameras feature physical buttons and knobs as well as controls on the touchscreen. Knobs on the right side of the camera allow adjusting of the brightness, contrast and focus peaking. The focus peaking knob is incredibly useful as it lets you fine tune the detail highlight so you can get perfect focus as you zoom. The 3 function buttons on the left can have functions assigned to them, such as zebra, false color, focus peaking, LUTs and more! Plus you can change the function assigned to each button in the menus. The touchscreen also includes a heads up display with the most important shooting information, as well as menus for all camera settings, LUTs and custom presets.

Blackmagic Studio Cameras feature a very large tally light that illuminates red for on air, green for preview and orange for ISO recording. The tally light also includes clip on transparent camera numbers, so it"s easy for talent to see camera numbers from up to 20 feet away! The Blackmagic Studio cameras support the SDI tally standard used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers. This means that a director can cut between cameras and the tally information will be sent back to the cameras via the SDI program return feed, lighting up the tally light on the camera whenever it"s on air. SDI tally eliminates complex wiring so job setup is faster.

Unlike consumer cameras, the Blackmagic Studio Camera 4K Pro model has SDI connections that include talkback so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot, at the same time! The talkback connector is built into the side of the camera and supports standard 5 pin XLR broadcast headsets. Talkback uses audio channels 15 and 16 in the SDI connection between the camera and the switcher, and in the program return from the switcher to the camera. This means any embedded SDI audio device can work with talkback!

Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control and record trigger, so are perfect for ATEM Mini switchers! You also get headphone and mic connections, and 2 USB‑C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows so has 12G‑SDI, 10GBASE‑T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection, so setup is much faster! That"s just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable so it"s much lower cost.

Blackmagic Studio Cameras can be connected in lots of different ways! All models feature HDMI so are perfect for HDMI switchers such as ATEM Mini. The HDMI supports video, tally, control and record trigger for a broadcast style workflow using a single HDMI cable. The Blackmagic Studio Camera 4K Pro has 12G‑SDI so you can connect it to SDI based switchers such as the ATEM Constellation. There"s a 12G‑SDI connection for camera video, and one for program return. The program return also includes tally, talkback and remote camera control. Or you can use 10G Ethernet to get camera video, program return, tally, talkback, camera control and even power using a regular Cat6A Ethernet cable!

Using the HDMI output, you can connect to switchers such as ATEM Mini! Plus the HDMI connection supports sending tally, color corrector control and record trigger back to the camera from the switcher.

The SDI model uses the SDI output and the SDI program return for 2 way talkback between the camera and any SDI ATEM switcher. Tally and control is also sent to the camera via the SDI program return.

The 10G Ethernet connection allows all signals and camera power using a single Cat 6A copper Ethernet cable! That includes the camera video, program return, tally, talkback, camera control and more!

You can even shoot without a switcher as the large screen makes the camera fantastic for shooting while recording to Blackmagic RAW on a USB flash disk. The big screen makes framing shots very easy!

All Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the camera"s SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher’s SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally and lens control and these are sent to all cameras. All you need to do is select the correct camera number and it all works. Even ATEM Mini switchers can control Blackmagic Studio Cameras because the HDMI output to the switcher has return data communication that can send control information back to the camera. All this means the camera operator is free to focus on framing shots.

The Blackmagic Studio Camera 4K Pro model supports connecting cameras via a single Ethernet cable. It’s so simple, just plug in and you"re ready! Traditional broadcast studio cameras use SMPTE fiber to communicate and power cameras, however SMPTE fiber is very expensive. Blackmagic Studio Camera 4K Pro model has 10G Ethernet as an alternative to SMPTE fiber so it"s much lower cost. The Ethernet includes all camera video, program return feeds, tally, talkback, camera control and also power. The Blackmagic Studio Converter handles all video conversions at the switcher end plus adds power to the Ethernet cable. That means you don"t need to connect power to the camera!

The Blackmagic Studio Camera features a high speed USB-C expansion port that allows you to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don"t need to waste time with file copying. You can even plug in optional focus and zoom demands to allow full lens control. Plus the USB port will power any phone or disk that’s plugged in!

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Some file formats such as H.264 are highly compressed, so add noise and artifacts, causing sensor detail to be lost forever. Blackmagic RAW eliminates this problem so you get stunning images with incredible detail and rich color throughout the whole post production pipeline. Blackmagic RAW also saves camera settings as metadata so you can change ISO, white balance and exposure later in DaVinci Resolve. Plus the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance!

Blackmagic Studio Cameras include built in microphones so you get sound included in the design making setup much faster. Plus the built in microphones are shock and wind resistant, so you get great sound even in tough conditions! With each microphone placed at the edges of the screen, you get the advantage of the studio camera design for better stereo separation than what is possible on a regular video camera. There’s also a 3.5mm audio input for connecting video camera microphones as well as a 3.5mm headphone jack. On the Blackmagic Studio Camera Pro model you get professional XLR audio inputs and a built in speaker for listening to the program return audio.

Because the most common location to place microphones is near to cameras, the Pro model includes the best audio ever designed into a studio camera! The professional 2 channel balanced XLR inputs support +24 dBu line level and have an ultra low noise microphone preamplifier with P48 phantom power alongside an equivalent input noise (E.I.N.) of ‑131 dBV(A). That"s followed by two 117 dB high dynamic range analog to digital converters, so you get the high end audio demanded by broadcasters and audio engineers. This means any microphone plugged into the XLR inputs will have a higher level of noise than the camera"s audio!

The Blackmagic Studio Camera lets you view program video from the switcher at the press of a button! Simply press the camera’s PGM button and the viewfinder will switch from the camera display to the program return feed from the switcher. Plus the built in speaker lets you monitor the switcher audio. Program return is a fantastic feature as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means even if the camera operator is a large distance away from the switcher, they can still keep up with what’s happening and remain alert.

With the advanced Blackmagic OS, you get an intuitive and user friendly camera operating system based on the latest technology. Blackmagic OS is a true modern operating system where all camera features run independently for smoother control, plus the camera powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. You also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more!

When Blackmagic RAW files use logarithmic film gamma to preserve the camera dynamic range, 3D LUTs can be used to convert the images on the viewfinder display from looking flat and washed out. 3D LUTs solve this problem because they convert the image just before it"s displayed on the LCD. This allows the film gamma images being recorded to be converted to nicer looking images on the LCD. 3D LUTs are also saved into the Blackmagic RAW files so they can be used in later post production, but they are never burned into the Blackmagic RAW image data, so you always have the option to disable them. This means the 3D LUT is transported in the Blackmagic RAW file, but only used when you enable it.

The Blackmagic Studio Cameras are designed to be used worldwide so they support 11 popular languages! When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Turkish, Chinese, Japanese or Korean. It’s easy to switch to another language simply by going into the menu settings. When switching between languages, all the on screen overlays, heads up display, and setup menus will be displayed in the selected language and you can change languages any time you like!

Blackmagic Studio Cameras have lots of different power options! All models have a common 12V DC locking power connector so the cable won"t be accidentally pulled out. Plus, the camera includes a power supply with 5 different AC socket adapters for different countries. However if you"re using a single Ethernet cable to connect to the Blackmagic Studio Camera 4K Pro model, then the whole camera and its accessories can be powered from the Ethernet connection. The Blackmagic Studio Converter has a large power supply that adds PoE power to the Ethernet cable so you don"t need any power connection to the camera. That’s a great solution when there"s no power available where the cameras are placed!

The optional zoom and focus demands can be added to turn affordable photography lenses into amazing broadcast lenses! The focus and zoom demands have USB‑C connections so they work with all Blackmagic Studio Camera 4K models. Each zoom and focus demand has 2 USB‑C ports, so you can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel and so you get very fine lens control, and you can frame and adjust the lens without taking your hands off the tripod handles. The buttons can be customized so you can assign different camera functions to them! Plus, hardware is included for mounting the focus and zoom demand onto tripod handles.

With 10G Ethernet on the Pro model, you can connect all signals to the camera with the one Ethernet IP link connection. That means the camera feed, return program feed, timecode, reference, tally, talkback and control are all sent down the single cable. That"s the same benefits of SMPTE fiber, but the standard 10G copper Ethernet cable is much lower cost. The Blackmagic Studio Converter allows breakout of all the video, audio and talkback connections at the studio end. It also includes a massive power supply that powers the camera down the Ethernet cable, so you don"t need a power source near the camera. Plus you can fit 2 per rack unit using a Blackmagic Universal Rack Shelf!

Introducing the world’s most advanced self contained studio camera! Blackmagic Studio Cameras have the same features as large studio cameras, miniaturized into a single compact and portable design. Plus with digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so you can create amazing images even in dimly lit venues. It even works under moonlight! Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks and much more! You can even add a focus and zoom demand for lens control!

Designed as the perfect studio camera for ATEM Mini, this model has a 4K sensor up to 25,600 ISO, MFT lens mount, HDMI out, 7" LCD with sunshade, built-in color correction and recording to USB disks.

Designed for professional SDI or HDMI switchers, you get all the features of the Plus model, as well as 12G-SDI, professional XLR audio, brighter HDR LCD, 5 pin talkback and 10G Ethernet IP.

While Blackmagic Studio Camera is designed for live production, it’s not limited to use with a live switcher! That’s because it records Blackmagic RAW to USB disks, so it can be used in any situation where you use a tripod! The large 7" viewfinder makes it perfect for work such as chat shows, television production, broadcast news, sports, education, conference presentations and even weddings! The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time. Because it’s so lightweight, it’s perfect when you"re constantly changing locations and doing different kinds of work.

Large broadcasters use expensive studio cameras that are extremely large, so they’re not very portable. The distinctive Blackmagic Studio Camera has all the benefits of a large studio camera because it’s a combination of camera and viewfinder all in a single compact design. It features a lightweight carbon fiber reinforced polycarbonate body with innovative technology in a miniaturized design. The camera is designed for live production so it’s easy to track and frame shots with its large 7" viewfinder. The touchscreen has menus for camera settings, and there"s knobs for brightness, contrast and focus peaking. Plus a tripod mount with mounting plate is included for fast setup!

In advanced cameras, ISO is a measurement of the image sensor’s sensitivity to light. This means the higher the ISO the more gain can be added so it’s possible to shoot in natural light, or even at night! The Blackmagic Studio Camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it"s optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera, or remotely from a switcher using the SDI or Ethernet remote camera control.

The amazing 4K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. That means you can now use cinematic images for live production! Plus, when combined with the built in DaVinci Resolve primary color corrector you get much better images than simple broadcast cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 3840 x 2160 which is great for both HD and Ultra HD work. Plus, all models support from 23.98 fps up to 60 fps.

With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses are incredible quality because they"re designed for use in high resolution photography. Plus, the active lens mount lets you adjust the lens remotely! To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let you adjust the lens from the tripod handles just like a large studio camera! This means you avoid camera shake when adjusting the lens, so you can track shots and operate the camera without taking your hands off the tripod! It gives you the same feel as an expensive B4 broadcast lens!

The large 7" high resolution screen will totally transform how you work with the camera because it"s big enough to make framing shots much easier. The Pro model features a HDR display with extremely high brightness, perfect outdoors in sunlight! On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. You can even apply 3D LUTs for monitoring shots with the desired color and look. The touchscreen also has menus and you can load and customize presets for different jobs. The included sun shade can be folded to protect the screen for transport plus it"s compatible with sun shades from the Blackmagic Studio Viewfinder!

Blackmagic Studio Cameras feature physical buttons and knobs as well as controls on the touchscreen. Knobs on the right side of the camera allow adjusting of the brightness, contrast and focus peaking. The focus peaking knob is incredibly useful as it lets you fine tune the detail highlight so you can get perfect focus as you zoom. The 3 function buttons on the left can have functions assigned to them, such as zebra, false color, focus peaking, LUTs and more! Plus you can change the function assigned to each button in the menus. The touchscreen also includes a heads up display with the most important shooting information, as well as menus for all camera settings, LUTs and custom presets.

Blackmagic Studio Cameras feature a very large tally light that illuminates red for on air, green for preview and orange for ISO recording. The tally light also includes clip on transparent camera numbers, so it"s easy for talent to see camera numbers from up to 20 feet away! The Blackmagic Studio cameras support the SDI tally standard used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers. This means that a director can cut between cameras and the tally information will be sent back to the cameras via the SDI program return feed, lighting up the tally light on the camera whenever it"s on air. SDI tally eliminates complex wiring so job setup is faster.

Unlike consumer cameras, the Blackmagic Studio Camera 4K Pro model has SDI connections that include talkback so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot, at the same time! The talkback connector is built into the side of the camera and supports standard 5 pin XLR broadcast headsets. Talkback uses audio channels 15 and 16 in the SDI connection between the camera and the switcher, and in the program return from the switcher to the camera. This means any embedded SDI audio device can work with talkback!

Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control and record trigger, so are perfect for ATEM Mini switchers! You also get headphone and mic connections, and 2 USB‑C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows so has 12G‑SDI, 10GBASE‑T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection, so setup is much faster! That"s just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable so it"s much lower cost.

Blackmagic Studio Cameras can be connected in lots of different ways! All models feature HDMI so are perfect for HDMI switchers such as ATEM Mini. The HDMI supports video, tally, control and record trigger for a broadcast style workflow using a single HDMI cable. The Blackmagic Studio Camera 4K Pro has 12G‑SDI so you can connect it to SDI based switchers such as the ATEM Constellation. There"s a 12G‑SDI connection for camera video, and one for program return. The program return also includes tally, talkback and remote camera control. Or you can use 10G Ethernet to get camera video, program return, tally, talkback, camera control and even power using a regular Cat6A Ethernet cable!

Using the HDMI output, you can connect to switchers such as ATEM Mini! Plus the HDMI connection supports sending tally, color corrector control and record trigger back to the camera from the switcher.

The SDI model uses the SDI output and the SDI program return for 2 way talkback between the camera and any SDI ATEM switcher. Tally and control is also sent to the camera via the SDI program return.

The 10G Ethernet connection allows all signals and camera power using a single Cat 6A copper Ethernet cable! That includes the camera video, program return, tally, talkback, camera control and more!

You can even shoot without a switcher as the large screen makes the camera fantastic for shooting while recording to Blackmagic RAW on a USB flash disk. The big screen makes framing shots very easy!

All Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the camera"s SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher’s SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally and lens control and these are sent to all cameras. All you need to do is select the correct camera number and it all works. Even ATEM Mini switchers can control Blackmagic Studio Cameras because the HDMI output to the switcher has return data communication that can send control information back to the camera. All this means the camera operator is free to focus on framing shots.

The Blackmagic Studio Camera 4K Pro model supports connecting cameras via a single Ethernet cable. It’s so simple, just plug in and you"re ready! Traditional broadcast studio cameras use SMPTE fiber to communicate and power cameras, however SMPTE fiber is very expensive. Blackmagic Studio Camera 4K Pro model has 10G Ethernet as an alternative to SMPTE fiber so it"s much lower cost. The Ethernet includes all camera video, program return feeds, tally, talkback, camera control and also power. The Blackmagic Studio Converter handles all video conversions at the switcher end plus adds power to the Ethernet cable. That means you don"t need to connect power to the camera!

The Blackmagic Studio Camera features a high speed USB-C expansion port that allows you to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don"t need to waste time with file copying. You can even plug in optional focus and zoom demands to allow full lens control. Plus the USB port will power any phone or disk that’s plugged in!

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Some file formats such as H.264 are highly compressed, so add noise and artifacts, causing sensor detail to be lost forever. Blackmagic RAW eliminates this problem so you get stunning images with incredible detail and rich color throughout the whole post production pipeline. Blackmagic RAW also saves camera settings as metadata so you can change ISO, white balance and exposure later in DaVinci Resolve. Plus the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance!

Blackmagic Studio Cameras include built in microphones so you get sound included in the design making setup much faster. Plus the built in microphones are shock and wind resistant, so you get great sound even in tough conditions! With each microphone placed at the edges of the screen, you get the advantage of the studio camera design for better stereo separation than what is possible on a regular video camera. There’s also a 3.5mm audio input for connecting video camera microphones as well as a 3.5mm headphone jack. On the Blackmagic Studio Camera Pro model you get professional XLR audio inputs and a built in speaker for listening to the program return audio.

Because the most common location to place microphones is near to cameras, the Pro model includes the best audio ever designed into a studio camera! The professional 2 channel balanced XLR inputs support +24 dBu line level and have an ultra low noise microphone preamplifier with P48 phantom power alongside an equivalent input noise (E.I.N.) of ‑131 dBV(A). That"s followed by two 117 dB high dynamic range analog to digital converters, so you get the high end audio demanded by broadcasters and audio engineers. This means any microphone plugged into the XLR inputs will have a higher level of noise than the camera"s audio!

The Blackmagic Studio Camera lets you view program video from the switcher at the press of a button! Simply press the camera’s PGM button and the viewfinder will switch from the camera display to the program return feed from the switcher. Plus the built in speaker lets you monitor the switcher audio. Program return is a fantastic feature as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means even if the camera operator is a large distance away from the switcher, they can still keep up with what’s happening and remain alert.

With the advanced Blackmagic OS, you get an intuitive and user friendly camera operating system based on the latest technology. Blackmagic OS is a true modern operating system where all camera features run independently for smoother control, plus the camera powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. You also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more!

When Blackmagic RAW files use logarithmic film gamma to preserve the camera dynamic range, 3D LUTs can be used to convert the images on the viewfinder display from looking flat and washed out. 3D LUTs solve this problem because they convert the image just before it"s displayed on the LCD. This allows the film gamma images being recorded to be converted to nicer looking images on the LCD. 3D LUTs are also saved into the Blackmagic RAW files so they can be used in later post production, but they are never burned into the Blackmagic RAW image data, so you always have the option to disable them. This means the 3D LUT is transported in the Blackmagic RAW file, but only used when you enable it.

The Blackmagic Studio Cameras are designed to be used worldwide so they support 11 popular languages! When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Turkish, Chinese, Japanese or Korean. It’s easy to switch to another language simply by going into the menu settings. When switching between languages, all the on screen overlays, heads up display, and setup menus will be displayed in the selected language and you can change languages any time you like!

Blackmagic Studio Cameras have lots of different power options! All models have a common 12V DC locking power connector so the cable won"t be accidentally pulled out. Plus, the camera includes a power supply with 5 different AC socket adapters for different countries. However if you"re using a single Ethernet cable to connect to the Blackmagic Studio Camera 4K Pro model, then the whole camera and its accessories can be powered from the Ethernet connection. The Blackmagic Studio Converter has a large power supply that adds PoE power to the Ethernet cable so you don"t need any power connection to the camera. That’s a great solution when there"s no power available where the cameras are placed!

The optional zoom and focus demands can be added to turn affordable photography lenses into amazing broadcast lenses! The focus and zoom demands have USB‑C connections so they work with all Blackmagic Studio Camera 4K models. Each zoom and focus demand has 2 USB‑C ports, so you can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel and so you get very fine lens control, and you can frame and adjust the lens without taking your hands off the tripod handles. The buttons can be customized so you can assign different camera functions to them! Plus, hardware is included for mounting the focus and zoom demand onto tripod handles.

With 10G Ethernet on the Pro model, you can connect all signals to the camera with the one Ethernet IP link connection. That means the camera feed, return program feed, timecode, reference, tally, talkback and control are all sent down the single cable. That"s the same benefits of SMPTE fiber, but the standard 10G copper Ethernet cable is much lower cost. The Blackmagic Studio Converter allows breakout of all the video, audio and talkback connections at the studio end. It also includes a massive power supply that powers the camera down the Ethernet cable, so you don"t need a power source near the camera. Plus you can fit 2 per rack unit using a Blackmagic Universal Rack Shelf!

Good news for iPhone X users, the Chinese factory has made out the aftermarket OLED/LCD screen for iPhone X. On the last article, we have compared the aftermarket LCD screen to iPhone X OEM screen. We ETrade Supply have got the aftermarket 1:1 OLED screen sample now. Here we will test the aftermarket OLED screen functions and find the differences from iPhone X OEM screen and aftermarket LCD screen.

From the obverse side, the inside LCD of OEM screen shows a black tone, while the aftermarket LCD looks a little green and the aftermarket OLED screen looks a little red.

The aftermarket OLED screen flex cable is harder than OEM, besides they are almost the same. For the aftermarket LCD screen, the frame is thicker than the OEM screen and doesn’t have 4 connector contacts on the bottom of the frame which may have an impact on the signal. Because the 2 middle contacts are connected to the charging port signal retaining bracket.

As the aftermarket OLED screen flex cable is very hard which leads to it is difficult for installation. According to the factory news, this is a sample and the flex cable will be replaced by the thinner one.

The auto-brightness function of aftermarket LCD and OLED are disabled after installation. The OEM screen we used is the original screen tied with the motherboard, which makes the auto-brightness works well, but replaced OEM screen doesn’t have the auto-brightness function as well.

We got news that the auto-brightness issue can be fixed with volume production on the aftermarket OLED screen, this is only a sample. We are skeptical about it but will keep an eye on it and update you at the first time.

The color of aftermarket OLED screen displays closer to OEM screen, but we can see gridlines on the screen. Also, it can be solved in the future by the factory.

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!

I am going to make a lot of comparisons between the FX6 and the Canon C70 in this review because the Canon is the camera that is most likely to be compared to the Sony.

Sony is very much pushing the FX6 as being a lightweight, compact mobile production camera that can be used by solo operators. Its small size and low weight certainly do make the camera suitable for anyone who needs to do a lot of handheld shooting without placing the camera on their shoulder.

Even though the FX6 falls under the ‘Cinema Line‘ this camera is very much a blend of the Cinema and alpha cameras. Essentially it is a blend of an FX9 and an a7S III. We recently saw Sony announce the FX3, but that has a lot more in common with the alpha series than Sony’s FX series. Yes, the FX6 is a lot more expensive than an FX3, but in my opinion, it is far better suited to shooting video than an FX3 or an a7S III. The FX6 has SDI, BNC timecode, variable electronic ND, and the ability to load up user LUTs. This is something you won’t find on the FX3 or a7s III.

Sony did what a lot of people were hoping they would do. Take a similar-sized sensor to the a7S III and put it into a larger body with XLRs, SDI, Variable Electronic ND, and TC In/Out. It is hard to complain about the FX6 because Sony essentially gave people what they wanted.

The PXW-FX6 uses a full-frame Approx. 12.9 megapixels (total), 10.2 megapixels (effective) back-illuminated CMOS Exmor R 4K sensor. Whether or not this is the same sensor that is in the a7S III and FX3 is fairly likely. When I asked Sony directly if the FX6 was using the same sensor as the a7S III, the response I got was- ‘The sensors in both cameras utilize the same technology.’

If they had have put the FX9 sensor in the FX6 then they would have had to cripple the camera by reducing frame rates, codec options, etc. Why? Because if they didn’t what would be the difference between the FX6 and the FX9? You can’t have your cake and eat it too. Once you have several camera models below a certain price point in your line-up you put yourself between a rock and a hard place. Complain all you like, but you tell me what else Sony could have done from a business perspective that made more sense. Anybody complaining that they were expecting an FX9 in a smaller body with the same features for less money is living in a dream world.

Above you can see the difference between a standard sensor (on the left), and a back-illuminated sensor on the right. Back-illuminated technology places the metal wiring of the photodiode beneath the diode instead of above it. Back-illuminated sensors offer increased sensitivity and less noise.

The FX6 utilizes the same BIONX XR image processor that is found in the a7S III and FX3. The processor is claimed to be able to read the sensor 3x faster than the a7S II and 2x faster than most traditional mirrorless hybrid sensors. This new processor is claimed to be 4x faster than the one that was used in the FS5.

Because of the low megapixel count, the sensor readout is extremely fast, and this means that the rolling shutter will be almost non-existent. In theory, the rolling shutter performance should be better than that of the FX9 and on par with the a7S III and FX3.

Now, the biggest downside when utilizing a smaller megapixel 4K sensor is that you can only shoot 4K in full-frame. If you switch to the 1.5x S35 shooting mode you are limited to recording in HD. You need to be seriously aware of this because if you are shooting documentaries or events you are going to have serious limitations with focal reach. This alone makes the FX9 a more appealing proposition for certain shooting scenarios.

The sensor in the FX6 allows you to comfortably shoot in very low light environments without generating a lot of image noise. Given the target audience for the FX6, this is something a lot of users are going to appreciate.

Sony is claiming 15+ stops of dynamic range from the FX6, but I would take that figure with a grain of salt. Most manufacturers exaggerate their camera’s real dynamic range. Most cameras have good dynamic range these days and if you can’t make a camera with 12 or more stops of dynamic range work then you are doing something wrong.

Sony is also keen to stress that all of the cameras in the Cinema Line have similar color science and that they have all been designed to match. Given the FX6 has Cinetone, in theory, it should match up pretty well with the FX3/ a7S III, and the FX9.

The FX6 has a full-frame sensor, while the Canon C70 utilizes an S35 sized sensor. The sensor in the C70 is the exact same sensor that can be found in the C300 Mark III. It also utilizes the exact same DGO (dual gain output) technology. You shouldn’t confuse Dual Gain Output with Dual Base ISO. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame.

Unlike the FX9 which has a base ISO of 800 as well as a High Base ISO of 4000, the FX6 has a native ISO of 800 (S-Log3) and what Sony is referring to as a High Sensitivitymode of 12,800 ISO.

Sony was quick to point out that even though this High Sensitivity mode works in a similar way to a dual native ISO, they are not calling it a dual native ISO. I asked Sony if the dynamic range is reduced when you are using this High Sensitivity mode and I was told that they feel that it is fairly comparable to the normal base ISO of 800. We will see later on in the review.

In some ways releasing a camera in 2020 that can only record 4K when a lot of your competition is doing 6K and 8K might at first seem like a strange decision. However, how many people actually need greater than 4K at this point in time? The majority of the content you consume is either HD or UHD, and that is unlikely to change anytime soon. Yes, you could very well argue that capturing at a higher resolution allows for more flexibility with reframing in post or downsampling to get a better 4K image, and those are good arguments, however, if you are capturing in 4K and still delivering in HD (which a lot of people are) you don’t need resolutions above 4K.

However, unlike the FX9 that is downsampling from a 6K sensor to record 4K, with the FX6 you are getting 4K from a 4K sized sensor. I personally feel that the image you get out of the FX9 is better than that of the FX6. In saying that, both are capable cameras.

The worst argument I always hear in regards to resolution is that I am future-proofing my material. Is historical content not being shown anymore because it was captured in black and white, or 4:3 or SD? Of course not. Future-proofing my footage is a ridiculous argument especially considering the majority of peoples’ work isn’t something that needs to be preserved and shown in 20 years’ time. In my opinion, there is no such thing as future proof. Again there is nothing wrong with wanting to capture something in the highest quality possible, but just don’t use the future proof argument.

Eye-popping specifications and marketing hype sell cameras, and the FX6 certainly has a lot of that going for it on paper, despite the fact that it is only a 4K camera.

The FX6, just like the FX9, features a next-generation sensor chipset that Sony claims provides much improved AF with face detection and Eye-AF. This is the same technology that has made its way over from Sony’s Alpha series mirrorless cameras.

The enhanced Fast Hybrid AF system has customizable AF transition speeds and sensitivity settings, and also combines phase-detection AF with contrast AF to help with focus accuracy. The dedicated 627-point phase-detection AF sensor covers approximately 95% in width and 94% in height of the imaging area. Sony claims that this provides consistently accurate, responsive AF tracking, even with fast-moving subjects while maintaining a shallow depth of field.

There are seven-level AF transition speeds from fast-switching between subjects as quickly as possible to slower speeds for longer transitions. Above you can see a quick example showing you the fastest and slowest speeds.

Five-level AF subject shift sensitivity ranges from locked-on, ignoring other moving subjects in the frame, to responsive that switches focus from one subject to another.

The AF works in all resolutions and all frame rates, including UHD at 120p and HD up to 240p. The AF system is also claimed to work really well in low light situations. Sony has really improved its AF technology in recent years and it is sure to be a big selling point for people who are looking at the FX6.

As a comparison, the Canon C70 features EOS iTR AF X. iTR stands for Intelligent Tracking and Recognition. This is the exact same system that is found in the Canon 1DX Mark III.

By utilizing deep-learning algorithms, the system can track a subject’s head with good accuracy regardless of whether they are tuned towards the camera on not.

The C70 also has a distance indicator that works in conjunction with RF lenses. Information from the lens will be displayed on the LCD screen as both a numerical display (distance to the subject) and as a bar display.

There are various AF modes including fast One-Shot AF and Continuous AF available within 80% of the frame both horizontally and vertically with touchscreen selection and control. Tracking AF can also automatically track a selected object even as it moves.

Two face detection modes (Face Priority and Face Only) can automatically detect and track a selected face within the frame or prioritize it over a pre-selected focus point. The C70 doesn’t have Eye Detection AF capabilities.

The Face & Eye Detection on the FX6 works really well and most times it is going to do a very good job. It isn’t full proof, but you could reliably use it for locked-off interviews or tracking people if there isn’t too much else going on in the frame. The one thing you will notice is that it won’t detect the back of somebody’s head if they are walking away from camera or you are following them from behind. I shot this test backlit to challenge the AF system. It is pointless to do an AF test like this indoors under good lighting conditions because it won’t challenge the system.

As a comparison above you can see how the FX6 and Canon C70 compare. The C70 doesn’t have any eye detection like the Sony FX6. However, the C70 can track the back of subjects’ heads which is something the FX6 can’t do. From my testing, I found that both cameras performed well and there wasn’t a huge difference between the two. However, I did find that the Sony system tended to pick up faces quicker than the Canon.

The ability for the AF to still work at very low light levels is very impressive. Above you can see a test where I am stopping down the lens to reduce light levels to see where the AF becomes unusable. As you can see from the test, I was still able to use the AF even when the IRE level got down to around 10.

If you set the AF Subject Shift Sensitivity to 1 (Locked On) you can have objects pass through the frame and the AF won’t deviate. While it isn’t perfect it does work really well. If something stays in front of your subject for around 4 seconds the AF system will eventually lock onto that new object.

One key difference between the Sony FX6 and Canon C70 when it comes to AF is that the Canon has an object tracking mode where you can lock focus on any object and then move the camera around and it will stay locked on that object. With the FX6 it will only track a person.

AF is great for some applications, but by its very nature, it does not work well for everything. Knowing when to use it and when not to use it is key.

While I don’t mind AF, my biggest problem with it is if you try and use it to do focus pulls with a lot of E-mount lenses you end up getting pretty horrible breathing. For example, the Sony 35mm F1.4 has horrendous focus breathing. AF also can’t predict artistic intent and that is why I personally only choose to use it in controlled situations where I know exactly how it will behave.

The a7S III and the FX3 both feature an enhanced 5.5-stop effective 5-axis SteadyShot image stabilization system, which compensates for five different types of camera shake. The FX6 doesn’t feature any type of IBIS, instead, you need to use post stabilization to improve shake.

According to Sony, by recording image stabilization information and using it on the Catalyst Browse/Prepare option, content creators can capture incredibly stable visuals even in handheld mode. Sony is also working to encourage other third-party non-linear editing tools to adopt this functionality.

The advanced image stabilization information means handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look smoother. Unlike in-camera or lens stabilization, metadata generated by the FX6’s built-in gyro allows you to creatively choose the balance between the level of shake compensation, and the resolution. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilization workflows.

The Canon C70 uses a combination IS that allows for coordinated control between the RF mount, an RF lens, and the electronic IS. If you use EF lenses through one of the adapters you still get Optical IS and Electronic IS in camera, but they are done separately.

With the FX6 I didn’t really find that the lack of in-body image stabilization was a massive problem. As you can just tuck the FX6 up against your body when shooting handheld you can create a reasonably steady shooting platform. Would it have been nice if the FX6 had in-body image stabilization? Of course, but it doesn’t. So let’s move on.

The camera does have a Clear Image Zoom setting. What this allows you to do is to create a small zoom in or zoom out. You can control it using the zoom rocker that is on the top handle, or the zoom rocker that is on the side handle. As the FX6 has no ability to shoot UHD or 4K DCI in its S35 mode, the Clear Image Zoom can come in handy.

Above you can see a quick demonstration showing what it looks like. I couldn’t see any perceived loss