best lcd monitors for dslr in stock

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

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

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

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

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

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

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

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

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

The Blackmagic Video Assist 5-inch is the only recorder in our round-up that can capture Blackmagic"s own RAW code video introduced on its Pocket Cinema Camera Range and is an ideal option for any editors who use Davinci Resolve to grade and edit.

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

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If this is the first time you’re buying a monitor or want to brush up on your knowledge, I recommend you read the thorough guide after all the top picks of the monitor jungle before making your final decision.

It has a brightness of 2200 nits and a contrast ratio of 1000:1, giving you a clear image, and it is a perfect choice for shooting in bright sunlight.

Although this screen is relatively small, it can show a wide range of details to improve your visual experience while filming. You can use the numerous tools available, such as vector scope, RGB waveform, brightness waveform, RGB histogram, ARRI False Color mode, and brightness histogram.

The aspect ratio is 16:10, the 323 pixels-per-inch (PPI), and the brightness level is 2200 nits, making this screen sharp and bright and suitable for outdoor filming.

The monitor comes with HDMI in/out, and you can connect 4K HDMI cameras and DSLRs. It has a 3.5mm stereo headphone jack and a built-in speaker for easy sound monitoring.

The screen isn’t a touchscreen. Instead, you can set two manual button shortcuts for features such as focus assist, histogram, false colors, exposure, aspect ratio (it even has anamorphic modes), zoom, safe area, etc.

The Indie 7 is the slimmed-down version of the 702 Touch further down on this list because it is 1000 nits instead of 1500 nits. It also has room for only one battery instead of two.

However, because it is 1000nits, you can run it for a long time on a single battery, especially if you get a large-capacity battery like the Sony NP-F97.

The Feelworld F570 has a 5.7-inch display that accepts 4K input and has a Full HD resolution of 1920*1080 pixels. However, it doesn’t support pixel-to-pixel zooming for 4K video.

The panel has a contrast ratio of 1400:1 and a maximum brightness of 460nits. A sunshade is included for shooting in bright daylight, but I say this is still a monitor that is best for indoors.

Our first external recorder on this list is the Atomos Ninja V, an awesome little monitor. This is a great option for cameras that don’t record ProRes or RAW internally.

This external monitor can add ProRes and RAW format to the Sony A series (fx A7S III) and Sony FX series (fx FX6) or Panasonic Lumix cameras over HDMI for the best possible picture quality.

It has a great 16:9 touch screen with 427 pixels-per-inch (PPI) and a brightness of 1000 nits, which is good enough for most outdoor recording except for very bright sunlight.

Of course, the Ninja V comes with all the tools you need for monitoring your image, like LUMA waveform, RGB parade, vectorscope, focus peaking, zebras, false color, etc.

The Ninja V supports many different log formats (e.g., Slog, Arri Log, Clog, Vlog, and Red Logfilm) and HDR Monitoring formats (gamma & gamut) from Sony, Arri, Panasonic, etc.

If you don’t need the recording option of the Ninja V, but still want the Atomos menu system and great screen, then the cheaper Atomos Shinobi 5″ is for you.

The SmallHD 702 Touch is a 7″ monitor with a brightness of 1500nits which is plenty for most filming outside (except for the most extreme circumstances).

Like other SmallHD monitors is a high-quality built monitor. It is made from a solid block of aircraft-grade aluminum, and the screen is from hardened glass and a screen protector that reduces glare.

It has all the professional tools you need for video production, like false color, focus peaking, pixel-to-pixel zoom, RGB Parade, waveform, and even anamorphic de-squeeze.

In short, this 7″ monitor offers a lot of bang for the buck, but it’s also one of the most expensive in this price range of smaller monitors for professional video production.

The monitor supports both SDI and HDMI and will record in HD, 2K, 4K UHD, and even 4K DCI. You even get two mini XLR connections with 48V phantom power for high-quality audio recording, which is nice!

Despite being lightweight, the monitor packs incredible features in terms of tools for monitoring your recording. Notice, however, that it doesn’t support anamorphic de-squeeze.

The 7-inch IPS display has a 1920*1200 resolution for those wide cinematic views. But unfortunately, it only has a brightness of 500 nits, which makes it best suitable for studio work inside or for shooting outside at night.

This model works with Sony NP-F and Canon LP-E6 Series batteries, which must be bought separately. Still, you can get several bundles and a dummy battery (e.g., for Blackmagic Pocket, Sony, Canon, or Panasonic cameras) which can power both the monitor and cameras.

To keep the monitor at an entry-level price point, SmallHD has sacrificed the SD-card slot. But they’ve also sacrificed in-built tools such as histogram, waveform, and anamorphic de-squeeze.

All isn’t lost, though; you can simply send the histogram and waveform from your camera to the monitor. However, I wouldn’t buy this monitor if your camera doesn’t support these features.

Most prosumer video cameras have a screen for viewing what’s in your frame. However, the standard DSLR cameras, mirrorless, and camcorder screens aren’t very big.

Also, the screen on your camera might be unable to flip and turn so that you view your frame if you’re standing in front of the camera, which is not very good for vlogging or setting up lights.

To combat these faults, professional videographers use an external monitor. An external monitor acts like an external viewfinder – or electronic viewfinder for your camera but gives you a much larger screen making it easier to achieve better results.

An external camera screen offers a higher screen resolution and helps you see finer details when filming. This makes it easy to create the best video quality possible.

They are more powerful in terms of brightness than your normal screen and more suitable for a sun hood, so you can see what you’re shooting if you’re filming outside.

External monitors can also display a range of tools and scopes, such as zebra patterning, histograms, focus peaking, waveforms, and true colors, which might not be available in your video camera. And more expensive options even have their own SSD storage and codecs (such as ProRes and RAW) installed.

The first thing to consider is if you need an external monitor or recorder. External recorders are monitors, but they come with additional features that aren’t found on external monitors.

Fx many cameras don’t offer you to record Apple ProRes RAW internally, but only through HDMI or SDI to an external monitor recorder. This is especially true for a lot of mirrorless hybrid cameras.

So if ProRes RAW for maximum color grading and flexibility in post-production is important to you, and your camera doesn’t support this internally, then you need to buy an external recorder and NOT an external monitor.

The Atomos Ninja V, for instance, offers 4K capture at 60 fps and can record in ProRes HQ 4:2:2 or DNxHR. You can also record in 10-bit color space and capture log footage.

However, external recorders are often bulkier, heavier, and more expensive. So if your camera already has good codecs and a good storage solution such as dual slots for SD cards, then an external monitor can be the better solution.

Some external monitors like the Atomos Ninja V also function as a recorder and give you more storage space and sometimes even better codecs than in-camera.

You can get even larger monitors, aka field monitors, but if you mount the monitor on your DSLR or camcorder, buying a 19” external monitor doesn’t make sense. Those beasts are mostly used for studio work or larger-scale productions.

Higher display resolutions let you see your video in higher resolutions. And many high-quality monitors come with a full HD resolution (1920 x 1080 pixels, a.k.a. 1080p resolution).

The display technology of external monitors varies. Some monitors feature an IPS display, while others use an LCD, LED (or a combination of both!), or an OLED.

For example, if you’re shooting indoors, you might have turned your brightness down to 50%, but when you shoot outside in the bright sun, you have the brightness set up to 100%.

A monitor with a brightness of 1500 nits is usually enough for filming outdoors, except maybe in direct sunlight. If you’re shooting in bright sunlight, you can either put on a sunshade (which is sometimes included), put a jacket over your head and the monitor or purchase a brighter monitor.

In some cases, the battery might be designed by the manufacturer and sold together with the monitor. In the package, you’ll find the rechargeable battery and a compatible AC adapter for recharging it.

At the same time, some monitors require a different type of battery, usually made by Sony (L-Series Battery Mount for NP-F550 batteries) or Canon (LP-E6 Battery Plate for e.g., LP-E6 batteries)).

However, the good thing is that those batteries are designed to last for hours, allowing you to record video footage indoors or outdoors continuously.

Some monitors also feature an SD-card slot for loading LUTS. LUT support allows you to test different color grading options while filming. That way, you can better see how the final result might look.

For example, most external monitors come with a cold shoe mounting bracket that fits most DSLR and mirrorless cameras. This means that the monitor will sit on top of the camera, and you can adjust its inclination, viewing angle, and height.

You might find an adjustable arm for more sophisticated external monitors in the package. This device, also known as a magic arm, gives you even more freedom when mounting the display.

For example, most external monitors come with a USB upgrade port, an Audio/Video port, the HDMI or SDI input and output ports, a 3.5mm jack for your headphones, and a DC port.

For example, the HDMI and AV cables shouldn’t be left out of the box. Most manufacturers also include a carrying bag for your external monitor and a warranty policy for one or more years.

Sometimes, you’ll find a wrench in the package, which will help you with the mounting process, so you can easily attach the monitor to a tripod or your DSLR camera.

The box should also contain the rechargeable battery and the AC adapter. Sometimes, the battery and charger are something you need to buy separately. Read the small print before you buy.

Jan Sørup is a videographer and photographer from Denmark. He owns filmdaft.com and the Danish companyApertura, which produces video content for big companies in Denmark and Scandinavia. Jan has a background in music, has drawn webcomics, and is a former lecturer at the University of Copenhagen.

An articulating or vari-angle LCD – commonly called a flip screen – is a useful addition to a camera. The screen is mounted on a swivel, allowing you to flip the screen away from the camera body and rotate the LCD 360 degrees.

Flip screens have traditionally been useful for taking photos at unusual angles. For instance, framing a bug’s-eye view from ground level used to mean setting your camera down low and awkwardly trying to see through the optical viewfinder. There was usually a lot of guesswork involved.

With a vari-angle, or flip screen, you can now set the camera up at ground level and angle the articulating LCD up towards you and frame the scene in live view.

Despite all these advantages for shooting stills, it’s probably the rise of vlogging that has seen the popularity of cameras with flip screens soar. Like shooting self-portraiture, vlogging requires placing yourself on the other side of the camera, and before flip screens were a thing this required a lot of careful setup and trial and error.

But swivel LCD touchscreens mean you can now place your camera in front of you, frame your shot accordingly and simply tap the screen to take a picture or start recording. If you have even modest ambitions to post videos on YouTube, a camera with an articulating screen will undoubtedly be the best option for you. In this guide we’ll round up the best cameras with flip screens.

The Canon EOS R5 leaves little doubt that Canon is now serious about the mirrorless camera market. It has phenomenal specification with features like a 45Mp full-frame sensor, phase detection autofocusing that covers the whole frame, eye AF for humans and animals that works in video and stills mode and a class-leading viewfinder paired with a vari-angle touchscreen.

While the R6’s viewfinder is the same size as the R5’s (it’s a 0.5-inch type), its resolution is lower at 3.69million dots instead of 5.76million. That’s the same as in the EOS R and on par with the electronic viewfinders in the Sony A9 and Nikon Z7. It’s a great EVF specification for a camera of this level.

If the display performance is set to ‘Power saving’ in the Shoot8 section of the menu, fast-moving subjects look a bit jerky when you shoot them. Switching to the ‘Smooth’ setting makes the movement look more natural.

There’s also a 3-inch vari-angle touchscreen with 1.62million dots. We’re a fan of vari-angle screens because they make shooting portrait or landscape format images from above or below head-height much easier than a fixed screen. And a tilting screen is only of help with landscape format images.

After we reviewed the Sony A7 III, a flip-out touchscreen was at the top of our wishlist for improvements we’d like to see on the next iteration of Sony’s full-frame all-rounder. Sure enough, Sony has given the A7 IV a vari-angle screen that can be flipped face forward or be angled to help compose low- or high-level shots in either landscape of portrait orientation.

What’s more, the A7 IV’s 3-inch 1,036,800-dot screen is touch-sensitive and users can now navigate the menus and settings with a tap. In previous Sony touchscreen LCDs, you were limited to setting the AF point via touch.

OM System has given the OM-1 a very bright 1.62-million dot vari-angle touchscreen. It’s a 3-inch screen and like on the OM-D E-M1 III and OM-D E-M1X and it’s mounted on a vari-angle hinge. This vari-angle hinge means the screen can be angled for clear visibility whether you’re shooting in landscape or portrait orientation.

In overcast conditions and indoors, the OM-1’s screen gives an excellent view it also performs well in brighter conditions. my toughest test for this was when skiing on a bright sunny day trying to video my companions ahead of me. Keeping them framed as we all moved over the piste was challenging, but thankfully, I was able to see them on the screen.

Key video specifications: 4K (3840x2160) 4:2:2 10-bit LongGOP H.264 29.97/23.98p/25p and 150Mbps for up to 30mins, 4K (3840x2160) 4:2:0 8-bit LongGOP H.264 29.97/23.98p/25p and 100Mbps unlimited, Full HD (1920x1080) 4:2:2 10-bit LongGOP H.264 59.94/29.97/23.98p/50/25p and 100Mbps unlimited

The Panasonic GH5 has a vari-angle screen and it was high on the request list for the S-series camera when their development announcement was made. However, the S1 and S1R have 3-way tilting screens. These are useful if you’re shooting in landscape and portrait format images, but they’re not as intuitive or flexible to use as a vari-angle screen and they can’t be seen from in front of the camera.

Happily, the Lumix S5’s screen delivers what many were hoping for and it can be flipped around to face forwards. It means that the S5 could also be a good full-frame vlogging camera.

There are two stop points in the screen’s tilt movement. The first one is at the right point to enable the screen to be flipped out to the side of the camera without catching on the viewfinder while the second one at about 45° gives a more comfortable viewing able when shooting at waist-height.

To the uninitiated, the tilt and free-angle combination may seem a bit over the top but it means that the screen can be flipped out and twisted to face forwards, up or down, without fouling on any of the cables that may be connected to the ports on the left side of the camera (mic, USB-C and full-size HDMI).

The GH5 is Panasonic’s flagship compact system or mirrorless camera and it has a mini-DSLR design, featuring a high-quality electronic viewfinder and vari-angle touch-screen. As a Micro Four Thirds camera it’s compatible with an extensive collection of Micro Four Thirds mount lenses from Panasonic and Olympus as well as third-party manufacturers.

Panasonic has also upgraded the rear screen and it now measures 3.2-inches across the diagonal and has 1,620,000 dots. It’s still a vari-angle unit but instead of an OLED screen it’s an RGBW LCD. It provides a nice sharp view and the revised menu, which has fewer pages but more lines, is clear. The screen also responds quickly to tap of your finger.

The GH5 is a complex camera and it will take some getting to know, but all the main controls that you want on a shot-by-shot basis, for example to adjust exposure and white balance or to set the AF point are within easy reach. There are also plenty of customisable buttons to help you get it working as you want.

Autofocus system: Hybrid with 759 phase detection points and 425 contrast detection points, Real Time Eye AF (Human and Animal for stills, Human for video)

Maximum continuous shooting rate: 10fps with mechanical or electronic shutter for up to 1000 uncompressed raw files when a CFexpress Type 1 card is used

According to Sony, the 3-inch vari-angle screen wasn’t a request for the A7S III, it was a demand. It’s certainly something I’ve mentioned on many occasions.

Sony is also at pains to point out that the A7S III is for new videographers as well as experienced shooters and many of those people are unlikely to want to also lash out on a monitor.

After the 8K-capabilities of the Canon EOS R5, the Sony A7S III might seem a bit of an anti-climax. We’re sure some videographers were hoping for a big jump in resolution from the 12mp A7S II. However, Sony already has the 61Mp A7R IV and the 24Mp A7 III, so sticking with 12Mp means that the A7S III has even better low-light capability than its predecessor but with a much better autofocus system, a vari-angle screen and the highest-resolution viewfinder around.

As with Canon’s full-frame mirrorless cameras, including the flagship Canon EOS R3, the R7 has a vari-angle touchscreen. This is great for composing low- and high-level shots in landscape or portrait orientation. Because Canon has embraced full-touch control, it’s also useful for changing camera settings with a tap.

Although the 0.39-inch 2.36million-dot electric viewfinder on the Canon EOS RP doesn’t match those in recent high-end mirrorless cameras for resolution, it still provides a decent preview of images. And let’s not forget, the RP is much more affordable than other new full-frame mirrorless cameras.

We love that Canon has enabled the RP’s touchscreen to be used for browsing the Quick and main menu, selecting settings and browsing through images as well as setting the AF point. It really speeds using the camera and makes it more intuitive. It’s also good that this isn’t at the expense of physical buttons and dials.

Autofocus system: Intelligent Hybrid with up to 425 points plus subject detection for humans, animals, birds, automobiles, motorcycles, aeroplanes and trains

Max continuous shooting rate: Electronic shutter: 40fps for 184 jpegs, 170 lossless compressed raw or 140 uncompressed raw, Mechanical shutter: 15fps for 1000+ jpegs, lossless compressed raw or 1000 uncompressed raw

Among the many improvements Fujifilm put into the X-H2S over the X-H1 is an upgrade of the LCD screen. Instead of the 3-way tilting screen of the X-H1, the X-H2S has a vari-angle screen that can be flipped out and rotated to face forward for vlogging. This means it’s useful when the camera is above or below head-height in landscape or portrait orientation.

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Having a screen that can flip all the way around to face you is a huge benefit for vlogging, allowing you to monitor your recording and ensure you"re always in frame. That said, there are tons of different camera options out there, and there"s no single best vlogging camera. Choosing a camera that fits your budget, ergonomic preferences, and the type of content you"d like to create is most important when trying to find a vlogging camera with a flip screen.

We"ve bought and tested over 75 cameras, and below you"ll find our recommendations for the best cameras for vlogging that have flip screens. We"ve limited these picks to cameras with fully articulated screens—that is, the kind you can flip all the way around at different angles. If you aren"t so particular about the screen and don"t mind options that simply flip up or down 180 degrees, you can also check out our recommendations for the best vlogging cameras, period, or the best mirrorless cameras. And if you"re interested in more advanced video work, you can take a look at the best cameras for filmmaking instead.

The best all-around camera we"ve tested for vlogging is the Fujifilm X-S10. Besides having a fully articulated screen that you can flip around to face you, it"s a super well-built camera with a comfortable handgrip and excellent internal recording capability. If that wasn"t enough, it"s also the only option on this list, and one of the few in its price range, to feature in-body image stabilization (IBIS), allowing you to capture smoother handheld footage.

While there are cameras out there with more advanced video specs, what the X-S10 offers is more than enough for most content creators. That includes high bit rates, 4k video up to 30 fps, and a slow-motion recording mode that can shoot at up to 240 fps in Full HD. It even supports Log recording, though, with 8-bit internal recording, you may just be better off sticking to one of the included film simulation profiles, some of which (Eterna) are tailored specifically for filmmaking. Overall, this is one of the most versatile APS-C cameras for all kinds of video and photo content.

The Nikon Z fc is the prettiest camera on this list, but thankfully, it has the performance to match. Designed to look like the vintage Nikon FM2 SLR, the Z fc might be one of the nicest-looking cameras on the market today, but it"s very much a modern mirrorless camera under the hood. It includes a solid AF system, an excellent high-resolution digital sensor, and of course, a vari-angle touchscreen that lets you monitor yourself while vlogging.

While it falls around the same price range as the Fujifilm X-S10, it"s a bit more affordable with a bundled kit lens, making this a great deal if you want to save some money and don"t mind losing out on IBIS. And while it can"t record 240 fps super slow-motion, you still get 120 fps 1080p recording, plus 4k at up to 30 fps and a decent battery life with no overheating, making this an excellent mid-range choice for vloggers.

If you"re on a tighter budget, the Sony ZV-E10 is the best vlogging camera with a flip screen that you can get for a budget price. This dedicated vlogging camera from Sony doesn"t have a viewfinder like the picks above, so it"s a little less versatile if you"re also interested in taking photos. However, it"s nice and portable, and it has a large flippy screen that"s ideal for vlogging. It also has the best battery life of the bunch, along with unlimited recording times.

Frame rate options are a bit more limited here, with a noticeable crop on 4k 30 fps videos. Rolling shutter can also be quite pronounced with quicker camera movements and pans, but this is still an excellent video camera for the price, and Sony"s autofocus is some of the best in the business. There"s even a special focus mode just for beauty and product vloggers, which automatically switches focus to an object held up in the frame without having to block your face. All in all, this is one of the best budget cameras you can get for vlogging.

The autofocus, in general, is excellent and reliable at tracking moving subjects, and the video quality is surprisingly good, despite its smaller one-inch sensor. The biggest trade-off here is battery life and heat management, but that"s normal for a point-and-shoot camera like this. Overall, it"s still a great option if you need something more compact.

The Olympus OM-D E-M5 Mark III is an excellent camera for vlogging. Like the Fujifilm X-S10, it has in-body image stabilization. However, it"s a lot more portable thanks to its smaller Micro Four Thirds sensor, though there is a slight trade-off in image quality and low-light capability.

Moved the Fujifilm X-T4 to Notable Mentions and made the Fujifilm X-S10 the "Best Mirrorless Vlogging Camera With A Flip Screen". Added the Canon EOS M50 Mark II as the "Best Budget Vlogging Camera With A Flip Screen."

Our recommendations above are what we think are currently the best flip screen cameras for most people to buy. We factor in the price, feedback from our visitors, and availability (no cameras that are difficult to find or almost out of stock in the U.S.).

If you"d like to choose for yourself, here"s the list of all our reviews for cameras with fully articulated screens. Be careful not to get caught up in the details. There"s no single best camera with flip screen capability. Personal taste, preference, and shooting habits will matter more in your selection.

There are several good reasons why you need a field monitor for video, especially for the photography and videography. Let’s take a look at field monitors, go through what they are and what function they perform.

First, let’s go through what a field monitor is and what kinds are available. Sometimes we called field monitors as lcd monitors or camera monitors. A monitor is ultimately a screen which can be attached to your camera to give you a view of exactly what you will see through the viewfinder or on a screen on the back of your camera. They can be mounted on top of your camera or on a separate stand and plug into the HDMI port of your camera to ultimately show you an image of what the camera is seeing. They come in a variety of different sizes, you can get 5 inch or 7 inch monitors. They’ve probably the most common but you can also get 10 inch and larger, and quality wise you can get hd which is relatively standard but also 4k monitors on the more expensive monitors. You can also install luts. So you can get a good idea of what the raw image will look like once it’s been processed.

The use cases for a monitor really depend on what you use your camera for. Do you use it just for photography or videography? I think it’s fair to say that if you use your camera to record video, then the argument for actually buying a monitor is increased. Let’s break down the thought process of purchasing a monitor into photography versus videography. Let’s take a look at the use cases of a monitor for photography.

These days most cameras come with a higher quality screen. And mirrorless cameras actually provide you with an electronic viewfinder. Some camera screens can actually be flipped to face forwards, so you can see them when you’re in front of the camera and ultimately a screen is generally always going to be available to the photographer. Generally in photography, you’re going to find yourself behind the camera, so the screen and the viewfinder will normally be available to you. A monitor might provide you with a bigger screen or even one of a better quality. A couple of cases where you’ll actually found the monitor useful for photography have really revolved around situations where you’ve had to be in front of the camera and nobody else is around to take photographs for you. For example, if you want to get some nice photographs of the special day to capture it and remember it, but you need to be in the pictures along with your family or friend. There was nobody else around to take photographs for you so in that situation the monitor came in really useful because you could make sure everything looked like you wanted it to and use a remote shutter release to actually take the photographs. If you’re running a social media campaign or account, or you’re having to be both in front of the camera and being the photographer, maybe something clothing or makeup theme, and I can see the use cases of a monitor beginning to stack up.

It’s really when we star looking at the applications of a monitor for recording video that we can really see how valuable they can be if you’re creating a content where you’ll constantly be in shot such as YouTube videos or vlogging, unless you’re lucky enough to have a camera where the screen can be flipped to face forward or have a separate camera operator then you really can start to see what an aid a monitor can be. A monitor will give you a clear view of what is being recorded. You can make sure that everything is in frame correctly you can make sure that your exposure settings are right and everything looks exactly as you want while you’re recording a video. However I think a monitor is actually something that’s really useful to those that are new to recording video content, because not only it show you the picture that the camera can see but also show you the settings that the camera has, for instance you can see the exposure settings and whether or not the camera is actually recording. A good example of this is the first ever video for a new. Sometimes they thought they’d set everything up correctly and turned it all on, but they didn’t realize they hadn’t actually turned on the microphone that was plugged into the camera, that mean the camera wasn’t actually picking up any sound at all and when they sat down to edit the video, they had nothing natively to synchronize my lavalier microphone recordings with, so they had to manually synchronize all the voice and sound with the picture which was an absolute nightmare if they’d been able to see the screen. They would have actually seen the embedded audio with two little bars that indicate the volume that’s being picked up by the camera were absolutely flat, it was picking up nothing but they couldn’t see the screen. Had they had a monitor at that point in time and they could have seen those bars they’d have realized nothing was being picked up volume wise and therefore could have rectified the situation before they recorded a gigantic segment of the video. So as you can see, the monitor is a really useful tool if you’re creating video content and especially if it’s something you’re new to. So you should go and order a monitor. Well, that really depends on what stage of your creation career you’re at and what kind of disposable income you have.

In summary, if you’re a video creator or you’re going to spend a lot of time in front of the camera, then I really think monitor is something that will benefit your creation process. They are a great tool for making sure that everything is exactly as you want and that everything is switched on. So I’d really recommend one in this situation. You just need to put some thought into how much you want to spend and what level of monitor you really need. If you would like to know how to choose a suitable monitor, this blog would be a good reference for you:  HOW TO CHOOSE THE MONITOR SUITABLE FOR YOUR CAMERA?