15.4 tft lcd color monitor factory

Watch our video and read our blog for the proper wiring colors and their definitions. We explain wire-by-wire what these connections do for the installation of an aftermarket car stereo receiver.

15.4-inch (diagonal) LED-backlit display with IPS technology; 2880-by-1800 native resolution at 220 pixels per inch with support for millions of colors

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UGEE U1600 15.4 -inch FHD Display, Wide color gamut of up to 127% sRGB, can display 16.7 million colors, 1000:1 high contrast with 178°viewing angle. As the ideal device for creators, we display more colors than your computer monitor! Better help for you to create large works.

The OSEE Megamon 15 is a 15.4″ 1000-nit Production Monitor with many great features at an affordable price of $899. The monitor is a 10-bit 8+2 FRC Mini-LED LCD and now has 1000 nits as opposed to the 800 nits in the original version. Yes, this is an improved version 2.

The 15.4″ viewable screen size is excellent for portability on set. Obviously, it’s too big for an on-camera monitor. A 7″ is the largest I would use, and even then, with small camera packages, it is a bit big; however, I prefer the 7″ with my aging eyes.

Important to know is the MEGAMON 15 is an HD monitor that can handle 2K. This means you can’t send a UHD image to it as it won’t downconvert the signal. A good thing is most, if not all, cameras have excellent downconversion options.

You might think I’ve seen this monitor before, and you are correct! The 1000-nit Megamon 15 is an updated version of the original. I asked OSEE what their differences are.

Similar to the OSEE G7 4K ULTRAHD. OSEE didn’t change the name of the Megamon 15 to differentiate it from the former model. With the G7, OSEE added “4K ULTRAHD” to the name, but that branding isn’t on the monitor.

One upside is it’s an SDI and HDMI monitor but doesn’t have a loop-through, so you can’t send out the SDI output when using the HDMI input and vice versa.

You can also use a Vesa mount; however, doing so will replace the area where the battery plate is installed, so you would either have to use a different battery mount, like a stand clamp and a longer power cable, or run AC to power it. There is only so much real estate on the 15.4″ monitor to work with.

For the most part, the Megamon 15 is well-equipped with what you need. You can add an additional Cheese Plate for $89. Swap out the battery plate for a different version for $189, and add a protective screen cover for $89. The protective screen should have been included. Field monitors can take a beating, and the screen needs to be protected. I would definitely purchase one.

On the bottom of the case is a metal-reinforced hole that lines up with the C-stand adapter that is attached to the monitor. It’s so easy and fast to set up on a stand. If you don’t want to use the case with a hood, it’s also very easy to remove and mount it.

As I mentioned, what’s not included is the acrylic protective screen cover that retails for $89 from OSEE direct. While the monitor is priced very competitively, not including the protective cover is a bummer, especially if you intend to use it a lot as a field monitor. It can get a little rough out there.

I also found that the monitor can sit on the desk with the stand adapter attached just fine. I actually prefer it as it tilts back a little and is plenty stable. Not as much as with the included feet.

No plastic frame here! The MEGAMON 15 has an all-metal body with a sturdy top handle. It’s a bit heavy, but at 3.7kg or 8.15 lbs without accessories, it can get heavy once a battery and possibly a wireless receiver are added. A sturdy light stand should be used to prevent the monitor from tipping over and getting smashed. With this kind of weight, it would get seriously damaged if it tips over from 5-6′. I used the monitor on a light stand with wheels with an added sandbag, and it worked great.

As you can see in the picture, the monitor tilts forward a bit when mounted. This isn’t ideal, and I need to figure out a way to have it at least flat, if not slightly tilted back. I was considering a Grip Finger, but for safety, I wouldn’t want it to be easily messed with by a producer. Do you know what I mean?

The monitor has one Video in and two SDI inputs with one SDI output. The HDMI is only an input, so you can’t cross-convert the SDI signal out of the HDMI. This would have been handy to have.

As I mentioned, the 15″ monitor is a nice size for portability as a field monitor. In the past, it was 7″, then jumped to 24″. Now we have this 15″ and some nice 17″, 18″ and 19″ options but be prepared to pay a lot more than $899. The OSEE is one of the least expensive feature-rich monitors around.

The producer was pleased when I arrived on set with the MEGAMON 15. I’m not sure I can hand a 7″ monitor to them again! The size is such a sweet spot for field production. I used an Impact Folding Wheeled Base Stand with a max weight of 26 lbs. Always good to use a stand with some extra capacity left over. I also added a sandbag on the base to ensure it wasn’t going to tip over—better safe than sorry, especially with rolling stands. With a battery added, it comes in at around 15 pounds.

The 15.4″ size is nice on set. Just big enough for a few people to look at at the same time. You can get a good look at the scene and image with a 15″ monitor.

With the hood assembled, it makes it a little harder for multiple people to see the monitor, but it helps make it viewable in bright conditions. The 1000 nits are just entering the “bright” monitor space. You need to use the shade in the direct sun for the best viewing. In the shade, it’s awesome.

The OSEE Megamon 15 is an ideal size for field production and an excellent option for post-production when using smaller setups with a laptop or computer and a smaller monitor like a 24″.

My main driver is an M1 Max Macbook Pro and a 27″ Apple Studio Display. this takes up a lot of room on my 53″ wide desktop. A 24″ would barely fit next to it. The 15″ size does nicely. It’s a sweet spot for the cramped desk. Being 15.4″ also means you have to be closer to it and have it on a riser. It’s too low.

While it fits well on my desk, the size can be a bit small for playback, depending on the size of the playback you set on the NLE software. I think, as a daily driver, a larger 21″ or 24″ might be a better choice, but it’s nice to have a good representation of the color. That is where a production monitor shines, and the OSEE Megamon 15 looks accurate next to my Apple Studio Display.

As I mentioned earlier, being an HD input only, if you are editing in 4K, you will need an IO device like a Blackmagic Design UltraStudio product or Aja IO to get a proper HD signal to the monitor. This is mainly a Premiere Pro issue. You will have to use a downconverter as it doesn’t support HD output when editing in higher resolutions.

One impressive feature that is coming in an update is the included Calman Software for Color Calibration. You need to provide an Xrite i1 Display Pro/Plus puck to use with the Calman software. I’m looking forward to this update, as color calibration in this price range is nonexistent.

With a larger 15″ monitor, you have more room for buttons. All navigation buttons are on the front bottom section of the monitor. You have four preset options that you can customize. I like this as they are easy to access; side and back buttons are the worst.

The Megamon 15 looks pretty darn good out of the box. The image is crisp with accurate color. I feel it’s a bit over-saturated. Different cameras will output differently. I don’t feel the need to calibrate the Megamon 15. I lowered the saturation a touch, and it looks very nice. With a quick adjustment to around 45 from the stock setting of 50, I was very happy.

The OSEE Megamon 15 has a new 10-bit 8+2 FRC Mini-LED display panel. Mini-LED is in many of today’s latest TVs, and you will find them in other devices, such as the MacBook Pro 14-inch (2021) and the iPad Pro. Mini-LED backlighting will allow LCD panels to get much closer to OLED performance levels with better blacks and color rendition.

I tested the nits by cranking up the backlight to 10, feeding pure white video, exposing the image well over 100 IRE from Premiere Pro, and metering the output with a cd/m2 monitor display probe. I got a reading of 1070 cd/m2. To be clear, 1 cd/m2 = 1 nit. It’s great the Megamon 15 outperforms the specification.

I found that just increasing the backlight is plenty for a great image outdoors. No need to boost the brightness. The monitor does a good job of keeping the contrast under control for a pleasing image. It really is impressive.

The monitor has a passive cooling system with vents on top of the monitor. No fan makes it very versatile for onset use as a Director’s monitor to a DIT station setup.

I like having the ability to use LUTS on a monitor when shooting with Log profiles. The C300 has the option to output a viewing Lut. Shooting Clog2 or any very flat log setting makes it difficult to focus, and viewing the image is rough for producers as well. Here is where having Lut support saves the day!

While I love the idea of having preinstalled LUTS, I found the Canon Clog ones to be a bit off. I highly recommend installing your own camera LUTS for the best experience. You can install Luts with a USB thumb drive that is formatted FAT32. The slot is on the front of the monitor.

Fortunately, when using a LUT while monitoring with Waveform, you get the reading without the LUT applied. I prefer this as I want to know precisely my exposure in the field, not one with a LUT applied.

The MEGAMON 15 has a power draw of 29.3 watts, making it very usable as a field monitor with a single Gold Mount or V-Mount battery. With a lean and mean 98 wh V-lock, you can run the monitor for approximately three hours.

Low-cost Field Monitors have been hard to find, but lately, more are appearing on the market. I like to see image quality rising with budget monitors. In the not-so-distant past, the affordable ones were just plain bad. This isn’t the case now.

Brands like Feelworld, Desview, and Lilliput, to name a few, are all competing for your hard-earned cash in the budget space. We first were seeing the smaller 5″ and 7″ monitors come way down in price while gaining in IQ. Now the larger 15″ up are starting to do the same. Brands like Flanders Scientific, TVlogic, and SmallHD cover the high-end market with offerings in the thousands. For budget-minded productions, they are probably not something you would buy but rather rent for a gig. Paying under $1000 makes a difference. This is not to say you are getting the same product for less. You aren’t. The higher-end monitors offer more features, with more precise tools and UHD input, and 4K displays. I think it’s great to see monitors that deliver the basics really well at a fair price.