 Welcome to the Crimson Engine. Today we are looking at three different 7-inch monitors who therefore what they can do and which one is going to be the most useful for the kind of filmmaking that you do. So today we have three monitors the Lvid Field Vision 4k runs about $180 on B&H, the Blackmagic 7 inch video assist recorder runs about $1,000 and the TVLogic F7H runs about $2,000. So who are these monitors for? What do I use them for and what's my experience been? Let's start the entry level. I can't believe this thing it's under $200. It's called the Field Vision 4k which means it supports 4k signal in it will display a 4k signal. The screen itself is not 4k the screen itself is 1920 by 1200 pixels I believe. It's the only one of these that's powered off the Sony style NP batteries which is great because you can get really big ones of these. It runs for at least a couple of hours on the large size of these. It only has HDMI in so no STI. False color with a display of what the false color values are on the side which you don't get with the Blackmagic. Picking assist, black and white, zoom. That was the downfall of the early 5 and 7 inch monitors was that it took 10 seconds to get the picture up and 10 seconds to change it each time. With actually all three of these the the response is pretty much instantaneous. Bright, junior to sonhood for outdoors will power from mains power through the I think it's a 5 volt charger for $200 pretty unbeatable. Even if you have one of these it's a great second monitor as a directors monitor. Color rendition isn't as good as either of these but if using it just for focus or just to check the image it's great. Moving on to the Blackmagic video sys 7 inch this guy is also a recorder so it has two SDI slots in the back in the side it will record in 4k. It's great for DSLR shooters who want to get around the 29 minute limit of a lot of their cameras and I think that's who it's aimed for. Beautiful colors, touchscreen which I for me makes the screen a little bit greasy as you're messing with it on set. The big downfall for me was that this thing is powered by these tiny little LP6 batteries. You need about you need two of them and they go through two of them in about 20 minutes to half an hour. It really wears through the power because the display is so big. For me I never found a you know a V-mount or a gold mount solution for this that I was happy with that I thought was safe for the camera so I ended up just like the leaving it plugged in or carrying around dozens of LP6 batteries and keeping them on charge it was a real headache. A beautiful image but just not that usable for the kind of filmmaking I do which led me to this which is the TV logic f7h. This is a true digital cinema camera monitor about you know half or two-thirds the weight of this one. HDMI in SDI in and out not in touchscreen it has a little jog shuttle up here to select things very fully featured. It comes with a cable that lets you plug this into a D-tap port on a V-mount battery plate which was a lifesaver. Now I can plug now I can power my whole camera system from one battery that's how I did that's how I shot neo noir and we got through the entire weekend on like 150 watt-hour battery. This thing has so many features has false color which you can adjust where your values and colors are it has focus peaking of course it has lots of different ways to zoom into the menu it has three function buttons up here which are kind of like Braille coated with one two and no bumps so you can see them in the dark. It really is you know the monitor I've been waiting for probably the best thing about it is that I assign one of these buttons to the brightness level you can be indoors see it fine and then move outside click the button once and have a super bright you know the TV logic says it's the brightest monitor on the market I totally believe it it's it's so bright you can watch you can look at it no problem and see all your exposure and all your data at midday in full Sun so you don't mess around with any kind of shade or people holding flags over the top of the camera so you can see what you're doing it really is the next thing up it is retails for around 2000 this is around 900 this is under 200 so you know there's a range of monitors there for wherever you are in your filmmaking and I hope this helped you kind of look at what you're choosing both the set of the black magic and the TV logic let you build your own lutz in something like Resolve and you through USB import them into the monitor so that you can look at them the TV logic is a little quicker at doing it you don't you do with the black magic you actually have to connect it to a computer and find it in the system with this you just plug a thumb drive into the bottom and it kind of pulls the lot out from the thumb drive this also has built-in lutz for all the popular cameras like Ari and Canon and Sony which I think is great so if you're swapping between cameras you don't need to bring your own lot and install it this will probably be my monitor for the next couple of years at least and we'll see where we go after that but thanks very much for watching hope it helped people select a monitor for that works for them and I will see you next time