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Archive notice: This article was originally published on July 1, 2017. Links and embedded videos are preserved as part of the historical record.
Among the pure monitors, we have selected a fairly high-quality device from China, the Neway CK550S. When it comes to low-cost recorders, Atomos and Blackmagic (BM for short) have been competing fiercely among Australians for years. Atomos upgraded its Shogun, which has been able to record true 4K for some time, to HDR last year (see DP 06:2016) and discontinued the cheaper basic model. BM now also offers the Video Assist (VA for short) as a 7-inch 4K model (actually UHD), but without HDR. We tested the monitor and the Video Assist 4K not only for their range of functions, but also for colour neutrality, as the Ursa Mini Pro’s built-in monitor is quite yellowish.
The Neway CK550S – a compact SDI monitor in Full HD
Anyone who has previously only known cheap goods as direct imports from China will have to rethink, as our test of the Zhiyun Crane gimbal in DP 02:2017 showed. This time we took a closer look at a 5.5 inch monitor (i.e. 14 cm) from Neway, which also appears under other brand names on the Internet. At first, we were a little shocked when the monitor we ordered in black appeared on the box in bright orange-yellow (we previously thought such colours were a slip-up by Atomos). But the box contained an all-black device – the only colour would have been the additional rubber frame that can be stretched around the monitor for protection. The equipment is complete, from the power supply unit to the anti-glare protection to the holder for a flash shoe. Two battery holders are also supplied, which you can choose from four models; we opted for one Sony-compatible and one Canon-compatible.
You’re clearly not paying for the SDI connections alone, the entire device makes a very high-quality impression, at least the frame is made of metal and the rest feels solid. The only points of criticism are the locking mechanism of the
The only points of criticism are the locking mechanism of the battery holder, which does not fully engage on the Sony version (but does on the Canon) and the rubber frame, which you have to pull to the side a little when using wide HDMI plugs. Even the graphics and text in the menus look more appealing than on cheaper models, which are only half the price. We ordered this monitor directly from China for 410 US dollars plus import tax, but it is also available in this country as the Lilliput Q5 at similar prices.
The device only accepts signals up to Full HD, so it has no downscaling of UHD, but the outputs of the Ursa Mini can be configured in many ways in this respect. At least it is capable of converting between input signals so that a picture is always available at the HDMI and SDI outputs, regardless of the source. It is pleasing that it can handle real progressive signals as well as PsF (Progressive segmented Frames), which is not a given with some other monitors. Power consumption in standby mode is 20 mW, while 8.1 watts are drawn from the battery during operation. According to the menu, the fan could not be heard during the test period – but it was still almost winter.
Image quality
At 1,920 x 1,080 pixels, the monitor is crisp at this size and also bright at 450 nits, although the reflective display is barely legible in full daylight. The supplied anti-glare protection is attached to the rubber frame with Velcro and helps.
Unfortunately, at full brightness and set to the default 6,500 K, the picture is anything but true to colour and is far too cool. However, as there are separate controls for gain and offset for the three basic colours under “User”, you can adjust the colours almost perfectly with a colourimeter and a little patience, even if the brightness then drops slightly. The delay compared to the input signal is comparatively low at 53 mS. The Neway is a good device, but you can get the smaller Blackmagic Video Assist in 5.5 inches with 1,920 x 1,080 pixels and HD recording for around 530 euros.
The Blackmagic Video Assist 4K
Unlike the Shogun, the entire housing here is made of robust light metal, so BM can do without rubber bumpers or a protective frame. Like the Shogun, the monitor has a diagonal of 7 inches and 1,920 x 1,200 pixels, but only 350 nit at a price of around 850 euros. Recording goes up to UHD in 30p with the ProRes and DNxHD/HR codecs, while the Shogun can also record true 4K DCI in RAW on some Sony, Canon and Panasonic cameras.
The VA records on inexpensive and widely available SD cards. The larger model has two card slots for uninterrupted long-term recording, but there is no parallel recording for offline/online editing. Power can also be supplied without interruption away from the mains via two battery holders for LP-E6 (like Canon).
The batteries are charged in the device when powered by the mains adapter, so the VA is always ready for use. A narrow, fold-out stand allows the device to be placed on a table, but there are of course plenty of threaded connections in the frame for camera mounts.
The connections for SDI and HDMI are full size, only the analogue audio inputs (optionally with phantom power) are mini XLR. This is due to the rather flat design and is still much more robust than jack sockets. However, it can be a problem when filming if the appropriate adapters have been forgotten. Format support extends up to ProRes 422 HQ in MOV container or DNxHR HQX in MOV or MXF. Unlike the internal recording of the Ursa Mini, files for PCs without QuickTime can also be recorded. This makes the VA the ideal addition to the BM cameras if offline/online editing with DaVinci Resolve is planned. The automatic recording start works via timecode, but also when set for a trigger signal embedded in the signal on the command from Panasonic, RED or Ikegami. As the timecode is written correctly, Resolve has no problems reconnecting the files when re-conforming. With other editing systems it does not work so smoothly, because unlike with RED and Atomos, the file names from the camera are not transferred to the VA. Not only the firmware, but also the manual is multilingual and generally easy to understand, even if there are occasional blips in style due to literal translation. Or what do you think of this statement, which is more likely to be found in politics: “Since exFAT does not support the journal function, data is more susceptible to corruption in the rare case of a memory card error.”
Picture quality
The picture is naturally crisp at this resolution and the additional pixels in the vertical plane allow menus to be displayed outside the film window. However, the reflective surface and average brightness make glare protection essential in daylight. The colour accuracy is only average and direct colour adjustments are not provided; the image can only be influenced by loadable LUTs, which have to be generated externally.
In this respect, Atomos has the edge with the Shogun, as it can be calibrated directly with a probe from X-Rite. In addition, loadable LUTs can be optionally baked into the recording with the Shogun, whereas with the VA only the display is influenced. This saves additional conversion if you need presentable recordings immediately after shooting, even though RAW processing is planned later on. The option for additional, simulated measuring devices is to come with the next firmware update. We have not yet been able to check their precision, but BM even advertises them as a replacement for dedicated measuring devices on set. The Shogun already offers the bare essentials in this respect.
Comment
Among the devices tested here and last year, there should be a suitable one for every camera and shooting situation. The inexpensive 5.5-inch screen from China offers good colours after manual calibration, SDI/HDMI conversion and the most important additional displays. If you add around 100 euros, the small Video Assist comes with a high-quality backup copy in HD. If you need UHD, the 4K model from Blackmagic on in-house cameras with DaVinci Resolve in the workflow is a very good choice for around 850 euros. The Shogun goes one better in many respects, especially with RAW recording on popular cameras, and is definitely worth the money at just over €1,000.
