The ProArt Display PA16USV centers its pitch on 12G-SDI. One BNC input handles uncompressed 4K at 60 Hz and targets direct camera-device monitoring with ultra-low latency, using the SDI family standardized by SMPTE. That matters when you want the same signal type your carts and villages already trust, without detouring through converters.

The panel is a 15.6-inch IPS at 3840 by 2160 with 282 PPI. It ships with an anti-glare surface, a typical contrast ratio of 1200 to 1, and 170-degree viewing angles. Response time is rated at 5 ms gray to gray with a maximum refresh rate of 60 Hz. You also get the expected alternates: one HDMI 2.0 port, plus a USB-C port that supports DisplayPort Alt Mode. A USB hub port is in there as well, with USB 3.2 Gen 1 Type-C, and USB-C power delivery is at 7.5 W. Not enough for a laptop, but enough for most phones.

Color specs, presets, and the reality of 400 nits

Color coverage is listed as 100 percent sRGB and 100 percent Rec.709. sRGB ties back to the sRGB standard published by the IEC, and Rec.709 is the broadcast workhorse from the ITU. Factory calibration targets Delta E under 2, with Calman Verified status via Calman, and the box also includes a colour pre-calibration report.

Preset modes include Native, sRGB, Adobe RGB, DCI-P3, DICOM, Rec.709, HDR, and two user modes. HDR support is HDR10, which the industry commonly references through work from the Consumer Technology Association and related standards bodies. The monitor also lists multiple HDR10 curve options: PQ Hard Clip, PQ Optimized, and PQ Basic.

Brightness is typical at 400 cd per square meter. That number can work fine for studio carts and shaded setups, but it puts outdoor reality checks firmly on you, not the spec sheet. If you plan to use this as your primary village screen, run your own midday tests before you show up with confidence and a single C-stand.

This is also where good process still beats good marketing: even with a calibrated panel, you should validate your full monitoring chain in your own environment, including signal path, LUT handling, and who gets to touch the settings. The best surprise on set is no surprise.

Mounting, handling, and the box you keep

On the physical side, the monitor supports VESA 75 by 75 mm mounting. It also has a 1/4-inch tripod socket, tilt from plus 20 degrees to plus 70 degrees, a Kensington lock, and an ambient light sensor. Net weight is at 1.4 kg including the stand, and 1.3 kgs without the stand.

Bundled accessories vary by region, but the list includes a mini stand and an HDMI cable, plus USB-C cable, power cord, and power adapter. Warranty details on the tech specs page list LCD ZBD warranty as yes, 3 years. Power consumption is specified as under 15 W, with power saving mode under 0.5 W and power off mode under 0.3 W.

There is also a clear nudge to keep the packaging: the carton can be reused as a monitor hood. The packaging hood comes with a caveat that its condition will naturally deteriorate over time and is not covered by the warranty.

If you have ever hacked together a hood out of whatever the rental house cardboard gods provided, this detail will either make you smile or make you wonder how many folds it takes before it looks like a crushed matte box.

Picture tools and desktop control

The display supports PiP and PbP. It also supports DisplayWidget Center, a monitor management app from ASUS that lets you adjust settings with a mouse instead of the monitor buttons.

In practical terms, that combination points at two workflows: live camera feed over SDI for set decisions, and laptop-based review over HDMI or USB-C for DIT and post-adjacent tasks. The PiP and PbP options can help when you need to compare sources quickly, but you still need to confirm how your specific devices negotiate formats and framerates in the field.

If you live in the world of tight Rec.709 handoffs and client screens, the real test is not the spec list. It is whether the monitor holds up under real cables, real power, and real people.

Pricing, warranty, and the parts that need a footnote

The monitor costs 850€ in Germany, with a similar Amazon Price, and used samples landing somewhere between 500€ and 600€. As always, treat new monitoring gear like any other new link in the chain: test it before you put it in front of a director, a client, or a colorist who can spot a gamma wobble at twenty paces.

https://www.asus.com/de/displays-desktops/monitors/proart/proart-display-pa16usv/

P.S. The PA16USV now ships in Germany, after a longer wait than many expected. At FMX, conversations with two on-set VFX-people pointed at the gap for this screen: they want 12G-SDI monitoring in a smaller, more affordable package than the usual set-village screens. This is also why we pulled this one back on the list, since we have hands-on testing lined up for this panel very soon. Keep your eyes peeled.

The post ProArt goes 12G-SDI portable first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the companies: Flanders Scientific builds reference monitors for finishing and delivery, now sitting nearer to Atomos on-camera staples like Ninja and Shinobi with fewer excuses for the grade to surprise you.

The financial stuff

A Share Purchase Agreement is signed to buy 100 percent of the issued capital of Dan Desmet & Associates, Inc., doing business as Flanders Scientific, Inc. The purchase price splits into upfront consideration plus an earn-out, with the longer-term portion tied to ongoing business operation and performance. Completion is subject to settlement of a recently approved $10 million business finance facility and other customary conditions precedent. Completion is expected to occur by the end of May 2026. The new loan facility comes from Commonwealth Bank of Australia. Part of the proceeds fund the acquisition. Funds also go toward product development acceleration, increased inventory holdings, and general working capital for both businesses.

What changes and what stays stubborn

Flanders Scientific will continue to operate as a distinct brand within the buyer’s family. There is no change to product philosophy, engineering approach, or the standards professionals rely on. That matters because reference displays live and die by trust. The plan also leans on distribution and support. Expanded infrastructure and regional presence are a way to serve markets that historically have been harder to reach for FSI, while maintaining support for the existing professional user base

For working folks, the takeaway is mMore of the monitor mountain is now intended to sit under one roof, from on-camera and on-set viewing through postproduction finishing and final delivery checks. If that becomes reality in products and support, it can reduce the number of vendor handoffs that usually show up as last-minute surprises.

NAB booths, and the awkwardly fun part

Both brands are slated to appear at NAB Show 2026, with separate booths listed and product cross-pollination mentioned across the two locations. One brand is in Central Hall at booth C4731. The other is in North Hall at booth N1827. Oh well, even more walkies necessary :)

https://www.atomos.com/2026/04/07/flanders-scientific-aquisition/

https://company-announcements.afr.com/asx/ams/8455008b-36c0-11f1-bf92-ee5d5bcb84e7.pdf

The post Atomos buys Flanders Scientific first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

A proper hardware device by Blackmagic Design (BM for short) and a calibrated screen has been the iron law for any professional user of DaVinci Resolve (DR for short). But for all those working under MacOS, this may have been valid for the longest time. We are looking at recent changes in DR for those without one. Spoiler: calibration still matters!

How to check

To see what’s going on when playing your movie on other devices and players you can compare your own footage, for sure. At least, if you were the colorist, you should know how it should look like. But if you are unsure (and our memory for colors can be tricked easily), there is the classic SMPTE chart in DR, which has the so-called PLUGE pulse (short for picture line-up generation equipment) in the lower right. In the wider black bar there are two narrow zones with a value just above black, the left one being the darker one (check your waveform).

If your blacks are not crushed by a false gamma interpretation, you should be able to see the right bar just faintly inside the black stripe. The middle one may only become visible if the shadows are lifted too much. Of course, it all depends on your screen too. If it’s not capable of showing black or at least near black, the rest of that whole area will not be pitch black, making it harder to judge the subtle differences. Actually, there is a third bar to the left of the two, but that is reaching down into the sub-black area and only visible if you have exported the file with “Retain sub-black and super-white data” activated. Normally it is just cut off.

Calibration options

DisplayCal is plugging into DR and sending its test patches through the grading software over any compatible I/O device to the screen you need to calibrate. The resulting LUT can be copied into DR and used as a monitoring LUT to correct deviations of the connected screen. This approach works absolutely correctly with the right settings in DisplayCal, being able to avoid any interference of the operating system, be it MacOS, Windows or Linux. Final precision is limited only by shortcomings of your monitor, like weak shadow areas, as visible below. BTW, those small spikes and minor shifts in the waveform are caused by compression in our recorder.

In our series of articles for those not able to spend a fortune on high-end solutions, we have shown how to get a proper LUT with the help of free software and second-hand hardware for Apple silicon. But now we have two solutions pretty much on par regarding calibration in the operating system by an ICC profile. So, we wanted to know if one can live without such an I/O device and that perfect calibration over the whole chain. Actually, BM has recently changed how preview windows and full screen display color and contrast. So, ICC profiles may not be insufficient any more for DR on a Mac with a screen adhering to standard!

Direct monitoring

BM has supported the use of Mac display profiles in DR’s viewers under MacOS for quite some time, even in 10-bit. But due to peculiarities carried over from older systems, they needed to use a non-standard version of Rec. 709, called 709-A. That was nothing but a crutch, and it was not only Apple’s fault that contrast and brightness were inconsistent between many players and other devices. If you are seriously bored, you can read this thread, with over 20 pages, the longest one ever in the DR user forum. You can follow some true experts and many wannabes there, discussing a ‘final’ solution. So, what’s our take on it?

The Never Ending Story: Are Apple XDR devices suitable for reference use in colour grading?

The main problem is lack of timely standardization when everything went from tubes to digital cameras and screens. The Rec. 709 standard for HDTV was defined based on analog technology, which behaved differently from modern cameras and screens. The newer addition to that standard is called BT. 1886, but it was only published by the ITU in 2011.

At that time there were already too many digital technologies in use, and most manufacturers didn’t really care much about adherence to a standard coming so late. BT.1886 defines a gamma (a contrast curve) of 2.4, which is fine for viewing TV in a rather dimly lit living room. Adjusting that curve is not really adhering to the standard, but on this model of a TV, for example, a value of +2 will get it to 2.2.

This slightly older Samsung TV, as a typical example, is offering modes like Movie, Natural, Standard, and Dynamic. Nothing says “Rec. 709” or “BT. 1886” right away, but „Natural“ is actually adhering to BT.1886, even fixed to it. „Standard“ is BT. 1886 too by default, but allows you to override that gamma in the expert settings – go figure. “Movie” is also adhering to BT.1886, but with a very warm tint – which again can be overridden, just like gamma. Recent ones have the “Filmmaker” setting, which is supposed not to change anything, and “Dynamic” is for bright rooms. Have fun with all the creative names and options of other manufacturers!

A lighter and less contrasty gamma of 2.2 might be better in a brighter environment. Mobile devices in particular are watched wherever you go. Even if some can reach very high brightness values these days, details in darker areas of the image can get lost if the content was graded as 2.4. Encoding clips for social media instead of movies for cinema buffs may profit from a gamma of 2.2, which is correctly flagged as 1-4-1 by DR. It even adheres to a standard, called BT.470 System M, as shown by MediaInfo (free). But this was a standard for analog television in some parts of the world only, and is now considered historical.

But do TVs and other devices really check such flags, which contain the information about encoding in your digital video files? They should tell the playback device which colour primaries, which colour matrix, and which gamma (called transfer characteristics here) were used. If you check with the info function for a video file on a Mac, the ones for Rec. 709 BT. 1886 are code points 1-1-1 or flags (I’ll use flag from here). They will be listed by cross-platform software such as MediaInfo as Rec. 709 for all three parameters.

In a perfect world, all playback devices and software players should respect such flags and show your video accordingly. Well, at least most of them assume your sources are 1-1-1, but often don’t care if it’s flagged as anything else, like 1-4-1 or 1-2-1. Some even force 1-1-1 on your clips, whatever they are. As we all know, YouTube is recompressing your sources, which is acceptable if the quality is good enough. But what’s absolutely unacceptable: whatever your original flagging was, YouTube will set it to 1-1-1 without even asking you! Just try to send one of your clips to YT and read it back. The free video patcher AMCDX by Alex Mogurenko will help you to correct wrong flags, but you need to remember the original encoding.

What to do?

In consequence, your results, which you encoded as gamma 2.2 for viewing in brighter environments, will actually be displayed darker and loose detail in the shadows. And if you encode from DR as Rec.709 gamma 2.4, which is offered as another option, it may too bright and lack contrast and saturation on players or a browser not respecting the flags. So, always encode as Rec. 709 (Scene) and hope for the best. It should look right on a TV with the correct settings. These can normally be found on most modern TVs or monitors if you dig deep enough into the menus, either as Rec. 709 or BT. 1886. Out of the box, many TVs are set to a very contrasty and saturated look, shouting out “Buy Me!” to the visitors of a mall for electronics.

The very popular VLC player is another example of ignoring flags, while we can recommend mpv player or its descendants for observance of flags. Of course, this says nothing yet about the quality of the screen attached to it. If that one is not calibrated, or at least set correctly in its menus, the image may still be far off. And then, there are all those image ‘enhancements’ imposed by digital TVs for viewing conditions, like bright environments or late hours. Or think of a projector meant to be visible in a not so dimly lit boardroom and optimized for (visual!) clarity of business charts.

Recommendations

Recent MacBooks and iPad Pro models have excellent blacks and offer reference modes for several standards, including HDTV (BT.709-BT. 1886). These are factory-calibrated and deactivate any image adjustments, assuming an environment properly lit for grading. Now, there is some sample variation and according to our own measurements, the nit value for white can be a tad low, like around 90 instead of 100 (some experts even suggest 120). Nevertheless, such screens come pretty close to a properly calibrated screen in the lower price range and offer much better blacks than conventional IPS panels.

If you are working for TV, we would still advise a professional, calibrated monitor via an I/O device. But, at least with the settings explained above, your viewers in DR will not look completely off when a client is looking over your shoulder. For all those working for social media, where your audience will have devices that you can’t control anyway, we suggest sticking to the only widespread norm: Rec. 709 with a gamma of 2.4. If you are concerned about visibility in bright environments, change the lighting in your room and check with an average smartphone, but avoid the setting for gamma 2.2 when rendering.

If you work for clients who want your results for social media, but are picky about how their movies look, you may need to supply them with an iPad Pro for presentations. Set it to a reference mode, block that, and try to explain to them why their average boardroom projector may look different. You may even want to take a photograph of TVs in an electronics market showing the same content next to each other.

Let’s do it on a Mac

So you’ve got a MacBook Pro (MBP for short) with Apple silicon and you’ve got a calibration probe, be it by Datacolor or Calibrite. But working just for the internet, you didn’t invest in an I/O device. We don’t care which generation of that laptop, as long as it has the nice XDR screen and reference modes. But who likes to work with DaVinci Resolve on such a small screen (even the menu bar is too short for all the little extras)? Let’s say you have a larger screen with decent color quality attached when you start grading at your home base. After all, not only Apple says that you should be grading to standards in a controlled environment – something hard to find in a hotel room or on the road. Now calibrate that external screen with your probe, and you’ll be generating just an ICC profile for the Mac in this case. More than one profile can be prepared for the correction of different monitors, which will be managed by the system.

Brightness according to BT. 1886 would be 100 nit, but 120 fits modern screens better. The steps needed for calibration are fully self-explanatory with the Spyder Pro software, and the result on a decent screen is very close to what we see on the MBP when set to reference mode. OK, DisplayCal may be a tad more precise. But it’s more complicated and taking many more measurements, resulting in excessively long lunch breaks.

You need to set the system preferences of DR to use the Mac profiles, as already shown above, and now you have to stick to Rec. 709 (Scene) on the Deliver page to get your output and its flags right. Do not use Rec. 709 Gamma 2.4, even if theoretically it should be the same!

Your timeline can be whatever you prefer: Rec. 709, ACES, or DaVinci Wide Gamut Intermediate (DWG). Of course, with manual settings your first node should get a CST (Color Space Transform) to adapt the incoming camera sources to DWG. Resolve’s automatic setting, called DaVinci YRGB Color Managed (aka RCM) set to SDR would also deliver the flags as 1-1-1, by the way. But you may need to check if the incoming footage’s color and gamma is identified correctly or needs to be set manually. That’s often the case if some difficult source has been transcoded into an intermediate codec, like ProRes, DNxHR, or Cineform.

Conclusion

In the end, you need to understand that rendering into a specific colour space and gamma is actually changing the visual content of your results. 
Tags are just metadata, which should trigger the right interpretation in players. That’s the point where chaos breaks loose, because manufacturers often don’t care for the tags and display your video based on assumptions. The only reliable approach is encoding to Rec. 709 with a gamma of 2.4 and having the tags set to 1-1-1, which is automatically done if you render into Rec.709 (scene).

The post LUTs, Tags, or ICC: Getting Colours Right in Resolve on a Mac first appeared on DIGITAL PRODUCTION and was written by Uli Plank.

Sources which don’t need additional hardware are the built-in cameras of the iPad or the Mac. Plus, since until now CineMon only runs under MacOS Sequoia, you will immediately see your iPhone if it’s nearby. Then there are recent hybrid cameras like the Sony A7IV, which deliver a video stream via USB-C, albeit usually limited to HD and fixed frame rates. Other hybrid cameras have similar features. We got HD in 25 fps for PAL from the A7IV or 30 when set to NTSC, independent of the frame rate in the camera. But there’s a catch: you can’t record at the same time, and camera profiles like log don’t work. Obviously, such cameras don’t have the computing power to do it all at the same time.

Computer Load

Thunderbolt Interfaces

For any other sources than streaming cameras you need an interface, because simple adapter cables from USB-C to HDMI are for screens only, not for input. One of the best for a decent price is the small, but sturdy UltraStudio Recorder 3G by Blackmagic Design. It offers both SDI and HDMI inputs, and can transfer uncompressed signals up to 4:2:2 in 10 bit at 60 fps, or even RGB 4:4:4 in 12 bit at frame rates up to 30 fps. But it’ll only work with the laptop via Thunderbolt and up to 2K resolution (from SDI input). Yes, there are iPads with Thunderbolt too, but until now there’s no software support by Blackmagic.

Using an iPad

Apple’s iPads are quite popular with professional videographers for their great image quality. Some even tend to give them to important clients to make sure that they see the intended picture. They can’t be calibrated, but the reference mode in recent models is getting quite close to Rec. 709 or HDR Rec. 2020. Unfortunately, third-party developers may still need to do some more work on HDR, which is visually stunning on the tablets too. For an iPad with USB-C you’ll have to look at one of the numerous solutions primarily aiming at game capture, if you don’t want to invest in an AJA U-TAP device, which cost over 600 € each for only one kind of input. 

There are very cheap devices for HDMI sources starting at 12 €, all the way up to brand products like Elgato for well over 100€, the latter claiming UHD processing up to 30p. You can even find a no-name (they don’t even care to invent one) with SDI for about 55€. This one will need an active adapter from USB-3.0 A to USB-C, aka OTG, but you can also use a hub. For about 150 € (plus taxes) you can get the AVMatrix UC2018, which offers both SD and HDMI input and claims to transfer YUY2. It weighs over 200 grams, though. We didn’t have this device for testing.

And then, there’s a Chinese brand called Acasis, which earned itself a decent reputation with NVMe enclosures, RAIDs and hubs combined with some storage. This company is also making capture devices, which are not easily found in Europe. Albeit on Ebay they have their own shop: acasis-official-store. We tested the small HD33 model for only 25 €, and the more recent VC-003 for around 35 €. Please note that all of these devices are shipping from China, so you’ll need to pay VAT on import. 

Both models offer the same connections, looping their HDMI input through to an output for other monitors or recorders, and they have an USB-C connector on the other side. So, they need no separate power supply or adapters, other than devices with USB-3.0 type A. Three tiny blue LEDs inform you of the presence of a signal. They are light and small enough to tape them to an iPad with some Velcro and connect with a short U-shaped USB-C cable. We tested both of these devices. BTW, all devices deliver color bars when there is no input signal.

The main questions are: how much do you need to pay for quality, and how bad are cheap solutions? It’s hard to find any solid reviews for the purpose at hand, since most tests on the internet are aimed at gamers. But CineMon is supposed to be a measuring device, so your adapters better be precise or the whole arrangement would be pretty useless. We tested with a DSC chart, white balance fixed on grey, and both a Sony A7IV and a Blackmagic UMP 4.6K with log signals.

Right from the start, our cheap capture devices for HDMI had difficulties getting the frame rate right. Both HDMI versions could only handle up to 30 fps, independent of our feed in 30, 50 or 60 fps. But they were advertised as 60p, which obviously just means you can feed that, not that you’ll get it through. Our SDI model, OTOH, showed everything as 60p, regardless of the input frame rate. It even has an active HDMI output, but a video monitor didn’t synchronise to that, while computer monitors did and also detected 60p.

The standard used for USB is called UVC (USB Video Class), and UAC for the audio counterpart. Initially mainly developed for webcams, it now includes quality levels up to uncompressed YUV 4:2:2 (aka YUY2). Many adapters are not constructed for lossless transfer, they use compression and may also degrade the signal substantially. The meagre Chinese manuals (if any) don’t tell much about such detail, but usually this is M-JPEG (Motion JPEG) compression, an outdated and quite inefficient method with pretty bad color sampling at 4:2:0 (aka NV12).  

Signal Quality

Such compression shows clearly in CineMon. The scopes look coarse already when being fed Rec. 709 from a camera with an internal display LUT or recording straight Rec. 709. But things get worse when feeding a log signal, in particular a very flat one like Sony SLog3. CineMon is offering options to add an input LUT and a display LUT separately, and you can even choose if it’s added before or after the scopes. Weaknesses in signal transfer will get exaggerated by the LUT conversion to Rec. 709. While the image still looks acceptable with a display LUT, the scopes tell a different story. If a device can only process the signal in compressed 4:2:0, both waveform and vectorscope are very discontinuous, the display of a color chart in the vectorscope is so coarse that you can hardly read the information, even at maximum trace intensity. 

But recently the developer has added the functionality to control the settings for the hardware devices from CineMon, which we have not yet found in competing software. If set to YUY2, you’ll also see deviations in luminance, contrast and color fidelity clearly, but you may add a correction LUT to the incoming signal.

The cheapest device tested needs an active adapter. We used one that is extremely small, but still offers an USB-C socket on the side, so you can input power or connect external storage. This device was a surprise at first view, since it actually seemed to let us switch to 422. But this didn’t work reliably, and it normally fell back to 5 fps when trying. Latency with NV12 is around 3 frames, but we can’t recommend it, since color in particular is off in the yellow/green region, even influencing skin tone.

The HD33 by Acasis seems to have the same chip inside. It can also be switched to YUY2, but then resorts to 5 fps only. Waveform is not too far off, colors are slightly too satured, but at least hues are close. The Macrosilicon VC-003 finally can handle 25, 30, or 60 fps in YUY2 pretty well out of the Sony A7IV. This camera is actually sending NTSC frequencies as 29.97 or 59.94, and 24p as 23.98. The interface doesn’t use the latter, you’ll get a picture, but only at one of the other frame rates. Latency is just a tad over 1 frame for 25 or 30 fps.

The SDI model is looping out an HDMI signal that doesn’t sync properly on video monitors, though it does on computers. While color bars generated by both HDMI devices are exactly at 100% targets, the ones from this model are between, higher than 75%, but under 100. The device outputs only 30 or 60p with latency of 4 frames. It can’t be switched to YUY2, so the signal is very coarse und vectors hardly readable. The picture is lighter, more contrasty and overly saturated for some colors.

What’s Missing?

Until now, playback of video files is limited to H.264, H.265, and ProRes, while Windows users may miss DNxHD/HR support. You can already control playback with the space bar, hopefully the developer will support JKL and single frame by arrow keys too. While many apps for the iPad may be somehow running on laptops with Apple silicon too, operation of CineMon has been well adapted for such use, so we have no doubt there’s more to come. NDI is already planned as an alternative to capture devices, as are video recording and more scopes.

Competition?

We have already reviewed Nobe OmniScope, which is very deep in its functionality, but primarily aiming at post-production. It is priced at up to 400 US$ for the Pro version and covers all kinds of video quality controls. OmniScope is complex and needs solid knowledge of video technology and nomenclature. It works even on older Macs and PCs too, but not on an iPad. This is the only other software we have tested extensively.

Video Assist by Auron Studios is iPad only and is aiming at similar use cases as CineMon.The price is 180,- € or 150 US$, depending on your App Store. It does video recording (which is planned for CineMon too) and recording can be triggered automatically when the camera is recording. Since trigger signals via HDMI don’t come across USB-C capture, it is analysing the status information of most high-end cameras to start recording. This changes the use case, though, since all recordings will contain status information too. Instead of a clean feed, you are going to record dailies with all the information burnt in.

CamX by Touchbits is free and has quite a few positive reviews. It is limited to HD and can record, including corrections to the image. HDMI Monitor – Orion by Lux Optics is from the makers of the highly respected photo app Halide. There are no reviews yet, neither for UVC Capture – HDMI Monitor by Kenneth Kao, which claims to support the reference mode and recording up to 4K.

Recommendations

For professional use, a base model Mac mini M4 with a ViewSonic VP16-OLED will cost less than one thousand US$ (some more in Europe). Together with an UltraStudio Recorder 3G and CineMon it is a viable solution for monitoring on set. For semi-professional use with any camera that offers an output by HDMI, an iPad with USB-C can be a very useful solution. 

Even a cheap capture device can suffice for PAL, if you find one with the right electronics inside. The mid-level Acasis VC-003 is decent, even for log sources, but also small and light enough for an iPad. These avoid additional adapters and work really well with CineMon if you add your own correction LUT, which we’ll explain in our next article. Given the short lifespan of models from Chinese production, you may need to test a few samples with your specific camera, though. 

The post Hardware for CineMon (et. al.) first appeared on DIGITAL PRODUCTION and was written by Uli Plank.