BLK Audiovisual LTD | On-Camera Monitors

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F-7HS

The F-7HS is a 7’’ 1920x1080 resolution field monitor that offers max. luminance of 3,600nits with enhanced sharpness and peaking boost function via new image processing engine. While delivering the same high quality picture and professional features of the previous model, F-7HS shows far less reflection with Anti-Glare film and faster access to frequent preset modes via front touch keys.

Displays the level of the embedded sound signal together with the video signal input through the terminal such as SDI or HDMI.

Red and Green channels are not used and only Blue or Monochrome channel is used to display the screen. This function is used to adjust the color tones (tones and saturation) of the screen using the SMPTE Color Bar. For example, after displaying the Blue channel, adjust the Color (or Saturation) and Tint (or Hue) so that the original Magenta and Cyan are of the same brightness, and the original Gray and Blue are of the same brightness.

Assigns a color to the pixels on the boundaries of the image to inform the user to achieve the best focus. With this function, user can easily differentiate the focused area from out-focused area especially when shooting with a shallow depth of field.

Allows you to check the Blanking area and synchronize signals by displaying the horizontal and vertical intervals in the center of the screen.
Allows the displayed image to be flipped horizontally or vertically. This feature provides flexible mounting options for camera operators.
Locks the knob or key control.

Displays the Luma(Y’) level of the input image in colors. Each pixel’s Y’ analyzed and changed to a certain color or zebra pattern according to the Index on the right side of the screen.

Displays various kinds of aspect ratios on the screen. Wide range of markers and security areas are available with line color and curtain transparency selection. A User Marker is available if any of standard markers fits your requirements.

Displays the brightness increases from the normal up to max brightness to obtain a sharp and bright image when shooting outdoors.

Anahlyzes the input signal’s Luma(Y’) and chroma information(C’) and if the input signal exceeds the designated minimum value and maximum value, the pixel shall blink. This function is to help the user to easily find out any unwanted levels of signals and for a better exposure setting.

Displays the Timecode information on the screen.

Controls the size of the image. Overscan: Extra area around the four edges of the image that may not be seen reliably by the viewer. Underscan: Constrains the size of the image so the monitor shows everything the camera is seeing. 1:1 pixel: Displays the original image resolution without scaling to match a certain resolution or an aspect ratio.

Waveform Y: Displays the Luma(Y’), Cb, Cr component of the input signal into waveform.
Vector Scope: Displays the color components ‘B-Y’ and ‘R-Y’of the input signals onto the X-Y axis.

Magnifies the input signal from 0% to 90%.

Applies the LUTs to the outbound Log signal. A LUT for every major camera manufacturer has been included(LOG-C, C-LOG, S-LOG 1,2,3 and RED Gamma 3,4).

Takes the Metadata from the ARRI ALEXA is transported through the SDI outputs of the camera, and displays it on the monitor.
Zooms the specified area sequentially.

Supports several formats and resolutions that are ideally suited for anamorphic lenses and aspect ratios. When shooting anamorphic the image you are monitoring is an “unsqueezed” preview of what’s actually being recorded.

Sets the LUMINANCE to the minimum value when the time set in the still image output is exceeded.

The HDR emulation function allows users to check how an HDR image will look at the shooting location. Adjustable modes are PQ, HLG and SLog3.

Allows you to load your making 3D-LUT files at NLE software like Davinci Resolve by USB flash memory and displays your LUT on VFM-055A or F-7H. Once you synchronize LUTs in the monitor, you will easily change them on production.a