GEAR
ONE FOR THE TOOLKIT Great for lighting reference and DIT, the XMP270 proves itself to be a worthy investment for the studio
waveform were reliable and helped reinforce lighting and exposure decisions. False colour, monochromatic view and RGB channel isolation are also present – though in my workflow, I tend to defer to the camera’s built-in tools for those tasks. Still, it’s good to know these options are there and well-implemented. One of the more forward-thinking features is its array of I/O options: 4x 12Gbps SDI in/out and monitor out. While I didn’t use them all during testing, I could immediately see the potential for multicamera shoots, where quick source switching becomes vital. This makes workflow integration seamless, whether you’re on a traditional single-camera shoot or a multicamera behemoth. Compared to other reference monitors I’ve worked with – TVLogic, SmallHD and Sony – the Flanders sits comfortably in the DIT and lighting reference lane. It’s not trying to be everything for everyone. It’s a professional-grade exposure and colour tool; not a director’s preview monitor or a 1st AC’s sharpness check. And in this lane, it truly excels. Heat management is excellent. It remained cool through an eight-hour day and made no noise thanks to a fanless design. It ships with a three-pin 24v XLR cable and AC adapter, letting you power it from block batteries or mains with no fuss. There’s also support for adding battery plates, making it semi-viable for run-and-gun scenarios. That said, it’s a little bit cumbersome. While it’s lighter than similar high-end HDR monitors, the size and lack of top handle do make it harder to transport solo. You’ll want to plan for dedicated cases and mounting set-ups, like FSI’s MRTPlate, if you’re frequently moving locations. The Flanders Scientific XMP270 won’t win awards for versatility or compactness, but that’s not what it’s for. This is a solid tool for lighting, exposure and DIT work in controlled environments. If you’re working with a crew that understands its strengths, it’s a worthy investment. For any DOP, gaffer or DIT wanting dependable, colour-accurate performance in studio or tented set-ups, this monitor will excel.
FLANDERS SCIENTIFIC QD-OLED XMP270 REFERENCE MONITOR Tested in pre-production for a feature film , this monitor proves its mettle in studio and controlled environments W hile prepping for my next feature, I had the opportunity to test a
on-location work without investing in a flight case. It isn’t flimsy, but it’s not quite throw-it-in-a-bag rugged either. The monitor’s colour accuracy was spot on – impressive – and fully confirmed by the included factory calibration report. For lighting reference, exposure judging and overall colour fidelity, it’s rock solid, while for UHD monitoring, sharpness is spot on, as it’s mapped pixel for pixel without scaling. However, sharpness was somewhat lacking when monitoring an HD signal full screen. If you’re pulling critical focus in HD, activating the monitor’s 1:1 pixel mapping shows you the exact HD signal for focus-critical applications. If you’re monitoring HD exclusively, you might want to consider a native HD monitor like FSI’s 16in DM160 OLED. At 1000 nits, it handled interior work comfortably. But outside – especially under direct sun with only light cloud cover – it wasn’t as bright as I would like it to be. Flanders Scientific has a custom snap-on hood for the XMP270 coming out very soon, but it wasn’t available yet during my testing. For prolonged outdoor use, the new custom hood, a tent or a courtesy flag will be essential. In terms of on-board tools, the monitor ticks most boxes. The vectorscope and
Flanders Scientific reference monitor as part of a comprehensive lens and workflow trial. The set-up was split between an indoor test room, with tungsten and LED fixtures, and natural daylight exteriors. Gear included an ARRI ALEXA Mini running 3.2K ProRes 4444 XQ at 24fps, feeding video out via 3G SDI to the monitor, which was powered by a standard block battery. I cycled through a solid range of Cooke S4/i primes (14 through 150mm) and ZEISS Super Speeds Mk III (25, 35, 50, 85mm), ensuring I tested the monitor across a variety of looks and optical characteristics. Straight out of the box, the monitor makes a strong case for quality, with a build that feels premium. The buttons are tactile and satisfying, and it ships with a handy screen protector. Boot-up time is a quick ten seconds, and I was viewing a colour-accurate image in under 20. The menus are clean and intuitive, requiring no manual diving just to get rolling. The large screen real estate made studio viewing a breeze, and inclusion of both a stand-mounting bracket and tabletop feet was appreciated – though I’d opt for a stand. While clearly robust in build, I’d hesitate to throw it into rugged,
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