GEAR MINI TESTS
We pick apart two bargain monitors, a Sony zoom lens, triple battery charger, Libec tripod, wireless audio and a Beachtek XLR adapter
WORDS ADAM DUCKWORTH
DESVIEW R5II AND P5II MONITORS R5II £169/$159 P5II £129/$119 transcontinenta.co.uk
In times when money is tight and inflation rising, it makes sense to spend wisely and only buy what you need. Lots of filmmakers require a camera-top monitor to make sure exposure, focus and framing are all spot on. But not all demand a flagship Wi-Fi-connected, cloud-enabled, Raw-recording device from one of the big-name brands. That’s where Desview comes in, offering a range of stripped-back monitors for more budget-conscious buyers. The range includes large production displays, seven-inch on-camera versions with SDI inputs for cinema cameras and a range of
HINGE AND BRACKET The P5II uses an L-shaped mounting arm
bumpers and a small lip around the top of the screen, which accepts a similar sunhood. This is held on by a thin strip of hook-and-loop; the first time we removed it, the strip came right off. It’s only self-adhesive so it went right back on, but this is definitely not the most robust way of fixing the hood. To mount the monitor to the camera, there’s an angled arm that bolts into a 1/4in threaded hole on the side of the P5II. This goes onto the hotshoe, but the extra leverage makes it easier to come loose. There is another 1/4in hole on the bottom, so you can buy your own tilt-head adapter and use that. Both units come with two connecting cables and a full-size HDMI. One cable has a micro HDMI and the other a mini HDMI. We used it on a Sony A7S III, so neither of these cables would fit since it requires a full-size HDMI-A cable. The screens don’t come with a battery, but they do accept the common NP-F fit and have a DC-in port – but no cable to power it. You have to source your own. The displays are different on both models, as you’d expect. On the R5II, touch functionality is good and very
monitors that connect via HDMI. That makes them perfect for smaller cameras such as mirrorless, not to mention an ideal choice for using on gimbals, where light weight and simplicity are essential. Within the HDMI range are 5.5- and seven-inch monitors with brightness up to a staggering 2800 nits. But in this test, we take a look at the two cheapest – both 5.5-inch, with 800-nit screens. The R5II is the more expensive of the duo, still at a very reasonable £169/$159, while the P5II undercuts it at a staggeringly low £129/$119. The pricier monitor is controlled by touchscreen, while the cheaper version is navigated by four buttons on the top. Since they both boast very similar spec, you’d think they were pretty much identical. In fact, they have very different bodies and interfaces – even mounting to the camera in different ways. Our more expensive option comes with a small tilt-head that goes onto the camera hotshoe, mounting to the screen with a 1/4in screw. A frame is clipped around the outside of the screen to which an included sun hood fastens. The P5II has rugged corner
TOOL BOX Make the most of advanced settings with the R5II’s nice touchscreen
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PRO MOVIEMAKER
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