MINI TESTS
SPECIFICATIONS
you get the right framing. Plus, there are onscreen audio meters and a headphone socket. The viewing angle of the R5II is a few degrees wider than the P5II, but in reality there’s very little difference. And both stayed super cool, even in extended shooting. These monitors natively support DCI 4K at 24p, UHD 4K up to 30p and up to 60p in HD. That doesn’t mean you can’t monitor footage recorded in faster rates or higher resolution, because your camera can output them in a resolution the monitor will accept. Loop-through HDMI output allows you to send the camera signal downstream to other monitors or a wireless transmitter. So if this output from the camera is already downscaled to a lower frame rate or resolution via HDMI, the downstream signal will be the same. In fact, both perform like many higher-end monitors. They even come with such accessories as a tilt-head adapter, sunhood, cables, lens cloth and hex wrench. The Desviews do everything many filmmakers need – and don’t cost the earth. PRO MOVIEMAKER RATING: 8/10 Modestly priced and simple Pros: Incredible value for money Cons: Brightness, no recording R5II (P5II in brackets where different) Screen: 14cm/5.5in IPS-type 16:9 LCD touchscreen (not touchscreen) Brightness: 800 nits Controls: Anamorphic de- squeeze, false colour, peaking, H/V delay, histogram, image flip, pixel-to-pixel zoom, RGB parade, screen split – half, vectorscope, waveform, zebra, 3D LUT Interface: 4K HDMI in/out, 3.5mm headphone jack, USB-A HDR: Hybrid Log Gamma Operating time: 30-60mins Viewing angle: 178° (160°) Resolution: 1920x1080, 401ppi Contrast ratio: 1000:1 Battery : NP-F/E6 type Dimensions (wxhxd): 151.4x89.1x22mm/6x3.5x0.9in (152.3x98.4x28.6mm/ 6x3.9x1.1in) Weight: 200g/0.44lb without battery (170g/0.37lb)
“Lots of fine detail for framing up the scene and then reviewing what you’ve shot – it’s what it’s all about”
options is frustrating at times. That’s why smartphones universally employ touchscreens nowadays, as remembering which buttons to press has fallen out of favour. It’s OK once you get used to it, but nothing beats the ease of a touchscreen. You can also ‘pinch to zoom’ to focus in on a specific area. For this alone, it’s worth the premium over the P5II model. Image quality is impressive on each, especially considering the price. In dim conditions, 800-nit brightness is fine, but when there’s glare it isn’t ideal – still better than a camera screen, though. The screens give lots of fine detail for framing up the scene and reviewing what you’ve shot – which is what it’s all about. Selectable grid lines, centre marks, aspect ratios and safe areas are there for you to ensure
sensitive. All the high-end menu options are here for personalising the set-up, and these are easily accessed. It offers anamorphic de-squeeze, false colour, peaking, histogram, image flip, pixel-to-pixel zoom, RGB parade, vectorscope, waveform, zebra and more. There is support for SDR and HDR viewing, including HLG. And it will also take your own custom 3D LUTs, which may be loaded via an included USB-A jump drive, alongside 28 pre-installed LUTs. Anamorphic options include 1.33, 1.5, 1.66, 1.79 and 2.0x options as well as an auto mode. The cheaper monitor also has all these features, but the navigation is far more fiddly, as you have to do it via four unmarked buttons on the top panel. From the right, these buttons are menu, right, left and exit. Navigating through lots of complex
DOUBLE TROUBLE The P5II (above left) has buttons for changing settings; the R5II (above right) is touchscreen
IN THE HOOD Both Desview monitors come complete with sunhoods
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