The Marshall V-LCD651ST-HDMI-VM, 6.5" Transflective Field/Camera-Top Monitor
The Marshall V-LCD651ST-HDMI-VM,
6.5" Transflective Field/Camera-Top Monitor
The Monitor is designed
specifically for outdoor applications with high ambient light. It minimizes
surface reflection of both outdoor and indoor light, while featuring a much
wider color reproduction range than typical transflective/reflective LCDs or
even those with increased backlight performance. Marshall's outdoor super-transmissive
LCDs provide improved visibility by producing high-contrast images and a wider
viewing angle, even under diverse and challenging lighting environments.
This innovative technology dramatically boosts the efficiency of the LCD backlight's
light utilization, while maintaining extended temperature ratings and low power
consumption for outdoor operation. The V-LCD651ST-HDMI introduces a new durable
and lightweight design, weighing in at only 1.3 lbs. It also features completely
digital TFT-MegaPixel high resolution LCD screen with 2.4 million pixels, 4-pin
XLR power jack and optical-grade polycarbonate screen protection. Analog signals
are digitized using advanced 10-bit processing with 4x oversampling and adaptive
5-line comb filter. The False Color filter is used to aid in the setting of
camera exposure.
As the camera Iris is adjusted, elements of the image will change color based
on the luminance or brightness values. This enables proper exposure to be achieved
without the use of costly, complicated external test equipment. To best utilize
this feature, you must understand the color chart and have a basic understanding
of camera exposure. Normally, when shooting subjects like people, it is common
practice to set exposure of faces to the equivalent of approximately 56 IRE.
The False Color filter will show this area as the color PINK on the monitor.
Therefore, as you increase exposure (open the IRIS), your subject will change
color as indicated on the chart: PINK, then GREY, then a few shades of YELLOW.
Overexposed subjects (above 101 IRE) on the monitor will be shown as RED. In
addition, underexposed subjects will show as DEEP-BLUE to DARK-BLUE, with clipped-blacks
indicated with a FUCHSIA-like color. Lastly, the color GREEN is used to indicate
elements of the image that are approximately 45 IRE.
This represents a "neutral" or "mid-level" exposure commonly
used for objects. The Peaking Filter is used to aid the camera operator in obtaining
the sharpest possible picture. When activated, all color will be removed from
the display and a black-and-white image will remain. The internal processor
will display RED color on the screen where sharp edges appear. When the camera
operator adjusts (or "racks") the focus control (on the camera lens),
different parts of the image will have RED colored edges. This indicates that
this portion of the image is sharp or in focus. Final focus is achieved by racking
the camera lens focus control back and forth until the desired portion of the
image has RED colored edges.
Those of you doing
outdoor camera productions will marvel at the Marshall V-LCD651ST-HDMI-CM
monitor's ability to produce perfectly exposed images even in bright sunlight
and other adverse lighting situations. All this thanks to its use of advanced
Super Transflective technology, a process that effectively boosts the monitor's
backlight function while blocking incoming light. You'll also appreciate the
monitor's versatile power options, giving you the ability to plug in an external
power supply or you can slap on one of your camcorder batteries you happen to
have lying around. With all these attributes, the V-LCD651ST-HDMI-CM compact
and lightweight monitor offers the perfect alternative to the small viewfinder
and often inadequate flip-out monitor found on most of today's cameras.
• Optimized For Outdoor Productions
By incorporating Super Transflective technology, a process that allows maximum
backlight pass through while rejecting incoming light, this monitor is able
to produce beautifully defined images, with high contrast and a wider viewing
angle, even in high ambient lighting conditions such as when shooting bright
outdoor scenes.