Feelworld D71 PLUS-H

A dual seven-inch rack monitor with a 3U installation height for the broadcast gallery, the edit suite and the OB van. Two independent 1920 × 1200 IPS panels with 4K HDMI and composite video in and out, a three-colour tally beside each screen, waveform with vector scope and up to 32 custom 3D LUTs. It can also be set up over the network from a computer. The -H variant is HDMI-only; the version with SDI is called the D71 PLUS.

Two seven-inch panels in a single rack unit

3U installation height, 30.5 mm deep, two independent setups

The D71 PLUS-H is not an on-camera monitor — it is a rack panel for a video wall, an edit suite or an OB van. Two seven-inch IPS displays sit in a metal body measuring 482.6 × 132 × 30.5 mm, each with its own input, its own row of buttons and its own settings. Two screens let you watch two different cameras at the same time.

The installation height is 3U, so the panel bolts into any standard nineteen-inch frame. A weight of 1890 grams and a depth of just 30.5 millimetres matter when you are building a mobile gallery: in a truck every centimetre of space and every watt of heat counts.

A Full HD 1920 × 1200 panel

450 cd/m², 1100:1 contrast, 160° viewing angles

Each of the two IPS panels runs 1920 × 1200 pixels in a 16:10 aspect ratio with a dot pitch of 0.07875 millimetres. Colour reproduction is faithful and fine detail stays legible.

A brightness of 450 cd/m² and a contrast ratio of 1100:1 place this monitor indoors — in a studio, an edit suite or a truck. It is not made for direct sunlight and the manufacturer does not sell it as such. Viewing angles are 80° to each side, that is 160° horizontally and vertically: the picture holds its colour even when you look at it from the side or from above.

Separate buttons for each screen, and a three-colour tally

Each display has its own row of buttons on the front panel: MENU, a pair of arrows doubling as volume, EXIT, programmable F1 and F2, MODE and a power key. The F key is a shortcut to the functions you reach for most, so you do not have to walk through menus while the show is running.

Each screen also has its own tally strip in three colours — red, green and yellow. It is driven from the DB-9 port on the back, so whoever sits at the monitor knows which camera is on air and which is standing by, just as the gallery does.

Inputs and outputs for each display separately

HDMI and composite video only — this variant is HDMI-only

The rear panel carries HDMI in and out and composite video (CVBS) in and out on BNC for each of the two displays. Alongside them sit a pair of RCA inputs for L/R audio and a stereo headphone output.

The HDMI input accepts 4K UHD 3840 × 2160 up to 30 Hz and DCI 4K 4096 × 2160 at 24 Hz, plus 1080p up to 60 frames, 1080i, 720p and standard definition 480i/576i/480p/576p. The composite input recognises PAL and NTSC on its own.

On the photographs of the rear panel you will notice the silkscreen 3G-SDI IN and 3G-SDI OUT: the chassis is shared with the D71 PLUS, but on the -H variant those markings sit above blanked holes and no connectors are fitted. If you need SDI, the model to buy is the D71 PLUS.

Inputs and outputs are doubled up, so the panel drops into a chain: the signal passes through to the next monitor, to a recorder or to the gallery without a separate distribution amplifier. Power comes in on a DC 12 V barrel jack or a four-pin XLR, both accepting 9 to 24 V.

Setting up over the network instead of by button

A LAN socket sits next to the video connectors. Once it is on the network the panel announces its IP address and can be set up from a computer with the GPIO software the manufacturer offers for download. After logging in you add the monitor by its IP address and then switch inputs and change brightness, contrast, saturation, sharpness and backlight from the keyboard — for each of the two screens separately (0 is the left one, 1 is the right one).

In a wall five or ten panels high that is the difference between a minute and half an hour on a ladder. A note from the manufacturer: the software runs on Windows.

The USB connector on the back is used for firmware updates and for loading custom LUT files from a flash drive.

3D LUT and tools for checking the picture

Up to 32 custom .cube tables from a flash drive

A log-to-Rec.709 conversion is built in, and alongside it the panel loads up to 32 custom .cube tables. The files go into the root directory of a USB flash drive and are imported through an adapter into the USB connector on the back. That puts the target look in front of you while you are still shooting, not once you are in the edit.

The tool set covers waveform (RGB parade, YUV parade, Y parade), vector scope, luminance and RGB histograms, audio phase and level, focus peaking, zebra, false colour, zoom, pixel to pixel, frame guides and a nine grid. The scopes open one at a time or all at once with a single key in All Scopes mode — at which point they stand in for a separate and far more expensive rasteriser.

The two screens are set up independently, so one can show a clean picture while the other analyses the signal from the same camera.

Where it earns its place

In a broadcast gallery the panels stack on top of each other and cover many camera inputs at once; the built-in tally keeps showing what is on air and what is recording.

In a mobile OB truck it comes down to space and heat. The D71 PLUS-H is shallow, light and draws no more than 21 W, so it fits a frame where a deeper monitor would be in the way. Beyond broadcast it suits post-production, on-set monitoring, concert coverage and flyaway kits that travel by air.