Feelworld F6 PlusX

A 5.5" touchscreen on-camera monitor at 1600 cd/m², readable even in direct sun. 4K HDMI in and out, up to 32 custom 3D LUT tables from an SD card, and tools for focus and exposure — waveform, vector scope, brightness histogram, peaking, false colours and zebra. It runs from an NP-F or LP-E6 battery on the battery plate at the back, from a 7–24 V mains adapter or over USB-C, and its DC 8 V output can power the camera as well. A tilt arm, a sunshade and a micro HDMI cable are in the box; the battery, the mains adapter and the SD card are not included.

A 5.5" on-camera monitor at 1600 nits

Full HD 1920 × 1080, touchscreen, 235 grams

The F6 PLUSX is a palm-sized field monitor: 148 × 93 × 20 mm and 235 grams including the battery plate. The 5.5-inch IPS panel runs 1920 × 1080, which puts the pixel pitch at 0.069 mm — close enough that you will not pick out individual pixels. The number that matters more is 1600 cd/m², the brightness of the backlight. A five-hundred-nit monitor is simply unreadable in midday sun; this one keeps the picture legible even out in the open.

The body is plastic and carries a 1/4"-20 thread on three sides — top, bottom and right. That lets you hang the monitor off a camera, a cage or an articulating arm, shooting either landscape or portrait.

Colours you can trust

Rec.709 calibration, 8-bit, 1000:1 contrast

The panel is calibrated to the Rec.709 standard and shows 16.7 million colours — a full eight bits per channel. What you see on set therefore matches what you open in the edit, and you will not get home to find the skin tones drifting green. The 1000:1 contrast holds detail in the shadows, and the 160° viewing angle means the colours stay put even when somebody checks the frame over your shoulder.

The backlight is LED, so you can pull the brightness down when shooting in the dark or push it back to the full 1600 cd/m² the moment you step outside.

Touch control

The menu under your finger, eleven languages

The whole menu is driven by touch: tap to pick a function, drag to change a value. No hunting for small buttons on the side, which in the dark or in gloves decides whether you finish the setup before the take starts. Two buttons stay on the top edge — the power key with a touch lock, and MENU — for the moments when the screen sits under the sunshade.

The menu speaks eleven languages: besides English also German, Spanish, French, Portuguese, Dutch, Russian, Japanese, Korean and two variants of Chinese.

Scopes built into the monitor

Waveform, vector scope, histogram and audio metering

Waveform in RGB Parade, YUV Parade and Y Parade, a vector scope, a brightness histogram and audio level and phase meters. Each scope switches on separately, or one command brings them all up at once — no separate measuring box needed on set.

Alongside them: focus peaking (five colours, ten sensitivity steps), false colours, zebra adjustable from 10 to 100%, check field, scan mode, nine grid, centre marker, safe-area and aspect markers, anamorphic mode, 2× to 16× zoom, image flip, image freeze and pixel to pixel.

Custom 3D LUTs

Up to 32 .cube tables from an SD card

Four built-in DE-log to Rec.709 conversions come loaded, and up to 32 custom .cube tables can be added. Files transfer from an SD card through the slot on the side. The finished look is right there on set, so you do not have to imagine it from a flat log curve. The SD card is not supplied with the monitor.

4K HDMI in and out

Loop-through for a recorder or a second monitor

Both the HDMI input and the output handle 4K UHD 3840 × 2160p at 30, 29.97, 25, 24 and 23.98 Hz and 4096 × 2160p at 24 Hz, with the full 1080p, 1080i, 720p and standard-definition ranges underneath. The signal leaves the output without loss, so you can chain a recorder, a transmission link or a second monitor for the director.

Next to the connectors sits a 3.5 mm stereo headphone output for the audio embedded in the HDMI. A micro HDMI cable is in the box, so the monitor connects to a mirrorless camera straight out of the packaging.

Power from anywhere — and power out to the camera

NP-F and LP-E6, DC 7–24 V or USB-C, 8 V output

The back carries a dual-purpose battery plate that takes Sony NP-F batteries (F970, F960, F950, F930, F770, F750, F730, F570, F550 and F530) as well as the Canon LP-E6. Instead of a battery you can run a mains adapter — the input accepts 7 to 24 V and the maker recommends 12 V / 1.5 A — or a power bank over USB-C that supplies at least 5 V / 2 A. Consumption stays under 10 W.

The DC 8 V output works the other way and powers the camera: with a dummy-battery cable, one battery then feeds both the monitor and the body. The battery, the mains adapter and that cable are not supplied with the monitor.

Tilt arm and sunshade in the box

360° rotation, three 1/4"-20 threads

A tilt arm with a cold shoe comes in the box. The monitor rotates a full 360° on it, and two dots on the arm show how to seat it so it holds — after that you just grab the monitor and turn it without loosening a screw. The arm carries a cold shoe of its own, so a microphone, a light or a wireless audio receiver can ride along.

The supplied sunshade clips on without tools and earns its keep when you shoot into the sun. The monitor can equally be mounted straight onto one of the three 1/4"-20 threads — top, bottom or right side.