Feelworld P215-PRO-CO

The SEETEC P215-PRO-CO is a 21.5" Full HD broadcast director monitor built into a protective carry-on case — it travels in the same shell it works in. At 1000 cd/m² it stays readable outdoors and in a bright gallery, the IPS panel is calibrated with Calman software at the factory, HDMI 2.0 takes 4K at 60 Hz and 3G-SDI loops the signal on. Scopes are built in — waveform, vector scope, histogram and an audio meter — so a separate instrument is not needed. A V-mount plate and a TALLY kit are in the box, and a fold-out desk support sits in the base of the case.

21.5" broadcast director monitor in a protective case

Full HD 1920 × 1080, 1000 nits, 1000:1 contrast

The P215-PRO-CO is not an on-camera monitor but a director monitor — it belongs on a desk, a cart or a stand where the director and the client can see it. What sets it apart from its sibling P215-PRO is that it is built into a protective case: nothing needs packing before a move, it travels in the same shell it works in.

The case pairs an aluminium alloy frame with a tough shell, four high-rebound protective corners and butterfly locks that take the front and rear covers off without tools. A hidden fold-out support sits in the base, so the monitor stands on a desk on its own instead of tipping forward.

The shell carries a load of up to 80 kg, so another box can sit on top of it during a move. The case itself adds about 5 kg, the whole assembly weighs 9.25 kg and is 11.5 cm thick. There are 1/4" and 3/8" threads on the top and both sides for a wireless video transmitter or other accessories.

Calman software calibration

21.5" IPS, 16.7 million colours, 178° angles

The IPS panel runs 1920 × 1080 with a 1000:1 contrast ratio and 178° viewing angles, so colour holds up even when several people watch from the side. At 1000 cd/m² it is roughly twice as bright as an ordinary director monitor — the picture stays readable outdoors and in a bright gallery.

Every unit is calibrated with professional Calman software before it leaves the factory. That is exactly what separates a professional director monitor from a cheap one: you can trust the colour instead of guessing at it later in post.

HDMI 4K at 60 Hz and HDR mode

Over HDMI 2.0 the monitor accepts 4K UHD 3840 × 2160 and 4096 × 2160 at 60 frames per second, twice the data of 4K at 30. Fast movement from the camera does not stutter.

In HDR mode the display reproduces a greater dynamic range of luminance, so detail stays visible in both highlights and shadows. Three presets are available: HLG1, HLG2 and HLG3.

Inputs, outputs and signal scopes

Two 3G-SDI, two HDMI, DVI

The rear panel carries two 3G-SDI inputs and two HDMI inputs, one DVI-I input, two 3G-SDI outputs and one HDMI output, plus a headphone output and a speaker. The monitor drops into any chain and passes the signal on.

The scopes you would otherwise buy separately are built in: RGB Parade, YUV Parade, Y Parade, vector scope, brightness histogram and an audio level meter for up to sixteen channels. Scopes open one at a time or all at once and can be moved around the screen.

On top of that: peaking, false colours, per-channel check field, over exposure, time code, nine grid, screen, centre and ratio markers, overscan, anamorphic mode, image flip and freeze, and zoom.

Up to 32 custom 3D LUTs

Eleven menu languages

Up to thirty-two custom .cube 3D LUTs load over USB and switch instantly, so you see the target look while shooting. A USB flash drive is not included.

The menu comes in eleven languages, and four front-panel buttons take a function of your choosing — all scopes at once, or focus assist. The buttons are backlit in green, so you can find them in a darkened gallery.

Power: adapter, XLR or battery

Power comes from a 12 V / 4 A adapter through a 5.5 × 2.1 mm barrel connector, over XLR at 10 to 24 V, or from a battery. The V-mount plate is included and comes factory-fitted on the unit; the Anton Bauer plate is optional. Consumption is up to 44 W.

The TALLY kit connects through an industry standard parallel pin connector on the rear panel and signals red, green or yellow — during live production you always know which camera is on air and which is on preview.