Feelworld P238-9HSD-CO

The SEETEC P238-9HSD-CO is a 23.8" Full HD director monitor permanently seated in an aviation aluminium case — nothing to pack before a move, and ready as soon as the covers come off. The 1920 × 1080 IPS panel covers 72% of the NTSC colour space, follows the Rec.709 standard, is calibrated at the factory, and a 178° viewing angle keeps colour true for people standing off to the side. The rear carries 3G-SDI, HDMI up to 4K UHD, component YPbPr, composite video, DVI-I and L/R audio inputs, each with a loop-through output. The tally lights up red, green or yellow at the front and at the rear. Power comes from the supplied adapter, from an XLR connector or from a battery on the factory-fitted V-mount plate.

A 23.8" director monitor in an aluminium case

A big screen that arrives on set ready to work

The P238-9HSD-CO is not an on-camera monitor but a director monitor — a large screen the director, the client and the sound recordist can all watch at once. The panel is permanently seated in an aviation aluminium case: nothing needs packing before a move, it travels in the same shell it works in, and it is ready moments after the front cover comes off.

The case has damping feet on the corners, aluminium extrusions around the edges, and butterfly locks holding the front and rear covers. They come off without tools, so the monitor goes from travel state to working state in moments and closes up just as quickly.

The monitor itself, without the case, measures 567 × 372 × 46.7 mm and weighs 5.9 kg — the case around it naturally adds to both. It suits the OB van, the gallery, the set and the car park outside the venue, anywhere an ordinary studio monitor would have to travel in a second crate.

A Full HD IPS panel with Rec.709 colour

178° viewing angle and factory calibration

The IPS panel runs 1920 × 1080 and shows 16.7 million colours (8-bit). It covers 72% of the NTSC colour space, a 1000:1 contrast ratio holds detail in both highlights and shadows, and 250 cd/m² of brightness suits a director monitor used indoors and in shade.

Colour follows the professional Rec.709 standard and every unit is calibrated with a measuring instrument at the factory. You see the colours as they are instead of guessing at them later in post.

The viewing angle is 89° to each side horizontally and vertically, so 178° in total. The picture stays true for people standing off to the side as well — and that matters more on a screen the whole crew watches than on an on-camera monitor.

Assist tools and controls within reach

Focus, channel check and four custom shortcuts

Focus peaking outlines whatever is sharp in red, and against a monochrome image it shows at a glance. Check field shows the picture in the red, green, blue or grey channel alone, pixel-to-pixel displays the signal without rescaling, and camera mode adapts the picture for working with a stills camera.

On top of that: a centre marker, safe areas at 80, 85, 90, 93 and 96% plus a 2.35:1 marker, image flip horizontally, vertically or both at once, image freeze, zoom of the whole picture or of a crop up, down and sideways, and a custom colour temperature. Zoom and aspect ratio selection do not work on a 4K input.

A row of source buttons sits on the front — VGA, DVI, VIDEO, YPbPr, HDMI and SDI — so the source switches with one press, and four F1 to F4 shortcuts take whatever you use most. Knobs on the front panel change brightness, contrast or volume without going into the menu. The menu comes in ten languages: Chinese simplified and traditional, English, Spanish, Japanese, German, French, Portuguese, Dutch and Turkish.

Inputs and outputs for HD, SD and analogue

3G-SDI, 4K HDMI, component, composite and DVI-I

The rear carries a 3G-SDI input on BNC, HDMI, component YPbPr on three BNC connectors, composite video on BNC, DVI-I and L/R audio on two RCA sockets side by side. The monitor handles a current camera and gear that has served the studio for years alike.

Loop-through outputs for 3G-SDI, HDMI, YPbPr and composite video pass the signal on unchanged — to another monitor, to a recorder or to the edit suite. Over HDMI it accepts up to 4K UHD 3840 × 2160 at 30 Hz and 4096 × 2160 at 24 Hz; over 3G-SDI, 1080p up to 60 frames per second.

Audio comes from a built-in speaker and a 3.5 mm stereo headphone output on the front panel. The USB socket on the rear panel is for firmware updates.

Tally and power

Three-colour signalling, adapter, XLR or V-mount

The tally lights up red, green or yellow at the front and at the rear, so the crew can tell when you are recording, when you are on air and which camera is cued up on the switcher preview. It connects through a nine-pin connector on the rear panel, and a tally kit is included.

Power comes from the DC 12 V barrel socket or from a four-pin XLR connector; the supplied power adapter delivers 3 A. The input voltage range is 9 to 24 V and consumption is 24 W at most.

A V-mount battery plate is factory-fitted on the rear, so the monitor runs off a battery too. An Anton Bauer (Gold Mount) battery plate is optional and is not included. Batteries are not included.

A case that never needs packing

Butterfly locks, a handle and a sun-hood

Butterfly locks in polished steel hold the front and rear covers. They release without tools, and the monitor is then reachable from both sides — the picture at the front, the connectors and the battery plate at the back.

The handle on top is wide and softly shaped, so the case carries in one hand even on the longer walk from the car to the set. Aluminium extrusions, corner feet and riveted corners hold the whole thing together through ordinary handling in the field.

The monitor has a removable sun-hood that shades the screen from above and from both sides; the manufacturer intends it for shooting outdoors. The monitor works from −10 to 50 °C and stores from −20 to 60 °C.