Accsoon CineView M7 / M7 Pro firmware v2026.01.19

– 2026

JANUARY UPDATE

– Release Date: 2026.01.19

UPDATE NOTE

• This update does not require a second time update.
• But to take full advantage of this update, after the update, please go to Device Info. settings in the Product Feature settings panel (tap on the top status bar), then swipe down to HDMI In Driver and manually update the HDMI driver. Please note you will need to do this in Monitor Mode and connect your CineView M7 to a Wi-Fi network with Internet access.

• After update, the gamma setting in Calibration menu might be reset to “2.20” value. For customers working in professional broadcast environment, please remember to set the value back to “2.40”.

CAMERA CONTROL

• Camera Control feature now supports EI and shutter angle adjustment on supported Sony cameras.
• Added support for EI value and Shutter angle value adjustment for cameras like FX3/30.
• An automatic detection process is implemented. When connected cameras like FX3/30 switches to shutter angle or EI mode, the parameter dial on the connected M7 monitor will switch simultaneously.
• Camera Control now features support for select Nikon models.

These Nikon models all support imaging parameter adjustments, but focus control is only available on Z8 and Z9, as other lower-end models do not support outputing video signal and handling external focus control over PTP protocol at the same time.

• Models supporting focus control :

- Z9 | Z8

• Models not supporting focus control :

(These models will shutdown video output when adjusting focus.)

- Z5 | Z50 | Z6 & Z6II | Z7 II

• Expanded supported camera list:
• Sony:
• FX6 (beta), FX3, FX30, A7 Mark IV, A7s Mark III, A9 Mark III and A7c Mark II.
• Canon:
• R5, R5 Mark II, R6, R6 Mark II, R7 and R8.
• Nikon:
• Z5, Z50, Z6, Z6 II, Z7 II, Z8 and Z9.

MONITORING FEATURES

:

• New Focus Peaking Tool added A new and more powerful focus assisting tool called “Peaking” has been added to CineView M7 series.

The new Peaking tool will look for sharp edges and strengthen the contrast, instead of overlaying colors lik​e previous focus peaking tool (now named “Focus”), the Peaking tool will only strengthen the contrast of the edges on the original image, making it easier to spot the focal plane and the focus included content on the screen.

• A new Peaking tool added , it’s listed next to the original focus overlay tool .
• A new peaking setting page added to monitoring tools settings, giving you access to strength controls of Peaking tool.
• Note:

For film crews, you’ll find this monitoring tool very similar to the focus assisting tool with the same name on popular and renowned higher-end camera-top monitors. The default strength of Peaking is 30%, similar to the value of 10-15 on the peaking tool from the higher-end option.

• Vertical UI Accompanying the release of Portable Triple Vertical Monitor Setup for CineView M7 Pro, a vertical UI has been added to the monitoring page of the built-in Accsoon SEE App. Now you can shoot vertical content with the comfort of specially optimized UI layout.
• Vertical UI can be accessed with button.
• A new vertical optimized monitoring UI has been added.
• Added two separate input video signal rotation (0 and 180 degree) and UI rotation (0, 90,180, 270 degree) controls to individually adjust the rotation of the UI and the input signal.
• Now Livestreaming in Vertical is supported. When the monitor is set in vertical UI mode, the livestream encoder will encode in vertical format according to your current view settings. (When livestreaming starts, the rotation button will be locked.)
• A new scopes rendering mechanism has been integrated. In vertical mode, the scopes will switch pixel sampling method and rendering direction to fit the scope’s visual direction. A new correcting optimization has been integrated to ignore black bars caused by anamorphic de-squeeze in vertical mode similar to original horizontal mode, displaying only the scopes information of the input video source.
• ARRI Style False Color Option Now you can switch between legacy style false color and the newly added monitoring-based ARRI style false color.
• A new false color style option has been added to the false color setting.
• An ARRI false color detail setting option has been added in the false color setting page, you can now choose the recording format (LogC3, LogC4 Alexa 35, LogC4 Alexa 265) and EI value for best accuracy.
• Better Image Processing Pipeline Now the signal processing pipeline on CineView M7 series has been upgraded to contain more color information, giving you nicer color transition, clearer color object edges and retain more organic film noise from the sensor.
• *Manually updating HDMI driver needed. Please refer to the update note above.
• Interlaced Signal Optimization Now a new interlacing pipeline has been integrated to CineView M7 se​ries, delivering better image when receiving interlaced video input. This update gives you smoother edges around objects, and much improved overall image quality without obvious aliasing artifacts on previous firmwares.
• DCI Format Major Optimization Now CineView M7 series is much better optimized to handle DCI 4K inputs. A new use-case dependent ratio conversion pipeline has been integrated to intelligently handle 17:9 DCI formats and 16:9 UHD/FHD formats I/O.
• [DCI Input] When the input source is DCI 4K, the monitoring app will now properly scale down DCI video to 16:9 screen with black bars on the top and bottom of the screen, instead of incorrectly stretching the horizontal scale on previous firmware versions.
• [DCI Input → DCI Output] IO details When the input is DCI 4K and the output setting is set to DCI 4K as well, the video processing canvas will be set to DCI format 17:9 ratio.
• Video I/O:
• HDMI Out: DCI 4K up to 60fps | no black bars (Currently 4096*2160 is the only DCI resolution format supported.)
• SDI Out: 1080p up to 60fps | black bars on top and bottom (The SDI output on M7 and M7 Pro only supports 1920×1080 resolution, the SDI output will be a scaled-down version of the HDMI output, introducing black bars on top and bottom.)
• TX Transmission: up to UHD 4K 60fps | black bars on top and bottom (For better compatibility to different CineView products, currently all DCI format sources will be wrapped into a 16:9 container, introducing black bars on top and bottom.)
• Custom Encoding:
• Recording in Monitor Mode: DCI 4K up to 60fps | no black bars
• Livestream in Monitor Mode: up to UHD 4K 60fps | black bars on top and bottom (For better online platform compatility, DCI format will be wrapped in a 16:9 container before encoding.)
• Recording in TX Mode: up to UHD 4K 60fps | black bars on top and bottom (Recording in TX Mode will record the wireless video bitstream, giving you the same result as the sent out bitstream.)
• [DCI Input → UHD/FHD Output] IO Details When the input is DCI 4K and the output setting is set to UHD/FHD 16:9 format, the video processing pipeline canvas will be in 16:9 ratio, adding black bars on the top and bottom of the screen to all outputs.
• Video I/O:
• HDMI Out: up to UHD 4K 60fps | black bars on top and bottom
• SDI Out: 1080p up to 60fps | black bars on top and bottom
• TX Transmission: up to UHD 4K 60fps | black bars on top and bottom
• Custom Encoding:
• Recording in Monitor Mode: up to UHD 4K 60fps | black bars on top and bottom
• Livestream in Monitor Mode: up to UHD 4K 60fps | black bars on top and bottom
• Recording in TX Mode: up to UHD 4K 60fps | black bars on top and bottom
• *The added black bars will be affected by Look LUT in this case as it’s present in the processing canvas.
• [UHD Input] When the input source is UHD/FHD 16:9 format, the monitoring app display the video source full screen regardless of your output setting for best screen coverage.
• [UHD/FHD Input → UHD/FHD Output] IO Details When the input is UHD/FHD and the output setting is set to UHD/FHD 16:9 ratio as well, the video processing