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SmallHD is rolling out a substantial update to PageOS that changes how its monitors are handled on set, shifting the focus away from individual screens and toward the monitoring setup as a whole. The release adds centralized fleet control, a portrait-mode interface, expanded camera control, and downstream LUT distribution on 4K production monitors, aimed at simplifying how multi-camera and mixed-format productions are monitored in practice. Let’s take a closer look.
The PageOS 6.3 update builds on the foundation laid by PageOS 6, which SmallHD released last year with features like the redesigned Color Pipe, Wi-Fi support, and Handheld Multi-view. This latest version focuses on streamlining on-set workflows, particularly for productions juggling multiple cameras and monitoring setups.
Fleet Control, first previewed alongside the Ultra 7 Bolt 6 at NAB 2024, is now fully unlocked in PageOS 6.3. Essentially, it’s about not having to babysit monitors one by one. Instead of updating firmware, pages, tools, and LUTs individually, you can push those settings across a group of SmallHD monitors at once. On multi-camera shoots or any setup where several people are looking at different monitors, it gives you a way to keep things aligned without constant checking.
What’s interesting is the separation it introduces between building a monitoring setup and rolling it out. Pages and looks can be prepared once and then deployed where they’re needed, which cuts down on the small inconsistencies that tend to sneak in when setups are repeated manually. It assumes a networked environment and compatible monitors, so it’s clearly aimed at studio, stage, or cart-based workflows rather than lightweight solo rigs. Within that space, it reframes PageOS as something coordinating the whole monitoring setup rather than living only on individual screens.
Portrait Mode is a smaller change on paper, but a practical one for anyone dealing with vertical delivery as part of a regular workflow. Instead of rotating a monitor and working around menus designed for landscape use, PageOS now offers a user interface that’s actually laid out for portrait orientation.
The value here isn’t that vertical video exists, it’s that mixed-format shoots have become normal, and switching between orientations no longer has to feel like a compromise. With a portrait-specific UI, monitoring vertical footage becomes less about workarounds and more about using the monitor as intended, especially when multiple displays on set are handling different framing requirements at the same time.
Canon camera control, which SmallHD introduced as a paid license last year, now joins the PageOS 6.3 feature set. It allows supported Canon cinema cameras, including the C70, C80, C300 Mark III, C400, and C500 Mark II, to be controlled directly from SmallHD monitors. On supported monitors, assignable monitor dials can be used to adjust parameters like exposure or white balance without moving back to the camera body.
On Quantum and Ultra 10 series monitors, camera control can also be mapped to the physical dials, allowing parameters such as ISO, shutter speed, or angle, white balance, and internal ND to be adjusted directly from the monitor.
The update also enables Downstream LUT output on SmallHD’s 4K Production Monitors to be passed on to other monitors downstream, keeping everyone aligned without adding extra boxes or routing workarounds. In practice, this means a single reference look can be established and shared across operator, focus, and client-facing displays, rather than recreated separately at each point.
The PageOS 6.3 update is available as a free software update for compatible SmallHD monitors. Fleet Control, Portrait Mode, expanded Canon camera control, and downstream LUT support are included as part of the release, with feature availability depending on monitor model and series. More details, including compatibility information, are available on SmallHD’s website.
Are you currently managing multiple monitors on set, and if so, how much of that setup work still happens device by device? Let us know in the comments.
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A camera was put in my hands at 16, and I’ve been taking photographs ever since. Before moving to Vienna, I worked as a photographer on film sets, telling stories as they unfolded behind the scenes. Since then, I’ve focused on immersive theater, both as a photographer and an actor. I am the photographer for the award-winning Nesterval ensemble, documenting the energy and atmosphere of their performances. I’m a teller of stories. Stories hold my interest. I’ll take on any project with a story to tell.