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Accsoon has introduced the CineView Master 4K II, the second generation of its tri-band 4K60 wireless video system. The core transmission platform stays the same, but the receiver now gets its own USB-C video output, and the transmitter adds a dedicated port for camera control from a phone or tablet. Let’s take a look at what has changed.
The CineView Master 4K II transmits DCI 4K and UHD at up to 60fps with H.265 encoding, and it operates on the 2.4GHz, 5GHz and 6GHz bands at the same time through Accsoon’s proprietary RTMS 4.0 protocol. Accsoon specifies a latency below 25ms at 1080p60 and below 35ms at 4K60 (camera latency excluded), and a range of up to 2.5km (1.55mi). Both the transmitter and the receiver now have a USB-C video output for wired monitoring on a phone or tablet, and up to 10 devices can monitor the feed at the same time. A new USB-C camera-control port on the transmitter lets crews start and stop recording and change exposure settings through the Accsoon SEE app. The transmitter-and-receiver kit costs $899.
We first saw the original CineView Master 4K at IBC 2024 (see our first look), and we later published a full review of the CineView Master 4K. At IBC 2025, a free firmware update added full H.265 encoding up to 4K60 and raised the receiver limit from four to ten, as we reported in our article on Accsoon’s updates to the SEE app, CineView Master 4K and CineView M7 series. Accsoon positions the new model for directors, cinematographers, camera assistants and production crews who need the camera feed, and some camera controls, at different positions on set.
The largest functional change is camera control. A supported camera connects to a dedicated USB-C camera-control port on the transmitter, and a phone or tablet running the Accsoon SEE app then controls it. According to Accsoon, the available functions include record start/stop, touch focus, ISO, aperture, white balance, and shutter speed.
Accsoon sees this as a solution for cameras on cranes, car rigs or other positions that are difficult to reach, and for operators who need to change settings without walking back to the camera. There is one restriction: camera control works only when the mobile device connects to the transmitter over Wi-Fi. It is not available through the receiver’s wired USB-C monitoring connection. Which cameras and which functions are supported depends on the model, and Accsoon keeps the current list on its camera control compatibility page.
Camera control is not new in the CineView family. Accsoon added it to the lower-cost line with the CineView SE 4K and to its monitor-receivers with firmware for the CineView M7 Pro. The Master 4K II now brings the function to the top of the range.
Accsoon describes the 4K60 workflow, the tri-band transmission and the RTMS 4.0 protocol as the base that the second generation keeps from the first. On paper, the transmission figures are the same as those of the original model. DCI 4K and UHD are supported up to 60fps, and H.265 encoding keeps the bitrate down.
The latency and range figures come with conditions. According to Accsoon, the sub-25ms and sub-35ms latency values were measured with 1080p60 and 4K60 video respectively, both at low bitrates and without camera latency. The 2.5km range was measured with 1080p60 video at a low bitrate, in FCC-compliant operation, in an unobstructed environment with no interference. On a real set, with walls, people and other radio traffic, the range will be shorter.
The press text does not list the video connections of the new model. The first-generation CineView Master 4K has HDMI and 3G-SDI inputs on the transmitter, with 4K only over HDMI and SDI limited to 1080p. Early UK retailer listings for the II show the same layout.
On the original CineView Master 4K, only the transmitter had a USB-C video output for wired monitoring on a mobile device. The CineView Master 4K II adds a USB-C video output to the receiver too. A crew can now connect a compatible phone or tablet at the camera and at the receiving station, without a separate wireless link for each device.
A typical setup could be an operator with a phone as a camera-side display, and a director or client at the receiver with a tablet on a USB-C cable. Accsoon says that compatible mobile devices also charge while connected, which helps on long shooting days.
Up to 10 devices can monitor the feed at the same time. Accsoon leaves the mix to the production: dedicated receivers at fixed monitoring stations, mobile devices for crew who move around the location, or a combination of both.
The CineView Master 4K II supports Frame.io Camera to Cloud through a compatible mobile workflow. Accsoon lists compatibility with the CineView Master 4K, CineView Master 4K Lite, CineView SE 4K, CineView M7 Pro and CineView M7H Pro. Owners of first-generation receivers or Accsoon monitor-receivers can thus integrate the new transmitter into their current setup. Our article on the CineView M7 series updates has more information on the monitor side.
The transmitter weighs approximately 322g (11.4oz) and the receiver approximately 320g (11.3oz), both without antennas. Power comes from NP-F batteries or an external DC input from 7.4V to 16.8V. Accsoon also offers optional V-Mount and Gold-Mount battery adapters, which are sold separately. We covered the earlier Accsoon V-Lock adapter for the CineView Master 4K when it came out.
Camera control is available only over the Wi-Fi connection to the transmitter, so the wired receiver-side connection cannot be used to change camera settings. The list of supported cameras and functions is set by Accsoon and depends on the camera model. All latency and range values are manufacturer figures measured at low bitrates under ideal conditions. Battery adapters for V-Mount and Gold-Mount are extra.
The Accsoon CineView Master 4K II transmitter-and-receiver kit costs $899. For comparison, the first-generation kit launched at $849. Accsoon has not announced an availability date or EUR pricing in the press text. At the time of writing, we did not find the CineView Master 4K II at B&H, and the CVP listings were not available to link to. For more information, please visit the Accsoon website.
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Johnnie Behiri is a documentary filmmaker with more than three decades behind the camera: he learned the craft in daily television news gathering, filmed for Japan's public broadcaster NHK, and spent eight years shooting and editing for BBC News. He joined cinema5D in 2011 and has co-owned and co-run CineD and MZed ever since. Johnnie writes many of CineD's camera reviews, co-hosts our weekly Focus Check podcast, and heads CineD's manufacturer relationships and product development.