The Atomos name keeps popping up all over the place lately. They’re teaming up with a lot of different camera brands to try to give filmmakers the tools and features to best create what they want to create. We stopped by the Atomos stand at IBC 2019 to have a chat with their Founder & CEO, Jeromy Young about some of those collaborations, as well as some news on Atomos’ own products, including a free firmware update for the Shogun 7 which doubles its brightness from 1,500 nits to 3,000 nits.
Atomos has announced that they are working with Panasonic to co-develop Raw over HDMI for the recently announced Panasonic S1H mirrorless camera. Naturally, the device they plan to record to is the Atomos Ninja V 4K HDR monitor/recorder. Atomos says that this will be a free update for the Ninja V when released by Panasonic.
Nikon’s long-awaited firmware update for the Z6 and Z7 to add 4K ProRes raw video capability via an external recorder still isn’t here. We still don’t know when it’s going to be coming beyond “later this year”, although we do now know that this will not be a free firmware update. It will be a paid upgrade. That’s going to upset some people.
You can still shoot 10-bit N-Log video externally already without raw capabilities, although N-Log hasn’t exactly been the easiest to grade. Nikon has now, however, released two completely free LUT files for both the Nikon Z6 and Nikon Z7 cameras.
At Cine Gear 2019, Atomos announced a new line of monitoring and recording displays. The new line is called Neon, and they’re all true 10-bit displays. The Neons range in size from a full HD model at 17″ to 4K DCI on the 24″ and 31″ sizes, with 4K UHD on the 55″.
By default, these Neon monitors will come with a 4K master control unit, similar to that found in the likes of the Shogun 7. But a new 8K master control unit will soon be available, turning any Neon screen into an 8K resolution recorder, capable of recording at 60 frames per second.
Initially announced last April, the Atomos Ninja V finally went on sale in January of this year. Since then, it has rapidly become one of the most popular 5″ monitor recorders out there. It has a wide range of versatility and some unique interaction with certain products like the Nikon Z6 & Z7 as well as the Panasonic S1 and S1R. We spoke with Atomos at NAB 2019 to find out more about the Ninja V and what it offers.
When the 5.2″ Atomos Shinobi was announced only last month, it got a lot of people very excited with its 1920×1080 pixel 1000 nit 427ppi touchscreen IPS display. Now we have a nice, fairly inexpensive HDMI field monitor capable of displaying 4K footage over HDMI with all of the usual bells and whistles we’ve come to know from Atomos’s higher-end recorder monitors.
The folks with higher-end cameras weren’t so pleased, though. While HDMI is ideal for those shooting DSLR or mirrorless cameras and others who only have HDMI outputs, those with more dedicated video cameras need SDI. Now, Atomos has announced a new SDI version of the Shinobi, and it’s only $499.
If you’ve ever tried recording in 4K, you know that recording uncompressed 4K needs some heavy guns. The most common solution is an Atomos monitor/recorder, and those are usually $1,300 and up. If you are shooting HD there are many capture devices out there, but for 4K… not so much.
Epiphan wants to take a bite out of this cake and they launched the AV.io 4K. AV.io 4K is a small, pocket-sized capture device that conencts to your camera’s HDMI out on the input side, and to your computer’s USB on the output side. (most 4K capture devices use thunderbolt). This is an early bird, I guess, for a flood of 4K capture devices, but they’re curently one of the only options I’ve seen. Best, an AV.io 4K is around only $430 vs. the olmost quadrule Atomos.
Atomos have announced at NAB2016 that they are allowing owners of Atomos recorders to update their firmware to all of their devices except the Ninja 2, giving everybody the ability to record HDR video absolutely free.
Now, I know what you’re thinking. HDR. It’s usually pretty hideous, overdone, ugly, etc., but when it comes to video, the look and purpose of HDR isn’t what we typically see in the world of stills photography.