MELBOURNE, Australia—Atomos announced today that it is acquiring Flanders Scientific (FSI), a global provider of professional reference monitoring. Atomos says the acquisition reinforces its “long-term commitment to precision monitoring across the entire production pipeline, from on-camera capture through to final color grading and delivery.”

The company added that acquiring Flanders Scientific will add expertise in color science and reference display technology with Atomos’ global reach, product innovation, and connected ecosystem and that it can now “deliver a more complete and integrated monitoring solution for filmmakers, broadcasters, and content creators worldwide.”

Atomos already has a broad monitoring portfolio spanning multiple stages of production. This includes on-camera monitoring with the Shinobi range and the Ninja family of monitor-recorders, on-set monitoring with the Sumo range, and rack-mounted solutions for broadcast and corporate workflows with the Shogun AV line. In addition, the previously announced Studio Pro line will complement Atomos' growing reference monitoring capabilities later this year.

With the addition of Flanders Scientific, Atomos now spans the full spectrum of monitoring, from on-camera, on-set, and live production, through to postproduction and final delivery, the company said.

Flanders Scientific will continue to operate as a distinct brand within the Atomos family. There will be no change to its product philosophy, engineering approach, or the high standards that professionals rely on, Atomos said.

“We are incredibly proud to welcome the Flanders Scientific team into Atomos,” said Peter Barber, Atomos CEO. “They have built a reputation for absolute precision and trust in reference monitoring, and that aligns perfectly with where we are taking the Atomos business. This acquisition strengthens our commitment to monitoring at every level, from on-camera through to final delivery, while also accelerating our ability to support the highest tier of professional production and post-production workflows.

"By combining FSI’s expertise with our global scale and innovation, we are creating something truly unique for the industry," Barber added. "Just as importantly, we are committed to preserving what makes Flanders Scientific special. The brand, the philosophy, and the engineering approach will remain unchanged, while gaining the support and reach of the broader Atomos organization.”

Bram Desmet, Chief Executive Officer of Flanders Scientific, said joining Atomos “is a significant, and exciting, moment for Flanders Scientific.”

“FSI was built on the simple premise that professionals responsible for image fidelity deserve tools they can trust,” Desmet said. “That standard has never changed, and it won't. What this partnership gives us is the infrastructure and reach to stand behind that promise for more customers, in more markets, more effectively than we could on our own. I'm excited about what we can deliver together—not just for the broadcast, digital imaging technician, and colorist communities we have always served, but for the broader production world that Atomos reaches every day. The best work FSI has ever done is still ahead of us.”

Both brands will be represented on their respective booths at the 2026 NAB Show. April 18-22 in Las Vegas. Atomos is in Central Hall, booth # C4731, while Flanders Scientific is in North Hall, booth # N1827—although there will be product cross-pollination across the two locations, Atomos said.

YOKOHAMA, Japan—Atomos has unveiled its Ninja RAW 5-inch HDR monitor-recorder for filmmakers, content creators and broadcasters at the CP+ trade show, Feb. 26-March 1, in the Nextorage booth.

Ninja RAW offers users an affordable tool for high-quality acquisition and precise on-set monitoring.

The monitor-recorder offers a 1500-nit, super-bright 5-inch HDR touchscreen, delivering good visibility in both studio and outdoor environments. Built for professional workflows, Ninja RAW records over HDMI directly from the camera sensor in Apple ProRes and ProRes RAW to CFexpress Type B media or external USB-C storage, providing fast, reliable capture with maximum image quality and post-production flexibility.

Ninja RAW supports a wide range of professional codecs, including ProRes RAW, ProRes RAW HQ, ProRes LT, ProRes 422 and ProRes 422 HQ, ensuring flawless integration with all leading NLEs, such as DaVinci Resolve, Adobe Premiere Pro, Apple Final Cut Pro and Avid Media Composer.

Designed to be a monitor, recorder and production hub, Ninja RAW offers USB-C camera control over key parameters, including start/stop, ISO, shutter, aperture and white balance for supported cameras. A comprehensive suite of monitoring tools is built-in, featuring EL Zone false color, waveform, focus peaking and vectorscope, allowing crews to make confident exposure and focus decisions on set.

Exclusive creative tools, including Onion Skin overlay, which enables frame-to-frame comparison and precise shot alignment for VFX, animation and continuity-critical work, enhance on-set efficiency

Connectivity and workflow flexibility are expanded with dual USB-C ports for external storage or optional network adaptors (sold separately), while the unit’s rugged, production-ready design ensures reliability.

Ninja RAW is highly portable and can be powered by NP-F batteries, USB-C power banks or a DC adaptor.

Available now from Atomos resellers worldwide and from the Atomos web store, the Ninja RAW is priced at $699.

See Atomos in the Nextorage booth #22 at the CP+ trade show.

More information is available on the company’s website.

MELBOURNE—Atomos has announced the immediate availability of a new free firmware update for its Ninja TX GO and Ninja TX monitor-recorders, enabling ProRes RAW recording from the Canon EOS R6 hybrid mirrorless camera.

Firmware update 12.2.1 unlocks the full potential of the Canon EOS R6 Mark III with pristine ProRes RAW recording. Ninja TX supports a maximum video resolution of 6960 x 3672 up to 30P, and 4320 x 2278 up to 60P. Ninja TX GO has a maximum resolution of 4320 x 2278 up to 60P. Both also offer camera control of the EOS R6 Mk III over USB-C, the company said.

“The release of the Canon EOS R6 Mark III is a landmark moment for hybrid creators, and we are thrilled to offer support for this incredible camera,” said Atomos CEO Peter Barber. “By unlocking ProRes RAW recording on the Ninja TX and Ninja TX GO, we’re giving filmmakers the ability to capture every bit of detail the EOS R6 Mark III sensor is capable of.”

Ninja TX GO and Ninja TX are Atomos’ on-camera monitor-recorders designed for professional filmmakers and content creators. Both combine a bright, high-resolution 5-inch HDR touchscreen display with advanced recording capabilities, supporting formats like Apple ProRes RAW, ProRes RAW HQ, ProRes LT, 422 & 422 HQ and Avid DNx, the company said.

Both also offer real-time monitoring tools, such as EL Zone, waveform, focus peaking and LUT support, with camera control/touch focus on supported cameras. They record directly to CFexpress card over HDMI (Ninja TX GO) or SDI & HDMI (Ninja TX), enabling long recording times and fast post-production workflows., it said.

The Canon EOS R6 Mark III is a hybrid mirrorless camera with a 32.5MP full-frame CMOS sensor, a DIGIC X processor and Dual Pixel CMOS AF II. It features high-speed continuous shooting at up to 40 fps, up to 8.5 stops of in-body image stabilization and advanced video capabilities, including 7K 60p RAW and oversampled 4K up to 60p. The camera also has a single CFexpress Type B and a single SD UHS-II card slot.

The new firmware offers:

• The ability for both monitor-recorders to record ProRes RAW output over HDMI from the Canon EOS R6 Mk III mirrorless camera.
• Ninja TX support for up to 6960 x 3672 up to 30P and 4320 x 2278 up to 60P. Ninja TX GO has a maximum resolution of 4320 x 2278 up to 60P.
• Both Ninja TX GO and Ninja TX support camera control.

More information is available on the company’s website.

TOKYO—Atomos has announced a major firmware update that brings integrated camera control to the Ninja TX GO and Ninja TX — its new CFexpress-based monitor-recorders designed for creators who demand flexibility and precision on set. The company announced the new features at InterBEE 2025 where it is exhibiting in booth 8312.

Atomos’ latest monitor-recorders incorporate USB-C ports to enable camera control on supported cameras from Canon, Fujifilm, Nikon, Panasonic, Sony, Z CAM and other leading brands. Instead of struggling with the camera’s tiny on-body controls and menu, key camera functions can be easily managed from a much larger touchscreen monitor interface, including:

• Start and stop recording without reaching for the camera.
• Change essential settings (ISO, shutter, white balance)
• Monitor and adjust from a more comfortable position (for example when the camera is mounted in a tight spot)

“The camera control functionality introduced on our Shinobi II and Shinobi 7 RX monitors has been hugely popular, and our engineering team has made it an even better experience on the new Ninja TX GO and Ninja TX monitor-recorders,” said Peter Barber, Atomos CEO. “The superior Ninja TX series onboard computer processing and Linux operating system give us the power to innovate faster and deliver more features to creators. This is a free update that makes it easier than ever to adjust camera settings, start shooting, and stay focused on the story, not the gear.”

With a 5-inch, 1500-nit HDR touchscreen, Ninja TX GO and Ninja TX offer a far superior monitoring experience than the camera’s built-in display, Atomos said. Both feature professional tools such as EL Zone, waveform, vectorscope, focus peaking, and more, giving content creators complete control over framing, exposure, and color accuracy on-set.

The Ninja TX series records directly to CFexpress Type B or external USB-C SSD storage and supports Apple ProRes, ProRes RAW, Avid DNx, and H.265/H.264 formats, providing flexibility across all post-production workflows.

Ninja TX GO is HDMI-only and can record up to 6Kp30 RAW, delivering exceptional image quality from today’s leading mirrorless and DSLR cameras. For those who need even more advanced options, Ninja TX, launched earlier this year, adds SDI input/output, AirGlu wireless timecode, and expanded 8Kp30 RAW recording.

Both Ninja TX GO and Ninja TX include built-in Wi-Fi functionality for seamless camera-to-cloud operation, including 20GB of free cloud storage, enabling direct upload to ATOMOSphere, Frame.io, Dropbox, and other services, or live streaming via NDI 6/HX3.

Firmware version 12.2.0 is available now as a free-of-charge, over-the-air update for both Ninja TX GO and Ninja TX at www.atomos.com.

MELBOURNE, Australia—Atomos today introduced Ninja TX GO, a new HDMI monitor-recorder that combines a brighter screen, advanced monitoring tools, professional codecs, camera control and cloud connectivity and is built for HDMI-based cameras.

With its 5-inch, 1,500-nit HDR touchscreen, Ninja TX GO offers a monitoring experience superior to built-in camera displays, Atomos said. It features professional tools such as EL Zone, waveform, vectorscope and focus peaking, giving content creators complete control over framing, exposure and color accuracy on-set, the company said.

Ninja TX GO records directly to CFexpress Type B or external USB-C SSD storage and supports Apple ProRes, ProRes RAW, Avid DNx and H.265/H.264 formats, providing flexibility across postproduction workflows. With RAW-capable HDMI inputs, it can record up to 6Kp30 RAW, Atomos said.

Like the company’s Ninja TX, Ninja TX GO offers integrated camera control, a free feature that allows direct adjustment of exposure settings, such as aperture, shutter speed and ISO on supported cameras from Canon, Fujifilm, Nikon, Panasonic, Sony, Z CAM and other brands. This makes Ninja TX GO a complete on-camera companion for monitoring, recording and control, it said.

“With Ninja TX GO, we’re bringing the power and flexibility of our flagship Ninja TX to an even broader community of creators,” said Peter Barber, Atomos CEO. “It’s a lightweight, incredibly powerful monitor-recorder that delivers professional-grade monitoring, recording and control without compromise. It’s perfect for creators who want the best visual fidelity and workflow flexibility straight from their HDMI cameras”

Ninja TX GO includes built-in Wi-Fi for seamless camera-to-cloud operation, including 20GB of free ATOMOSphere cloud storage, enabling direct upload to ATOMOSphere, Frame.io, Dropbox and other services, or live streaming via NDI 6/HX3.

Ninja TX, launched earlier this year, adds even more advanced features, including SDI input/output, AirGlu wireless timecode and expanded 8Kp30 RAW recording capabilities for cinematic cameras, Atomos said.

Both models run on the next-generation AtomOS platform, providing faster performance, over-the-air updates and a more refined user experience. A robust locking cable system for HDMI and USB-C connections ensures reliability.

Ninja TX GO is available immediately from Atomos resellers worldwide and from the Atomos web store. Camera control will be a free-of-charge, over-the-air update for both Ninja TX GO and Ninja TX.

The Ninja TX Go is priced at $799 (USD), excluding local sales tax and VAT outside the U.S.

More information is available on the company’s website.

MELBOURNE, Australia—Atomos today introduced its all-new Ninja TX, a re-engineered, advanced addition to its Ninja monitor-recorder family.

“This is the most advanced and capable Ninja we’ve ever built,” Atomos CEO Peter Barber said. “While it may look similar at first glance, Ninja TX is a completely new product, re-engineered from the ground up. There’s nothing carried over from previous models. The mechanical design, electronics and thermal system have all been rebuilt to make this possible.”

Ninja TX features both 12G-SDI and HDMI 2.0 inputs and outputs as well as integrated Wi-Fi and AirGlu timecode technology. With a new industrial design, Ninja TX offers improved thermal efficiency, lower weight and enhanced portability in a 5-inch form factor, the company said.

The new monitor-recorder delivers features previously reserved for the larger Shogun Ultra. It also adds support for ultra-fast CFexpress Type B media and recording to USB-C external drives. The all-new AtomOS Linux-based operating system provides faster performance, over-the-air updates and a streamlined user experience, the company said.

The addition of high-performance CFexpress media enables fast RAW video capture, while high-speed USB-C adds the flexibility to record directly to external storage.

An external monitor offers greater control over a shot than a camera’s built-in screen. The new Ninja TX’s 5-inch, 1,500-nit screen is 50% brighter than other Ninjas and is packed with pro monitoring features, including EL ZONE false color, focus peaking, waveform, RGB parade and vectorscope. Having an external monitor also helps creators fine-tune framing, exposure, color and sharpness, the company said.

With integrated Wi-Fi and AirGlu, Ninja TX ships ready for cloud workflows, including 20GB of free ATOMOSphere storage. Creators can upload footage directly to Frame.io, Dropbox or other camera-to-cloud services, or stream via NDI 6/HX3, enabling real-time collaboration and faster delivery from anywhere, it said.

Unlike other models, Ninja TX comes with all major codecs pre-activated, so shooting can start immediately with the codec best suited to the project. Out of the box, Ninja TX supports Apple ProRes, ProRes RAW, Avid DNx and H.265/H.264. It can also handle a wide range of resolutions and frame rates, depending on the output of the camera—up to 120 frames per second at HD resolution, up to 60 fps at 4K UHD/DCI and up to 30 fps at 8K UHD/DCI resolution.

Atomos has developed a unique, rugged locking system to maintain a secure grip on connected HDMI and USB-C cables. Ninja TX is supplied with special brackets to facilitate use of the locking system. The company provides a USB-C locking cable with the unit. HDMI locking cables can be purchased separately.

The Ninja TX will ship at the end of August. It has an MSRP of $999.

More information is available on the company’s website.

SINGAPORE—Atomos introduced its StudioSonic shotgun mic for filmmakers, journalists, YouTubers and production professionals at Broadcast Asia here, May 27-29 at the Singapore Expo.

StudioSonic, a good match for the Atomos Ninja and Shogun monitor-recorders as well as professional cameras and recording devices, is designed for filmmakers, journalists, YouTubers and production professionals, the company said.

With a dual-mode design, StudioSonic offers the ability to operated wirelessly over 2.4 Gighahertz or via direct USB-C digital audio connection with the company’s locking USB-C connector, it said.

The StudioSonic Shotgun Mic combines both wireless freedom and reliable wired connectivity to support a diverse range of scenarios, including on-location interviews, run-and-gun shooting, field reporting and capturing unscripted dialogue.

Offering a high-quality 480-Hz, 24-bit super cardioid design, StudioSonic isolates voices with precision even in noisy environments. The mic has an internal USB-C rechargeable battery that’s capable of powering the device for seven to eight hours in wireless mode and up to 50 hours when wired, it said.

The mic has analog and digital outputs, and the USB-C output enables users to directly connect the mic to a computer for podcasts or live streaming, it said.

“With StudioSonic, we’re delivering a microphone that matches the mobility and precision today’s content creators demand,” Atomos CEO Peter Barber said. “It brings together robust construction, flexible connectivity and studio-quality audio, all in a smart looking directional shotgun form factor.”

The microphone incorporates a 75-Hz low-cut filter and a 150-Hz high-cut filter to minimize unwanted noise, high frequency boost to improve clarity and manual gain control for precise adjustments.

The integrated OLED screen provides real-time monitoring, giving users total confidence in the sound quality. The mic is supplied with a 2.4-GHz receiver. Latency is less than 20 milliseconds and the working range is up to 328 feet (100 meters), with line of sight of up to 65 feet (20 m) in busy environments, the company said.

Built with a shielded, all-metal body, the mic is engineered to operate in rugged field environments. The USB-C connection is reinforced with the same locking mechanism used across other Atomos products, it said.

The StudioSonic shotgun mic is available for preorder and will ship in mid-July. It has an manufacturer’s suggested retail price of $249.

More information is available on the company’s website.

MELBOURNE, Australia—Atomos has introduced Shinobi GO, a slim, lightweight, high-brightness (1500-nit) 5-inch high dynamic range (HDR) monitor designed for content creators and photographers.

The introduction follows the 2024 launch of Shinobi II. Shinobi GO offers some of the same high-quality monitoring tools as its EL ZONE sister product but without camera control, touch-to-focus and other pro monitoring features, the company said.

Shinobi GO offers professional monitoring features, such as: false color, zebra, histogram, waveform and vectorscope. Shinobi GO can be powered with Sony NP-F type batteries (purchased separately) power or via a USB-C port using a power bank, it said.

“Shinobi GO is designed for people who either do not need camera control or own a camera that supports it. It offers a high-quality, daylight viewable monitor at an affordable price,” said Atomos CEO Jeromy Young.

The monitor comes with a locking connector adaptor for the HDMI and USB-C ports. When used in conjunction with Atomos locking cables (purchased separately) it prevents accidental disconnections during shoots, Atomos said.

Both Shinobi GO and Shinobi II share the same size sun hood and other accessories, making it very convenient to share batteries, cables, rigs and other attachments for professionals that own a variety of equipment and need the flexibility to mix and match between their camera set-ups, it said.

Shinobi GO is priced at $249 (and EUR 249, GBP 215 and AUD 399), excluding local sales tax and is available immediately from the company’s webstore and its authorized resellers.

More information is available on the company’s website.

MELBOURNE—Atomos has added Camera-to-Cloud (C2C) function to its Zato CONNECT, a lightweight, battery-operated 5-inch monitor-recorder.

Zato CONNECT makes virtually any HDMI camera or webcam C2C-capable. Powered by Frame.io, Camera to Cloud accelerates content creation by reducing how long it takes to go from acquisition to post-production, it said.

C2C eliminates the time formerly needed to ship hard drives and copy files between devices. Zato hero files are uploaded directly to the cloud from the camera so that editors and remote stakeholders, such as producers, directors and clients, can begin working on material immediately, it said.

With the new update, Zato can upload a copy of the fixed bitrate H.264 file recorded to an SD card directly to Frame.io, it said.

“Unlike our other networked CONNECT devices, Zato doesn’t record ProRes or DNx, so there is no hero file relinking in this workflow,” said Paul Scurrell, Atomos senior vice president. “This solution is designed for getting edited content super-fast to social media platforms, where the HD H.264 quality is more than acceptable.”

The company will show Zato CONNECT with Camera to Cloud to the public for the first time Feb. 24-25 at BSC Expo, Battersea Evolution, London.

“With Zato CONNECT, shooting directly to the cloud is now affordable for virtually every budget,” said Michael Cioni, senior director of global innovation at Frame.io. Zato is the fastest way to speed up capture, edit and delivery to social media in the market.”

More information is available on the company’s website.

AMSTERDAM—Atomos is promoting a 40% discount on Dropbox Business or Business Plus plans with the purchase of any new Atomos monitor or monitor-recorder until Nov. 30 at the ongoing IBC 2024.

“Camera to cloud has been a game-changer for video production,” said Atomos CEO Jeromy Young. “We're delighted to be working with Dropbox to bring even greater productivity to our customers on such a ubiquitous platform.”

Atomos is highlighting a free firmware update for any connected Ninja or Shogun at IBC 2024 that makes it possible to send footage directly to Dropbox.

“We are excited by the partnership with Atomos to bring cloud-based video workflows from the camera directly to Dropbox. It makes it so much easier to shoot, share, edit, review and deliver,” said Andy Wilson, senior director of new business solutions at Dropbox

Dropbox offers a toolset that enables production companies to manage content, accounts and teams on a secure, scalable platform, Atomos said.

The Dropbox Business Plan starts at 9TB for a team of three or more, allowing file transfers up to 100GB at a time. The Business Plus plan starts at 15TB for a team of three or more, allowing file transfers up to 250GB at a time. The offer only applies to new Dropbox accounts globally and can be redeemed by registering at my.atomos.com, the company said.

Atomos is offering its Ninja Ultra for $719 excluding sales tax and its Shogun Ultra for $1,107 excluding taxes for a limited time.

The Dropbox plans only require an internet connection, so this offer is being extended to purchases of all Atomos monitors and monitor-recorders, irrespective of whether they are cloud-enabled or not. Atomos said.

See Atomos at IBC 2024 Stand 11.D25.

More information is available on the company’s website.

Missed any of our recent product news? Here is TV Tech's weekly wrap-up of new products, services and deployments we published in our newsletter between July 29 to August 2. The stories are listed from the newest on Friday August 2, day by day back to our stories from Monday July 29

JVC Begins Shipping New KM-IP12S8 Series vMix 4K Video Switchers

The latest JVC Solutions are designed for multi-camera productions of live sports and events.

Vivo Taps Harmonic to Power Caliente TV Sports Channel

Harmonic's VOS360 Media SaaS-based Solution is being used to simplify media processing, playout and primary distribution for a new sports channel in Mexico.

EVS Acquires MOG Technologies

The deal will expand its market reach and further support the extension of EVS’ MediaCeption workflows.

Ateliere Launches Its New `Connect AI’ Offering

At IBC 2024 Atelier will be showing what it is billing as the industry’s first end-to-end GenAI media supply chain solution.

VITAC To Demo Latest AI Captioning, Translation Advancements at IBC 2024

The company’s AI-powered Captivate captioning solution lowers the cost of captioning.

Sony Ships M2L-X Live Production Switcher

The switcher leverages hybrid procession and operations for on-premises and cloud production.

Comcast, Comscore Expand Cross-Platform Measurement Efforts

Enhanced partnership will allow Comscore clients to tap into Comcast Advertising’s Signal Authentication solution to increase fidelity of measurement and attribution.

Rohde & Schwarz To Showcase Latest Updates To Gallium, StreamMaster, PRISMON At IBC Show

Its Gallium and StreamMaster playout environment now runs on the latest Windows and Linus releases.

Dolby Acquires THEO Technologies

The deal will help Dolby expand its solutions for live sports and entertainment that enable viewers to interact with content while watching on different screens.

Atomos Unveils Shinobi II HDR Monitor

The new high-brightness HDR monitor is designed for vloggers, creatives and photographers.

iSpot Launches Cross-Platform Measurement Offering for TikTok

The solution enables brands to verify the audience overlap and incremental reach TikTok delivers against linear TV.

CommScope Launches STARLINE ESD 1.8 GHz Amplifiers

The ESD amplifiers offer substantial upgrades for DOCSIS 3.1 networks and an incremental path to DOCSIS 4.0.

Bahrain TV Launches Middle East’s First IP Playout System

State broadcaster tapped Grass Valley for the upgrade.

Critical Connection: Automotive ATSC 3.0

Experts discuss ATSC 3.0's role in automotive connectivity.

Comscore Introduces Comprehensive Cross-Platform YouTube Audience Measurement

Comscore measurement and video insights are now available for YouTube traffic on desktop, mobile and CTV.

Wohler Announces 3G-SDI To 12G-SDI Upgrade Path

The new module, OPT-RMOC-12G, makes it possible to migrate a 3G-SDI capable monitor to a 12G-SDI (4K) capable monitor.

Wooden Camera Introduces Accessory System for Canon EOS C400

The system integrates with a wide range of Wooden Camera, Canon and third-party accessories.

Avid Unveils Latest Version Of Media Composer

The release adds a new transcript tool, deeper Pro Tools compatibility and enhanced collaboration.

Vegas Creative Software Launches Vegas Pro 22

Improvements to the video engine enable new AI-assisted features, text-based editing and enhanced audio tools.

Dot Group Showcases AI-Driven Solutions for M&E at IBC 2024

Dot will sponsor the AI Tech Zone networking area, highlighting innovative data management solutions.

PMVG Launches NextGen TV Station in Cookeville, Tenn.

The Public Media Venture Group (PMVG), a business development consortium of 32 public stations, has launched NextGen broadcasting service on W35DZ-D, its low-power station in Cookeville, Tennessee.

ADMC Riyadh Deploys Ikegami HDK-99 HDR Camera Systems

Each system comprises an HDK-99 camera head, FA-97A fiber interface, BSX-100H base station, VFL-P700A viewfinder and OCP-300 operation control unit.

Leader Electronics of Europe to Feature New ZEN-W Series Advanced Analyzers at IBC Show

Test and measurement specialist Leader Electronics of Europe will make the European debut of its ZEN-W Series of advanced analyzers at IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

V-Nova, Amlogic to Support MPEG-5 LCEVC on Amlogic SoCs

V-Nova and Amlogic have announced a partnership to support MPEG-5 LCEVC on Amlogic SoCs.

Pliant to Showcase New Compact Crewcom Radio Pack at IBC2024

Professional intercoms provider Pliant Technologies will highlight its new CRP-C12 Compact Radio Pack at IBC2024, Sept. 13-17 at the RAI Amsterdam.

Disney, NBC and NFL Among IBC2024 Innovation Awards Finalists

IBC has announced the finalists for this year’s IBC Innovation Awards, taking place on Sunday, Sept. 15 during IBC2024 in the RAI Amsterdam.

The cloud has offered significant on-demand availability for data storage without direct active management by the user. Increasingly, however, it isn’t just the place to store content. The cloud now offers the ability to become part of the production process where it can save on infrastructure costs and aid in remote production.

Cloud-based production is beginning to see even greater adoption, and while it could provide significant advantages, it will require new technology to support it. 

“The cloud is the first technology platform where cooperation and collaboration are built-in and expected,” said Jeromy Young, CEO of Atomos. “So-called ‘Camera to Cloud’ workflows are starting to gain traction, notably for live events. Sports events, for example, can be clipped, branded and packaged for social media within seconds thanks to cloud-connected devices like the Atomos Ninja and Shogun. While the devices retain their primary function as monitor-recorders because they can attach to any HDMI or SDI source, virtually any camera can be connected to the cloud.”

Though cloud production has always been a potentially transformative idea, it has had to overcome multiple reality-based roadblocks, including cellular signal coverage, bandwidth issues and the largely untried techniques needed for a reliable workflow. Those issues are being resolved and addressed.

“The cloud is probably the fastest way to work, can handle any workload, and is as reliable as any mature digital workflow — which is to say, very reliable,” added Young.

The industry’s move to the cloud may not be seamless, but it is coming. In the short term, it might require backup plans to ensure that productions can accommodate previously unforeseen issues.

“These are high-stakes environments, and companies can’t afford content to go down. The biggest challenge is that there is a knowledge gap in how to deploy production to the cloud. It is gaining more steam now, and we’re still in the early days,” said Mike Gibson, technical support engineer at Telestream. “The advantages will outweigh the issues that have to be overcome — including that you’re not limited by physical infrastructure.”

 Magewell’s Director Mini is a complete portable production and streaming system. It combines multi-input switching, graphics, streaming, recording and monitoring in one compact device. According to the company, Director Mini can encode video up to 1080p at 60 fps and bitrates up to 30 Mbps, with an array of output possibilities.

“For live production, hybrid on-prem/cloud workflows can often enable key efficiencies,” said Nick Ma, CEO and CTO, Magewell. “While it can be used to directly encode contribution feeds, it can also perform initial production tasks, such as switching and mixing of multiple camera angles, before creating an SRT output stream for sending to a remote studio or cloud-based suite for further production processes — thus reducing the number of bandwidth-consuming individual feeds that must be sent into the cloud.”

Intelligent Orchestration

Diversified is previewing its pioneering solution that could manage and scale media production and distribution, paving the way for advanced dynamic content. Located in the Connect Zone, the company’s team is discussing its approach to “intelligent orchestration,” which unifies the user, service and cost management of production environments regardless of where the infrastructure is running.

“Intelligent Orchestration powered by Diversified at the Connect Zone marks a significant departure from traditional methods of design and implementation, creating an integrated infrastructure that harmonizes cutting-edge technologies, paving the way for a transition from conventional, inflexible facilities to agile, responsive content centers,” said Jared Timmins, vice president of innovation at Diversified. “This forward-thinking approach emphasizes continuous optimization, ensuring that technological capabilities are consistently aligned with the evolving demands of the media and entertainment sectors.”

NAB Show attendees can explore several key aspects of Intelligent Orchestration, including decentralized production, streamlined media workflow orchestration and software-defined production integration. 

Copyright NAB 2024.

LAS VEGAS—EditShare has announced a partnership with Atomos to bring camera to cloud workflows to EditShare’s MediaSilo, the leading video collaboration platform. 

As part of the collaboration, MediaSilo will be integrated with Atomos’ cloud connected range of camera mounted monitor-recorders, which can be attached to virtually any HDMI or SDI camera source.

The integration will be on display at NAB 2024 at both the Atomos booth (Central Hall - C4931) and the EditShare booth (South Hall Lower - SL8087), and will be generally available in mid Q2 of 2024.

In announcing the integration, the two companies stressed how camera to cloud workflows can accelerate the creative process. By shrinking the capture-to-edit time frame, editors can begin working on media instantly instead of waiting for hard drives or delayed file transfers. 

The Atomos MediaSilo integration helps users easily achieve those benefits by allowing them to simply a camera to a cloud enabled Atomos device via HDMI or SDI. After pairing the device via a Atomos Cloud Studio account and adding MediaSilo as the destination, users can select the target project and folder for media upload. 

Once the user hits record, proxy files will automatically sync to the MediaSilo project or folder that has been selected. Team members can then jump in to start reviewing the footage as it arrives. MediaSilo also creates dynamic review links that automatically update as more footage is shot, so external collaborators have one destination for feedback.

Access to your MediaSilo account is included in Atomos Cloud Studio’s Camera to Cloud plan. Anyone purchasing an Atomos Connect (for Ninja V, V+, Ninja or Ninja Ultra), a Shogun, or Shogun Ultra automatically receives a free all-inclusive subscription. Both plans include single/dual recording, 4K upload, and progressive upload, Atomos’ unique progressive file transfer technology that gets content into MediaSilo while you are still shooting.

“We’re extremely excited to start MediaSilo’s camera to cloud journey with Atomos,” explained EditShare CEO Ramu Potarazu. “Our decision was rooted in the EditShare brand ethos of flexibility: we want our customers to work with creative tools of their choice. Integrating MediaSilo to Atomos products such as the Shogun and Ninja lets people choose the right camera product for each project. We look forward to seeing our customers benefit from the speed and flexibility they’ll see with MediaSilo + Atomos camera to cloud.”

“I'm delighted to announce another camera to cloud integration with Atomos Cloud Studio. We've always considered ourselves to be a neutral 'gateway' to a wide selection of secure destinations for our customers’ content,” added Jeromy Young, CEO of Atomos. “MediaSilo is highly respected in the post production world for accelerating collaboration, and its addition to our online platform offers our DNx-orientated customers in particular a route into Camera to Cloud. It’s very much a win-win scenario for both parties.”

For more information on all EditShare solutions, please visit the website at www.editshare.com. Information on the Atomos product portfolio can be found at www.atomos.com. 

MELBOURNE—Atomos announced that Peter Barber has been appointed COO and Executive Board Director.  

This appointment is part of a company restructuring and broader recapitalization process, including a return to stock market quotation which will be announced to the market in more detail over the coming weeks.

Barber is an industry veteran with over thirty years’ experience in production and post-production, including three years at Apple Computer where he was responsible for the rollout of Final Cut Pro and other video solutions in Asia Pacific.

As co-founder and co-owner of Blackmagic Design, Barber played a key role in growing that business and drove the M&A strategy which saw him lead and negotiate the acquisition of seven businesses over an eight-year period.

“I’m very excited to be involved in a leadership role in a publicly listed company, with all the additional resources, and challenges, that this brings,” commented Barber. “Throughout much of my working life I have been designing video workflows, and sharing democratizing tools that empower creatives, something that resonates strongly with a company like Atomos.” 

“Creative professionals work in a demanding, fast paced industry, so they need reliable products and workflows to help them grow their clientele and revenue,” he continued. “I am fortunate to have worked in both the creative services world as well as being a solution provider, giving me a strong connection to our customers' needs and expectations.” 

“Although the company’s recent history has been difficult, our customers have continued to support the brand due to the uniqueness of our products and the important role they play in professional video workflows,” he added. “I firmly believe that with time, the right resources, refocused product strategies and the reinvigoration of Atomos’ core DNA with the return of founder Jeromy Young, we will have a very solid basis to grow beyond the company’s previous success. Having known Jeromy for almost 20 years, including working together at Blackmagic Design, we have a very similar view of the video industry and the direction it is headed.”

“I feel like a founder in the rebirth of Atomos, and I must say that I’m thrilled to be joining and investing in another Australian company that has created a global impact, with a great brand” said Barber, “The immediate focus is to grow sales of Atomos’ world-class products, while strengthening and adding to the product range and technology services available to creative professionals all over the world, with an eye on expanding into adjacent markets.”

Jeromy Young, co-founder of Atomos, who returned to the business as Managing Director and CEO at the start of the year noted that “Peter and I are two sides of a coin, equally important and extremely complementary. I very much look forward to working with Peter to return Atomos to a leadership technology position, yielding both growth and profit for our shareholders. We are very fortunate to have someone of Peter’s stature and experience join the Atomos team. Peter is a true global leader.”

More information at: www.atomos.com.

MELBOURNE—Jeromy Young, who co-founded Atomos, has returned to the business as managing director and CEO. Young, who was previously CEO of Atomos for over 10 years, retired from executive duties in November 2021 to pursue other business and personal interests. 

The company reported that several of his subsequent business activities were aligned with the broader video technology industry, and he will bring that wider perspective as well as his experience with the company and its markets to the top job at Atomos.

“I feel privileged and very excited to be back at the head of the company I helped to build. I have a very clear vision of how to return Atomos to a powerful and growing tech company and I’m already working with the team to realize this,” commented Young. “The last year has been a challenging one for many companies in the broadcast and professional video industry, Atomos included, but there are some green shoots and many opportunities.” 

“Atomos made the right decision in embracing Camera to Cloud and cloud-based live production workflows nearly two years ago, and we are starting to see it come to fruition with some fantastic recent use cases, including the LA Clippers, Sundance Film Festival and George Mason University,” Young continued.  

“Connectivity and openness are the basis of future growth, where the cloud is just part of a new era of networked, collaborative video production and distribution,” added Young. “Atomos’ innovation has led to a family of products that have become essential tools for video production. My intention is to extend a proven and popular technology platform to address a broader spectrum of filmmaking applications.” 

More information is available at www.atomos.com. 

MELBOURNE, Australia—Atomos has announced that the LA Clippers are using the Ninja Ultra monitor-recorder for capturing highlights, interviews, game highlights, and behind-the-scenes footage for engaging with fans on social media. 

Ninja Ultra incorporates the new AtomOS 11 operating system, which is optimized for camera to cloud workflows. 

This workflow allows the LA Clippers media team to simultaneously share and upload files and collaborate in real-time with editors, using Frame.io, powered by Adobe. The speed at which files are uploaded allows editors to immediately begin work, so the social media team can quickly share moments with fans.

The LA Clippers have also deployed the new 4K H.265 upload facility of the Ninja Ultra, allowing the production team to capture content and automatically upload high-quality 10-bit 4K H.265 proxies to Frame.io right after each take. With these 4K proxies, editors can punch in and crop the image using different aspect ratios for delivery on multiple social media platforms. Delivering 4K clips to the cloud through this H.265 upload feature allows the LA Clippers production team and their remote editors more creative flexibility and freedom when choosing their composition, all without sacrificing quality, it said. 

Plus, the stress of tight deadlines is greatly reduced since clips are automatically ready in Frame.io after each take, ensuring editors can work in tandem with the camera and production team, Atomos said. 

More information is available here.  

It’s not the end-all, be-all answer for every production-based scenario. But according to some, it’s getting there.

Its capabilities to connect, streamline, produce and deliver have brought cloud-based production into the mainstream, with more cloud-based components being designed for the production ecosystem and more broadcasters using public cloud providers for high-value events and channels. 

The reasons are plentiful, with two key issues taking the lead: the ability to save on infrastructure costs and the desire to accelerate change in an ecosystem that seems ready-made for innovation.

“Cloud technology enables broadcasters to spin up multiple environments/systems, tinker with new production workflows and then have a template for reuse or tear it all down—wash, rinse, repeat as needed,” said Dave Norman, principal sales engineer for Enterprise Products for Telestream. “Leveraging [the] cloud drives this pace of innovation by orders of magnitude.”

Accelerated Workflows
When comparing cloud-based workflows with on-prem environments, the velocity at which teams can experiment increases massively, Norman said, and the cost of innovating a new workflow with a “never done before” approach is minimal. Cloud production is rapidly becoming the great enabler of “doing more,” he said.

Cloud production should be seen as a step change in the speed of production, “whether that is across different shooting locations or just the speed of getting content edited, reviewed and to the consumer very quickly on social media platforms,” said Paul Scurrell, senior vice president of product for Atomos. “Productions just become more ‘real-time.’”

Another reason that cloud-based productions have taken off? Cost. From the start, a product cost is minimized because the focus of a production is on infrastructure that is managed and supported by a third party. As a result, broadcasters and content creators are able to spend fewer resources on infrastructure and can instead focus on production technologies at the event itself. 

Cloud-based production is also being touted for its flexibility. After all, the ability to scale up and down and switch services on and off is easy to do when all the components are virtualized in the cloud, Scurrell said. “You basically use them—and pay for them—when you need them.”

The limit on a business’s production capacity is typically determined by the resources or equipment available. However, the use of cloud-based technology seeks to eliminate this restriction and allows resources to expand as demand for capacity increases, according to Harry Sampson, product manager of Cloud Production Solutions for Ross. 

“By facilitating businesses to scale up or down based directly on their production requirements helps enable greater utilization while also reducing large upfront costs associated with building additional production facilities,” he said.

Trickle Down
The efficiencies don’t stop there since cloud-based production also trickles down to staff and equipment efficiencies too. 

“Engineers, production staff and editors can support and work on a cloud-based production from anywhere, therefore expanding the scope of a production and access to talent, Telestream’s Norman said. “Cloud-based production also allows a previously unseen level of flexibility—as needs increase and decrease throughout the lifespan of a production, additional resources can easily be allocated or scaled-down without the historic hindrance of capital expenditure, coordination and facility management.”

This is indicative of where the industry is headed. 

“Deploying and managing a traditional on-premise production facility requires dedicated resources such as an IT department, commissioning and support teams as well as physical equipment rooms with air conditioning,” Sampson said. “By leveraging cloud-compute, businesses can benefit from increased efficiency by simplifying operations, automating tasks and minimizing manual intervention.” 

When deploying in a cloud environment, significant time and cost savings can be made, with no need for shipping, installation or cabling, he added. “As a result, turning on and off a production environment can now realistically be a quick and simple task.”

“Remote production and the ability to create content from anywhere is now a permanent fixture,” he added. “Cloud-based technology allows businesses to deploy live production resources globally across multiple regions at the click of button and give operators immediate access from anywhere with an internet connection.” 

The tools that facilitate those features are also maturing in capability. 

Technology such as the Ross Production Cloud is designed to enable gains in efficiency, flexibility and scalability, which should result in improved costs while also simultaneously ensuring that customers have access to familiar user interfaces. 

There are also technologies that can now quickly and cost-efficiently increase record channel capacity with cloud-deployed software. Telestream’s Lightspeed Live Capture software, for example, can run unshackled from physical hardware, meaning a user can increase their record footprint by sending contribution IP streams to a public cloud provider for recording sources that were previously not being recorded due to a lack of physical space at a venue.  “As soon as the event is complete, you can simply sunset the cloud environment,” Norman said. 

For some time, content creators have successfully turned to the cloud to send files of significant size during a production. Media Shuttle from Signiant, for example, allows a producer to leverage cloud storage and other cloud services in this way.

Adapting a New Mindset
As with any industry wide change, challenges remain—including concerns over security, availability, speed and access. It’s also important to note that cloud-based production requires a different skill set than those held by typical engineering teams who otherwise support on-premise technology. 

“Production teams need to also adapt their mindset to embrace cloud-based productions,” Norman said. “There is some lack of tangibility, for instance, that exists in a fully cloud-based production that does not exist on-premise.  Moreover, object storage is not file- or block-level storage, and there are some rough edges surrounding immediate access to objects that live in object storage.” 

Other concerns remain too. “When working on A+ grade productions with HDR/SDR heterogenous color profiles, as an example, cloud production becomes challenging today, and on-prem gear/tools play a critical role,” he said. 

Other roadblocks include concerns over network latency, bandwidth, interoperability, audio hiccups and transparent pricing. “It is important to acknowledge that production in the cloud may not be the ideal solution for all applications, and traditional hardware will undoubtedly continue to play a key role — let’s face it, some things have to stay on the ground,” said Ross’ Sampson. Yet despite these challenges, there are meaningful gains to be realized by leveraging cloud technology in live video production. 

“Historically, cloud technology has always evolved at pace and I see our industry moving in the same direction; many of the current hurdles won’t be around for long,” he said.

What continues to draw interest, despite lingering challenges, is the flexibility and low cost of entry, said John Wastcoat, senior vice president of Strategic Alliances and Marketing for Zixi. “Broadcasters are starting to adopt these models because it allows them the flexibility to produce more content and events, something that would not fit legacy production budgets.

“With the changes in viewing habits and the proliferation of IP networks, cloud-based production models are certain to take over traditional production models,” he added. 

Even the significant investment in legacy equipment won’t necessarily keep broadcasters from considering some type of cloud-based model. Enabling hybrid on-prem and cloud-based production environments is a key milestone to full cloud migration, according to Telestream’s Norman.

“If a broadcaster or content creator needs to run any type of production and they already possess premise-based equipment—as well as the staff that knows how to operate and support it — there is no need to swap this model for a cloud one instantly,” he said. Cloud-based production enables additional options for doing more than they can currently offer on-prem.” 

What else is ahead for cloud-based production? In the next year or two the industry can expect to see cloud production use cases trend upwards, with broadcasters continuing to experiment with more events/channels and the leveraging of public cloud providers. Some high-value productions will continue to leverage on-prem technologies while more cloud-based components will appear in the production ecosystem — and perhaps become the standard approach.

While the industry is not quite ready today for full-time production in the cloud, the future looks to be bright.  

MELBOURNE—Atomos has announced that it is now offering support for Apple ProRes RAW plug-ins. 

The update lets camera manufacturers provide their own ProRes RAW processing pipeline to take advantage of the unique properties of their cameras, sensors, lenses, and more.

Canon is the first camera maker to deliver a ProRes RAW Plug-in, with the EOS R5, R5 C and R6 Mark II cameras outputting RAW to an Atomos monitor-recorder. Atomos has already enabled full ProRes RAW plug-in support for these cameras in the current release firmware for Ninja V, Ninja V+, and Shogun Connect.

ProRes RAW is widely regarded as the universal RAW video format. With the introduction of plug-ins, now every camera maker can provide their own unique processing, in a completely confidential way, by writing a single ProRes RAW plug-in that brings out the best quality and unique looks created by their own cameras, Atomos said. 

ProRes RAW plug-ins will be supported in Final Cut Pro as well as many third-party applications that have licensed the ProRes RAW SDK, such as nonlinear editors (NLEs) and color correction applications.

Users can simply install the camera vendor’s ProRes RAW plug-in and Final Cut Pro will automatically show all the new enhanced features of the supported camera. Using a ProRes RAW plug-in enables camera-specific adjustments such as custom white balancing, noise reduction, demosaicing, lens distortion correction, and more.

Atomos supports over 50 camera models recording ProRes RAW from the camera’s RAW output over SDI or HDMI, so is uniquely placed to record this new enhanced metadata standard.

“This new feature for the ProRes RAW ecosystem is absolutely going to change the way people think about recording ProRes RAW,” said Trevor Elbourne, Atomos CEO. “For the first time the filmmaker literally gets the best of all worlds: shoot in ProRes RAW with the option to immediately apply camera-specific processing, use standard processing, or customize individual parameters to their own taste. You have to ask yourself: why wouldn’t you shoot in ProRes RAW?”. 

“We are very proud to be working alongside Apple and Canon to bring this ProRes RAW innovation to market,” Elbourne added. “We were first to market with an 8K ProRes RAW compatible mirrorless camera - the Canon EOS R5 - and now we are making another huge advancement with the ProRes RAW format.”

The ProRes RAW plug-in model has been designed to work not only with macOS but also with Windows and Linux.

MELBOURNE, Australia—Atomos has released new firmware that adds NDI support to its CONNECT series, making NDI connectivity available to a large number of cameras, the company said this week.

Users of the Atomos Ninja V or V+ fitted with an Atomos CONNECT or a Shogun CONNECT are now able to connect with NDI via Wi-Fi or Ethernet, Atomos said.

The NDI HX2 firmware update supports NDI HX2 transmission up to 1080p60 with Ninja V+ fitted with Atomos CONNECT and Shogun CONNECT, and 1080p30 for Ninja V with Atomos CONNECT, while simultaneously recording in Apple ProRes or Avid DNx, it said.

From a single, battery-operated device, Atomos provides wireless or wired NDI transmission, a live viewfinder and local recording, it said.

“Typically, NDI is associated with fixed acquisition points, for example PTZ cameras,” said Atomos CEO Trevor Elbourne. “Now we’re making it possible to use pretty much any HDMI or SDI-equipped camera as a mobile NDI source. It’s the perfect solution for creatives who need their content delivered live to a remote device for review, recording or transmission.”

A camera and microphone can be connected by HDMI or SDI to the Atomos CONNECT series monitor-recorder, and then connected to a local area network using either Wi-Fi or an Ethernet cable. Once NDI is enabled to transmit, the video stream is available to any suitable device on the local area network sub-net. The NDI stream can then be viewed, recorded or used as a source for OBS or a NewTek TriCaster and then retransmitted as part of a larger production, it said. 

The firmware update is available for $99.

More information is available on the company’s website.

MELBOURNE, Australia—Atomos today announced its Cloud Studio, a suite of cloud-based video production services, is now available.

Atomos Cloud Studio offers a range of subscription-based tools for remote collaboration and live production, the company said.

The suite includes: Atomos Capture to Cloud, Atomos Stream and Atomos Live Production. The suite leverages the CONNECT range of network-enabled monitor-recorder devices: ATOMOS CONNECT for Ninja V and Ninja V+ and Shogun CONNECT. Zato CONNECT supports Atomos Capture to Cloud and Atomos Stream, it said.

The solution future proofs users. Atomos camera-mounted devices not only can be updated and feature-enhanced in the field, they also can easily be integrated into remote and collaborative productions anywhere in the world, the company said.

“We see it [Atomos Cloud Studio] as augmenting video production,” said company CEO Trevor Elbourne. “Filmmakers and video content producers everywhere can access Atomos Cloud Studio to collaborate and share their work faster than ever before, create a polished live production or stream content to the platform of their choice directly from the camera.”

Basic camera-to-cloud functionality and 720p proxy quality is free, and more features can be added by purchasing a monthly subscription plan. For $5 per month, up to five devices can be registered, all capable of uploading 1080p proxy files while recording using Atomos’ progressive file transfer technology, it said. 

There are four subscription tiers, each of which successively allows more devices to be deployed and each of which offers greater control over proxy quality. That flexibility extends to the Live Production tool with on-air time credits, which can be purchased as part of a monthly plan or topped off when demand dictates, the company said.

Live Production is available to use in a fully featured BETA. There are three types of Live production shows, including:

• A basic show for a live webcast with up to four locked-off cameras, streaming to a single social media platform.
• A standard show incorporating more audio functionality, including intercom talkback, transitions and picture in picture, which is well-suited for a school sports event or concert.
• An advanced show with all of the features of Atomos Live Production and fully-featured tools including four-input video switcher, sound mixer, video transition effects, still graphics, animated graphics, tally lights when cameras are live and a fully featured intercom system.

More information is available on the company’s website.

MELBOURNE, Australia—Atomos has added Camera-to-Cloud (C2C) function to its Zato CONNECT, a lightweight, battery-operated 5-inch monitor-recorder.

Zato CONNECT makes virtually any HDMI camera or webcam C2C-capable. Powered by Frame.io, Camera to Cloud accelerates content creation by reducing how long it takes to go from acquisition to post-production, it said.

C2C eliminates the time formerly needed to ship hard drives and copy files between devices. Zato hero files are uploaded directly to the cloud from the camera so that editors and remote stakeholders, such as producers, directors and clients, can begin working on material immediately, it said.

With the new update, Zato can upload a copy of the fixed bitrate H.264 file recorded to an SD card directly to Frame.io, it said.

“Unlike our other networked CONNECT devices, Zato doesn’t record ProRes or DNx, so there is no hero file relinking in this workflow,” said Paul Scurrell, Atomos senior vice president. “This solution is designed for getting edited content super-fast to social media platforms, where the HD H.264 quality is more than acceptable.”

The company will show Zato CONNECT with Camera to Cloud to the public for the first time Feb. 24-25 at BSC Expo, Battersea Evolution, London.

“With Zato CONNECT, shooting directly to the cloud is now affordable for virtually every budget,” said Michael Cioni, senior director of global innovation at Frame.io. Zato is the fastest way to speed up capture, edit and delivery to social media in the market.” 

More information is available on the company’s website.

MELBOURNE, Australia—Nikon has released a firmware update for its flagship mirrorless Nikon Z9 camera that adds support for Atomos AirGlu BT. 

The Nikon Z9 3.0 firmware update, which offers 20 features for video and photography, includes capabilities that allow the Z9 to synchronize timecode accurately and wirelessly over Bluetooth (BT) with a range of compatible devices and software applications. 

This collaboration between Nikon and Atomos breaks new ground by further expanding the appeal of Nikon’s flagship camera to video producers and by creating a new category within the Atomos ecosystem for the Z9.

“Our partnership with Nikon demonstrates our commitment at Atomos to innovate and solve all manner of technical challenges faced by filmmakers,” explained Trevor Elbourne, CEO Atomos. “Even when a camera can record video internally, Atomos can add value by connecting devices and in this case, providing wireless timecode sync. This patented wireless technology was developed with just this scenario in mind, and we’re really pleased to find a new home for the Z9 within the expanding Atomos ecosystem.”

The Z9, which offers 8K video recording, is powered by an advanced 45.7 megapixel stacked CMOS sensor and the next generation EXPEED 7 image processing engine. It features an electronic shutter and an advanced auto-focus system that uses a subject detection algorithm developed with deep-learning technology, as well as 3D-tracking.

UltraSync BLUE is the first product to synchronize timecode using Atomos AirGlu BT technology to an expanding range of compatible cameras, audio recorders, and applications. Once the devices are connected, timecode is transmitted wirelessly from the UltraSync BLUE and embedded into the media files each generates, Atomos reported.

Removing the restrictions of a wired connection creates convenience and extra versatility, the company stressed. Use the Atomos UltraSync BLUE as the server to wirelessly synchronise timecode over BT for up to 6 Nikon Z9 cameras and a range of compatible devices including dedicated audio recorders from Zoom and Tascam, or apps including UltraSync BLUE Slate, MovieSlate 8, MAVIS Pro Camera, Apogee MetaRecorder, Softron MovieRecorder, and Softron Multicam Logger.

The Atomos AirGlu system was developed by Timecode Systems and provides accurate, easy-to-use sync for every production. The ability to lock cameras together and support dual system recording with separate audio devices, is incredibly important and streamlines post workflows.

AirGlu™ BT is the wireless technology for synchronizing timecode over Bluetooth for devices in relatively close proximity. 

AirGlu RF (Radio Frequency) offers a long-range option and is the wireless technology for synchronizing timecode over wider distances. Both wireless networks are designed to work seamlessly together to support different devices operating together and create maximum flexibility for each production. The UltraSync BLUE, UltraSync One, AtomX SYNC, Atomos CONNECT for NINJA V and NINJA V+, and SHOGUN CONNECT all sync and communicate using AirGlu RF, while simultaneously and independently acting as an AirGlu BT hotspot for local devices and apps. With each server able to support up to 6 BT devices, the ability to dynamically scale the system is significant.

Atomos has created an OEM Atomos AirGlu Module for third-party manufacturers. The AirGlu 2 module supports both BT and RF and the AirGlu 3 module supports RF only. AirGlu 2 is the implementation Atomos uses in the CONNECT range of products. AirGlu 3 is intended for third-party devices that already include BT support.

MELBOURNE—Tascam and Atomos have announced the availability of wireless Bluetooth synchronization for the Tascam Portacapture X8. 

With the addition of the optional Tascam AK-BT1 Bluetooth dongle for the Portacapture X8 and either the newly announced Atomos CONNECT devices, AtomX SYNC or Ultrasync Blue timecode sync adapters, videographers and audio professionals are now able to seamlessly—and wirelessly—synchronize the Portacapture X8’s 8-track recording capability using 192kHz/32-bit float point recording technology with a wide array of video cameras, including DSLR and Mirrorless models, the companies said. 

The result is superior audio that enhances the visuals, fully synchronized for maximum flexibility throughout production, the companies said. 

“We’re delighted that Tascam have integrated Atomos AirGlu Bluetooth timecode synchronization into the Portacapture X8 audio recorder,” Paul Scurrell, senior vice president of product, Atomos. “This means Atomos and Tascam products can be wirelessly paired and timecode locked together. This greatly simplifies the nature of separate audio and multi-camera production, transforming what has been a rarefied workflow into one that can be easily accessed by filmmakers everywhere.” 

The companies noted that syncing via timecode greatly helps the post-editing process by aligning files on a time basis, especially for projects using multiple cameras or recorders.

Used as the master timecode device, the Atomos Ultrasync Blue is an easy-to-use, low-cost, wireless timecode adapter that can synchronize any compatible camera and the Portacapture X8/AK-BT1 using Atomos AirGlu connectivity. With wireless Bluetooth transmission up to 30 meters for as many as six devices, the combined system provides greater freedom to shoot from creative angles using smaller, more mobile cameras.

This setup can be expanded with the addition of the Atomos Ultrasync One, which offers the flexibility to function either as a transmitter timecode server or as a receiver client device. Using the Ultrasync One as the Master Timecode source, a more sophisticated camera setup can receive a direct timecode feed while the Ultrasync One wirelessly sends timecode to the Ultrasync Blue, which in turn, can wirelessly feed the Tascam Portacapture X8/AK-BT1 plus a variety of other devices.

For production environments using either the Atomos SHOGUN CONNECT, NINJA V or NINJA V+ to record and monitor on-set, the Atomos AtomX SYNC is yet another solution. Mounted to the rear panel of either the NINJAV/V+, the AtomX SYNC connects multiple Atomos devices, cameras, and audio recorders using reliable long range RF wireless technology. For example, when synchronizing with the Ultrasync One, the AtomX SYNC can also bring the Tascam Portacapture X8/AK-BT1 and other devices into the synchronized system via wireless Bluetooth synchronization.

To facilitate wireless timecode synchronization via Bluetooth, the Portacapture X8 control app will be updated to include the tools necessary to use this new wireless sync function. Other commercial apps will also be compatible, including Apogee Metarecorder, Mavis Pro Camera, and MovieSlate 8 Logging. 

The download of the Portacapture X8 update is available here.

SALT LAKE CITY— I first came across the ATOMOS NINJA V several years ago while DP’ing a music video. I was shooting on RED at the time and liked what I saw, so when it came time to shoot a new project—a short film titled “Jump Seat” written and directed by a buddy of mine, Aaron Colborn—I knew it was going to be key to making the project work.

We shot “Jump Seat” just over a year ago on the Sony FX6 not long after it came out. It’s a great camera, but it was short on firmware upgrades and one real drawback for us was that it didn’t record RAW internally.

“Jump Seat” is set in the crime world—the “elevator pitch” is that it’s essentially a movie about running a ride share service for criminals—and it was always going to be a really moody, vibrant film that needed a camera that was going to do well in low light. 

The Full Spectrum
That’s precisely where the FX6 excels, but we also really wanted to use the whole color spectrum of the camera. To ensure that, we ran SDI directly out of the FX6 into the NINJA, with the AtomX SDI accessory so that we could record in Apple ProRes RAW HQ (Sony has since added an HDMI RAW option via a firmware update).

I had three different AtomX 1 TB solid states to record ProRes RAW HQ, and that meant that the editor had all of that detail to fluctuate within the RAW file in post. We used the S-log3 color profile while in CineEI mode. 

I also used a handful of different LUTs to visualize what the finished project was going to look like, but that can always change. Using RAW meant that the editor was able to fully pull out the true detail and color while having zero limitations with the image, none of which we would have been able to achieve without using the NINJA V monitor.

I like the fact that while I’m shooting, I’m also backing up the footage internally as XAVC-I codec files. There’s a big difference between those and the ProRes RAW HQ files, of course—in fact, side by side the difference is dramatic—but it’s good to have and the backup does give you peace of mind even if it isn’t RAW.

Seeing the Final Image
“Jump Seat” was shot using anamorphic lenses which resulted in getting some crazy vignetting and a squeezed image in camera as expected. But the ATOMOS NINJA V monitor allowed us to get the image “de-squeezed” while on set, so I could instantly see what the final image would look like. 

It also helped streamline our wireless set up. We ran a wireless transmitter out of the NINJA via SDI so that the same image that was being captured on the ATOMOS was being fed wirelessly to my AC and the director on separate ATOMOS monitors, which was extremely beneficial.

What do I like about it? Size and brightness. And it’s fast too—especially when using the AtomX branded solid states, there’s no lag. Plus, what you’re seeing in your monitor is what you get. A lot of times when you’re looking at the camera’s viewfinder or another third-party monitor, you have to adjust for certain things; one brand always tends to look green, the color might be a little blue, etc. 

With ATOMOS that just doesn’t happen. The colors are true and the nits are bright. This gives you the needed confidence that what you see on set is exactly what you are going to see later.

All of which explains why I was excited to get my hands on a NINJA V+ at the recent NAB Show! 

Dru Williams is the president and director of photography of 43 Productions LLC and can be reached at dru@43productions.com

For more information on the ATOMOS NINJA V, visit www.atomos.com.

MELBOURNE—Atomos has announced that it is providing a sneak peek of Cloud Studio, a collection of video production services during the 2022 NAB Show in Las Vegas, Nevada. 

Cloud Studio, developed in partnership with Mavis, will launch with two new cloud-based live video production services for sharing and real-time collaboration.  One of them, Atomos Capture to Cloud, uploads files from Atomos network connected devices to cloud-based platforms, including Frame.io (an Adobe Company).  The second, Atomos Stream, uses any Atomos network enabled device to live stream to popular platforms like Facebook Live, Twitch, YouTube, and more. 

To mark the return of the show Mavis has also released a free version of the Mavis Pro Camera for NAB. The app is a powerful 4K video camera for filmmakers and future updates will work seamlessly with the Atomos Cloud Studio. 

Atomos Capture to Cloud is designed to be a powerful, flexible, and immediate way to share clips from a camera with the new Atomos CONNECT or SHOGUN CONNECT devices to remote team members. 

Over the past two years online review and collaboration platforms have become essential services and transformed the relationship between production and post. These cloud services are rapidly growing in popularity and have proven their efficiencies on thousands of productions. By removing the need to manually offload cards during production and wait for rushes to be reviewed, cloud workflows breakdown the traditional divisions that exist between production and post, bringing teams closer. Capture to Cloud adds new dimensions to these systems by allowing more cameras than ever before to be connected to online services and by introducing faster ways to upload footage. 

Atomos Stream is an all-in-one solution that enables any Atomos network-enabled device to deliver a live stream. Whether customers use the new Atomos CONNECT for NINJA V and NINJA V+ or the SHOGUN CONNECT, connecting the device to the destination platform and configuring a stream has never been easier. 

At launch Atomos Stream will include free support to deliver content directly to a single platform including Facebook Live, Twitch, YouTube, and more. Later this year, Atomos aims to release a premium “restreaming” service, via Atomos Cloud Studio to support the delivery to multiple platforms simultaneously. 

At NAB Atomos and Mavis will be providing an exclusive technology preview of Atomos Live Production, a complete, cloud-based control room for live video and remote collaboration. Production for live events and multi-camera shoots has never been this accessible or this easy. With Live Production video creatives will be able to produce a live show, of the highest quality, at a fraction of the cost. The toolset includes a fully-featured video switcher and sound mixer, with video effects and graphics, and talkback.

Live Production can work with any camera, from professional broadcast models, through DSLR and mirrorless, to the Apple iPhone and the system is able to provide timecode sync to all sources in the cloud and on every connected device. 

Using the new Atomos CONNECT or SHOGUN CONNECT devices, camera feeds are streamed to the Live Production system. Utilizing an ultra-low-latency protocol, each stream can be controlled in real-time from a browser, iPad app, or any compatible control panel from anywhere in the world. Once logged into the system crew members can view, direct, produce, mix, and more from any location. The integrated live talkback technology keeps team members connected and allows for an iPhone to be hooked up to ensure team members can communicate directly and easily. Delivery destinations include a dedicated Apple TV app or iOS devices, to make sure everyone can see the production as it goes live.

Atomos and Mavis have also partnered on a commemorative version of Mavis Pro Camera for iOS. The app supports 10-bit, 4K, HDR video capture and a host of professional camera features that will be familiar to every Atomos customer, including waveforms, false color, anamorphic conversion, and frame guides. Pro Camera also supports Atomos AirGlu™ technology which enables direct communication between devices and provides a wireless timecode lock. 

MELBOURNE, Australia—ATOMOS today introduced a new feature expanding the recording options for Sony’s FX6 full-frame Cinema Line camera.

Sony’s latest FX6 firmware release (Version 2.00) makes it possible to record Apple ProRes RAW over HDMI to the NINJA V and NINJA V+, enabling a single camera package to leverage both SDI and HDMI RAW recording options, the company said. 

The addition of RAW out via HDMI on Sony’s FX6 marks a turning point in camera functionality. To this point, the convention has been for compact cameras to output RAW via SDI only. ATOMOS has developed and introduced the ability to record ProRes RAW via HDMI, the company said.

This creates the opportunity for filmmakers to mix and match ProRes RAW recording between different camera setups across Sony’s Cinema Line. The NINJA V and NINJA V+ provide the entry point for Sony’s FX3 and FX6 to use HDMI with resolutions up to 4.2K and up to 60fps, it said.

Until the update, Sony’s FX6 has only been able to record ProRes RAW when combined with the NINJA V/V+ over SDI. This has required customers to invest in the AtomX SDI expansion module for the NINJA V/V+, it said.

The new feature provides a path for filmmakers to make the most of Sony’s Cinema Line Cameras. In practice, anyone recording ProRes RAW over HDMI with the NINJA V/V+ using Sony’s FX3 will find the experience of recording ProRes RAW with the NINJA V/V+ over HDMI on Sony’s FX6 identical. Then introducing SDI connections represents a much smaller step up that in the past, it said.

The HDMI RAW update requires Sony’s FX6 camera to be updated to firmware version v2.00 and AtomOS firmware v10.72 or above.

ProRes RAW over HDMI with the NINJA V/V+ when combined with Sony’s FX3 and FX6 supports 4.2K up to 60fps. The NINJA V+ Pro Kit/ NINJA V+ and SDI module with SDI RAW Activation further extends support for 4K up to 120fps. Those wishing SDI connectivity will need to add the SDI module to the NINJA V/V+, it said.

For RAW support, including HDMI cross conversion, activation of the supplemental RAW license can be completed online using the my.atomos.com portal.

More information is available on the company’s website.

MELBOURNE, Australia—ATOMOS has announced an update to the AtomRemote App for iOS and macOS for NINJA V and NINJA V+ remote control as well as a firmware update that will manage fan speed on the NINJA V and NINJA V+. 

This latest update now works with the AtomX SYNC expansion module to provide remote control features for the NINJA V/V+. It can be used to set LUTs and activate onscreen tools, including focus peaking; as well as operate recording and playback functions, the company said. 

Use cases include the ability to control the NINJA V/V+ remotely with awkward camera positions  as well as having applications for accessibility and compliance around COVID safety protocols, where touching a NINJA V/V+ might not be straightforward. For smaller productions, remote control can also help onscreen talent work with the camera without the need to step out of the frame and reset. 

With the addition of the AtomX SYNC module to the NINJA V/V+ any device running iOS 12 or later or Mac running macOS Catalina (10.15) or later can easily connect via Bluetooth LE directly via the AtomRemote app. Device pairing is saved in the NINJA, which makes connection as simple as launching the app on the device and activating remote mode on the NINJA.

The AtomX SYNC uses long-range RF transmission patented by Timecode Systems and Bluetooth to link multiple devices. On the iPhone and iPad this includes apps like MetaRecorder audio recorder from Apogee, Mavis Pro camera and MovieSlate8 logging. AtomX SYNC is also compatible with professional audio recorders including the Zoom F6 and F8n and the bodypack recorder Zoom F2 BT. 

The AtomX SYNC system works by appointing one NINJA V and NINJA V+ as the “server” device. It's then able to run as a super accurate clock to supply timecode to unlimited AtomX SYNC and Timecode Systems' devices and up to 6 “client” devices over Bluetooth. When using RF technology, devices can be spaced up to 200m apart and with multiple NINJA V/V+ systems, record functionality can be ganged together, which is a perfect solution for multi-cam productions.

The SYNC module contains its own battery, which can be used to power the NINJA V/V+ for approximately 5 minutes. While this isn’t intended to be a backup battery, it does mean operators can swap the main battery without powering down the device.

In addition, the latest system update includes manual controls for the fan. With several adaptive settings, the fan can be set to a low speed when the device is recording. Screen brightness can also be set to dip to extend record times. Turbo fan mode can be activated between takes to enable rapid cooling of the system.

Existing NINJA V and NINJA V+ users can update their firmware to AtomOS 10.72 here.

MELBOURNE, Australia—Atomos has released AtomOS 10.71 firmware for the NINJA V and NINJA V+ monitor-recorder devices, bringing Apple ProRes RAW format video recording to filmmakers using legacy Sony FS series, Canon ES R5 and Panasonic LUMIX BS1H cameras.

The latest release also offers new features for AtomX CAST and compatibility with the NINJA V+, the company said.

The NINJA V+ Pro Kit (or NINJA V+ with the AtomX SDI Unit and SDI RAW activation) now supports the recording of ProRes RAW from the FS5, FS5MKII, FS700 and FS700r with continuous output directly from the sensor up to 2K 240fps, 4K 60fps and 4K 120fps for four-second bursts, it said. (A paid RAW upgrade from Sony is required.)

RAW output at 4K 60fps and 2K up to 240fps can also be added to the Sony FS7 or FS7MKII with the XDCA-FS7 module, it said.

Combining the Canon EOS R5 with the Atomos NINJA V supports recording of up to 5K RAW. The camera’s 45 Megapixel full-frame sensor can deliver 5K images that allow high resolution reframing and stabilization. Working with 8K RAW on the NINJA V+ provides a huge canvas from reframing of 4K crops and increased image fidelity, it said.

Adding the NINJA V or the NINJA V+ to a Panasonic LUMIX BS1H rig allows recordings of 5.9K 30fps, 4.1K 60fps and 3.5K 50fps anamorphic. By uniting the LUMIX BS1H with the NINJA V/V+ filmmakers can be sure the image they see is the image they record, the company said.

The company’s new updates for AtomX CAST offer compatibility with the NINJA V+, picture overlays, Picture-in-Picture (PiP) recording and a dip to black/white transition. Others include support for interlaced inputs, an option for audio delay and bug fixes, Atomos said.

The ability to record a clean program feed or one with TX graphics, PiP and transitions directly to SSD makes the AtomX CAST well-suited for fast turnaround live productions, it added.

Existing NINJA V and NINJA V+ users can click the link to update their firmware.

More information is available on the company’s website. 

MELBOURNE—Atomos and Nextorage have formed a partnership centered on the latest generation of Nextorage AtomX SSDmini, designed specifically to maximize performance and reliability of Atomos recorder devices.

Engineering teams from both companies considered all pertinent details to create a drive that meets the needs of demanding productions, Atomos said.

To fit the compact media slot of the NINJA V and NINJA V+ and the NEON series products, the Nextorage AtomX SSDmini is 20% smaller than conventional 2.5-inch SSDs. With the optional handle, they can be adapted for use with the SUMO 19, NINJA CAST and SHOGUN Studio 2, it said.

The housing is constructed from die-cast aluminum. It is shock resistant (up to 1500G/0.5ms), able to survive extreme temperatures and has been designed to dissipate heat during operational use. The reinforced, durable connector has been insert tested over 3,000 times to ensure that it can stand up to the rigors of daily use on set. For a filmmaker who believes the drive is taking a beating, the Nextorage AtomX SSDmini fully supports SMART data, allowing future AtomOS drive health monitoring, it said.

The firmware of Nextorage AtomX SSDmini also has been tuned to support sustained transfer rates required by modern formats (550MB/s read and 500MB/s write). Available in 500GB and 1TB sizes, the drives have been certified for all of the formats currently supported by Atomos recorders. Those include Apple ProRes RAW HQ 8K at 30fps and 4K at 120fps, which accommodate different file sizes and suit different types of production.

The 500GB SSDmini is priced at $229, and the 1000GB SSDmini has a price of $439. Nextorage provides a three-year warranty for the AtomX SSDmini.

More information is available on the Atomos website.

MELBOURNE, Australia—Atomos has announced the appointment of its chief product officer, Estelle McGechie, as the company’s new CEO.    

Chris Tait, Atomos’ Executive Chair explained that “after Estelle’s appointment as chief product officer in June this year she quickly demonstrated to the board and her peers the ability to deliver on our strategy. Her signature collaborative style and rigorous approach to developing and bringing video technology products and services to market is a great fit for Atomos at this important stage of our strategic roadmap. We are thrilled she has taken on the CEO role and welcome her back home to Australia.”  

Estelle has a long history of working with the team at Atomos dating back to the first Atomos Ninja, the launch of Apple ProRes RAW, and the introduction of Timecode Systems for acquisition. During her time at Atomos Estelle has leveraged her international product development and marketing expertise to evolve the Company’s approach to software and services platforms, a key strategic pillar for Atomos. the company said. 

Estelle’s elevation to CEO will enhance Atomos’ ability to deliver on its growth strategy by expanding further into new verticals with both hardware and software products, the company added. 

Australian-born, Estelle will return to Melbourne with her family after a successful career in the United States with roles at The Walt Disney Company, Apple, and Logitech. 

During her time at Apple Estelle oversaw worldwide product development and marketing of professional video applications such as Final Cut Pro, Motion, and Compressor, in addition to further developing Apple technologies of ProRes and ProRes RAW, XML, FxPlug, and Workflow Extensions. 

Most recently Estelle was vice president of marketing at Frame.io, the cloud-based video collaboration platform, which was acquired by Adobe in August 2021.  

Deputy chair, Stephen Stanley added that “we are delighted that Estelle will be driving our future strategy as her skills align strongly with a fast-paced global video technology company such as ours.  In line with Estelle’s appointment, Chris Tait will revert to the role of Non-Executive Chair. We would like to thank Chris sincerely for his additional efforts over the past 18 months after taking on increased responsibility during the height of the COVID crisis.” 

MELBOURNE—Atomos Limited has announced that former Apple Product Manager in professional video applications, Estelle McGechie has joined the company as its chief product officer, a newly created role.

In her new role at Atomos, McGechie will have responsibility for all Atomos products with a focus on evolving software and services. She will support Atomos founder, Jeromy Young, in execution of his vision and will be based in Silicon Valley, California.

Jeromy Young, Atomos Founder commented, “This is a big day for Atomos, Estelle and I joined forces for the launch of the original Atomos Ninja, the first Apple ProRes and ProRes RAW recording device. Estelle worked on the initial launch of ProRes RAW and ensured our ecosystem was supported within the Apple software suite. She also worked with Atomos to bring 8K ProRes RAW to market. I’m very excited to have Estelle join our team. We have both been at the forefront of the evolution of digital video, and we have more incredible solutions to bring to fruition in the coming years.

Australian-born, McGechie has enjoyed a successful career in the United States with roles at such companies as The Walt Disney Company, Apple, and Logitech. 

During her time at Apple Estelle was employed as a senior manager overseeing worldwide product development and marketing of professional video applications including the management of technologies such as XML, FxPlug, Workflow Extensions, and Apple ProRes and ProRes RAW. Most recently Estelle was vice president of marketing at  Frame.io, a cloud-based video collaboration platform.

During her career, the company noted that Estelle has developed world-class software and services, and managed multiple hardware and software products and teams around the world. She has worked with major broadcasters such as ABC, NBC and CNN, with film companies such as Sony and FOX Studios, as well as many popular Influencers and YouTubers.

MELBOURNE—Atomos has announced its new Shinobi 7 monitor, which has the more expansive screen real estate of a seven-inch screen and the lightweight monitor-only function of the original Atomos Shinobi. 

With a calibrated peak brightness of 2200Nits, the Shinobi 7 can be used in the brightest of environments without the need for a sun hood or for conversion of Log inputs for HDR monitoring, the company reported.

The touch screen of the Shinobi 7 is designed to give users fast access to the most crucial camera features and improve their control of the camera. 

The monitor also supports HDR in the field with 10+ stops of dynamic range in real time from Log/PQ/HLG signals and HDR monitoring features. 

In addition to Log to HDR conversions, users can use custom 3D LUT to feed downstream to other devices or live feeds. They can load up to eight custom LUTs at any time via the SD card slot. 

More information can be found here. 

PORTO, Portugal—I’ve used a lot of Atomos products in multiple productions over the years, from the Ninja Blade to the Ninja Star, the original Shogun, Shogun Inferno and now Ninja V. In fact, it’s difficult to remember a recent project where I haven’t used an Atomos product somewhere on my camera rigs. 

At the time it came on the market, I thought the Ninja Blade was the best solution to improve the file quality from a DSLR. Then I became a heavy user of the original Shogun, using it not only as a way of getting a better file, but as a very practical way of exposing my shots. My light meter is always with me as a backup, but I don’t remember the last time that I’ve used it.

 Nowadays, I use the Ninja V as my main monitor/recorder and I love it.

MY ATOMOS TOOL BELT

The Ninja V is a very practical way to have all the exposure and focus aid tools that I need on set. I use it in tandem with my Shogun Inferno as a director’s monitor (though I soon hope to swap that for the brand-new Shogun 7, which might be a better match to my Ninja V UI). And I still use the original Shogun, which doesn’t seem to be giving up any time soon. 

These are my key tools on set—I not only use the false color feature as my main exposure aid tool, but the waveform and the peaking tools are second to none too. One of the tools that I love the most is the de-squeeze tool and the masks that let me frame for multiple formats. Unfortunately, a lot of cameras haven’t been integrated with this feature, so this way of using the Atomos Ninja V and Shogun Inferno means I can be much more precise. 

For the future, I’d like to see an easier way to add LUTs to the monitor, perhaps via an extra SD card slot—this would make these recorders even more practical on set than they already are. A way to add more user interchangeable battery plates would be great too. But I currently have my eye on the Shogun 7, which I think with 3,000 nits is going to be very useful in the multiple exterior day sets where I shoot. 

Having a very good monitor with which I can show what my vision is to the director is a valuable asset to have on set; it means I can better manage the visual expectations while changing lights and framing to go towards the director’s view of the scene. 

Recently I’ve been shooting more and more for Instagram content and sometimes there is no time to shoot the same shot in multiple formats. In those situations, the integrated masks in the Ninja V help me better frame for them without the need to always repeat the shot. Time is money, after all, and on set this is even more true.

António Morais is a director of photography and university professor. Since the beginning of his academic career, he has been part of several shooting teams in numerous short films, films, documentaries and TV shows as director of photography. He can be reached at antonio@ golpefilmes.com. 

For more information, visit www.atomos.com 

MELBOURNE, Australia—Atomos and Panasonic have worked together to bring Apple ProRes RAW recording to Panasonic’s LUMIX BGH1 and LUMIX S1 cameras. Each camera will be able to record in ProRes RAW when working with Atomos’ Ninja V platform.

The LUMIX BGH1 is a Cinema 4K Box style camera. When combined with the Ninja V, it will record up to 4K DCI ProRes RAW and up to 3.7K anamorphic RAW. The Ninja V and LUMIX BHG1 combination can also work in sync for multicamera productions, facilitated by the LTC and Genlock inputs and complemented by the Atomos UltraSync One wireless sync system.

Panasonic’s LUMIX S1 shares the ProRes RAW features of the LUMIX S1H camera, meaning it will record up to 5.9K ProRes RAW when paired with the Ninja V. There is also support for anamorphic RAW. 

The Ninja V allows users to monitor a RAW signal on its 5-inch 1000nit brightness HDR screen. It can also record ProRes RAW data onto a removable AtomX SSDmini or other SSD drives.

According to Atomos CEO Jeromy Young, the new ProRes RAW supported cameras join previous Panasonic S Series cameras, including the LUMIX S1H and LUMIX S5.

For more information, visit www.atomos.com.  

MELBOURNE, Australia—Atomos has announced the Ninja V Pro Kit, which Atomos has designed as a bridge between compact cinema and mirrorless cameras that can output Apple ProRes RAW via HDMI or SDI, record up to 12-bit RAW externally on Ninja’s onboard SSD and cross convert signals for monitoring and playout/review.

The Ninja V Pro Kit includes the Ninja V, AtomX SDI with activation for the new RAW functionality, HDMI to SDI cross conversion, DC to DTAP cable and AtomX 5-inch Sunhood. With all of this equipment, users can record RAW via SDI from Panasonic, Canon and Sony cameras.

The Pro Kit adds dual 12G SDI connectivity to the Ninja V, expanding its ability to offboard 10-bit 422 recording in edit-ready codecs or as proxy files. In playback mode, the Ninja V provides a lossless signal distribution with 2x 12G SDI and 1x HDMI 2.0 for simultaneous outputs up to 4K p60.

The addition of the AtomX SDI module to Ninja V more than doubles its I/O functionality. HDMI or SDI connections can be cross converted, DCI cropped and 4K to HD down converts for video signals to bridge equipment without the need for additional converters.

The Pro Kit can be powered in studio with the DC power supply, on-set with the DTAP cable or on-the-go with an optional NPF battery or any four cell NPF.

The Ninja V Pro Kit is now available for $949. Users that already have the Ninja V can add the AtomX and other components of the Pro Kit separately.

For more information, visit www.atomos.com.  

MELBOURNE, Australia—Atomos says that its Ninja V 5-inch HDR monitor monitor-recorder can now be combined with Fujifilm’s GFX100S camera to record in Apple ProRes RAW over HDMI. 

The GFX100S is a medium format camera based on Fujifilm’s GFX100 camera. It features a 102MP resolution 43.8x32.9mm BSI CMOS sensor.

When combined with the Ninja V 5-inch 1,000nit HDR brightness display, the GFX100S can record up to 4K30p 12-bit ProRes RAW video. Users can view the GFX100S RAW signal in HDR on the Ninja V, with the ability to access tools that include waveform, magnify or engage peaking. 

It also provides access to the wider Atomos eco-system for on-set HDR and SDR monitoring. A video signal can be output from the Ninja V to the Atomos Sumo19, or Atomos’ line of Neon production monitors, for HDR viewing.

An update to Fujifilm firmware is expected to add support for white balance and ISO. That update is expected in summer 2021.

For more information, visit www.atomos.com.  

LONDON—When the pandemic hit and the world went into lockdown, I had five TV commercials on the books. All were cancelled. My clients are all around the world and suddenly I found myself unable to get to Abu Dhabi or Sydney from where I live outside London. I had to reinvent myself and the way I worked, which is where the Atomos Neon 24-inch came in.

I’ve used Atomos products since the debut of the Canon C200. I’m a huge fan of the Shogun 7, which I consider to be the “Swiss Army knife” of camera-mounted monitors. Whenever something doesn’t connect or something doesn’t talk to something else—and some new cameras can be a pain in that regard—I’ve always managed to take something into the Shogun 7 and then pump it out to everything else. That’s saved us more than once.

So, when it came to speccing out the equipment I was going to need to be able to remotely direct TVCs, Atomos was the first company I thought of.

CONNECTED ACROSS THE WORLD

I now have an Atomos Neon 24 sitting on my desk and have just finished a six-day shoot working nights remotely directing a commercial for a furniture brand that was being shot in Australia. There’s another Neon 24 sitting in the studio over there and that means I can work with the DOP and we know we are looking at exactly the same picture in exactly the same color space every time.

We’re using Teradek to establish a point-to-point network between England and Australia, and we’ve got roughly a 500-millisecond delay from the camera to my Neon here streaming 4K over the 12,000-mile circuit.

We’re coming out of a Canon C500 in SDI, and because we’re shooting on a crane with a gimbal, the DOP is running an Atomos Shogun 7 on the camera and the picture is coming straight out of that into a Neon. We’ve got a patch system with a witness camera and the live camera feed. The team in Australia puts them together or encodes them separately, sends them back here where I decode them and they go straight into the Neon. We’re sending in Rec.709, but we could use 4K HDR if we wanted to.

It also loops into my lounge where I’ve got a second broadcast monitor if I want to sit on the sofa and look at things. I’m also recording all my takes now—I’m able to sit here and watch all the takes back without waiting for things to be uploaded into the cloud, and that has made a big difference.

I’m using Zoom to communicate with the crew and we’ve put a couple of radio mics on set so I can hear what’s going on and talk to people directly. When I’m directing, I usually go off into a closed space anyway, and a couple of times I’ve gone to get up from my desk here to talk to the crew before I’ve realized they are 12,000 miles away.

THE EDITING SETUP

The next step is the color grade. The Australia-based Neon is taken to the client’s office and looped onto a big screen in the boardroom. We color grade in Blackmagic’s DaVinci Resolve from here and have the confidence that the two pictures will match exactly.

In the past, because it was really expensive to have the same monitor at each end, everyone ended up with a different monitor and a different picture. The Neon though makes it work. Clients like it too. I think it’s a workflow I’ll continue post-COVID. 

Brett Danton has worked alongside some of the most iconic brands, including Emirates, Jeep, Canon and Land Rover, for more than 20 years. He has traveled the world working as a director, DOP and photographer. He can be contacted at brett@brettdanton.tv.

For more information, contact Atomos at 503-388-3236 or visit www.atomos.com.

MELBOURNE, Australia—Atomos has announced that its new Neon 17-inch and Neon 24-inch HDR monitor-recorders will begin shipping in November to help address the need for accurate monitoring in production and post-production, the company said.

Both of the Neon models provide accurate and consistent SDR/HDR monitoring, per Atomos, and provide recording functionality for shot review or render free output delivery to Apple ProRes or Avid Dnx at up to 4K DCI 60p. All screens are factory calibrated, but can also be user calibrated with an optional USB calibration cable and Xrite 11 Display Pro Plus.

The Neon 17-inch has an Full-HD 1920x1080 panel with 10-bit display processing, 4K to HD scaling and an option for one-to-one display pixel mapping. The Neon 24-inch features a 4K DCI resolution panel with true 10-bit fidelity and HD/2K to 4K UHD/DCI upscaling. Both displays incorporate Full Array Local Dimming backlight technology for deep blacks at 1000Nits full screen HDR peak brightness. They also offer a180-degree viewing angle and a contrast ratio of 1,000,000:1.

Neon also comes with the AtomHDR engine built-in, allowing the monitors to provide native accurate color with DCI-P3 coverage with Wide Color Gamuts. 

Neon’s Master Control Unit supports HDMI 2.0 for both in and loop out, enabling video input at 4096x2160 4K DCI at up to 60p. The MCU firmware enables the upload and storage of up to 8X 3D LUTs in its internal memory, as well as a second level of connectivity via an Xpansion port.

For recording and playback, Neon can support up to 4K DCI 60p via 12G or Dual 6G of SDI; HDMI signals up to 4K60p or HD 120fps; and has the ability to capture 10-bit 422 recordings in Apple ProRes.

Additional features include a built-in LE Bluetooth for remote operation through the AtomRemote OS app, and broadcast frame guides with the option of EBU R5 graphic and action safe areas.

For more information, visit www.atomos.com.  

MELBOURNE, Australia—Atomos and Panasonic have announced they have teamed to bring 5.9K full-frame Apple ProRes RAW recording to Panasonic’s Lumix S5 full-frame mirrorless camera when paired with Atomos’ Ninja V HDR monitor-recorder. This update gives the combo of the Lumix S5 and Ninja V the ability to record up to 5.9Kp30, 4Kp60 and 3Kp50.

Ninja V is able to monitor a RAW signal on its 5-inch 1000nit brightness HDR screen. Users can view the RAW image in HDR in a choice of HLG and PQ (HDR10) formats. There is also touchscreen access to tools like waveform, 1-1 magnification and focus peaking. The Apple ProRes RAW data is recorded onto a removable AtomX SSDmini or other SSD drive.

When working with Ninja V, the Lumix S5 camera can be used for handheld, shoulder-mounted, gimbal, Steadicam and in-vehicle production. The combination can also accommodate a 3.5K Super35Anamorphic 4:3 RAW mode lens.

These new features will be activated by a firmware update for the Lumix S5 and Ninja V by the end of November.

For more information, visit www.atomos.com.  

NEW HAVEN, Conn.—When I started out shooting action cinematography—a category that has exploded in recent years—I would go with whatever I could carry in a backpack because I was simply creating my own social media content.

After forming my own production company, Vision Aerial Media, the work quickly evolved into more complex and elaborate shoots. I can’t tell you how many things I’ve strapped myself into this year, filming off the back of an ATV or out of a helicopter with no doors. That one backpack has quickly turned into a van full of multiple camera systems, plus gimbals, drones and any other motion-related gear. It also usually includes more than one Atomos monitor or recorder.

DON’T LEAVE HOME WITHOUT IT

Since my project requirements vary from week to week, I rely on the entire Atomos ecosystem, which includes 7- and 5-inch monitors, so I can select one that suits each job. If I’m shooting in tight quarters, working fast or need a lower profile, I’ll use the 5-inch. If I’m locked down or I need to do critical image evaluation, I’ll use a 7-inch to frame my shot and make sure I really nail it.

With my varying camera setups, Atomos monitors give me a consistent base point. I can load in the same custom LUTs I use in editing and have those on set. I know if it looks good on the Atomos monitor, then it’s going to look good when I get back to the editing suite. There are no surprises like “We’re actually one or two stops overexposed here when we really should have been there.” That consistency is big for me.

I also like the flexibility of using a recorder for better bit depths or a monitor-only version for exposure, critical focus and framing.

ADAPTING TO THE SITUATION

We were recently out capturing drift cars in the blazing sun. I was recording in ProRES RAW, which I love to work with because of the highlight recovery. The challenge was to get the exposure right without crushing any of the blacks. A car’s undercarriage might have sway bars or other cool parts the owners have installed. Car guys want to see those details, so you need to make sure you’re not putting too much contrast into your initial image.

I love using Atomos monitors on fast-action projects like this where framing and focus come even before nailing your exposure. A car may come into frame quickly and you don’t get to say, “Hold for focus and get your marks.” You have to make a decision before you hit “roll.”

On other shoots, I’ll use my 5-inch SDI Shinobi monitor. It’s super compact and runs all day on a tiny battery, but I know I can trust it for making critical decisions on false colors, zebras or focus peaking. For studio shoots or agency work with a client on-site, I’ll use the Sumo 19-inch as a dedicated client playback monitor and as a recording device capturing wireless camera signals. Plus, it’s touchscreen, so clients like using the “thumbs up or down” tags when approving shots.

In the field or studio, Atomos helps speed up my workflow and gives me peace of mind because I know I’m getting all the shots I can’t afford to miss.

Mike Steidley built a name for himself in the extreme sports world claiming 13 National Mountain Bike Stunt Championship Titles. He also operates Vision Aerial Media, a full-service video and digital content production company, ranging from action sports to corporate and commercial advertising projects. He can be contacted at visionaerialmedia@gmail.com.

For more information, visit www.atomos.com.

MELBOURNE, Australia—Atomos has updated its Ninja V HDR monitor-recorder to now allow for Apple ProRes RAW recording over HDMI when used with the Sigma fp mirrorless camera. 

This combination of the Ninja V and Sigma fp allows for RAW recording at 4K DCI p24 or 4K UHD up to p30, as well as the ability to record RAW over HDMI video in HD at 120 fps, per Atomos. Footage can be finished for either HDR or SDR.

“With Sigma joining the Atomos RAW over HDMI family, we now have an exciting option for filmmakers to shoot Apple ProRes RAW with a tiny full-frame camera that also excels in 120 fps high frame rate shooting,” said Jeromy Young, Atomos CEO.

Sigma fp, when paired with Ninja V, can be built into a fully rigged cinema-style camera with  the option to use a range of L-mount lenses natively, or PL mount, EF mount and other lenses via the use of adapters. The Ninja V’s 5-inch 1000nit HDR brightness display enables users to view the Sigma fp RAW signal in HDR with either HLG and PQ (HDR10) formats. The monitor also offers touchscreen access to 1-1 magnification and peaking for accurate focus, plus waveform, vectorscope and false color.

Ninja V can also record 422 ProRes and DNx video up to 4Kp29.94 and 120p119.98 from the standard 8-bit HDMI output of the Sigma fp. ProRes RAW or standard video files are recorded to AtomX SSDmini SATA drives in the Ninja V.

The necessary upgrades to achieve RAW recording—Sigma v2.01 firmware and the AtomOS 10.53—are now available for free.

For more information, visit www.atomos.com.  

MELBOURNE, Australia—Atomos has announced that RAW recording up to 4Kp60 can now be done via HDMI from Sony’s Alpha 7S III (ILCE-7SM3) full-frame mirrorless camera to the Ninja V HDR monitor-recorder.

This is achieved through the Alpha 7S III’s CMOS image sensor and the Ninja V’s ability to record its full dynamic range in Apple ProRes RAW. The images are recorded directly to AtomX SSDmini or other compatible SSD drives for transferring to editing systems.

With the Alpha and Ninja combination, ProRes RAW video can be recorded as long as there is space on the SSD, bypassing internal record time limitations. RAW video can also be captured on the Ninja V at the same time as compressed video is recorded internally to the memory card on the Alpha 7S III.

Additional features, per Atomos, include the option to record RAW footage in dim conditions; the ability to capture 16-bit linear RAW output as 12-bit ProRes RAW at up to 4Kp60; Ninja V being able to record Alpha 7S III’s 10-bit 422 HDMI video output as 10-bit 422 Log or Rec.709 video at up to 4Kp60 into production ready ProRes or DNx codecs; and the use of the 5-inch 1000nit HDR high brightness display of the Ninja V for viewing Alpha 7S III RAW signal in HDR  in a choice of HLG and PQ formats or view natively in Sony’s S-Log profile.

Ninja V supports ProRes RAW and the higher bandwidth, less compressed ProRes RAW HQ.

“Sony’s engineers have delivered an amazing quality RAW over HDMI output to the Ninja V that will open up countless creative opportunities,” said Jeromy Young, Atomos CEO. “The detail, dynamic range and especially low light performance is outstanding in RAW. The stable operation and long RAW record times that the Ninja V brings to the Alpha 7S III make it a brilliant tool for almost any production.”

Ninja V users will receive a free AtomOS update to enable RAW recording over HDMI from the Alpha 7S III in September.

For more information, visit www.atomos.com.  

MELBOURNE, Australia—Atomos is releasing a free firmware update to its Ninja V monitor recorder. AtomOS 10.51 Ninja V provides updates and refinements to the user interface, as well as providing Z Cam E2 series extended camera control via the Ninja V touchscreen, per Atomos.

With the new firmware, Z Cam E2 and Ninja V users can bring up the Z Cam menu display from the Ninja V touchscreen via the camera control menu; navigate the camera menu with Menu, Arrow and Enter keys directly via the Ninja V touchscreen and on-camera; and access a new function in the Ninja V record menu to force menus to remain active in cases where recording menu and display information is required.

Support has also been added to AtomHDR engine for Z Cam Zlog2 Gamma for recording video output for recording in Apple ProRes or Avid Dnx.

The free AtomOS 10.51 firmware update is available at www.atomos.com.  

TOKYO—Following Atomos’ purchase of Timecode Systems in October, the upcoming Inter BEE exhibition in Japan will be one of the first showings of the two sides integrated technologies.

Part of the presentation will showcase the new AtomoX SYNC accessory for the Ninja V that allows it to be fully integrated with Timecode Systems sync power. This adds wireless sync and remote device control to Ninja V. By attaching the module, the connected camera can lock into a frame-accurate sync with other Ninja Vs, as well as other sound and video devices and compatible camera apps using Timecode Systems products.

The company also has plans to show its Asynchronous switching technology on Sumo19, according to Jeromy Young, Atomos CEO and founder.

Inter BEE 2019 begins today, Nov. 13, and runs through Nov. 15. Atomos’ booth is located in Hall 8, #7520.

WORCESTER, England—Timecode Systems now falls under the Atomos banner with the news of Atomos’ acquisition of the wireless sync technology developer. A key part of this new partnership will be the development of integrated multicamera workflows of on-set recording devices.

Atomos founder and CEO Jeromy Young believes that Timecode Systems’ RF protocol will be the “bulletproof link” to help solve the disconnect between recording devices they see holding back multicamera content creation. “To truly shoot collaboratively, everything needs to work in perfect, frame-accurate sync—there has to be a robust wireless connection,” said Young.

The Timecode Systems wireless sync standard will now be featured across new editions of Atomos’ entire product range, as well as be packaged as a free SDK for third-party manufacturers. Among the first Atomos products to integrate Timecode Systems technology will be the AtomX Sync module for the Ninja V and the Neon series of monitors.

“Both companies have a history of executing successful collaborations with best-of-breed technology partners; this just takes it to a whole new level,” said Paul Scurrell, CEO and co-founder of Timecode Systems. “The impact is going be industry-changing.”

MELBOURNE, Australia—In a collaborative effort with Panasonic, Atomos has announced the development of RAW over HDMI to be transmitted from the Lumix S1H camera to the Atomos Ninja V 4K HDR monitor-recorder.

Atomos’ screen technology now allows creators to accurately monitor RAW video in real time, according to Jeromy Young, Atomos CEO. Young says the combination of the Lumix model and the Ninja V “create a dream workflow” for content creators.

The RAW update will be available for free on the Ninja V when released by Panasonic.

Atomos will highlight the capabilities of the two products’ combination at IBC 2019, Sept. 13-17 in Amsterdam, at its stand 11.D25.

NEWARK, N.J.—Director of Photography Joe Callahan has completed principal photography on a feature-length documentary on wildlife rescue and rehabilitation in India.

Using a Panasonic AU-EVA1 5.7 cinema camera, Callahan did most of the shooting in jungles, deserts and cities like Jodhpur, Delhi and Agra. The documentary profiles the work of Wildlife SOS, a worldwide organization dedicated to preserving India’s natural heritage, forest and wildlife.

“The EVA1 proved itself to be insanely reliable,” Callahan said. “India beat the hell out of the cameras: We shot 12 hours a day in 120 degree heat. There was constant ash in the air, to the extent that we couldn’t see any blue sky.”

The heat was so intense that at one point a metal plate on the build-out burned Callahan’s face. But despite the temperature, there were no camera failures, he added.

From the outset, Callahan understood shooting the documentary –which has a working title of “Where the Wild Things Aren’t”—would be “incredibly taxing,” he said. “What I look for in a camera is reliability, usability and image quality. The EVA1 is one of the top cameras I’ve ever evaluated in terms of color science and dynamic range, and I chose it over much more expensive options.”

Callahan shot in 4K and recorded ProRes HQ externally on an Atomos Shogun Inferno and used the EVA1’s SD cards as an internal backup. Lenses included Tamron 24-70 and 70-200 G2 zooms, as well as a set of primes.

Typically, the DP shot at ISO800, but occasionally used ISO2500, which allowed Callahan to use smaller LED lights, saving money.

The DP praised the versatile form factor of the camera, which he could rig up on car rigs and gimbals in India or break down quickly for handheld work to get shots while tracking tiger poachers.

While Callahan purchased the EVA1 cameras specifically for the wildlife project, he has used them subsequently on a number of commercials, including spots for GEICO, Alfa Romeo, Tide, Black & Decker, LensCrafters and Alaska Airlines.

"The EVA1 is beautifully complemented by vintage lenses, and I’ve used a range of them—Leica Rs, Super-Takumar and older Zeiss models, for instance,” he noted. “The images consistently look great,” he said.

Examples of Callahan’s EVA1 work are available online. More information on Wildlife SOS is available on the organization’s website and additional information on the Au-EVA1 is available on the Panasonic website. 

MELBOURNE, AUSTRALIA—Atomos is adding additional HDR support with a new, free firmware update for its Shogun Inferno and Ninja Inferno 4K monitor/recorders. AtomOS 8.4 offers features to capture and deliver HDR, as well as brings 2K 240fps Raw-to-ProRes and 4K 12-bit CDNG Raw recording to the Panasonic Varicam LT.

With this new update, the Hybrid Log-Gamma HDR output of cameras can now be recorded directly to the Inferno series recorders with the correct metadata flags embedded into the Apple ProRes or Avid DNxHR .MOV files. These HLG clips can be natively edited in NLEs that support HLG, or upload directly to YouTube HDR in HLG to be played back on SDR TV. The HDR info frames detected on HDMI input can be used to automatically set the gamut and gamma of Shogun or Ninja Inferno’s display. The HDMI output will also transmit the correct HDR info on loop out to other devices downstream. There is also an option to convert regular camera Log inputs to display in HDR using either PQ or HLG, with a choice of output color gamut.

Additional enhancements for the Shogun Inferno and Ninja Inferno with the new firmware include updated support of the IPP2 pipeline for users of the RED DSCM2 cameras; Inferno monitor/recorders can now be set to display the output of the camera or footage shot using the Log3G10 curve with REDWideGamutRGB. There is also analog audio embedding supported on loop through, as well as audio support for Nikon cameras. Support for 2TB drives for extra-long recording times for 2K/4K high frames and CDNG Raw workflow has also been included.

The AtomOS 8.4 firmware is now available for download on the Atomos website.

MELBOURNE, AUSTRALIA—Atomos plans for its recently released HDR 4Kp60 10-bit 422 Ninja Inferno monitor recorder to become a dynamic duo with the Panasonic GH5 camera.

The new Ninja Inferno system brings 10-bit color resolution, 4:2:2 color accuracy, high frame rate 4K 60p video resolution and HDR brightness to the GH5. The new Atomos system also serves as an HDMI monitor recorder to accept 4K DCI signals from a range of cameras. Support for the 4096 DCI standard unlocks cinema recording from 4K video and mirrorless DSLRs.

The Ninja Infero features a 1920x1200 resolution LCD panel and AtomHDR engine, which adds 10-bit processing in highlights and equivalent 10+ bit resolution in blacks. When the AtomHDR engine is combined with the Atomos-built backlight up to 1500nits can be utilized for High Bright Rec709 or HDR PQ/HLG at 10+ stops. It also comes with a balanced XLR input and 48V Phantom Power for audio. Additional features include a 7-inch wide angle calibrated screen, playback controls, playlist and XML tagging, and post-production capabilities like dropping recorded files directly into NLE editing and graphic software and the ability to accept HDR signals.

Atomos is now shipping the Ninja Inferno for $995.

LAS VEGAS—Australian-based Atomos has announced the creation of its Shogun Inferno monitor recorder. The new unit features 1500nit/10bit/HDR monitor technologies, 4Kp60 over Quad-SDI recording capability, playback and editing functionality. The company says that the Inferno is the flagship model in its Atomos HDR line-up, which also includes Blade HD series, Ninja Assassin, Shogun and Shogun Studio, and Flames series.

Shogun Inferno

The Shogun Inferno comes with monitoring features that were previously announced with the Shogun Flame, including 10 stops of dynamic range with AtomHDR, 1500nit brightness, and 10-bit processing for color transitions. New elements for the Inferno include 4K 60p and HD 240p ProRes and DNxHR recording from either a video or Raw signal; Raw to Raw CDNG recording up to 4K DCI/UHD 30p or 2K/HD 120p; Quad SDI connections to input from cameras with 1.5/3/6/12G SDI outputs without converters; PQ (ST-2084) input and PQ (ST-2084) output.

Atomos has also revealed a new range of HDMI cables and an update to the Flame series with AtomOS7.1. The AtomFLEX range of 4K60p HDMI 2.0 coiled cable management is a group of six cables or various lengths that will be available in July. The AtomOS7.1 for Flame users adds PQ input and output for HDR functionality and the addition of new Waveform guidelines; it will be available in May and downloadable for free for current Flame users.

On the business side, Atomos and X-Rite have announced a partnership that aims to deliver professional color calibration to Atomos monitor-recorders.

Atomos will showcase all of its latest announcements at its booth, C8925, during the 2016 NAB Show.