Atomos is a brand we know primarily for producing some of the best on-camera monitors, but it's now seeking to expand into desktop monitors, used for post production and video editing. To that end it has acquired Flanders Scientific (FSI). Flanders produces reference monitors for professional video production companies, and therefore occupies a different market sector to the consumer-orientated monitors from the likes of Dell and BenQ which we usually feature on Digital Camera World. Atomos's aim is to have a foothold in every aspect of video monitoring, from initial capture with its Shinobi and Ninja on-camera monitors and recorders, through its rack-mounted Shogun AV monitors used for broadcasting and corporate workflows, and now into post production and final delivery courtesy of FSI reference displays.

Atomos's decision to purchase FSI in particular is said to be on account of Flanders' highly respected position within the reference monitor sector. According to Atomos, "reference grade monitoring is not simply defined by higher performance, but by industry validation and trust". Atomos states that FSI screens are already approved by postproduction houses and major content studios due to their exacting standards and accurate performance. This kind of trust takes years to develop, but Atomos is able to skip this lengthy brand-building by purchasing an established, reputable company.

As it stands, Flanders will continue to operate as its own brand, but now under Atomos ownership. Atomos asserts that "there will be no change to [Flanders'] product philosophy, engineering approach, or the high standards that professionals rely on. Customers can expect continued delivery of the same trusted accuracy, consistency and performance that defines FSI".

Check out our guide to the best monitors for video editing

Atomos has announced its latest on-camera monitor: Ninja RAW. Aimed at anyone from amateur enthusiasts to professional videographers, this new 5.2-inch Full HD monitor features a bright 1500-nit HDR touchscreen display that provides information like focus peaking, zebras, false color and wave forms, plus it’ll let you apply framing guides and grid markers. The Ninja RAW also has an on-screen scroll wheel for adjusting camera functions like ISO sensitivity, shutter speed and aperture.

But where the Ninja RAW really makes a case for itself is its ability to record footage directly from camera via HDMI. This enables you to bypass in-camera compression, as well as limitations on resolution and bit-depth, with the device able to capture 6K video up to 30fps, 4K up to 60fps, or 1080p up to 120fps.

The Ninja RAW has its own CFexpress Type B card slot for on-board recording, or there two USB-C ports that allow you to use a fast portable SSD for alternative storage, and they'll let you connect accessories like a network adaptor, or monitor calibration probe. A third USB-C port can be used to supply the monitor with external power, either from an AC outlet, or a USB-C power bank. Alternatively, there's also a mounting point for an NP-F battery pack.

ProRes RAW, ProRes RAW HQ, ProRes LT, 422 & 422 HQ recording formats are supported, and the monitor is compatible with various editing programs, including DaVinci Resolve, Adobe Premiere Pro, Apple Final Cut Pro and Avid Media Composer.

Included with the monitor is a 45cm USB-C locking cable, USB-C locking cable adaptor, and an HDMI locking cable adaptor. The Atomos Ninja RAW is available to buy now, priced at USD $699 / £718 / AUD $999

US: Pre-order now from B&H
UK: Buy now from WEX

I’ve been using a video monitor for capturing video and when shooting macro photography for some time, and although I use a budget model, it has been a game-changer. The Atomos Shinobi Go is a budget Atomos monitor aimed at content creators and photographers. And it is, if I’m honest, better than my own monitor in some ways, for only a small amount more. The major difference is the lack of accessories that come with the Shinobi Go.

That said, an Atomos monitor that costs just $249 / £259 means you can enjoy excellent quality on a budget. This makes it one of the best on-camera monitors available at the entry-level end since it’s a slightly cut-down version of the Shinobi II. Just factor in that you’ll also need to buy batteries, a monitor mount and an HDMI cable since these aren’t included.

The Shinobi Go is just a monitor and doesn’t record Raw video, but that’s why it’s aimed at content creators and photographers rather than professional videographers. Although it’s perfectly adequate for professional use if you capture video to your camera memory card.

This is a compact and lightweight 5.3-inch monitor with a bright 1500nit touchscreen display offering HDR functionality. It’s easy to use and offers a range of tools to help you achieve sharp and well-exposed shots, whether you’re capturing photos or videos of other people, or it also helps with composition when you’re filming yourself.

Atomos Shinobi Go: Specifications

Atomos Shinobi Go: Price

The Atomos Shinobi Go was announced and released in March 2025. It’s the slightly more pared-back slim photography and video monitor when put up against the professional Atomos Shinobi II and the Go II. The Go is aimed at vloggers and content creators, while the Go II has a handful of more advanced and professional features up its sleeve.

As such, the Shinobi Go costs $249 / £259, while the Shinobi Go II costs $349 / £349. This is a reasonable price for a monitor of this quality and light weight, when compared to the competition. However, it’s fair to say that Atomos has skimped on useful accessories, which have to be purchased separately, namely a battery, a monitor hood for shooting in bright conditions and a coldshoe monitor mount. The cost of these has to be considered, especially when some competitors include all three as standard.

Atomos Shinobi Go: Design & Handling

The Shinobi Go looks identical to the higher-end Atomos Shinobi II, and is the same size and weight. The main difference between the two models is functionality. The Shinobi Go weighs just 7.4oz / 210g with svelt dimensions of 5.94x3.60x0.82in / 151x91.5x20.8mm. So, despite being home to a 5.2-inch capacitive IPS touchscreen, it certainly won’t weigh heavily on your camera hotshoe or add excessive weight to a video rig.

The build quality is excellent, and the body is made of robust ABS polycarbonate plastic. The screen is nice and bright, with a maximum brightness of 1500 nits. Yes, you can view the screen in bright light, but a monitor hood would make it even easier and more comfortable to view the screen in bright conditions since it’s not immune to glare.

The front of the monitor is minimalist with no controls, just the touchscreen, white ports and a power button can be found along the two shorter edges of the monitor. On the back, you’ll find a locking battery slot that's compatible with NPF-type / L-type batteries, and there’s a vent for the passive cooling system rather than a fan for cooling, which maintains silent operation.

Controls and ports include the power button and SD card, with the latter being only for firmware and LUT installation of up to eight LUTs in .cube format in 17 and 33 points. On the other side, there's a 3.5mm headphone jack for sound monitoring and a remote port. There's one 1/4-inch thread with anti-rotational points for mounting the monitor on the bottom, with compatibility for a variety of monitor mounts with dual, left or right anti-rotational pins.

Power can also be delivered via the USB-C / PD port on the back of the monitor using a power bank, and if using a battery, power can be delivered to your camera using this port and a USB-C cable. I’m not sure how useful this will be in reality because you may need all the power you can get for the monitor while having multiple camera batteries to cover your needs. I guess it may be useful in a power emergency close to the end of a shoot.

The user interface is fairly easy to navigate, and there are video tutorials available to help you get to grips with setup and features if you’re not familiar with what video monitors have to offer. Battery life depends entirely on the capacity of the batteries you’re using, and Atomos claims that the near-identical Shinobi II can last a full day using a single Atomos NP-F750. I was using lower-capacity Viltrox batteries during testing, and these lasted commendably, so the Go does appear to have a low power draw.

Atomos Shinobi Go: Performance

The Shinobi Go is a solid performer despite being Atomos’ entry-level model. The resolution of the screen is 1080p, but it can handle up to 4K 30fps input with HDR/HLG/PQ Support. 1080p can be monitored up to 60fps. Footage can be viewed in 8 or 10-bit flat if you’re shooting in a Log or standard color profile, or you can install a LUT to show a view that’s closer to a neutral or creative color grade when capturing in Log. One point to note here is that since this is an entry-level monitor, there’s no anamorphic desqueeze feature.

As well as simply providing a larger screen, video monitors also come packed with tools and guides to make it easier to capture video successfully; the Shinobi Go is no exception in this regard, with plenty of tools at your fingertips. These include both shooting frame guides and a variety of scopes.

Shooting guides available include the rule-of-thirds grid and framing guides to aid with composition when outputting to social media or cine aspect ratios other than 16:9 landscape format. Cinematic and social media aspect ratios ranging from 2.41 and 2.35 to 16:9, 9:16, 4:5, 1:1 and more are available.

Then there are exposure and focusing guides available, which include waveform, histogram, vectorscope, false colour and focus peaking. These can be used for both photography and video, and once you get used to them, they become increasingly valuable and, indeed, useful when shooting both ways.

Unlike the Shinobi II, there’s no camera control available via the monitor. This can be a useful feature because it means you can do most things with the monitor, but at the same time, using your camera’s direct access controls isn’t a problem, and when navigating the camera menu, you can enjoy a larger view on the monitor.

I’ve briefly mentioned the lack of accessories a few times, and it is frustrating that the Shinobi Go doesn’t come with an HDMI cable, a monitor mount or even a sun shade/hood. You can, of course, purchase all of these separately but the Atomos options do drive up the overall cost of the monitor. Atomos might argue that it allows individuals the opportunity to decide what they need if they already own some of these accessories, but I would like to see at least a cable and mount included.

Atomos Shinobi Go: Verdict

The Atomos Shinobi Go is an entry-level Atomos monitor that does everything some content creators, videographers and photographers will need, and possibly even some professional videographers. It’s bright, clear and well priced considering how well made and how thin and lightweight it is. Accessories are minimal, which does drive up cost, but for a basic monitor from an industry leader, it’s not bad at all.

The main thing about this monitor is that it does exactly what you’d hope, which is that it makes it easier to compose photos and videos, and to manually focus with ease while achieving a correct exposure using the built-in tools such as the waveform, histogram, vectorscope, false colour and focus peaking. It’s certainly not the best video monitor available, but it’s a fantastic budget option.

Alternatives

Atomos has launched a new professional-grade on-camera monitor with RAW recording capability: Ninja TX GO. The 5-inch touchscreen display is capable of HDR and a 1500-nit max brightness, and is able to display professional tools like waveform, vectorscope, and focus peaking, facilitating complete control over framing, exposure, and color accuracy on-set.

Read more: the best on-camera monitors right now

But the Ninja TX GO isn't just a monitor: it can also record video at up to 6K 30p RAW over HDMI, either to a CFexpress Type B card, or external USB-C SSD storage. Supported codecs include Apple ProRes, ProRes RAW, Avid DNx, and H.265/H.264.

Where the TX GO improves on previous Ninja models is its integrated camera control. This allows direct adjustment of exposure settings such as aperture, shutter speed, and ISO. Supported cameras brands include Canon, Fujifilm, Nikon, Panasonic, Sony, Z CAM and others.

Ninja TX GO also packs built-in Wi-Fi, enabling effortless video transfer to cloud services like Frame.io and Dropbox, or the ability to live stream via NDI 6/HX3. Atomos includes 20GB of free ATOMOSphere cloud storage, enabling direct upload to ATOMOSphere.

Power is supplied by USB-C, an NP-F battery, or an AC adaptor, and the monitor connects to your camera via a robust locking cable system for HDMI and USB-C connections, ensuring reliability whatever the production demands.

The Atomos Ninja TX GO is available now, priced at USD $799 / £718 / AUD $1,319

For filmmakers and content creators who demand a professional-grade external camera monitor-recorder that can keep pace with modern workflows, Atomos has just unveiled a new top contender – the Ninja TX.

This next-generation 5-inch on-camera monitor has been built from the ground up, delivering the performance of the company’s flagship Shogun Ultra in a smaller, more portable form factor while combining 12G-SDI and HDMI 2.0 connectivity, high-speed CFexpress recording, and seamless cloud integration.

The Ninja TX is designed for professionals who require versatility on set. Its dual SDI and HDMI inputs and outputs ensure compatibility with virtually any camera system, while built-in Wi-Fi 6E and AirGlu timecode sync enable effortless integration with multi-camera setups and camera-to-cloud workflows. For live streaming or remote collaboration, the device also includes NDI 6/HX3 support, enabling content to be shared remotely in real time.

Speed and flexibility are central to the Ninja TX’s design. CFexpress Type B cards facilitate high-bitrate recording of RAW video, up to 8K at 30fps, 4K at 60fps, and HD at 120fps, while USB-C recording provides options for extended or fast-turnaround shoots. Dual USB-C ports enable simultaneous connection of external drives, accessories, or calibration tools. And to improve reliability in demanding environments, Atomos has developed a rugged cable-locking system for HDMI and USB-C, with a USB-C locking cable included in the box.

At the core of the Ninja TX is the all-new AtomOS, a Linux-based operating system designed for speed, stability, and ease of use. Firmware updates are delivered wirelessly over the air, and the user interface is streamlined to give creators quick access to key tools. All major codecs, such as Apple ProRes, ProRes RAW, Avid DNx, and H.265/H.264, are pre-activated for immediate recording in the format best suited to each project.

The monitoring performance has also been significantly upgraded. The 5-inch touchscreen offers 1500 nits of brightness, a 50% increase over previous Ninja models, ensuring visibility even in bright outdoor conditions. Advanced monitoring tools such as EL Zone false color, waveform, vectorscope, RGB parade, and focus peaking give filmmakers precise control over exposure, color, and focus on set, reducing the risk of surprises in post-production.

"This is the most advanced and capable Ninja we’ve ever built," said Peter Barber, Atomos CEO. "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."

"I’m incredibly proud of the Atomos engineering team for achieving what many would’ve thought impossible: fitting 12G-SDI, HDMI, Wi-Fi, Bluetooth, and timecode sync via AirGlu into such a compact and lightweight design to create a highly portable, run-and-gun, monitor-recorder," added Barber.

"Atomos invented this category, and Ninja TX takes us even further ahead. Its size and versatility make it ideal for any professional camera rig. This is going to be a must-have for filmmakers everywhere. Ninja TX is the new production standard. No other monitor-recorder comes close."

With its redesigned cooling system for quieter operation, rugged build, and unmatched versatility, the Ninja TX is positioned as a premium tool for modern filmmaking. It will be available at the end of August 2025, priced at $999 / £835 / AU$1,625.

Above: A video by B&H on the new Atomos Ninja TX

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I’ve always admired Atomos for the way it thinks about creators, not just in terms of specs, but in real-world usability. The brand is renowned for creating user-friendly yet powerful on-camera monitors, but now, the company is stepping into new territory with the StudioSonic Shotgun Mic, a broadcast-grade microphone.

For those of us who work in smaller, mobile setups such as documentary filmmakers, YouTubers, and on-location content creators, it’s a compelling new tool.

The StudioSonic is a professional-grade shotgun mic designed for both wireless and wired workflows. It can operate over 2.4GHz wireless or plug directly into gear via USB-C, using Atomos’ locking connector for a secure fit.

That makes it a natural companion for devices like the Ninja V, Shogun 7, and Shinobi, but also a solid match for cameras, recorders, and computers across the board. Compact, lightweight, and rugged with a shielded all-metal body, it feels made for the kind of fieldwork many of us do every day.

As someone developing a documentary project, I’m always looking for kit that can adapt as quickly as I need to. Whether I’m filming an interview in a windswept car park or grabbing sound while walking through a crowded market, the StudioSonic looks like it could slide into my workflow without missing a beat.

It offers broadcast-quality 48kHz/24-bit audio from a super-cardioid condenser capsule, with manual gain control, low-cut filters at 75Hz and 150Hz, a high-frequency boost for clarity, and a real-time OLED display for gain levels, filter modes, and battery status. It’s all about staying dialed in without being distracted by fiddly settings.

Battery life is strong too, with up to 7 or 8 hours when wireless, and an impressive 50 hours in wired mode. That kind of longevity matters when you’re working long days in unpredictable environments. It also means I could easily run this into my computer for podcasting or voiceover work, without worrying about charging mid-session.

The release of StudioSonic continues a noticeable shift in Atomos’ ecosystem. Following the launch of their new monitoring headphones and the Atomos PTZ camera, this new mic shows the company isn’t content to stay confined to video monitoring. It’s building out a full creative toolkit that matches the needs of modern hybrid shooters and storytellers.

The StudioSonic Shotgun Mic is available to pre-order now, with shipping set for mid-July 2025. It’s priced at $249, which works out to around £195 or AU$375 excluding local taxes.

For anyone looking to elevate their audio without adding complexity, it’s an exciting development. Personally, I can’t wait to see how it performs with my setup. It might just be the missing link in my run-and-gun doc rig.

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Check out our guides to the best wireless microphones and the best shotgun microphones.

Think Atomos and you’ll think, external camera monitors, so you can imagine my surprise when I learned that the Melbourne-based outfit had launched a pair of headphones at NAB.

That’s right, the Atomos StudioSonic is a pair of wired, pro-grade, closed-back, over-ear headphones, designed for content creators, sound engineers, studio professionals, and DJs. Whether you’re capturing on-set dialogue, editing audio for your videos, or producing a master, Atomos says: “StudioSonic delivers true-to-source audio precision—so you can hear every detail exactly as it was meant to be heard.”

These contenders for the best headphones for video editing boast 50mm high-resolution drivers, and a frequency response of 10Hz–40kHz – bearing in mind that most consumer headphones produce the standard audible range of 20Hz–20kHz.

The over-ear, closed-back design allows for passive noise cancelling, and while it might seem like an oversight in 2025 not to implement active noise cancellation, professional audiophiles are more likely to opt for passive noise cancelling – or open-backed designs – over active noise cancelling in a bid to achieve the truest sound quality.

Furthermore, active noise cancelling would require charging, another obstacle for professional use, so it’s nice to see that Atomos has gone for a wired design, via a detachable two-meter coiled cable. You also get dual 3.5mm and 6.3mm jack plugs and you don’t need to plug into an external amp, boosting the appeal for on-the-go creatives.

These headphones max out at 105dB – so they get loud – and have a 30-ohm impedance, making them suitable for use with a wide range of devices. Oh, and if you’re a DJ type that likes to monitor in one ear, the cups swivel up to 180 degrees.

The Atomos StudioSonic is made from reinforced plastic and metal, with earpads constructed using “ultra-soft memory foam”, while also featuring a cushioned headband.

You can pre-order the Atomos StudioSonic now, with deliveries planned as early as May 2025. They have an RRP of $199.

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If you're a content creator looking to upgrade your audio setup, check out the best audio recorders for videomaking, the best wireless microphones, and the best DAWs: Digital Audio Workstations.

Atomos announces a new addition to its award-winning Shinobi range of professional monitors with the new Shinobi GO, a slim, lightweight, high-bright, 5-inch 1500nit HDR monitor that’s perfect for content creators and photographers who don't need all the bells and whistles of more expensive on-camera monitors but still need a reliable way to track their footage.

Shinobi GO follows the successful launch of Shinobi II last year, offering some of the same high-quality monitoring tools as its more advanced sister product, however, to reach the lower price, the Go model has sacrificed features including camera control, touch-to-focus, and other pro monitoring features like EL ZONE.

But let's focus on what you do get. The new model includes professional monitoring features like false color, zebra, histogram, waveform, and vectorscope. It is powered by Sony NP-F type batteries (purchased separately) or via the USB-C port using a power bank, offering flexibility for extended shooting sessions.

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

Both Shinobi GO and Shinobi II share the same size sunhood and other accessories, making it very convenient to share batteries, cables, rigs, and other attachments for anyone who already owns a variety of Atomos accessories and needs the flexibility to be able to mix and match between their camera set-ups.

Shinobi GO costs $249 / £215 / AU$399 and is available to buy now from the Atomos web store and from stores starting today. For professionals requiring more camera control, touch-to-focus, and EL ZONE, these advanced features are available in the Shinobi II for $349 / £295 / AU$545).

“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,” commented Atomos CEO Jeromy Young. “Priced at just USD/EUR 249 excluding sales taxes, Shinobi GO provides exactly what photographers and videographers need without compromising on quality, despite its lower cost. And it comes from a brand trusted by professionals worldwide.”

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Video monitors are undoubtedly a must-have for capturing video because they make composing, focusing, and assessing exposure much easier and more effective. The Atomos Shinobi II is the successor to the popular Atomos Shinobi, bringing with it features and functionality that make it one of the best on-camera monitors available.

Atomos is best known for its video monitors/recorders offering Raw video capture. These are, of course, most useful for higher-end users who require codecs including Apple ProRes Raw, but for those who simply need a larger screen, video monitors are a far more cost-effective solution.

Ultimately, why pay for features you don’t need, if in-camera codecs, color profiles, and video capture cover your needs? One of the great things about monitors like the Shinobi II is that they're not confined to video use; photographers working in slower fields such as product, macro, and landscape photography can also benefit from the larger screen on offer.

The Shinobi II is incredibly easy to use and offers camera control for several camera manufacturers and models, with an ever-expanding list. But it's well worth checking compatibility before purchasing if this functionality is important. You can, however, still enjoy a camera feed via HDMI.

Atomos Shinobi II: Specifications

Atomos Shinobi II: Price

The Atomos Shinobi II was announced in July 2024 and is available to buy now for $349 / £354. This is more expensive than lower-end monitors that can be larger and brighter, but what you're getting here is a quality device that's slim, lightweight and offers direct camera control. It's also priced according to other Atomos models with recorder functionality, so it sits within the correct price bracket.

Frustratingly, the Shinobi II only comes with a USB-C / PD cable included and no HDMI cable or mounting device, so you'll have to use what you already have or purchase separately. You may be wondering why this is frustrating, and it's simply because the device has a screw-on locking cable adaptor for Atomos locking HDMI cables, to provide a more secure cable connection.

Atomos Shinobi II: Design & Handling

The slim and lightweight design of the Shinobi II is a breath of fresh air with it weighing in at just 7.4oz / 210g. I don’t know about you, but I've never been a fan of attaching heavy accessories to my camera hotshoe, not to mention the imbalance it can create. The build quality is also excellent with the device being made of tough ABS polycarbonate plastic to support the 5.2-inch SuperAtom capacitive IPS touchscreen.

The up to 1500-nit touchscreen is responsive, and brightness can be adjusted to suit the conditions you’re shooting in, including bright sunlight. The user interface is also easy to navigate, although for first-time use there are some easy-to-follow video tutorials available if you need them. The most useful focuses on making sure everything is set up correctly for camera control.

On the back of the Shinobi II, there's a locking battery slot that's compatible with NPF-type batteries. There's also a vent for the passive cooling system that maintains silent operation. Power can also be delivered via the USB-C / PD port on the back of the monitor using a power bank, but this removes camera control. So, a second USB-C / PD port would be useful.

Atomos claims that you can enjoy a full day of shooting from a single battery, and Atomos NP-F750 batteries are 5200mAh. I can’t fairly comment on battery life because the NP-F550 battery used for testing was a lower quality 2600mAh capacity, so battery life wasn't the best during continuous use. Full-day use could be based on NP-F970 batteries that are 8800mAh. Either way, the ability to use three different battery capacities or a power bank is useful.

Other controls and ports include the power button and SD card slot on one side, with the latter being only for firmware and LUT installation of up to eight LUTs in .cube format, with 17 and 33 points supported. On the other side, there's a 3.5mm headphone jack for sound monitoring and a remote port, with a 1/4-inch thread with anti-rotational points for mounting the monitor on the bottom. It's a fairly minimalist design with all features and functions accessed within the user interface.

On the back of the Shinobi II, there's a locking battery slot that's compatible with NPF-type batteries. There's also a vent for the passive cooling system that maintains silent operation. Power can also be delivered via the USB-C / PD port on the back of the monitor using a power bank, but this removes camera control. So, a second USB-C / PD port would be useful.

Atomos claims that you can enjoy a full day of shooting from a single battery, and Atomos NP-F750 batteries are 5200mAh. I can’t fairly comment on battery life because the NP-F550 battery used for testing was a lower quality 2600mAh capacity, so battery life wasn't the best during continuous use. Full-day use could be based on NP-F970 batteries that are 8800mAh. Either way, the ability to use three different battery capacities or a power bank is useful.

Other controls and ports include the power button and SD card slot on one side, with the latter being only for firmware and LUT installation of up to eight LUTs in .cube format, with 17 and 33 points supported. On the other side, there's a 3.5mm headphone jack for sound monitoring and a remote port, with a 1/4-inch thread with anti-rotational points for mounting the monitor on the bottom. It's a fairly minimalist design with all features and functions accessed within the user interface.

Atomos Shinobi II: Performance

The Shinobi II certainly does what it says on the tin, and does it well to deliver a significantly larger screen than a camera rear LCD. The screen resolution is 1080p, but it can monitor HDMI signals up to 4K 30fps, with FHD monitoring available up to 60fps. There are also several different guides available, such as the rule-of-thirds grid and framing guides to aid with composition when outputting to social media or cine aspect ratios other than 16:9 landscape format.

The exposure and focusing guides available include waveform, histogram, vectorscope, false color, and focus peaking. All of the usual suspects are here and can be used equally successfully for photos and videos. For the former, the Shinobi II may not be the most obvious option, but as previously mentioned, it can be useful for slower tripod-mounted photography.

Camera control is one of the most useful features because it allows you to adjust shutter speed, aperture, ISO, white balance, and shutter angle (if used by the camera) on the Shinobi II screen. This provides a streamlined experience where you can also initiate in-camera video recording on the Shinobi II; a useful red rectangle appears around the edges of the screen to indicate recording.

Camera control via the Shinobi 2 is most convenient when the camera is on a tripod, gimbal, or shoulder rig mounted, but for holding the camera 'normally', the camera's direct access controls are easier to use. It just depends on how you're using the camera and, of course, personal preference. Versatility is never a bad thing, and if you don’t need camera control you can leave the USB-C / PD cable out of the equation, using just an HDMI cable for the camera feed.

The screen monitoring mode can be set to SDR, HDR HLG, HDR PQ, 709 LUT, or to a user-installed LUT for a closer to 'finished' view of your footage as it's captured. This can be in either a bit depth of 8- or 10-bit depending on the monitoring mode selected, with anamorphic desqueeze also available. You can also calibrate the monitor using Atomos Calibrator on a computer with Calibrite ColorChecker Display Pro and ColorChecker Display Plus if you require this at the point of capture.

Atomos Shinobi II: Verdict

The Atomos Shinobi II is smaller and lighter than the comparable competition with everything you need to enhance and ultimately improve your shooting experience. It's not perfect, but the niggles are extremely minor and not everyone will have them.

The Shinobi II has all the features you'd expect and too many more to simply list. Camera control and the fact that it's 30% lighter and 50% brighter than its predecessor, with HDR monitoring, make it a worthy upgrade. Not to mention a compelling introduction to video monitors if you've been thinking about investing.

One of the most useful aspects of a monitor over a monitor/recorder with camera control is that it opens up a larger screen with multiple shooting aids available to videographers and even photographers. Photography isn't the most obvious use or selling point for such a device, but it's certainly something to consider for some photographers.

Alternatives

At the IBC 2024 convention in Amsterdam, Atomos announced a free-of-charge firmware update that enables any connected Ninja or Shogun to send footage directly to Dropbox.

As part of the collaboration with the cloud storage service, Atomos is also offering a 40% discount off a Dropbox Business or Business Plus Plan with the purchase of any new monitor or monitor-recorder until November 30 2024. 

Both 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.

"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, Dropbox's senior director of new business solutions. 

It's part of Atomos' wider camera to cloud improvements in the new firmware, which also adds the ability to upload directly to Frame.io V4, enabling Ninjas and Shoguns to streamline workflow by bypassing Atomos Studio Cloud.

Along similar lines to the Dropbox offer, Adobe will offer a three-month free trial of the Frame.io V4 beta with the purchase of any new Atomos Connect, Shogun, or Shogun Ultra. 

"Camera to cloud has been a game-changer for video production, and we've been at the forefront of it," said Jeromy Young, Atomos CEO. 

"We're delighted to be working with industry partners like Adobe and Dropbox to bring even greater productivity to our customers."

In addition, until November 30, the Ninja Ultra will be available for just $719 (or local equivalent) with the Shogun Ultra available for $1,107 (or local equivalent), excluding local sales taxes. 

Take a look at our guides to the best video editing monitor, the best laptops for video editing, and the best cameras for filmmaking.

Atomos is one of the industry's leading manufacturers of video monitors, enabling users to not only view the captured scene on a larger and more portable monitor, but also dramatically improve the quality of the video.

The new firmware update has been issued to some of the best on-camera monitors, including the Atomos Ninja, Shogun, and Shinobi series. The new AtomOS 11.06.00 has three substantial points of update one of which will be particularly interesting to Fujifilm users.

The update provides support for Fujifilm F-Log2, Fujifilm's logarithmic video format. Fujifilm users can now view the unprocessed Log footage on the external monitor. 

Fujifilm's F-Log2 was released in 2022 alongside one of Fujifilm's best hybrid cameras the Fujifilm X-H2S. The F-Log2 is an update on the original F-Log and offers over 14 stops of dynamic range compared to the 11.2 stops delivered by the original. This enables the capture and retention of more detail in the image, providing the user with more room for post-processing.  

It's not just Fujifilm users however that benefit from the update as it also introduces SRT (Secure Reliable Transport) Streaming, enabling the monitor to stream in both Caller and Listener modes. 

As someone new to filmmaking I had to look up what this meant, and Atomos states, "SRT is an open-source video transport protocol and technology stack that optimizes video streaming performance across unpredictable networks. With secure streams and simplified firewall traversal, SRT delivers the best quality video over the worst networks."

This is great news as it enables the transmission of audio and video capture in low latency locations, ensuring secure capture and intermittent usage. 

The third and final note of firmware is "Camera to Cloud Integration with MediaSilo". Originally announced at NAB 2024, Atomos Cloud Studio now supports MediaSilo from EditShare. MediaSilo is a cloud-based video management and collaboration software that streamlines your video collaboration process. It enables users to share and organize projects effortlessly and remotely.

This update is a substantial one, and the full firmware notes can be found on the download page along with the process of updating the firmware. The firmware process can vary between monitors so it is always worth double checking the correct procedure.

You may also be interested in our guides to the best camera for filmmaking, the best camera for video, and the best monitor for video editing. 

Atomos just announced a device that could completely change the playing field: the Ninja Phone turns any iPhone 15 Pro or Pro Max into an Atomos Ninja. 

By attaching the Ninja Phone to your iPhone, it instantly becomes one of the best on-camera monitors with a 1,600-nit, 10-bit, 2,000,000:1 contrast ratio, 460ppi, HDR OLED, ProRes display.

Below is a video introduction to the Ninja Phone by Atomos co-founder and CEO, Jeremy Young, along with a transcription.

"The iPhone 15 Pro and Pro Max can now run Ninja software and display 1,600-nit, HDR, OLED, amazing P3 tone and color that you just won't believe how good it is. 

"The Ninja Phone is a coprocessor for the iPhone. It takes HDMI in, converts it into ProRes 10-bit, and sends it out over USB-C. It has a microphone input, so that you can put all your USB-C mics to the shot and make sure that they're locked, the video and audio, before they hit the phone's screen. And you've also got power in from battery, and you've got an AC power supply as well. 

"The video comes into the iPhone via the USB-C connector, and at the same time we've made a really professional locking system that allows you not only to lock the Ninja Phone to the iPhone, but also the cables are all professionally locked cables – so you don't have any cables disconnecting at any time. 

"The first thing you need is a case. This case is available for the 15 Pro and Pro Max, two different sizes. You'll notice it has a cover, over your camera lenses on the phone, because we're not using the phone camera; we're using professional, high-quality sensors and big-lens cameras. And then you take the Ninja [Phone] and you click it in. So now, your phone is a Ninja! 

"It's an amazing revolution that we think will give social media guys, the ability to step up from their phone, get a really nice camera, and then they take the HDMI out and their phone is now a Ninja. We display the ProRes on the screen, at the same time as recording the ProRes to the phone internally, and at the same time we can then send it out to social media in 10-bit HDR – 1,600-nit amazingness to all other devices. 

"The last thing I want to talk about is the combination of the Ninja Phone into the 5G and WiFi on the phone. Just sending that out at really high quality is something that you really haven't been able to do from these professional cameras – now you can. You can bring it in for social media, you can bring it in for pro video, and you can bring it in for cinema."

The Atomos Ninja Phone is priced at $399 (UK and Australian pricing to be confirmed) and will be available in June. The Ninja Case for iPhone 15 Pro and Pro Max will cost $59. 

Pre-order the Atomos Ninja Phone at B&H
Pre-order the Atomos Ninja Case at B&H

Take a look at the best cameras for filmmaking, as well as the best cameras for vlogging and the best cinema cameras. 

The Atomos Shinobi was initially released in 2019, and since its launch, it has cemented itself as one of the best on-camera monitors around. Atomos is known for its external recorders, like the Ninja, which doubles up as a monitor and an HDMI recording device, but the Shinobi is a little different. It comes at a more affordable price point, and it only functions as a monitor, with no recording capabilities.

It’s a feature-packed offering, with numerous tools to help you nail your focus and exposure, as well as camera-specific Log conversion and the ability to import custom LUTs. Otherwise, it essentially acts as a replacement for your camera’s built-in monitor, only larger, brighter, and more adaptable.

There are two versions of the Shinobi, one with a 7-inch screen, and one with a more compact 5-inch display. I have the smaller version in for testing, which suits me just fine, as it’s easier to take into the field. However, if you’re in a studio setting, or working with a crew, the 7-inch could be just what you need.

The Shinobi is pretty cheap, by professional video gear standards, but it has been undercut by a flood of budget options from brands like Feelworld, Portkeys, and Desview. I have more experience with these budget monitors, so I was excited to find out if there was a benefit to jumping to a more premium product. I’ve been shooting with it for the past week or so, and here’s what I found out.

Atomos Shinobi: Specifications

Atomos Shinobi: Price

The Atomos Shinobi 5 initially launched in 2019 at a price of $399 but in the time since, it has received a permanent price drop to just $299 / £329 / AU$499. The 7-inch version is a little more expensive at $599 / £699 / AU$999.

It’s available globally from most camera retailers, and of course, it’s on Amazon, too. 

Atomos Shinobi: Design & Handling

Aesthetically, the Atomos Shinobi looks almost identical to the Ninja V, at least from the front. It’s very similar to the new Ninja, too, although that brownish paint job sets it apart a little more. The first major design difference is that the Shinobi is made from polycarbonate, rather than metal. It feels rugged enough, but it’s a touch less premium. On the other hand, it helps to keep the weight down, and when you’re shooting with a rigged out camera, that’s exactly what you need.

Around the back, things are a little more different. Since this isn’t a recorder, there’s no slot for an SSD, only a centrally placed Sony NPF battery slot and a power button. On the sides, you’ll find an HDMI input, a 3.5mm headphone socket, a remote port and an SD card slot. This SD card slot is just used for firmware updates and adding custom LUTs, before you get any fantasies about using it as a cheap recorder.

Unlike Atomos’ recorders, there’s no HDMI output here. This is fine for my needs, but it could cause issues if you want to use the monitor in a live broadcast setting, for example. I was pleased to see a headphone socket, though, as it means you can monitor audio on cameras that lack a 3.5mm jack.

There’s a ¼-inch tripod thread on the top and bottom of the monitor, and there’s no mounting solution provided in the box. All you get is the monitor itself and an AC power adapter with an NPF dummy battery. I was a little surprised to see this, as my cheap Portkeys PT5 II came with a cold shoe mount, sun hood and carrying case for about a third of the cost. Still, it’s no big deal, you can pick up a solid monitor mount from a brand like SmallRig for around $20.

If you happen to also own an Atomos Ninja, some accessories are cross-compatible, like the sun hood and mounts. Screen protectors work with either device, too, since the display is almost identical.

Atomos Shinobi: Performance

The first thing that struck me about the Atomos Shinobi is how bright it can get. It’s much brighter than than most built-in camera monitors, and that alone makes it much nicer to shoot with outdoors. The output is listed as 1000 nits, which doesn’t sound like that much, but it’s noticeably brighter than my Lumix S5II display, and that’s already one of the brighter panels that you’ll find on a mirrorless body.

It’s only a 1080p display, but at this size, that’s plenty of pixels to work with, and it always looks sharp. It’ll take up to a 4K30 input, but before you panic, this won’t stop you from recording at 4K60 or above, you’ll just be seeing a 30fps feed on the monitor itself. There’s a little bit of latency, as you’ll find with all HDMI monitors, but it’s very slight, and I had no trouble framing fast-moving subjects using the Shinobi.

The monitor supports HDR, so if you’re filming in a HLG profile, it’ll display properly on the Shinobi. When the monitor originally launched, this was a pretty big selling point, as many cameras could shoot in HLG, but couldn’t display it properly on the built-in LCD. With newer camera bodies, that’s no longer an issue, but it’s still a nice feature, and it serves to set the Shinobi apart from some cheaper monitor options.

The Atomos Shinobi has a boatload of features to help you nail your exposure and focus. There’s everything from histograms to waveforms, vectorscopes, false colour, focus peaking and zebra stripes. Pretty much any tool you could need is built right in.

While it’s true that a lot of these tools are already present in high-end camera bodies, I don’t think I’ve ever seen as many options in one place. It’s also worth noting that not all cameras will output these scopes over HDMI. My Lumix S5II, for example, won’t allow me to do so. So, having these built into the monitor is essential.

One of my favourite features of the Atomos Shinobi is the library of built-in conversion LUTs. Most monitors will allow you to import custom LUTs, so that you can more easily monitor your LOG output, but I’ve never come across a monitor that offers so many conversions right out of the box.

You simply go into the menu, choose your camera brand and profile, and there’s a good chance the conversion LUT will be there ready to go. All the key consumer brands are accounted for including Sony, Canon, Fujifilm, Nikon and Panasonic plus there are professional options like Arri and Red. As mentioned, I was using the Lumix S5II and shooting in V-Log, and the built-in LUT worked perfectly.

I also loved working with the built-in frame guides. They’re especially useful now that so many clients require 9:16 vertical videos for social media. If you shoot with anamorphic lenses, there are plenty of de-squeeze options here, too. Unfortunately, I didn’t have the glass on hand to test this for myself.

Everything is accessed via the touchscreen interface, and it’s plenty responsive and easy to navigate. It’s not as smooth as a smartphone, but it’s good enough for the task at hand. There are no physical buttons, other than the power button, and that’s fine for the most part, but it’s something that should be considered if you’ll be shooting in cold environments and wearing gloves.

The Shinobi runs on Sony NPF-style batteries, as many on-camera monitors do. This means that your battery life will be determined by the size of the battery pack you choose to use. I tested using some very cheap off-brand NP-F550 batteries that I happened to have in my gear cupboard. Far from the ideal choice, but even with these, the Shinobi happily ran for hours on end. If you opt for a larger high-quality pack, like an NP-F970, you could easily shoot all day without swapping batteries.

One slight oddity, which is likely a result of my cheap batteries, is that the monitor kept turning itself on when the battery was installed. So I had to remember to remove the pack after shooting. Not the end of the world, but something I thought I should mention, nonetheless.

Atomos Shinobi: Verdict

If you’re looking for an on-camera monitor from a reputable manufacturer that won’t break the bank, the Atomos Shinobi is easy to recommend. It’s bright, well-made and has more scopes and tools than most people will ever need. It comes at a fraction of the cost of anything from a brand like SmallHD, but offers most of the same experience, so long as you don’t need an SDI input.

Of course, there are plenty of cheaper options that can do essentially the same thing. So if you’re looking to save some cash, that’s certainly possible, too. In that scenario, though, you can typically expect a worse user interface, and the reliability will come into question. For anyone working in a professional setting, I think it’s well worth the extra cost for the build quality, software and peace of mind that the Atomos logo brings with it.

Atomos Shinobi Alternatives

Atomos has revealed the new generation of Shogun monitors, the Atomos Shogun 7” HDR Monitor-Recorder 6K RAW and the Atomos Shogun Ultra 7” HDR Monitor-Recorder 8K RAW, scheduled for release in October 2023. 

Launched at IBC 2023, the new monitors are the successors of the much-loved original Shogun monitors that left a stamp on the industry by enhancing the creative workflow of filmmakers worldwide. The new monitors look set to continue the success of the previous models by boasting an array of improved features. 

• These are the best on-camera monitors right now

The Shogun and Shogun Ultra both sport a 7-inch display with 2,000 nits of brightness, offering complete visibility even on the brightest of days. Both monitors incorporate a host of connectivity options that include In-Out 12G-SDI, HDMI 2.0 In & Out, Wi-Fi, Ethernet, and AirGlu. When it comes to codecs, the monitors have an extensive selection that includes 6K Apple ProRes RAW (and 8K with Shogun Ultra), Apple ProRes, DNxHD, and H.265. 

Both monitors have local and cloud-based modes, offering more recording and workflow capabilities. The Local mode employs the recently revealed AtomOS 11 as its foundation and is packed with an extensive monitoring suite that incorporates tools such as RecordAssist, PlaybackAssist, ELZone, and Arri False Color. All this is conveniently pre-configured and ready to use, straight out of the box. 

Cloud mode offers a range of wireless and network capabilities, allowing for cloud-based workflow for camera-to-cloud and Atomos Edit. Atomos Cloud Studio ACS  offers further ability for remote collaboration and live production. Other capabilities include top-tier Wi-Fi, Ethernet, and AirGlu wireless synchronization technology.

The Shogun Ultra monitor takes things further by supporting Dual Record ProRes RAW / H.265 for Camera to Cloud. It also continues to impress by offering SDICine, providing automated matching of filenames, timecode synchronization, and record triggering compatibility with professional cameras from Arri, Canon, Red, and Sony SDI cameras.

The new monitors are scheduled to ship in October 2023 at the price of around $1,330 / £1,070 / AU$2,045 for the Atomos Shogun 7” HDR Monitor-Recorder 6K RAW, and $2,460 / £1,290 / AU$2,460 for the Atomos Shogun Ultra 7” HDR Monitor-Recorder 8K RAW.

Check out the best 8K and 6K cameras, which will benefit hugely from these new Shoguns. You might also be interested in the best cinema cameras and the best cameras for video. 

Atomos has announced the latest generation of its immensely popular Ninja line of camera-mounted monitor recorders – the Ninja and Ninja Ultra.

These latest Ninja recorders build on the previous versions, with new and improved headline features including a 5-inch HDR screen and ProRes RAW recording up to 8K. Atomos is also making a big claim that its latest recorders can connect to almost every camera in the world.

• Check out the best on-camera monitors to elevate your videography

Video recording internally on your camera has never been the best way to get the cleanest and richest footage possible. Only recently have camera companies finally started to include the latest RAW codecs to unleash the full dynamic range and color profiles available from a camera sensor – but still not all cameras are up to the task.

Atomos has built its tremendous success over the years by providing videographers with the tools to get the most from their footage, by using its range of external recorders that can output clean video via a camera's HDMI output.

The Atomos Ninja V and V+ were the manufacturer's latest recorders in this series, and are both incredible external recorders. It's a big Apple-esque statement to ditch the numbering from the name, so what's new with these updated models? 

Starting with the new standard Ninja, it can record in 4K60p in Apple ProRes and also in the latest H.265 – which offers smaller file sizes than H.264 without compromising on quality. The new Ninja Ultra steps it up a notch in professional recording, and now includes more codecs as standard – including 6K ProRes RAW, ProRes, DNxHD as well as H.265, which were previously only available as paid add-ons for prior Ninja models. The Ninja Ultra is also able to record in ProRes RAW including 8K 30p.

The new Ninjas are also debuting an entirely new and overhauled operating system, with AtomOS 11 promising a cleaner and faster experience while also incorporating brand new features including EL Zone exposure referenced colorized image, Arri False Color, and new scheduled playback and recording tools.

With the Ninja Ultra, Atomos is going hard on pushing camera-to-cloud features. Camera-to-cloud might well be the next frontier in creative workflows, as work becomes more remote and collaborative across the globe, with lots of companies offering their own systems (with Adobe's frame.io being the most notable).

To help with this, the Ninja Ultra can be combined with the optional Atomos Connect module to enable super-fast WiFi 6E, with lower latency and higher throughput. Furthermore, you can add the Atomos Connect expansion module to either a Ninja or a Ninja Ultra to enable Atomos RemoteView, whereby you can wirelessly share your camera view not only with other Atomos screens but also with iPads, Macs and Apple TVs anywhere in the world.

For cloud workflows, the Atomos Ultra can also locally record full-quality files to ProRes RAW up to 4K 60p while at the same time recording H.265 in HD60p in the cloud. H.265 is half the size of H.264 but still is high enough quality for social media or news reporting.

The Ninja Ultra also supports automatic matching filenames, timecodes, and records from Arri, Canon, and Red cameras, with additional cameras being added over time.

For existing Atomos users, you'll be relieved to know that the new Ninja and Ninja Ultra are backward-compatible with the Ninja V and Ninja V+, so all Atomos and third-party accessories can be used with the latest Ninja and Ninja Ultra monitors. The Ninja and Ninja Ultra will be shipping from early September 2023, priced at $599 / £629 and $799 / £809 respectively (Australian pricing to be confirmed).

You can preorder the new Atomos Ninja right now at B&H or Adorama in the US, or in the UK from Wex.

If you're looking for a great screen on which to watch your content back, take a look at the best video editing monitors. You might also be interested in the best video editing software and the best free video editing software. 

Atomos describes the Zato Connect as a whole new product category. This device acts as a bridge between regular video cameras and live streaming and video conferencing platforms.

Atomos says it supports nearly all HDMI and USB UVC sources, with input and output ports for both. It’s small enough to mount on on a DSLR or mirrorless camera rig or it can be used next to a laptop, desktop computer or even a gaming console.

It has its own ‘SuperAtom’ IPS 5-inch 1,000nit display, and incorporates Wi-Fi 5 and Gigabit Ethernet (via USB-C). It can even join cellular hotspots for live streaming out in the field.

Power comes from either an NP-F battery or USB-C power delivery. The Zato Connect has a 3.5mm audio jack for adding or mixing audio with the audio embedded in streaming video, and the AtomOS Lite software has tools for combining sources, recording streams and overlaying graphics. A future update will add further Atomos Cloud Studio services – a suite of cloud-based production tools due to launch in June 2022.

The Atomos Zato Connect is actually the second product in the Connect range. It joins the Shogun and Atomos Connect devices for Atomos external recorders.

Watch the Atomos Zato Connect video below:

Atomos is aiming the Zato Connect at two distinct markets – content creators who want to live stream from regular video camera gear, and conferencing pros who want to achieve a higher production values.

It will use the Atomos Stream service, which will offer free delivery to a single platform from launch, such as Facebook Live, Twitch or YouTube, with a premium ‘restreaming’ service via Atomos Cloud Studio scheduled for later in 2022 – this will enable simultaneous streaming to multiple platforms.

Atomos’s plan is to make streaming available for all user levels and all types of video capture gear, from high-end cinema cameras through DSLR and mirrorless cameras to iOS devices.

The Atomos Zato Connect is available for pre-order now at $399 (about £318/AU$558), and anyone who pre-orders now will get an additional 3 months Atomos Cloud Studio subscription and free NDI®|HX IP streaming activation, worth $99.

Read more:

• Best on-camera monitors
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Atomos has introduced two new network-connected on-camera monitor devices that make it easier for digital film and video productions of all sizes to capture, transcode, upload, and collaborate with anyone, anywhere in the world. Atomos Connect is a network accessory specially designed to attach to the popular Atomos Ninja V and Ninja V+ production devices for monitoring and recording.

Atomos also launched a new device called Shogun Connect, this is a brand-new all-in-one production device with all the connected technologies built in. The two new devices integrate seamlessly with Frame.io Camera to Cloud (C2C), to bring a wider range of professional digital cinema, mirrorless, and DSLR cameras to automatically share media for remote collaboration - perfect when you are on busy film sets or in media village.

These new Atomos devices capture high-quality content in your choice of professional formats. When capturing to Frame.io you can choose to simultaneously record high-quality “hero” and bandwidth-efficient “proxy” files with matching filenames and timecode. When recording in this way you create great-looking HEVC (H.265) “proxy” clips alongside full-resolution “hero” clips in either Avid DNxHR/HD, Apple ProRes, and, on the Ninja V+ or  Shogun Connect, ProRes RAW. Each proxy can be automatically uploaded to Frame.io using a new Atomos progressive file transfer technology, which begins transferring the file even as it's being captured. This workflow is simply the fastest way for remote teams to publish clips directly to Frame.io without the typical delay of waiting for camera cards to ingest, hard drives to ship, or even for the camera to stop recording.

Trevor Elbourne, Interim CEO at Atomos has this to say:

"This new partnership with Frame.io represents our commitment to provide customers with the most advanced and comprehensive production workflow options. It was clear to us that Atomos could expand Frame.io Camera to Cloud and reach many more filmmakers. The Shogun Connect represents our first all-in-one, connected device and indicates how we see our future evolving. And we're thrilled to provide the Atomos Connect for Ninja V/V+ for our existing customers to further expand their workflow and create collaborative opportunities around the world."

The Atomos Connect is the ultimate accessory for the Ninja V and Ninja V+ and represents a ground-breaking innovation for the Ninja product line. When attached to the Ninja V/ V+, it transforms professional cinema, mirrorless, and DSLR cameras into fully integrated devices that support a range of advanced cloud-based workflows. 

Featuring a 12G SDI interface to connect professional digital cinema cameras, Atomos AirGlu wireless timecode for seamlessly synchronizing all cameras, multiple power options to accommodate a variety of on-set scenarios, plus Wi-Fi 6, network Gigabit Ethernet, and Bluetooth LE capabilities for flexible connections.  The accessory itself has a slender profile that fits flush to the back of the 5-inch device and complements the compact, lightweight form factor of the Ninja V/V+. The Atomos Connect, will be available in June for purchase through Atomos resellers worldwide for $399.

The completely new Shogun Connect builds on the ground-breaking model line. Featuring the comprehensive monitoring tools and recording options of the Shogun, the Shogun Connect is the first fully integrated product, combining HDR monitoring and RAW recording, as well as advanced network and cloud workflows. 

This enhanced 7-inch HDR screen is brighter, with 2000 nits, and with a slimline bevel that makes it even more of a pleasure to monitor and use. The Shogun Connect features a comprehensive range of interfaces, including a loop through 12G SDI in and out to support SDI RAW, Atomos Sync timecode technology for seamless camera synchronization, multiple power options to accommodate studio or location shoots, plus Wi-Fi 6, network Gigabit Ethernet, Bluetooth LE, and USB C for flexible all-round connections. The Shogun Connect will be available mid-year for purchase through Atomos resellers worldwide and will cost $1,299 US.

All in all, these two products sound amazing, I am sure some would of loved to have them whilst in the pandemic or can now be brought on set to reduce numbers - either way this sound truly amazing devices that I can see big and small creators alike picking up to help revolutionize their production workflows.

Read more:

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Atomos has released a new software update for the Ninja V and Ninja V+ to introduce several new creative features that include custom frame guides, frame grabs and onion skin overlay for repositioning and stop animation work. 

Anyone familiar with the Ninja V or V+ knows that these 5-inch on-camera monitors and recorders are densely packed with a rich array of easy-to-use features and tools right at your fingertips. Now the Atomos development team has been hard at work to deliver us a host of new and advanced options that are available in the latest update, which software will be available for free for all new and existing owners of a Ninja V or V+.

To get a brief insight into these new features and how the can be development into your workflows, take a look at the demo below: 

What the new software gives you

New features is always a great thing, but to have them offered in a free software update to all new and exciting customers really goes that extra mile for brand loyalty. Some of these features might not be needed for some however, I can see these new features being a god send to many DP's on set or solo filmmakers looking for that truly intuitive workflow. These new features are:

Custom Frame Guides - Frame guides make it easy for filmmakers to check composition. With the NINJA V/V+ this includes being able to preview the shot as it would appear with different aspect ratios or cropped for different social platforms. The new update features the ability to create custom guides to meet any specific or unique requirements. Custom guides include an option to display correctly proportioned safe zones, to ensure that the frame is set up correctly during production. 

Frame Grab - From providing a reference, through storyboarding, to social media posts, there are a multitude of uses for still frames. The latest software update allows you to generate and save stills directly on the NINJA V/V+. Frames can be grabbed during playback and recording with a tap of the new Frame Grab button. Each frame is saved as a 1920 x 1080 still in the PNG format. This feature can be used in conjunction with the monitoring tools on the NINJA V/V+, to capture frames with specific LUTs and create a record of different looks. 

Onion Skin Overlay - The ability to compare and match setups is a highly requested feature, which has increasing importance for continuity, scene layout or visual effects. The term “onion skinning” will be familiar to animators and simply refers to the ability to overlay images with various levels of transparency for comparison. The new Onion Skin feature on the NINJA V/V+ offers the ability to load a frame grab, then select from three levels of opacity or activate a split screen view. In addition to quickly loading the last frame grab, any preexisting PNG images loaded onto the device can be selected. 

Collectively these features in the latest update offer filmmakers a unique set of creative tools to work with on-set. Each provides a fresh way to use the Ninja V / V+ to perfect each shot or explore new ways to make films, either way these new features are certainly going to help improve and speed up your production and post-production workflows.

Estelle McGechie, CEO, ATOMOS had this to say: “The new creative tools we’re introducing in the latest update for the NINJA V and NINJA V+ are a terrific addition to the existing feature set. We know that our software helps set us apart and makes our devices invaluable to production teams. We understand the creative potential these tools represent, and the update is free for all registered users to ensure we can get the new software onto as many devices as possible.” 

Read more:

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Atomos has launched the latest AtomOS firmware update, version 10.71, for Ninja V and Ninja V+ monitor-recording devices, with the headline feature being the addition of Apple ProRes RAW to a number of cameras.

This latest update brings the ProRes RAW format to the Canon EOS R5, Panasonic Lumix BS1H, as well as legacy Sony FS cameras – the FS5, FS5 Mark II, FS700 and FS700r (although it's worth noting that the FS5 and FS700 require the purchase of a paid RAW upgrade from Sony). 

• Read More: Atomos Ninja V review

The firmware also introduces new updates to the AtomX Cast, a modular expansion and companion to the Ninja V and V+ models that transform the devices into multi-input switchers. This combination becomes what is described as a Ninja Cast, meaning the devices will not require a computer and become a standalone unit.

The update adds compatibility with the Ninja V+, along with picture overlays, Picture-in-Picture (PiP) recording, black / white color transitions, support for interlaced inputs and a number of miscellaneous bug fixes.

We already rank the Atomos Ninja V as the best on-camera monitor for external video recording – and the Ninja V+ is absolutely essential for Canon EOS R5 shooters who want to capture in 8K, as it facilitates 8K recording with no overheating. 

Atomos has been historically generous with firmware updates, and states that it is on a quest to put the ProRes RAW format to the hands of even more filmmakers, creating a new level of performance via the Ninja V+ Pro Kit, and versatility for fast turnaround of live productions when paired with the AtomX Cast. 

The AtomOS 10.71 firmware can be downloaded here.

Read More: 

Canon EOS R5 review
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Atomos has announced the launch of the new Atomos Shinobi 7, a bigger, brighter version of its original dedicated camera monitor, the 5in Atomos Shinobi.

The Atomos Shinomi 7 features a screen that is not only larger than the original but more than twice as bright. With a calibrated peak brightness of 2200nits (the original Shinobi was rated at 1000nit), 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. 

• Read more: Best on-camera monitors

The high-quality touchscreen offers a full ten-stop dynamic range, allowing videographers to preview HDR video in the field. It supports a wide range of LOG formats (such as Canon's CLog/CLog2/CLog3 and Sony SLog/SLog2/SLog3) and can display these in a variety of ways to replicate your post-production workflow, using LUTs (look-up tables). Thanks to its HDMI input the Atomos Shinobi 7 is compatible with most recent cameras, smartphones and other video devices.

Other highlights include: HDMI 2.0 support for 4Kp60, 3G SDI support up to 2Kp60; dual NPF battery slots for continuous power; 3D LUT support with Preview and Loop out; touch screen camera control via an optional cable for compatible cameras of iris, white balance, shutter speed and ND; exposure tools including histogram, waveform, false colour and zebras; and headphone monitoring of camera audio.

With numerous configuration options the Atomos Shinobi 7 would make an ideal director’s or focus puller’s monitor, and for filmmakers who like to present to camera it would make the perfect companion to the best vlogging cameras, with its direct hotshoe attachment.

Atomos is well known for making monitors with built-in video recorders – such as the Atomos Ninja V. But the Atomos Shinobi 7 is just the company's second dedicated monitor, which provides a more affordable option for the amateur video maker (the original Atomos Shinobi was priced at just $399 on release and is now $100 cheaper). The Atomos Shinobi 7 will be priced at $699 and will be available in early June.

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The Atomos Ninja V now has a significant paid for-upgrade available and will be joined by two new siblings – the Atomos Ninja V+ and the Atomos Ninja Stream.

The Atomos Ninja V receives the option for H.265 codec upgrade, while the new Atomos Ninja V+ is designed for Apple ProRes 8K and high frame-rate 4K RAW recordings, and the Atomos Ninja Stream for high-quality social distancing production environments.

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The original Atomos Ninja V is the workhorse for the wider film and pro video industries and will now benefit from the addition of H.265 workflows, with up to 4K 60p 10-bit 4:2:2 full 'i' frame with options for 8-bit at various data rates. Atomos will be adding these features through a one-click $99/£71/AU$127 upgrade from my.atomos.com next month.

Newly announced are the Atomos Ninja V+ and the Atomos Ninja Stream. The Ninja V+ supports continuous recording of 8K 30p and 4K 120p in Apple ProRes RAW, and uses the H.265 (HEVC) codec for high-quality compressed recordings. An Atomos Ninja V+ Pro Kit will also be available, with additional accessories and enabling 4K 120p ProRes RAW recording mode from the SDI RAW output of the Sony FX9 and Sony FX6.

The Atomos Ninja Stream is a 5-inch 4K 60p HDR monitor-recorder with Wi-Fi, Ethernet and USB-C designed to overcome the challenges of today's socially distanced productions. It enables simultaneous recordings of both ProRes and H.264/5 proxy with shared file names and timecode, while sending video feeds to other Atomos Ninjas, smart devices or web-based platforms simultaneously.

Available in May, the Atomos Ninja V+ will be priced at $1499 / £1499, or $1699 / £1678 for the Atomos Ninja V+ Pro Kit (approximately AU$1923 and AU$2179 respectively). The price of the Atomos Ninja Stream will be announced shortly.

Pre-order the Atomos Ninja V+ from B&H (US)
Pre-order the Atomos Ninja V+ from Wex (UK)

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The Atomos Ninja V could be one of the best video accessories you buy. If you use your mirrorless camera to shoot video then you’ll soon realize the standard screen is small and often difficult to see, especially if it isn’t fully articulated. And the majority lack professional-style monitoring tools like waveforms, vectorscopes or false color. Almost all mirrorless cameras have limits on how long you can record for and the footage is often heavily compressed to squeeze onto memory cards.

By using a combined on-camera monitor and recorder unit like the Atomos Ninja V, not only do you get a better view of what’s going on but tools to help you set your camera accurately in terms of focusing and exposure. And for many, the biggest benefit is the recorder often improves the actual quality of the footage. This often allows cameras limited to 8-bit 4:2:0 internal capture to be recorded in far better 10-bit or 4:2:2 quality, or both. And in many cases, this can be recorded as industry-standard, edit-ready Pro Res files. 

In some cases, mirrorless cameras can output a Raw video signal direct from the sensor. This is just too data-intensive to be recorded to internal memory cards, but the Atomos Ninja V can record it as Raw or convert it to the popular ProRes Raw format for the ultimate in quality and control in editing.

The files are recorded via the camera’s HDMI cable to the monitor/ recorder, which accepts SSD drives which push into the back of the unit. The Ninja V can take standard SSDs inside one of the supplied Atomos caddies, but these do stick out a bit from the unit.

It’s better to use one of the new AtomX SSD mini drives which are much smaller, and a 1TB version will record up to 150 minutes of 4K in edit-ready ProRes format. 

You then plug it into your computer and it’s ready to go. If you also record to your camera’s card, you have an instant backup, too. 

Atomos Ninja V specifications 

Screen: 5-inch touchscreen, 1920x1080,  3D LUT support, 2x, 13x, 1.33x, Panasonic 8:3 anamorphic desqueeze

Brightness: 1000 nits

Video formats: Apple ProRes HQ, 422, LT AVID DNxHR HQX. HQ, SQ, LB. 4K DCI and UHD 24/25/30/50/60p, 2K and1080p 24/25/30/50/60/100/120p; 1080 50/60i, 720p 50/60p

Memory: 2.5-inch SSD/ HDD

Audio: 12 channels 24-bit 98kHz

Connections: Line/ mic in, 3.5mm headphone out, HDMI in/ out, remote, AtomX expansion port

Power: NP-F series battery or continuous with adapter

Dimensions: 151x91.5x31mm

Weight: 360g

Atomos Ninja V: Key features 

The Atomos Ninja V is a bright monitor recorder that offers lots of pro-level monitoring tools like waveforms, false colors, HDR monitoring and LUT support. So you can not only see the image you are recording in far better detail, but use all the professional technical settings to get the exposure and focus perfect. 

When you record to the Ninja V, there are lots of different high-quality codecs such as Apple ProRes and Avid DNxHD you can choose from. This is ideal for the cameras like the Canon EOS R, Panasonic S1 and Fujifilm X-T4 which can output a 4:2:2 10-bit signal over HDMI. This is perfect for shooting Log and you can really see the difference between 8-bit and 10-bit footage.  Some cameras, like the Sony A7R IV output at 4:2:2 in 8-bit, which is still an improvement over the internal 4:2:0 8-bit footage and a boost for Log shooters. 

And on many newer cameras like the Sony A7S III, Sigma fp, Olympus OM-D E-M1X and E-M1 Mark III, Panasonic S1H, Nikon Z 6 and Z 7, Fujifilm GFX100, Canon EOS R5 and EOS R6, they can be set to output a Raw signal which the Atomos Ninja V can record as ProRes Raw. 

However, when you buy the unit you have not finished spending as all it comes with is an empty SSD caddy and the 12V AC power supply. You will need to budget for an SSD to record to, which can cost from around $199 for an Angelbird AtomX SSDMini in 500GB to as much as you want to spend for higher-spec and larger capacity cards. ProRes Raw and 4:2:2 10-bit files take up a lot of space. 

You’ll need an SSD card reader to plug the SSD into your computer, the right HDMI cable for your camera, and some way of attaching the Ninja V to it via a tiltable clamping device. This could be a cold shoe-mounted accessory or one that bolts to a camera rig. To use it on location, you’ll also need at least a couple of  Sony NP-F batteries and a charger. And the Atomos sunhood makes sense, too.

Of course, you may already own all some of this kit, but if you don’t then your total investment could effectively be doubling the price of the Ninja V itself, if you go for high-quality and large-size SSD drives.

At the bottom of the Ninja V is the AtomXpand port which is partly hidden under the battery compartment. This accepts a whole range of Atomos expansion modules and supports up to 4K 60p and 12-channels digital 24-bit 96KHz audio. The first modules to be released are the AtomX Sync and AtomX SDI. 

The $149/£162 AtomX Sync module brings professional, broadcast-standard wireless timecode, genlock and bluetooth control. This makes it easy to use the camera as part of a multi-camera production, as they can all be linked together via bluetooth. It also has an additional battery slot to provide power for longer.

The $199 AtomX SDI module adds on 12G-SDI inputs and output, for using the Ninja V with professional cinema cameras. 

Build and handling 

The Ninja V feels solid and well built, and has lots of inputs and outputs. There is an audio input, a 3.5mm headphone jack, and remote jack which lets you connect LANC remote controllers in Canon and Sony formats or an X-Rite i1Display Pro calibration unit. There are full-size HDMI input and output sockets, so you can link it up to another monitor if you wish.

To mount it to your camera or rig, the top and bottom of the unit has the ARRI 2-pin 3/8″ accessory mounts so you can buy the right connector to stop the unit twisting. 

The screen itself is rated at 1000 nits so is still very bright. At 1920x 1080 pixels, the screen shows finely detailed images and is far better than any standard camera screen. You may wish to buy an external sunshade for the brightest days, though.

The rear of the unit has a slot for a single Sony NP-F battery a 5200mAh battery will give two hours of continuous 4K/60p monitoring and recording. You can also power the unit up from the mains via an included adapter.

The Ninja V comes has the AtomOS operating system which is easy to get to grips with. The five-inch touchscreen is responsive and it’s easy to navigate the settings, of which there are many options. There are some obvious icons to help you get to the features you want.

One of the biggest benefits are waveforms, false color, vectorscope, focus peaking, instant zoom and it’s easy to use Atomos’ own HDR feature as well as viewing LUTs. You can load up to eight LUTs, and you can bake in the look if you want.

You can also get rid of all the menu items apart from timecode and audio meters while shooting so you can concentrate on the composition.

The Ninja V also records audio but doesn’t have XLR inputs. You can record sound via the HDMI input from the camera or through the 3.5mm input jack. While the majority of mirrorless cameras output two channels of audio over HDMI, the Ninja V can record up to eight channels of audio.

The audio can be monitored via the headphone jack, which is a bonus as some mirrorless cameras don’t have this, such as some Fujifilm cameras.

The only issue is that there is some noise from the Ninja V’s cooling fan as in quiet rooms you have to be careful to avoid recording it. 

Performance 

If you shoot a mirrorless camera that has a clean HDMI output, there is often a huge improvement in the quality of the footage if you output to an external drive. Most cameras record 4:2:0 in 8-bit internally, but via HDMI can output 4:2:2 in 8 or 10-bit. That gives a lot more color information and is a huge benefit if you are shooting Log footage to maximize dynamic range.

If you try to grade 4:2:0 8-bit shot in Log on a mirrorless camera then it can be tough as the color information just isn’t there. The extra data recorded by the Atomos Ninja V make a big difference, and make shooting Log on mirrorless cameras a sensible option.

And now many of the latest mirrorless cameras can output a Raw video signal which the Atomos can save as ProRes Raw direct from the camera, the difference is stunning. If you have been brought up shooting Raw on stills camera and are used to the quality and control they give you, then prepare to be amazed as the video version offers exactly the same benefits.

Yes, there is an increase in file sizes over standard footage recorded internally, but it’s a price worth paying for the boost in quality that you can see. Changing white balance, altering colors, rescuing highlights and shadows are all much easier on ProRes files. 

The Ninja V also works as an ideal HDR monitor, allowing a large dynamic range to be viewed on the monitor itself. And the LUT support means you can apply a look to the footage and either bake it in, or just use it for viewing to see what the finished footage will look like. 

And for fans of anamorphic shooting, aided by the latest affordable anamorphic lenses or adapters, the Ninja V offers anamorphic viewing that the majority of cameras just don’t have. So instead of looking at a squeezed-up image on the camera screen, you apply the right amount of de-squeeze to see what it will actually look like once processed. If you want to shoot anamorphic but your camera doesn’t offer a built-in de-squeeze, it’s worth the price just for that.

Atomos Ninja V: Verdict 

Mirrorless cameras offer incredible video quality but by adding a monitor like the Atomos Ninja V, you turn them into far more usable video cameras. The larger screen is much easier to see, compose with and has tools to help you expose and focus correctly. 

Recording to the monitor itself unlocks an improvement in the actual footage of your camera, either increasing the color information or allowing it to output Raw video files. 

And for HDR, Log shooting or anamorphic, it offers far more control and accuracy than you could ever get out of the camera itself.

Of course, an external monitor increases the size and bulk of your camera, requires power to run and cables too. This also increases cost, in some cases quite significantly. But it’s a small price to pay for getting the ultimate video quality from the camera you already own. 

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Atomos has officially announced ProRes RAW support for the Olympus OM-D E-M1X and the Olympus OM-D E-M1 Mark III in great news for Olympus video enthusiasts. This means that these two Olympus cameras will work in conjunction with the Atomos Ninja V to be able to record Apple ProRes RAW directly from the sensor. 

These two Olympus cameras join cameras such as the Sigma fp, the Panasonic S1H and the Nikon Z6 & Z7 as the latest cameras to be able to externally record ProRes RAW. This format allows filmmakers more latitude when editing video files, giving them the ability to extend brightness and shadow detail – just as a RAW image file does the same for photographers.

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Olympus is the eighth brand to support the Apple ProRes RAW format, allowing Olympus users to combine the compact size and fantastic 5-axis image stabilization with the superior quality of ProRes RAW files. 

Jeromy Young, Atomos CEO, says: "We're thrilled to work with Olympus and their stunning mirrorless cameras to bring the power of Apple's ProRes RAW to OM-D users. We can't wait to see the creativity that results from this partnership."

Olympus users interested in recording in ProRes RAW will need to invest in an Atomos Ninja V external monitor, which has a daylight-viewable 5" 1,000nit brightness HDR screen and tools such as waveforms, 1-1 magnification and focus peaking. The Atomos Ninja V will record the ProRes RAW data onto a removable SSD drive, which can then be removed and connected to a computer via USB in order to upload the files.

The firmware update to enable these features is scheduled for winter 2020, so it won't be long until Olympus users can start experimenting with the exciting new capabilities of ProRes RAW.

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Sigma and Atomos have announced that the Sigma fp will now be capable of RAW recording over HDMI with the Atomos Ninja V HDR monitor-recorder. Together, the Sigma fp and Atomos Ninja V will be able to record Apple ProRes RAW at up to DCI 4Kp24 or UHD 4kp30 directly from the camera's sensor.

Excitingly, this new announcement means that the Sigma fp will be the world's first mirrorless camera to record RAW over HDMI video in HD at 120fps. In addition, while other cameras such as the Panasonic S1H and the Nikon Z6 & Z7 can record ProRes RAW externally, Sigma fp will be the smallest camera to do so. This will give extra flexibility to filmmakers who want to experiment with their videography.

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As part of this major update, Sigma has announced that the Sigma fp will have expanded functionality, including the ability to create cinemagraphs, CinemaDNG footage playback and improved autofocus. Other new functions include HDR in moovie shooting, still and movie shooting in Director's Viewfinder mode and the ability to capture still image from movie files.

Atomos CEO Jeromy Young says: "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 120fps high frame rate shooting. 

"This camera brings Sigma's unique approach to the photo industry into video and we are happy to be innovating together with them to enable the fp to shoot the most versatile RAW codec available. The Atomos Ninja V, Sigma fp and ProRes RAW oopen up a whole range of creative opportunities for our customers, and I can't wait to see what users can do with it." 

In order to use ProRes RAW recording, you'll need to download the free Sigma V2.00 firmware update that's available today and the free AtomOS update for the Ninja V monitor/ recorder that will be available in Summer 2020.

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UPDATE: Panasonic has issued a statement that the promised firmware has been delayed due to technical issues. The statement reads "The firmware updates that enable the much-anticipated RAW over HDMI for LUMIX S1H and Atomos Ninja V have unfortunately been slightly delayed from the original 25th May release schedule. An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. Both Panasonic and Atomos are working together to complete the development as soon as possible. This is to ensure the highest possible level of RAW recording is delivered. We apologise for the inconvenience this delay causes."

ORIGINAL STORY: The Panasonic Lumix S1H about to get a free firmware update which enables raw video capture via HDMI and the Atomos Ninja V external recorder/monitor.

The Lumix S1H is the third member of the full frame mirrorless Lumix S family, and designed specifically for cinema-quality video with a bigger body for heat dissipation and a dedicated cinema-orientated interface. It easily qualifies as one of the best 4K cameras for filmmaking (it actually captures in 6K), but many were surprised that such a powerful cinema camera didn't offer raw video capture.

It still doesn't, internally at least, but Panasonic is now about to deliver a solution, with the help of Atomos, which makes some of the best on camera monitors and recorders for videographers.

With a free firmware update due for release on May 25 2020, the Lumix S1H will be able to hook up to an Atomos Ninja V  HDR monitor-recorder via HDMI 2.0, to record 5.9K video at 30p or 4K video at up to 60p in the Apple ProRes RAW format.

It's not the first time this has been done. Atomos has already co-developed the same solution with Nikon to allow the Nikon Z 6 and Z 7 to capture raw video. 

It might sound like an expensive and inconvenient solution, but in fact it's common practice for cinematographers and high-end videographers to use external recorders, and it is typical for these devices to be able to capture video at higher quality settings than the camera can record internally.

LUMIX S1H Firmware Version 2.0

Support for RAW HDMI output is not the only improvement in this firmware update. It will bring support for a Super35 format 4:3 anamorphic mode, where ultra-wide scenes are captured and stored horizontally compressed and expanded again for playback. It will also be possible to select V-Log or Rec.709 modes during RAW output, and display shooting assist functions including WFM (Wave Form Monitor), Vector Scope, Luminance Spot Meter and Zebra Pattern.

The update brings a number of ergonomic and operational improvements and tackles a few bugs too. Panasonic says, "There were cases where colour banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimised." In addition, "There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed." Another issue with freezing during 400Mbps recording in certain conditions has been "improved", and a fault with aperture control on some non-Panasonic L-mount lenses has been fixed.

This is a significant update for the Lumix S1H to keep it competitive in a fast-changing market. The just-revealed specifications for the Canon EOS R5 show how rapidly video capture technology is advancing.

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If you're looking for a on-camera monitor recorder to help take your filmmaking to the next level, then you'd struggle to do better than the Atomos Shogun 7. This piece of equipment is the perfect bridge between prosumer videography using DSLRs and mirrorless cameras, to cine-quality filmmaking equipment such as RED or Arri cameras. 

Global Distribution swung by The Photography Show's Burst Mode studio to give us a closer look at the Atomos Shogun 7 – and explain exactly how useful it can be for enthusiast and professional videographers alike.

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The 7" screen on the Atomos Shogun 7 is the perfect size for helping videographers see what they're capturing in full detail. The 1,000,000:1 contrast ratio and peak brightness of 3,000nits doesn't hurt either! This high-quality screen also means that you can easily show clients footage without having to transfer the files to a computer.

The Atomos Shogun 7 is also capable of recording up to 5.7K Apple ProRes RAW or 4K Apple ProRes directly onto SSD drives, which bypasses the limitations that SD memory cards have. You can even shoot RAW at high frame rates up to HDp240.

One of our favorite aspects of the Atomos Shogun 7 is that you can load up to eight of your own LUTs onto the monitor itself – and you can store even more on the SSD drive that you connect to it. You can then have the flexibility to view your footage half-graded and half-ungraded to  see whether you're achieving the right effect. You can even burn a LUT into the video itself if you're working on a project that needs a super quick turnaround. 

For more information on the Atomos Shogun 7, watch the video above or check out Global Distribution's website.

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Atomos is a well-known name in the world of filmmaking – and for good reason. Their range of monitors enable videographers to capture professional-quality video from consumer DSLR and mirrorless cameras. Global Distribution dropped by The Photography Show's Burst Mode studio to show us how the Atomos Ninja V  can be an essential part of your filmmaking kit.

The Atomos Ninja V is a 5" on-camera monitor recorder that can record the uncompressed image from the sensor before the camera compresses the footage. It's able to record and play back DCI 4K, UHD 4K and HD video from purpose-built mini-SSDs. 

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The Ninja V also features a 10-bit FRC IPS screen with a brightness of 1,000 cd/m². This means it's perfect for use in bother exterior and interior conditions. It features a color accurate display that's easy to calibrate. You can also access features such as waveforms, translucency and brightness, focus peaking and frame guides to get as much out of the monitor recorder as possible.

Recently, Atomos and Nikon worked together to ensure that the Nikon Z6 and Z7 could record ProRes RAW video footage with the Atomos Ninja V. However, Panasonic will also be joining the RAW video party at some point in the future.

While you might not be able to capture RAW video with other camera manufacturers, you can still use the Atomos Ninja V with brands including Sony, Canon, Fujifilm and Olympus for more flexibility with your filmmaking.

For more information you can either watch the video above or check out the Global Distribution website.

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Atomos turns 10 years old in 2020, and it is celebrating by reducing the Atomos Ninja V by a cool $50. You've gotta love those friends who share the love on their birthday! 

The Atomos Ninja V will be reduced to just $649 for a "limited time only", marking one of the lowest prices we've ever seen for the fantastic external screen, which tops our list of best on-camera monitors on the market right now. 

The Ninja V has set a new standard for external monitors, delivering up to 4K 60p Apple ProRes and AVID DNxHR recording, Apple ProRes RAW recording over HDMI at up to 6K 30p, 1,000nit calibrated high brightness HDR display and plenty more besides. All of which made it a fitting choice for Atomos' first birthday promotion of the year – with more still to come.

"2020 sees the 10th anniversary of the birth of Atomos," stated the company in a celebratory release. "We will be marking the occasion throughout the year to show our gratitude to everyone that has been a part of this journey."

For those interested in Atomos' ten-year legacy, the company offered a crib notes version of its past to catch you up. 

"The Atomos journey started when our CEO Jeromy Young released the original Ninja HD HDMI monitor recorder a decade ago, bringing Apple ProRes recording to an affordable camera top device that was also a monitor — unlocking much higher quality recording from many cameras, especially DSLRs. It also made Atomos a bridge between the camera world and computing world. The superior ProRes files produced made for much easier editing and post processing in programs like Apple Final Cut Pro, Adobe Premiere and AVID Media Composer. 

"Fast forward a decade and Atomos have also led the way with a series of products and technologies that have changed the industry for the better. We brought 4K recording to mirrorless cameras for the first time with either the Ninja Assassin or Shogun combined with Sony’s A7S. We led the way with on-camera HDR monitoring and we changed the industry again when we launched ProRes RAW recording from a wide range of popular cinema cameras."

If getting the brilliant Ninja V for a discount price is just the first of many birthday celebrations, we can't wait to see what presents Atomos unwraps for us next…

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RAW video output for Nikon Z6 and Z7, plus CFexpress compatibility!

Atomos would consider switching from SSD drives to the newly-released CFexpress memory cards in the future - according to Atomos CEO Jeromy Young. Speaking to DCW at IBC 2019, the attraction of the new memory format would be to make the successor to products like the best-selling Ninja V that much smaller.

"We're right behind that technology, as it comes down in price we will offer it in our products," says Young, speaking to us in an exclusive interview about ProRes RAW.

But they are sticking with SSD at the moment, because it is a cheaper way of achieving the high data read/write rates needed to record and playback video at the highest resolution and quality. But as CFexpress is so much smaller than the miniSSD drives that Atomos currently uses with its devices, Young is excited about using CFexpress to create units with a smaller form factor - once the price of CFexpress comes down.

Currently Sandisk and Angelbird are the two card makers to have launched CFexpress cards. SanDisk's and Angelbird's Type B CFExpress cards offer read speeds of up to 1700MB/s and 1400MB/s write speeds. Angelbird’s AtomX SSDmini designed for Atomos monitor/recorders, by comparison, offers read speeds of 540 MB/s and write speeds of 500 MB/s.

We are committed to miniaturization of our products, we're committed to increased performance," says Young. And in that spirit, he also revealed that Atomos is considering a separate video recorder that would be "a small Ninja, without a screen. Kinda click into your camera, you know like the battery packs do".

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In welcome news for videographers on a budget, Atomos have announced a permanent price reduction on their Shinobi and Shinobi SDI 4K HDR on-camera monitors. 

The Shinobi monitor will be available from $299 (reduced from $399), while the Shinobi SDI has been reduced to $429 from $499. 

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The Shinobi monitor is a high brightness 1000nut HDMI monitor that's designed for vloggers, creatives and photographers. Supporting 4K output, it features a 'run all day' single battery, HDR capability and a selfie Mirror Mode for vloggers. Weighing in at just 200g, Atomos describes Shinobi as one of the lightest 4K monitors on the market. 

The screen also has anti-fingerprint technology to help keep your view of your footage as crystal clear as possible. In addition, Shinobi includes monitoring tools for focus, framing and exposure to ensure you're able to get the best shot possible.

Jeremy Young, Atomos Co-founder and CEO, says, "The Shinobi line has been our highest selling monitor ever, the volume into the booming social media video segment has been astounding. This has enabled us to increase volume production and as always, we pass on the cost savings to our loyal customers. $299 for the advanced 5” 4K HDR Shinobi continues Atomos’ drive to democratize cinematic style video production for the masses.”

With reductions on two amazing products, we're sure both the Shinobi and the Shinobi SDI are about to fly off the shelves. 

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Nikon has unveiled it's all-in mirrorless moviemaking set-up: the Nikon Z6 Essential Movie Kit, built around the video-friendly 24.5MP full-frame 4K Nikon Z6 body. 

Comprising filmmaking essentials such as the Atomos Ninja V monitor, SmallRig camera cage and spare batteries, Nikon describes the Movie Kit as "providing the pure essentials to get rolling quickly, with all the core tools to make high-quality movies," while "leaving filmmakers free to customize further components to suit their personal preferences."

The Nikon Z6 Essential Movie Kit pairs nicely with the recently announced firmware that will make the Z6 and Z7 the first consumer cameras to officially support raw video output. 

Costing £2,639 and shipping from mid-September, the Nikon Z6 Essential Movie Kit consists of the following items:

• Nikon Z6 camera body
• Nikon FTZ mount adapter
• Nikon EN-EL 15b batteries (for Nikon Z6)
• Atomos Ninja V
• 5200 mAh batteries (for Atomos Ninja V)
• SmallRig quick-release camera cage
• SmallRig handle for camera cage
• SmallRig magic arm
• Coiled HDMI cable

• Nikon Z6 vs Z7 - which should you buy?

Interestingly, the Nikon Z6 Essential Movie Kit seems to be the European equivalent of the Nikon Z6 Filmmakers Kit that has already been released in the US. 

The American Nikon Z6 Filmmakers Kit comprises:

• Nikon Z6 camera body
• Nikkor Z 24-70mm f/4 S
• Nikon FTZ mount adapter
• Nikon EN-EL 15b batteries (for Nikon Z6)
• Atomos Ninja V
• Coiled HDMI cable
• Rode VideoMic Pro+
• Moza Air 2 gimbal
• Moza Magic articulating arm
• Vimeo Pro 1-year subscription
• The Art of Making Music Videos free online class

Both kits will give you a great start in your filmmaking journey, but the US version is more comprehensive – though more expensive. The Nikon Z6 Filmmakers Kit is available now and for $3999.95. 

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Revolutionary raw video output coming to Nikon Z6 and Z7 later this year
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On August 27, Nikon announced that it was bringing officially supported RAW video output to the Z6 and Z7, making them the first consumer cameras to have this revolutionary feature. Then, just over 24 hours later, Atomos sent out a brief press release to announce that it was co-developing RAW output for the Lumix S1H with Panasonic. 

Jeromy Young, Atomos CEO, says, "We are very proud of continuing to develop new ground-breaking technology with a company of the caliber of Panasonic. We are both highly committed to the democratization of filmmaking for creators, and the ability to transmit RAW over HDMI from the S1H to a Ninja V is a major leap forward in this endeavor."

• Read more: Best Panasonic cameras

The announcement of the Panasonic S1H's full specs was already exciting enough - what with 6K internal recording, 10-bit 60p 4K recording and over 14 stops of dynamic range. However, RAW video output will truly make the S1H a videography heavyweight. 

At Panasonic's LA event for the announcement of the S1H's full specs, Panasonic said, "The leading brand of external monitor-recorders is definitely Atomos. Both companies have a very good relationship and we have been providing 4:2:2 10bit HDMI output recording for the Lumix GH series for years. We are very proud to be developing RAW output via HDMI with Atomos for the S1H.”

This announcement is certainly very exciting, but with the S1H on sale from the end of September, when will this feature become available? 

Well, while Nikon hasn't given a specific date for the arrival of RAW video output for the Z6 and Z7, it has said that it'll materialize later this year. In contrast, we don't appear to have any timeframe for when RAW video will be available for the S1H. This announcement only says that the two companies are co-developing the feature, not that it will be available any time soon.

We also wonder how Apple's legal petition against Red for its patent for RAW video recording will affect this. Our understanding is that anyone who wishes to use RAW video output in their technology have to pay Red a (likely hefty) fee for the pleasure. This seems to be, at least partially, the reason why RAW video output has been so slow to come to consumer cameras. 

While Panasonic haven't announced which RAW video codec it'll be using, Nikon has already stated that it'll be using Apple's ProRes RAW format. If Apple's legal petition fails, what will happen with its RAW codec - and will Nikon's plans of RAW video output be affected?

Either way, we're definitely excited to see plans in motion for RAW video output to come to consumer cameras - and we'll be sure to keep you updated on any further developments. 

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The Atomos Shinomi is a high-quality five-inch LCD display which is designed to offer a big-screen display for those shooting video with the best 4K cameras, including DSLRs and mirrorless system cameras. On display at The Photography Show, this external on-camera monitor allows vloggers and filmmakers to mount the screen on the hotshoe of their cameras. 

Thanks to its HDMI input the Shinobi is compatible with most recent cameras, smartphones and other video devices. It weighs just 196g, thanks to its polycarbonate body, and features a 1920 x 1080 16:9 5.2in LCD screen. 

Atomos is well known for making monitors with built-in video recorders – such as the Atomos Ninja. But this this is the company's first small-sized standalone monitor – allowing it to be a much more affordable option for the videomaker.

The screen offers a full ten-stop dynamic range, allowing videographers to preview HDR video in the field. It supports a wide range of LOG formats (such as Canon's CLog/CLog2/CLog3 and Sony SLog/SLog2/SLog3) – and can then display these in a variety of ways to replicate your post-production workflow, using LUTs (look-up tables).

There are a wide range of monitoring features, as is usual for an Atomos device - including RGB histogram, focus peaking and focus peaking.

The screen offers a full ten-stop dynamic range, allowing videographers to preview HDR video in the field. It supports a wide range of LOG formats (such as Canon's CLog/CLog2/CLog3 and Sony SLog/SLog2/SLog3) – and can then display these in a variety of ways to replicate your post-production workflow, using LUTs (look-up tables).

There are a wide range of monitoring features, as is usual for an Atomos device - including RGB histogram, focus peaking and focus peaking.

The unit boasts  tripod sockets on two sides, to allow for a variety of mounting options - and there is even a 3.5mm headphone jack for sound monitoring.  

The Atomos Shinobi will retail for £399 / $399.

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