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

Video transmission systems are used to send your camera's output to a different location without the need for cables that can get in the way, cause trip hazards, and take up valuable space. Many options are available for this, with varying degrees of performance and features, and most mean fitting one device to your camera, with the feed being viewed on a field monitor of some kind.

While having the option to use dedicated video transmission systems and field monitors is great, sometimes that just means more tech to ferry to and from a shoot, store, insure, and so on, when in actual fact you could take advantage of devices you already own and carry with you. Hollyland, developer of the fantastic Pyro systems, has taken this idea and run with it, with their new Vcore transmitter, which can send your videos to smartphones and tablets. It can also be paired with the Pyro, promising a versatile piece of gear.

Having used the Pyro, I had my expectations set pretty high, but read on to find out how I got on.

Specifications

Price

$219 / £177 might not be a trifling amount, but it does bring wireless video down to a level that is attainable for many more users than other systems that require dedicated monitors and receivers.

Design & Handling

Although the box is small, you get a lot in it. First up is the main unit, which is built from very high-quality plastics. This unit has a metal cold shoe on one side and a cold shoe mount on the other, for attaching to the camera. There areUSB-C in and out ports, a full-size HDMI 1.4 input port, and a rubber door covering a full-sized SD card slot. The bottom edge has a ¼ 20 threaded mounting point. Finally, there’s a small but very crisp and easy-to-read OLED display, a power button, and a multi-function button. Everything is easily accessible, feels nice to the touch, and the buttons, while having a very short throw, give a nice positive click.

I’m also a fan of the antennas here. Unlike some devices, which sport larger screw-in antennas, the Vcores are part of the main unit. They poke out less than an inch, keeping the footprint small and meaning there are fewer things to lose.

Alongside the main Vcore, you get a cold shoe to thread adapter, a phone holder, and a magnetic hold for those using their magnetic smartphones mounted on the main unit.

The magnet is very strong and helps my iPhone Pro Max stay in place with ease. No amount of vigorous shaking would dislodge it. Similarly, the sprung phone mount, for those without the magnetic option, is far superior to others I’ve used. Its slight soft-touch finish aids here, and it feels nice and sturdy. It also folds pretty flat, so storing it is less of a hassle.

Performance

The setup procedure for the Vcore is smooth and hassle free. Download the HollyView app first, switch on the Vcore and hit the multifunction button once to enter pairing mode, then connect to its wifi network on your phone and you’re done. Alternatively you can connect to the app using the USB-C cable, which is fine for on-camera use but obviously doesn’t work for remote viewing. For my first test, using a Sony A7r4, I was doing a piece to camera, so having the ability to check framing, focus and exposure from my mark made things far more efficient. The signal is strong and stable which is key but there’s a lot more to like.

First up you can use the app for simply viewing the footage as you shoot and, being on a portable device means you can put it pretty much anywhere, or hand it off to an AC or another team member. That alone is worth the asking price.

Things get even more interesting when you look at camera control. You can record and stop, all from your phone or tablet. For solo shooters this is a massive boon but do check compatibility before you purchase, as not all makes are supported. My Sony camera worked just fine but my Blackmagic Design Pyxis didn’t play ball. If you are covered then the ability to wirelessly start recording could be a big deal for you. It certainly makes my life easier.

On top of this you can use an iPhone to record Prores footage from your camera,a neat trick which I think will be appreciated by many. 422, 422HQ, 422LT and 422 Proxy options are all available, making your phone a mean video recorder too.

Hollyland could have made this a simple consumer/prosumer device so it’s really good to see they have designed the Vcore to grow with you, or enable it to fit into a larger existing setup. The Vcore can be integrated into a Pryo setup just as easily, connecting to multiple devices at one, so if you need a monitor for a director, another for a client and one for an AC, you are good to go.

You might be worried about the video quality but there’s more to love there, with 4k 30 transmission with negligible lag. All while being able to record proxies to the internal SD card (you’ll need to buy one separately) or on your phone.

I was very impressed by the range of the Pyro transmitters but worried that the Vcore, at this price, might be less reliable and, while the range isn’t as great at 100m, it is a robust signal that can penetrate solid walls and I haven’t once experienced an issue with stability.

While this review isn’t about the app, it is worth pointing out that HollyView is pretty fully featured. It has all the things you might expect, like a gallery section, with folders for organising not just your proxies but images too, so all you photographers can keep things in order. There’s a plugin for Capture One too.

For use as a field monitor you get all you could need for everything covering focus and exposure assistance. There’s false colour, zebras, peaking, guide lines for various aspects and, seeing as it’s based on an interface you use every day, interacting with it is a doddle.

Verdict

I can't praise the Vcore enough. My only gripe is that it is HDMI only and even that is being slightly unfair, as you wouldn't expect that at the price this comes in at. It's an impressively versatile piece of equipment, solidly built and that performs admirably. Combine it with your favourite handheld device and you're on to a winner.

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

Hollyland has launched the Vcore, a wireless video transmission system that enables filmmakers and content creators to use their smartphones as professional camera monitors.

Designed to make video production lighter and more affordable, the Vcore connects directly to your camera and phone, offering real-time 4K monitoring without the need for a dedicated external on-camera monitor.

Aimed at entry-level users and semi-professional filmmakers, the Vcore combines wireless transmission, monitoring, and intelligent workflow tools in a compact, all-in-one system. Once connected, via HDMI to the camera and USB-C to a smartphone, users can monitor footage through the HollyView app, which supports real-time 4K video at 30fps.

Compatible with both Android and Apple iOS, the Vcore can transmit over the 5GHz band with a range of up to 350 feet (100 metres) and a low latency of around 65ms. It’s also compatible with Hollyland’s Pyro series receivers, supporting up to four monitoring devices simultaneously; ideal for multi-crew or client-viewing setups.

For creators working on fast-paced shoots, the system offers 1080p proxy recording at 60fps (H.264), with automatic timecode and frame rate detection for smooth syncing in post-production software such as Premiere Pro and DaVinci Resolve. Proxy files are saved in MP4 format to an internal SD card, providing an instant backup and easy import path.

The HollyView app adds several useful production tools, including clip tagging, naming, and organization, directly during recording. It can also trigger simultaneous MP4 recording on the linked phone, making it easy to review or share footage on the go.

Another standout feature is the ability to connect to the camera via USB for uncompressed RAW or JPEG capture, which can be transmitted wirelessly in real time to mobile devices or directly to macOS using the Capture One plugin.

Hollyland has also included some creative touches, such as remote camera control, live streaming, and real-time chroma keying for green screen effects, giving users advanced flexibility straight from their smartphone setup.

With a price of $221 / £193, the Vcore provides a cost-effective alternative to dedicated field monitors, especially for those who already rely on their phones as creative tools.

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While the trend for larger field monitors seems to be continuing, there is still a lot to be said for the 5”. It’s smaller, lighter, and easier to manage, but does that mean you have to compromise on quality or features? Well, that is exactly what I wanted to find out, especially after using the Pyro 7 and really appreciating what it has to offer. Hollyland’s Pyro 5 is the obvious comparison, so I’ve been putting it through its paces to see if it can do the job, but in a more compact form. I still need the same performance and features, from power options and IO to shooting assistance, but can all of that be crammed into a considerably more pocketable device?

Hollyland Pyro 5: Specifications

Hollyland Pyro 5: Price

From $419 / £375, the Pyro 5 is affordable for most working pros and keen enthusiasts, and while there are cheaper options out there, they might not be as competitive as you think, once you look at the balance of quality and features. That said, I think Hollyland missed out by not including some basic accessories, such as a case or even a basic mounting option.

Hollyland Pyro 5: Design & Handling

As soon as you pick up the Pyro 5, you can feel the quality. It may have a plastic shell, but it feels very premium, with a slight texture and soft touch that is very pleasing. On the left is a 3.5mm headphone socket, below a sliding type power switch, which is preferable to a push type. Opposite that is a ¼”20 mounting point, of which another can be found on the bottom, so rigging in different positions is made easy. The rear is home to an HDMI in and out port, a single SDI in port, the DC in and USB-C port, as well as the NPF battery plate. It’s all very clean and rugged, and the SDI port is recessed, giving it some protection against knocks. I would have liked to have seen an option for a V-mount battery plate, but given the overall size of the Pyro 5, I can see why that option isn’t realistic.

The top edge houses the antenna, which, unlike the Pyro 7, uses a push-fit connection, which I really like. They click into place in a rather satisfying way and take a good tug to release, so it’s unlikely they will get accidentally dislodged.

Lastly, on the right-hand side is an SD card slot, plus each corner has a small indent that can be used for mounting accessories like hoods.

Everything falls nicely in place on the Pyro 5. Nothing feels cluttered or hard to access, aided by the fact that this has a single power switch and no other buttons, as it’s a touchscreen-only interface. I can see the appeal of this choice, but I think one or two custom buttons might be useful, although not a deal-breaker by any means.

One thing I did notice is that at times the cooling fan can get just loud enough to be picked up on a camera-mounted mic. It’s slight but something to be aware of, if that’s your usual rigging method.

Hollyland Pyro 5: Performance

I’ve used the Pyro 7 a fair bit and was hoping for a similar experience with the Pyro 5, and I wasn’t disappointed. Of course, there are some differences, other than the size, but the overall feel is much the same.

The first thing to mention is the screen. It’s gorgeous. Crystal clear and bright. At 1500 nits, it’s easy to use outdoors in bright daylight. Although this is the same as the Pyro 7 on this smaller screen, it feels even better. The pixel pitch is smaller, so clarity looks subjectively superior. The touch aspect of the screen is excellent, too, with no continual prodding needed. A simple tap registers first time, every time, and swiping is equally responsive. Now, there are devices out there with similar assist features, but the Hollyland menus make all the difference. They are easy to navigate, logical and clear, plus they are much easier on the eye than some of the competition. If this were a simple field monitor, I’d pay more for the menus alone, but of course, this does a lot more, of which I’ll come to shortly.

Monitors like this need to cater to all needs and all kinds of shooting situations. Luckily, the Pyro 5 ships with a very comprehensive set of shooting assists. It has a histogram, audio metering, false colour, zebras, and waveforms, etc, as well as support for anamorphic squeezing and LUT support. Speaking of LUTs, the Pyro 5 ships with 5 preloaded, but you can load your own to tailor things to your specific workflow.

Something you don’t often see is a customisable layout, but that is easy as pie to do here. Want your waveform in a certain location? A simple press and swipe allows you to put it wherever you like. This is really handy as it means you can shift things around to suit the shot. For example, if you're trying to focus on a part of the frame that has a histogram on it, you can very easily move it out of the way.

Now, proxies can be important to some, so Hollyland makes that even easier, with recordings that can be saved to the SD card or an external USB-C drive. These can include timecode too, so your editing can start with ease.

Now, one of the main reasons to go for something like the Pyro is the wireless capability. Like the Pyro 7, there is a lot to like here. For starters, you can transmit to up to four receivers, which is great for teams, where a director can have a clean feed, the AC can pull focus remotely, and you still have a couple left for client viewing and the like.

Then there’s the range, which maxes out at 400ft. Often those quoted figures come from testing in ideal conditions, but I easily managed over 200ft with a brick wall and trees between the transmitter and receiver.

Range is only one part of the picture and means nothing if the signal isn’t stable. That’s no problem for the Pyro 5, as it has auto frequency hopping, although you can manually choose if you prefer. The auto option seems to work flawlessly, but it’s nice to have the control, just in case.

Something the Pyro 5 has that I really appreciated in the 7 is the latency options. You can choose where your priorities are by means of a mode selection. You can choose HD mode to prioritise the image quality, or if lower latency is required, choose the smooth mode. This will change the bit rate to retain a steady 60ms.

This really demonstrates the overall experience of the Pyro 5, which marries quality with choice. Some devices excel at a single task, others are ok at a number of them. With the Pyro series, Hollyland seems to have made something that is of excellent quality and that has options for various use cases, all while being elegantly designed. That’s not even the end of the features, as you can also set camera groups for multicam setups, stream directly to your favourite service via the USB-C port, or control your camera. This last is only available for certain makes and models, so do check compatibility before you buy.

Hollyland Pyro 5: Verdict

The Pyro 5 is somewhat of a dream field monitor/wireless device. It’s small and lightweight yet packs in a very comprehensive feature set, which is very nicely designed. What’s more, it can grow with you as your team expands and your requirements change.

Alternatives

Atomos has unveiled the Shinobi 7 RX, a rugged, super-bright 7-inch HDR monitor that’s designed to free creators from cables.

While Atomos made its name with the game-changing monitor-recorder, the company has found equal success with its monitor-only range. The Shinobi II, launched in summer 2024, has won wide acclaim for bringing camera control and touch-to-focus features to a standalone monitor. Now, the Shinobi 7 RX takes the much-loved Shinobi 7 platform and injects those same features, along with wireless video monitoring.

“With Shinobi 7 RX we have taken everything people loved about the original Shinobi 7 and made it better,” said Atomos CEO Peter Barber. “We wanted to bring across the powerful camera control features that were first introduced with Shinobi II, and add high-quality wireless monitoring to make it the perfect on-set companion.”

Pairing with the Atomos TX RX wireless monitoring system, the Shinobi 7 RX can receive low-latency video streams (under 60ms) from up to 300m (1000ft) away. One Atomos TX transmitter can send to four Shinobi 7 RX units simultaneously, meaning directors, focus pullers, and even clients can all enjoy a dedicated view on set. The monitor also supports RTSP H.264 streaming over Wi-Fi.

Camera control extends across a wide range of Canon, Fujifilm, Nikon, Panasonic, and Sony models, plus Z CAM E2 via serial cable. Key exposure settings, including aperture, shutter speed, and ISO, are easily adjustable through on-screen sliders, while Atomos’ familiar monitoring tools (EL Zone false color, waveform, zebra, peaking, LUTs) help nail exposure and focus.

The 7-inch HDR screen packs a calibrated peak brightness of 2200nits, dual NPF battery slots, HDMI and 3G-SDI in/out, support for 8-channel 24-bit audio, and on-device calibration.

The Atomos Shinobi 7 RX is priced at $799, with in-store availability set for late October.

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Hollyland has just announced the Pyro 5, a new 5.5-inch all-in-one wireless monitor designed to streamline production for filmmakers and crews.

Freshly added to the company’s Pyro lineup, it combines a bright HD display with wireless transmission, camera control, and recording features, positioning itself as more than just another field monitor.

As someone who’s spent plenty of time wrestling with monitors on set, I can see why this could be a big deal. The Pyro 5 is designed to minimize clutter: instead of carrying a separate monitor, transmitter, and recording solution, it combines everything into one compact unit. For small crews, that could mean fewer boxes to mount, fewer cables to untangle, and fewer points of failure when the pressure’s on.

The monitor itself is no slouch, with a 1500-nit screen that’s bright enough for outdoor work and built-in tools like waveform, LUT support, focus assist, and zebras for exposure checks. But the bigger story here is wireless stability.

The Pyro 5 can operate on both 2.4G and 5G bands and uses Hollyland’s Auto Frequency Hopping to constantly seek the cleanest channel. In theory, that should mean fewer dropouts and much lower latency; a major plus when you’re pulling focus or relying on a real-time feed across distances of up to 400 metres.

What makes it particularly appealing for collaborative setups is its ability to send one signal to four receivers at once. A feature that saves time on set, as the director, AC, and even clients can all monitor simultaneously without passing around a single screen. Add in Multi-Cam Switching for juggling camera groups, and lock pairing to prevent crossed signals, and the Pyro 5 starts to look like a tool designed for real-world workflows rather than just spec sheets.

Above: The Hollyland Pyro 5 intro video

Other notable features include proxy recording and content tagging, designed to speed up post-production workflows, flexible power options, and a quick-release antenna system for faster rigging and breakdown.

I haven’t tested it in the field yet, but on paper, it feels like a continuation of a trend. Monitors that don’t just display an image, but actively reduce friction in production. If it delivers on stability and ease of use, the Pyro 5 could be one of those behind-the-scenes tools that make shoots run smoother.

The Hollyland Pyro 5 is available now through distributors and Hollyland’s Amazon store for the price of $419 / £443.

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A cinematographer has posted an Instagram Reel of himself recording a music video using a 55-inch on-camera monitor, handheld. That’s like walking around with your living-room TV on the hotshoe of your camera, for goodness sake!

The LA-based creative, Brian Beckwith (@bbthedp), appears to be courting some kind of world record, having tagged Guinness World Records in the Reel's description.

I can only assume that nobody else is crazy enough to have repeated this feat, but then again – why stop at 55 inches when you could go for 60 or 65? C'mon, Brian, at least commit to this!

Of course, I jest. I really don’t know what’s more impressive, the fact that Brian managed to rig this system up in the first place (I’d be wanting an Adamantium mount or something) or the fact that he’s strong enough to hold the camera and monitor aloft in the first place, let alone frame and film a video.

At one point, he even starts spinning around. Take a look at this wild feat:

As you’d expect, the comments are nearly as entertaining as the video, with one claiming: “That’s an on-monitor camera”, and another joking: “All right guys I know we only have 30 minutes for lunch but I need you to help me with a Instagram video [sic]”.

To put all of this into context, the best on-camera monitors for consumers tend to be around seven inches in size. These monitors are used by videographers to display a camera’s live view on a brighter and larger monitor than a typical rear LCD.

Because videographers don’t tend to use viewfinders, the boost in brightness is essential for daylight viewing, while the larger display allows for more accurate exposure and focusing. On-camera monitors also provide a better playback viewing experience, especially when footage is reviewed by multiple crew members at once.

So, as ridiculous as this exercise looks, in some ways it's also wildly practical – with a monitor that size, the entire crew can see it even if they're nowhere near the set!

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There has been a real surge in new field monitors of late. No matter what your budget, there will be an option that suits your needs, from no frills basic to options with wireless transmission, and it is one of the latter that I’m looking at here.

Hollyland’s Pyro 7 is full of promise, with an extensive feature list that should cater to just about anybody. It can transmit and receive, has a full range of shooting assist tools, as well as multiple IO, different powering options, and much more.

I’ve used many field monitors over the years and have come to know what will work fairly well, but I am sometimes thrown a curveball, so it was with real interest that I spent some time with the Pyro 7 to see if it could be a contender for the top spot. Ideally, the best field monitors should be light yet robust, bright enough to use on location in the day, have suitable inputs for different camera setups, offer things like focus assist, false colour, etc, as well as the ability to handle anamorphic de-squeezing, and be riggable. You get the idea. If you’re going to spend over $500 on a field monitor, it needs to deliver, as the more budget-friendly options are now snapping at the heels of the costlier options.

Hollyland Pyro 7: Specifications

Hollyland Pyro 7: Price

The Pyro 7 comes in at $549 / £509 / AU$999 for the single unit, but can be bought in bundles at around double that with transmitters, side handles, and so on at varying costs. It’s not overly expensive, but it also isn’t the cheapest option out there.

Hollyland Pyro 7: Build and handling

The first thing you notice about the Pyro is the weight and feel. It has an alloy shell, which is reassuringly solid but weighs in at only 570g. You can add the weight of batteries and antenna to that, but it’s still no chonker, bearable to carry for all-day shoots, either on camera or in the hand. Speaking of which, while you can mount directly to your camera, it has 1/4-20 mounts on both sides and the bottom, so if you would like to use this as a handheld assistant or director's monitor, you can easily add side handles, or simply pop it on a tripod.

I used the tripod method to leave my hands free for wireless focusing, and it worked a treat. This was outdoors too, which can be a worry, as displays just can’t counter the sunlight. Thankfully, the Pyro 7 has a brightness of 1500nits, making it easy to view in any light. That said, some reflections were problematic at times, and I would have liked to have seen a hood in the box. Many budget monitors ship with them, so it feels like a missed opportunity.

Returning to the weight of batteries, you have powering options here. A dual NPF plate, which is what I used, a V-mount plate, a g-mount plate, or DC in, which is threaded for locking in place.

Although it doesn’t feel cluttered, the Pyro 7 has a good number of ports, switches, and buttons. There are SDI in and out, as well as HDMI in and out, both loopable, and a USB-C port. I couldn’t find if this was capable of powering the device or if it was just for RTMP streaming. You’ll also find an SD card slot, which is used for both loading LUTs and recording.

Physical controls are simple but useful. A sliding type power switch, which I much prefer to the press and hold style, and two programmable function buttons. Lastly, there is a 3.5mm headphone port and a pair of threaded mounting points for the antennas.

Overall build quality feels very good indeed. The SDI and antenna points are either recessed or have guards to prevent damage, all the buttons engage in a satisfying way, and even the battery plate feels rock solid, something you don’t find in other devices of this type.

Hollyland Pyro 7: Performance

Even as a basic field monitor, the performance here is very good. The menus are clean, clear, and very responsive, which is a good thing, as this is a touch-screen only. No buttons or encoders here, which some may miss, but they do seem increasingly redundant, so it’s hard to criticise the lack too much. Icons and options are all large enough for those with bigger hands, and they’re well organised. This is important here as, unlike many monitors, there are often submenus for more detailed control. I’m a fan of this as it makes quick general changes easy, but when you want to get more granular, you can.

I mentioned before that I think the Pyro 7 should ship with a hood, and I stand by that, as they can be useful and they’re cheap to produce. That said, the screen is more than visible, even in midday sun, the 1500nits doing a good job of countering reflections and glare. A hood would still be nice, though.

The display isn’t just bright. It’s full HD, crystal clear, with good colour rendition and contrast, and has the ability for the user to load 3D LUTs, the first in a full complement of shooting aids. These cover the usual suspects, from zebras and false colour to peaking, waveforms, histogram, and even a vectorscope, something rarely seen. All of these have options to tailor to your needs and can be assigned to either of the function buttons.

For those using anamorphic lenses, all the standard de-squeezes are supported, and you can create a custom setting. Composition aids are on board, with guides.

The display can be mirrored and flipped as well, so if you find yourself shooting in an awkward position, it’s easy to deal with.

The SD card, normally used for loading LUTs, can here be used to record to, although limited to 40 minutes of MP4, but still useful. This can also be used for taking screenshots, so if you need to reset a scene, you can overlay this over the incoming signal to ensure you get as consistent continuity as possible.

I’d suggest that these features, along with the build quality, would be reason enough to recommend the Pyro 7, but there’s so much more, as I haven't even mentioned the wireless capabilities yet.

There are plenty of wireless transmission systems out there, but I’d rate the Pyro very highly in this regard, too, and for a couple of reasons. Firstly is range. The Pyro Maxes out at 400 meters, an impressive figure, especially with a lag of around 60ms. Now, that may sound unrealistic, but it’s managed by combining a few factors, like dual bands, automatic channel hopping and the ability to choose whether you want it to run in HD mode, which gives a constant bit-rate of around 11mbps, or in smooth mode, which may drop bit rate but keeps latency to the minimum. These all work together to keep the signal strong and suited to the purpose. 60ms is plenty fast enough for most uses, so colour me impressed.

What I really like about this system is how adaptable it is. The Pyro 7 can connect to two other Pyros, as well as two mobile devices, running the Hollyland app. This means your investment is capable of expanding as your productions do. Simply add another Pyro as and when it is needed.

Although I didn’t get to test it, you also have the ability to switch incoming signals from two cameras, which could prove very useful, and, given the strengths of every other feature, I have no doubt it works well.

Hollyland Pyro 7: Verdict

For anybody needing a good quality, daylight-capable, field monitor with all the bells and whistles, the Pyro 7 is a fantastic option. It can be rigged on camera or remotely with ease, it has a comprehensive set of shooting assist tools, the menus are excellent, and it’s built like a tank. While it’s true that the package is a bit bare bones, it is still worth every penny, and that’s before you even consider its wireless abilities.

Alternatives

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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If you’re a filmmaker of any type, from an enthusiastic hobbyist to a pro, then a field monitor is one of those items you will need at some point. Most likely fairly early on in your gear acquisition. They make all kinds of tasks that much more comfortable, or even possible. Everything from composition to exposure and focus is much easier on a larger, adjustable screen. The size makes a difference, as does viewing angle. Although flip-out screens are good for casual use, they are mostly too small for serious use and are always attached to the camera body.

Viltrox has a number of field monitors in its lineup, and I’ve looked at some of their others, like the Viltrox DC-L2, which I rated highly, so I wondered what this DC-A1 would offer that is different. Turns out quite a bit.

Viltrox DC-A1: Specifications

Viltrox DC-A1: Price

At the time of writing, the DC-A1 is currently on offer directly from Viltrox, but even at the full price of $279 / £259 / AU$499 it is a bargain for what you get in the package. Compared to the competition, including other Viltrox monitors, this is a great price.

Viltrox DC-A1: In the box

Once you get past the film and cardboard box, you’re presented with a case. Unlike some of the competition (including other Viltrox monitors), this is a semi-hard case with nice cutouts inside for the main components and a zipped pocket inside the lid for stashing cables. This is a nice touch, as protecting and transporting a monitor is something that’s needed on every shoot. I also like the fact that the case still fits with a battery installed.

The DC-A1 ships with a sun hood preinstalled, an NPF battery, a monitor mount, and a number of cables for connecting HDMI sources. There is also a warranty card and a good-quality screen protector included. It’s a nice package that gives some good value.

Viltrox DC-A1: Design & Handling

Like others in the Viltrox DC range, the shell is made from plastic, but don’t let that put you off. It’s good quality and nicely finished. All the ports feel good, with no loose connections, and the battery fits snugly with no rattling, which I have experienced with others. My only niggle is the USB-A port on the top, which is behind a slightly cheap feeling flap. I think this is a bit unnecessary, as it’s not a weather-proof device anyway, so it doesn’t really serve much of a purpose that I can see.

¼ 20 mounting points are found on the bottom and right-hand faces, both with anti-twist holes. The DC-A1 comes with a hot/cold shot mount too, and, unlike some others, this is a nicely made metal one, with very nice tightening thumb wheels.

The hood design is really nice. It’s the same as other Viltrox field monitors have, with a spring system that opens all three sides once you press the button. It’s a great fit, works very well, as a hood but also as an added layer of screen protection when closed. So much better than the hook-and-loop jobs you see so often at this price.

Then there’s the large, clickable rotary encoder on the left-hand side, which does have protective lugs that prevent damage and limit accidental adjustments. This is one of the main ways of interacting with the monitor, so it needs to feel good, as well as be precise, and luckily, it does. Presses are very positive, with good feedback, and the rotary aspect is equally good. It clicks as you turn, ideal for fast adjustments where you know how many menu steps you want to change.

As a complete package, I’m impressed with the DC-A1.

Viltrox DC-A1: Power

Filmmakers shoot in different ways, in varying locations, and on a huge variety of rigs. With this in mind, having the ability to power devices in different ways could make or break sales, and the DC-A1 scores strongly here. It ships with an NPF battery, a solid choice for many, as they are cheap, most of us have some lying around, and they are fairly efficient. If you are studio-based or have access to a DC supply, then there is a DC port on the bottom edge, next to a USB-C port, meaning you can use a standard power bank. Run time will vary depending on the size of the battery used, screen settings, and so on, but I found the supplied NPF550 gave me over two hours of runtime.

Viltrox DC-A1: Performance

Let's start off with physical interactions. The touchscreen is really responsive, and I didn’t find myself having to repeat inputs at all, which is a relief, as it is often the case. On-screen menu items are large enough that you can activate them easily without hitting their neighbours, even with larger hands. But if you want to ignore the touchscreen, you can adjust settings using hardware controls. There is a set of customisable function buttons on the top edge. These ships predefined, but it’s nice to know you can change them to suit your needs. Most of the time, you’ll be using that large rotary encoder on the side. It is both notched and has reasonable damping, so hitting your desired values is a breeze. I would prefer slightly heavier damping; however, I’m aware that’s a personal preference.

The menu layouts are logical, easy to navigate, and are far easier on the eye than many others I’ve seen. Text is crisp and clear, and highlights show where you are at any given time, too.

When it comes to assistance, the DC-A1 has everything you could hope for. False colour, peaking, composition guides, zebras, etc, but also a full range of squeezing options for the anamorphic shooter and user loadable 3D LUTs, which is great if you wish to preview your shots, rather than work in a flat log colour space, which can be more taxing to shoot critically.

Something else you don’t see elsewhere is the ability to freeze frame the incoming signal. This might have limited uses, but it's nice to have.

Now, the biggest benefit of the DC-A1 is the 7” screen. It’s a 1920x1080 resolution but will accept a 4K feed, which can be passed out by the second HDMI port for viewing on another device.

The screen has great contrast and colour accuracy; however, the star feature is the max brightness of 2800 nits. Pretty impressive and makes for a wonderful experience. Other Viltrox field monitors have good brightness but nowhere near the capabilities of this one, so if you often shoot outdoors or on particularly bright sets, I would highly recommend this. It minimises the effects of glare, reduces eye strain, and aids in better shots.

I do hope a version of this will be released with SDI ports, as that really is the only thing I can see missing. Other than that, this is a really well-rounded field monitor.

Viltrox DC-A1: Verdict

Although coming in at a fairly budget price, the DC-A1 is rugged, with a comprehensive feature list. The screen is top notch, UI is clear and logical, physical buttons all feel good, and there’s really not much to complain about. For anybody on the hunt for a field monitor, times are good, with the DC-A1 showcasing just what can be found for reasonable money.

Alternatives

Over the years I’ve owned, rented, tested and reviewed countless field monitors and they really are not made equally. The difference in build quality, feature sets and even things like the GUI is huge but I have noticed over the last couple of years, the gaps are decreasing, with some more wallet friendly options delivering refreshingly good options. This is fantastic for user, as competition can only do good. Viltrox has been around quite some time and this isn’t their first foray into the field monitor market, so I was keen to find out if their latest offering, the DC0L1 and DC-L2 continue the trend for attainable quality filmmaking gear.

The two models are essentially identical, with the only difference being the addition of SDI ports on the DC-L2. With that in mind I’m going to focus on that one, just remember that if you are planning to adopt an SDI workflow and this ends up on your shopping list.

Viltrox DC-L1: Specifications

Viltrox DC-L1: Price

$158 / £179 for the DC-L1 and $199 / £228 for the DC-L2 makes both options really affordable for most filmmakers and you get a lot for your money. The features you get couldn’t have been dreamed of just a few years ago at this price. Yes, a few corners have been cut to keep costs down but the quality is good and I’d be happy using these on a daily basis.

Viltrox DC-L1: In the box

Inside the box you’ll find the unit itself, with the sun hood reinstalled. It may seem like a small thing but this eliminates a little plastic packaging and I’m all for that.

You will also find an NPF-550, alongside cables for HDMI and USB-C, some paperwork and a hinged mount for connecting the monitor to your rig. If you opt for the DC-L2 you will have to provide your own SDI cable, as none are supplied, which I think is fair at this price point.

Lastly there is a screen protector and carrying case but I’m not sure I would ever use it for transportation as it’s a simple cloth bag. Useful for keeping dust off when stored back at base though.

Viltrox DC-L1: Design & Handling

Both DC-L1 and the DC-L2 are the same in build and form, with the exception of the SDI ports on the L2. The casing is a hard plastic but nicely finished in a kind of graphite paint, that looks good. It does feel like plastic but doesn’t feel too brittle or weak. In actual fact the whole thing is good in the hand. It’s weighty enough to feel quality but not to the point you wouldn’t want it attached to your rig. That’s handy too, as a 7” monitor could overwhelm a set up.

Mounting points are found on the bottom and right hand sides, each with anti twist points. The mount that ships with them is the only real point of disappointment for me. It looks and feels poor quality, which is a shame. I ended up using a magic arm, which is my preferred method anyway, as it allows for super fast changes.

On the top edge are menu and function buttons, each of which is programmable. There’s also the sliding power switch and an exhaust vent for cooling.

On the left you’ll find HDMI in and out ports, a USB-C and DC power port and a stereo 3.5mm headphone jack. A USB-A socket can be found on the bottom face, used for loading LUTs and firmware updates.

The rear has more colling vents, as well as the slot for the battery and, if you opt for the DC-L2 version, the SDI ports, which are recessed, something I’m a fan of as it offers a little protection.

Which leaves the hood, which I’m a big fan of. Many more budget friendly options provide either no hood, or some form of fabric and velcro which just doesn’t do it for me. The Viltrox ships with a hood fitted, clamping neatly to the body of the monitor. A latch on the bottom can be pressed to open the hood, which springs out to provide glare protection from the top and sides, in hard black plastic. To close, simply fold the sides in and close the top over them, latching it in place. Great design that works really well.

Viltrox DC-L1: Power

I say this a lot when I review gear, but it’s for good reason. Having something in your case that can be adapted to different situations can make a real difference to a project, and I’m really pleased to see companies looking at this, especially with power. Viltrox has chosen to give users three different methods to power their DC range so props to them for doing so, even on less expensive products.

You can use the supplied NPF battery, which works great and gives a couple of hours shooting, depending on your brightness settings and environmental conditions. For studio use you can opt for a DC connection, although this isn’t provided but a suitable plug can be found very cheap on Amazon. Lastly, you can use the USN-C port to power the unit. A cable is supplied, great for a power bank, or for modern power plates with a USB port on them.

Viltrox DC-L1: Performance

I’ll start with the hardware side of things, as cheaper devices can fall down here. The Viltrox is excellent in every regard. All the ports and buttons work well. Engagement of cables is really important and I have experienced looseness elsewhere but the DCs are both very good.

Pop open that great hood and the touch screen is a joy. It’s responsive and accurate. I’ve not once had a wrong item activate, which is a good sign.

There’s lots of customisation options too. The function buttons on top can be configured how you like, so if you want false colour, focus assist or something different on those four buttons then you can.

I’m all for good GUI design. I can’t get over how so many high-end devices have such poor menu layouts, but thankfully, Viltrox has spent the time getting that right here. There are a couple of slightly odd wordings, but overall, everything is clear and logical. The menus are also bright and easy to read, even in bright light, which goes for the rest of the viewing experience. It may only be a 1080p screen, but it can take a 4K input and display it with great clarity, contrast, and brightness. Being that little bigger helps in nailing critical focus too. The screen settings can be changed for your preferences too, so if you prefer to dim things down for an indoor or night shoot, you can. I noticed a very slight warming of colour temperature at the lowest brightness, but that could just have been the comparison to the location. Overall, I’d say everything is accurate and, more importantly, consistent.

There are all the usual suspects when it comes to filmmaking aids here, from false colour, to numerous framing overlays, peaking and audio monitoring. What’s more is you get squeezing of all flavours for the anamorphic shooter and 3D LUT support. There are a handful built in and you can load your own too.

The Viltrox is a real joy to use and, in this price bracket, may well be my pick of the bunch. It has a few extras that add to how it feels on a shoot too. That hard hood that folds down, is a handy level of screen protection between shots ( Viltrox ship with a screen protection film too) and there’s an internal gyro, so if your rigging needs to invert for any reason your monitor will flip the image. Good job Viltrox!

Viltrox DC-L1: Verdict

A wallet friendly field monitor, that packs in a lot of features and is easy to use shouldn’t be sniffed at. Whether you go for the DC-L1 or DC-L2 will depend on your setup but for the price difference I’d go for the SDI version which will futureproof you for gear changes. Lots of power options, great menus and focus/exposure assistance for days make this one a keeper.

Alternatives

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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I've used and owned many field monitors over the years, from the cheap and cheerful to the more high-end, and I have developed a longing for a few things. Firstly, I hate faffing with sun hoods, as they never quite sit right, it's one more thing to pack and set up. I also really prefer something lightweight, which usually means compromising build quality or size.

My go-to for many years has been the Atomos Ninja V, a favorite of many filmmakers, thanks to its excellent build, useful tools, and versatility, with its various accessories.

That said, I'm always on the lookout for different options so jumped at the chance to bag Neewer's F700, after being pleasantly surprised by their F500.

Neewer has built quite a following amongst the hobbyist and indie filmmaking community, with a massive range of tools for shooting and lighting, so does the F700 make the cut?

Neewer F700: Specifications

Neewer F700: Price

Starting at $269.99 / £289.99, this isn't a small amount of money but, compared to some options with similar specs, it's really good value. You'd be hard-pushed to find a 7" field monitor with a screen as good as this for anywhere close. You're getting a lot for your money here, from the usual suspects like waveforms, audio monitoring, and zebras, to the less obvious benefits of really good battery life and dropping the need for a sun hood.

Neewer F700: Design & Handling

The F700 ships in a number of kits, with either no, one, or two batteries. I have the single battery option but otherwise, they are all the same, coming with HDMI cables (in micro, mini, and full-fat versions) USB cable, a mount, and a quick start guide.

I've noticed a few companies up their game with cold shoe mounts recently and Neewer is among them. The mount here is excellent. It's fully metal, nicely machined, and has an arri style locating pin, to prevent twisting, plus holes you can pop a small tool into to crank it nice and tight. It's adjustable for angle too, so fitting it to your rig is easy. Plus there are 1/4 20 threaded mounting holes on the bottom and right-hand side, making it pretty versatile. I tend to use a magic arm for this, so it suits me well.

The design is nice enough. There's not too much going on so it looks clean, with a few buttons on top that, while a little cheap feeling, are click and responsive. Ports all feel nice and tight, alleviating any worries about easily disconnecting by accident.

There are both ins and outs for HDMI, USB-C, and DC inputs for power and an SD card slot, although this is for firmware and LUT loading. No onboard recording here, which is a missed opportunity.

The screen is touch-sensitive, which can be switched off for those who prefer button control. The screen is fantastic too. The menus may look a little dated (more on that later) but the image is good, bright, and detailed.

That said, the housing is made from a rather thin and cheap-feeling plastic. Not to the point I think it will break easily but it doesn't compare well to my regular Ninja V.

It does have dual NPF locking battery slots though, which is good.

Neewer F700: Interface

Some companies just seem to understand how a user interface affects the way we see our devices (Thumbs up to Blackmagic here). It still feels like camera companies (and those making peripheral gear) still fall short in this respect. The Neewer F700 is an odd mismatch. Graphically it leaves a lot to be desired, with rather an ugly presentation that feels distinctly dated. However, the menu system is great. It's well laid out and navigating is easy.

A short click of the menu/set button activates the quick menus at the bottom of the screen, which can be chosen and re-ordered as you see fit. You can either use the touch screen, or the left and right buttons to make changes, with the menu/set being used to confirm and the back button to exit.

A long click will open up the main menus, which will shut down again after a few seconds of nonuse. The menus give access to all the tools a filmmaker needs when monitoring a feed. There are things like aspect, including all flavors of anamorphic, peaking, false color (in both spectrum and Arri flavors), audio meters, waveforms, and zebras.

A nice touch is that you can reposition the waveforms, based on a grid. Not complete freedom but far better than a fixed position.

There are no options for camera control on the F700 but at this price, that's no reason to complain. All in all, the tools offered here are what you'd expect and all work well.

Neewer F700: Performance

Performance is key to the success of many devices and that is especially true of something as vital to a filmmaking rig as the monitor. Luckily the F700 is a great all-rounder in this regard. The on-screen info is all clear and easy to read and I really appreciate the ability to customize the quick menu that pops up at the bottom of the screen with a click of the menu button. This makes it a doddle to access frequently used settings, without having a constant clutter, distracting from the actual image.

I love that you can do things like move the waveform monitor too. It may not be complete freedom, as it is restricted to a grid of nine locations but that's plenty for me.

The touch element of the screen is very good too. Responsive and fluid, with no noticeable lag and I haven't had it miss a beat or fail to recognize my inputs.

While there is no SDI onboard, for most users looking at this I think HDMI is perfectly fine and it's nice to see Neewer include all the HDMI cables in the kit, so no matter which camera you are using you won't have to trawl amazon for extras.

There are three stand-out features for me when looking at the F700.

First up is that SD card slot. You can't record to it (not even proxies) which is a shame but at this price, I'm not surprised. However, you can use it to load LUTs to the monitor, which is fantastic. If you regularly shoot in a log profile you will know that it can be tricky to monitor your 'look' properly, so being able to load your own LUTs is a real boon. Neewer has thought this through well too and having an active LUT doesn't change the accuracy of the tools, like altering the waveform, etc. It also doesn't pass through to the HDMI output, so if you are daisy chaining to another destination you get a good clean signal.

The second is battery life. I used two a pair of NPF 750 batteries, which easily supplied power for a full day. Fantastic for the many of us who have these lying around. And for those who don't, the kit that includes them is a great deal. In fact, I'd suggest going for that anyway, as the batteries are good quality and also have the neat trick of being chargeable via the built-in USB-C port. Nice work Neewer.

Last but not least is the screen brightness. I really dislike unhoods and visors. They rarely look neat, often don't fit well, have light leaks, and can be easily lost or forgotten. This is where the F700 really shines, literally. The 200-nit brightness means this can be used outdoors, even on sunny days, with no need for a hood. It feels very much like looking at a good phone screen. Clear, bright, detailed, and rich.

This alone makes the F700 worth considering for those without a field monitor and possibly even for those who do. Using a larger monitor, unencumbered, is a real joy.

While it does accept a 4k input the F700 display is 1080p, which is a shame but again you can't really criticise too much at the price point. It's a 16:9 display too but it can deliver all sorts of incoming signals, including all flavors of anamorphic.

No matter what you are sending it, you should be fine to view it. The tech specs suggest it maxes out at 50fps but I found I could view 120 without any issues but that could have been some form of tweening.

All in all, it's a fantastic experience, with some extras like a headphone jack for monitoring audio, DC output a wide viewing angle.

Neewer F700: Verdict

The F700 is a device with two sides. It's built to a price point, with cheap-feeling plastics and the menu design (graphically at least) isn't the best but the screen itself is excellent, the features a very good and it does exactly what you want it to, even in a sunny location. It's hard to criticise the build too much at this price and the F700's capabilities have won me over. One for the shortlist for sure.

Alternatives

There can be no doubt that working wirelessly is a benefit. Being unconstrained by cables and all the associated management that entails is a liberating experience, which is why we see an increasing number of wireless transmission systems becoming available for filmmakers, from indie users shooting on phones, through to small teams up to larger outfits shooting on cinema cameras.

DJI has had a bit of a head start with this, as their drones have, for years, showcased some excellent video transmission, with fantastic range and reliability, which is key. A robust connection is a must, especially for those wanting to control aspects of the shoot remotely. The DJI transmission system, specifically the high-bight combo, which adds a field monitor allows not just viewing of the footage but focus pulling, amongst other attributes. Great news for ACs, directors, and more.

This combo has a number of key features aimed at creating a workflow that is adaptable to different needs, fits into DJI's Pro product lineup, and, ultimately, means making life easier for the filmmaker.

I've used systems from trade, acs soon, and others and was keen to test the DJI Transmission High-Bright Combo to see just how it fared in this rapidly evolving market.

A note on my use case. Not all features are compatible with all setups. For example, if you have a Sony camera, the DJI TS (which I will refer to it as from now on) will have you covered with remote camera control but this isn't true for all manufacturers. I won't list them in this review as firmware changes so rapidly, and new cameras are released, so check the specs if you're considering a purchase.

DJI Transmission: Specifications

DJI Transmission: Price

The combo price is $2,499 / £1,979, which seems a lot – but you do get a lot for your money and the High-bright monitor can be used for wired monitoring, extending its uses. If you added up the cost of similar products with similar capabilities you'd be in roughly the same ballpark, so I'd say the price is fair. Keep in mind that you can add receivers to the setup, so if your productions grow the DJI TS can grow with it, although there would be additional cost for that.

DJI Transmission: Design & build quality

The DJI transmitter and High-Bright combo play well with other parts of the DJI Pro ecosystem, and as part of that system, the combo is very well-built. The transmitter is built from metal, with protective shields around the ports and the clickable control wheel. Everything feels very sturdy, with responsive buttons a bright and clear display and the antennas feel robust too (although I only have the shorter ones, so can't attest to the durability of the high gain option).

The high-bright monitor/receiver feels good too, although there is more plastic here and obviously the 7" touch screen is going to be susceptible to knocks and drops. But mounted in the metal frame it is suitably protected, while none of the ports are blocked.

The transmitter has various mounting options, from threaded holes to a cold shoe mount. I opted to use a magic arm to connect to the cage on my Pyxis, enabling easy adjustment. For those using it with a gimbal, there is a plate that allows it to easily mount beneath the camera on an RS3 Pro.

The high-bright cage is covered in threaded holes, on both sides, bottom and rear. These could be used to mount it, or to mount accessories to it.

Both items are kind of modular too, with adapters for power delivery and mounting. The High-Bright can be expanded a fair bit too. There's an optional extra that allows for extra output ports, a sun hood (which is very secure and works great) plus the ability to use other items from the Pro Ecosystem.

Now, as it stands the monitor/receiver is great. You can mount it in lots of ways or just hold it but it really comes to life when you add the Ronin handles to it, meaning that you can remotely control your camera, as well as monitor the signal but more on that later.

DJI Transmission: Power

Power delivery is a key concern for many. What batteries do you use, or do you go for a mains power option? I imagine mains are less useful to many but it's nice to have. For most, the benefits of wireless transmission will run parallel to wireless power, or we would all use larger fixed screens, which is the case sometimes.

The majority will go for DJI's own batteries but it's worth knowing that NPF is supported, giving the option for varied sizes and lots of users will have a number of them already. DJI batteries are good. They are reliable, the indicator LEDs are pretty accurate and life is ok but, as with so many DJI battery solutions these only charge in serial, so the wait to fully charge a set can be lengthy.

V or Gold mount are the other options, so if you are rigged up with them, adding a d-tap cable to the power in on these devices can work well.

I found the DJI batteries kept the transmitter going for between three and three and a half hours, while the High-Bright lasted just under two hours, results pretty close to DJI's claims. That was indoors. I imagine those times would drop on colder sets.

The transmitter can also be mounted directly to an RS3 Pro gimbal, which introduces some extra features we will get to. The transmitters LEMO and HDMI ports are used in this context.

DJI Transmission: Interface

Let's start with the transmitter. Controls are simple. A single rotary encoder, with a click function, is used to navigate menus and in this case, does so well. The menus are simply for things like setting language, channel and so on. The screen is pretty small but it doesn't need to be any bigger. It's clear and very easy to read.

The High-Bright is a different beast and is mostly all touchscreen. The 7" display is very responsive and I haven't once found it missed my inputs, so well done DJI, as it is so frustrating to have to keep prodding something for it to respond.

As a stand-alone monitor, it functions much like any other on the market, with options for monitoring, histogram, and various other data. However, it can do an awful lot more, when paired with different devices. If you use one of DJI's pro gimbals you're in for a treat. The High-Bright has an internal gyro, so you can move it and the gimbal head will follow. This is great news if you have your gimbal mounted on a vehicle, or a jib arm, or simply have an operator controlling the position, with a second in charge of the camera.

Better yet is when you add the Focus Pro grip, or Ronin 4D grips, which give you focus control, so an AC can pull focus from a suitable location and if you have certain cameras, you can control them too via the touchscreen. This is fantastic but does mean the optional purchases are needed for the extra benefits.

I do wish there was a way to use the Focus Pro handle for this too but that isn't an option, as it needs a wired connection to the lidar unit on the camera. The Focus Pro Grip however does work and works very well.

DJI Transmission: Connections

Connections are plentiful here. Again, let's start with the transmitter. This has SDI in and out, HDMI in, and a LEMO connector for power. It's worth noting cables for the different options are included (as is a nice deli-style case for the combo). Plus a USB-C port for firmware updates

The High Bright has USB-C for use with a webcam and firmware updates, a 3G SDI and HDMI 1.4 output, as well as power, a 3.5mm audio output port, and a micro SD card slot.

There is an optional extra for additional outputs, which runs at a pricey £325 for an additional SDI, HDMI, and DC in port.

Let's talk wireless connections too. To provide a robust transmission DJI has opted to include 2.4Ghz and 5.8Ghz with up to 28 channels, so it should be possible to find one with no interference. On top of that stability is increased by automatic channel hopping.

Security is strengthened here with the inclusion of 256-bit encryption, keeping your files safe, which could be a concern when shooting projects, especially if there are NDAs involved.

DJI Transmission: Performance

ok, so it's well built, full of features for all eventualities but does it actually work as advertised? Thankfully the answer is a resounding yes.

Once the initial setup is done, which involves connecting to a computer to activate and do any firmware updates, pairing and starting up is a doddle.

All the controls are well-placed, easy to use, and respond well. The User experience is great and is a real pleasure. but it's the stability and range that is really important here. DJI has a reputation for some excellent video transmission, thanks to years of drone development, and that has paid off here, as the video is rock solid.

I didn't manage to get the claimed maximum of 6k but I didn't expect to. I did get just over a mile though, while in a moving car, with the camera in the back of a van. It's easy for both operators to see the strength of the signal too. either on the monitor or transmitter, which gives a reading of the current bitrate, which maxes out at 40mbps. Any interference is shown too, so you're always in the know.

Another great feature is the ability to capture proxies to the microSD card. These are 1080/60 H.264 recordings and a definite bonus, as you can offload to start an edit, as well as add a layer of backup, although with limited quality.

Let's talk about video quality. Of course, you'll be capturing your final results elsewhere, so resolution is less key here. You do get a range though. These are 1080p: 23.98/24/25/29.97/30/50/59.94/60fps720p: 50/59.94/60fps and there are options for 720p too. All fine for monitoring purposes and good enough for nailing focus remotely too, although you may wish for 4k in some situations.

I don't use Sony cameras but if you do, then you also get mirroring, allowing you to see and adjust your camera's menus directly on the High-Bright. Meta data is different however and most cameras data can be transmitted. Useful.

Latency is less of an issue when you are simply monitoring but if you are trying to pull focus it can be an obstruction to your process and while there is a little latency here it isn't bad. DJI states 70ms, which sounds high but in use, it doesn't feel it.

One final note. Depending on your positioning/rigging, the transmitter can get pretty warm, especially after extended use. That may not be a problem but if you're a handheld shooter, you. may need to consider where you contact your gear and rig accordingly. It won't burn you but it can get warm enough to be uncomfortable.

DJI Transmission: Verdict

DJI's Trasmission combo offers all round top performance. While it's true that some people will need to spend on some extras, it still remains great quality. Being able to slot into the Pro ecosystem is great and if you already use one of DJI's pro gimbals you're on to a winner. The High-Bright monitor is as good as other high end monitors too and the power/rigging options for the kit are well thought out too.

Alternatives

BenQ has launched its first on-camera monitor: the PVS7. This 7", 1920 x 1200 backlit IPS display stands out from the competition by boasting a super-high 2000-nit maximum brightness, along with an advanced anti-reflective coating that's claimed to minimize reflectance to just 5%. The result is a display that should be easily visible under the brightest sunlight, though a shading hood is also provided if you need an even clearer view.

Read more:
The best on-camera monitors in 2025

BenQ's AQCOLOR technology should ensure color consistency across the entire panel, and the monitor is capable of displaying the Rec.709 color gamut with pre-calibrated accuracy.

The PSV7 features fan-less cooling so it won't interfere with audio recording, even when shooting the quietest scenes. BenQ states that the monitor is perfectly compatible with Sony, Canon, Fujifilm and other cameras, with connectivity via HDMI and SDI interfaces, plus there's a microSD slot that can be used for uploading LUT files.

BenQ has also engineered the PVS7 to be rugged. Its construction is drop-proof to a height of 1.5m (a separate cage is also included for additional protection), and the screen surface has a 6H hardcoating for increased scratch resistance. Power can come from the mains via an included AC adaptor, or from NP-F-type batteries, with an advertised 5 hours runtime from a 5200mAh capacity battery.

The BenQ PVS7 is available to pre-order now, priced at $799.99/£999

Pre-order now from Wex
Pre-order now from B&H

A key element of any filming package is some method of monitoring your footage, either while shooting, or reviewing footage afterwards. Most cameras have this built-in to some extent, especially DSLRs or mirrorless cameras. Cinema cameras tend not to place as much importance on this, as they are most regularly used as part of a wider setup, with a video village, director’s or AC’s monitor. No matter what situation you are in, a high-quality monitor is essential, for checking composition, exposure, and focus and there are many makes available, to suit multiple needs and budgets.

Neewer has a reputation for building budget-friendly devices for filmmakers, including field monitors. Their F500 field monitor is one such device, so I’ve spent some time with it, to see if it holds up to the rigors of shooting, has the features needed, and does so reliably.

Neewer F500: Specifications

Neewer F500: Price

The F500 comes in at $159 / £164 (although deals can be had) which is excellent value, considering the features, as well as the included accessories.

Neewer F500: Design & build quality

I am so often disappointed by the lack of accessories we get without tech these days. Phones that don't come with chargers and so on can often mean we need to fork out for more gear, just to use what we already spent money on.

The same can not be said of Neewer's F500, which comes with everything you could wish for, in the box. Not only do you get the monitor and mounting bracket but you get three different HDMI cables, each with a different end, to suit your camera. The sun shade comes with it too, as does an NPF battery and even a battery charger. That's an amazing package and given the cost involved here I'm even more impressed.

The F500 feels very light in the hand and, while it is a plastic body, it doesn't feel cheap. The ports all engage well, the power button and clickable control wheel are solid and the battery slot feels strong, although with other brands of battery, it was sometimes a struggle to get the lock to function properly.

Mounting the F500 can be done in a number of ways. It has 1/4" threaded mounting points on the top, bottom, and right-hand side, for use with all manner of hardware, plus it ships with an L-shaped mounting bracket. This uses the right-hand 1/4" point which has locking pins, to attach the monitor. The other end attaches to a cold shoe on your camera or cage, with a thumb wheel to keep it in place. The bracket is metal, so should last well, plus it has a cold shoe of its own on the right-hand side, making it simple to attach an accessory such as a mic or on camera light.

The only part of the F500 that feels a little underwhelming is the sun hood. You first attach the frame, which clips in around the top and sides, and then the hood attaches to that via hook and loop. Maybe I'm being fussy but the flexible nature of the hood means it doesn't form an even surround. I'm used to the hood on my Ninja V, which is far better built and holds its shape very well. But then the F500 is considerably more affordable, so having a hood at all is something to be thankful for.

Ports aplenty can be found on this monitor, from full-sized HDMI in and out, along with DC in on the left, USB-C in, headphones out, and DC power out, on the bottom edge. I'm not a fan of bottom-edge ports on a monitor, as I like to have it close to the camera. Using the included bracket doesn't help either, as it sits a little too close to the monitor, so cables will either need to be flexible enough to bend, or you will have to tilt the F500 a little. Luckily changing the angle is easy, as there's a handy tightening knob, which doesn't loosen if you pivot the screen, thanks to the anti-twist pins.

Not surprising at this price point but there are no SDI or USB-C inputs for video. This is an HDMI-only monitor, although you could add a converter to your rig but for most that won't be necessary.

Also on this bottom edge is the F500's SD card slot. You may think this is for recording footage too but no, that feature is missing here, not that I can complain at this price. This slot is actually used for loading LUTs onto the monitor, so you can get a better representation of your deliverables, either for you or for showing a client who may not understand the process of of shooting in RAW.

25 LUTs can be loaded onto the F500 and accessed by the touch controls.

Neewer F500: Performance

Accessing menus and changing settings is as simple as it gets, not that the options are fewer than you need. There's pretty much everything you could want on the F500, from focus assist to scopes and audio levels to framing aids. And all of this is controlled by a really intuitive touch interface.

I'm a bit of a GUI nerd and have to say I've been very pleasantly surprised by what Neewer has delivered here. Everything is easy to find, logically grouped, and labeled well. Better than some much more expensive options.

The image quality on the screen is good. The Full HD display is clear and detailed and can display 4K footage too. Focus assist is nice and clear and the RGB levels are handy. False color helps you expose well and there are numerous options for positioning your monitor for awkward setups, so you can flip the screen horizontally and vertically. All useful stuff.

The only thing I noticed that through me a little was the blue tint. Compare the two images above, where my Ninja V accurately portrays what the camera sees, compared to the cooler image on the F500. This is even apparent after adjusting the color temperature on the F500, although far less obvious.

This is personal taste I suppose but I prefer information to be displayed separately, rather than as an overlay, which is what the F500 does. Fortunately, everything is easy to toggle on and off and the data is all very big and clear.

The F500 can be powered in various ways, from Dtap to NPF batteries or even a power bank, via USB-C. The supplied NPF550 kept the monitor alive for a surprisingly good couple of hours, so the draw on this isn't going to hog your rig too much.

Neewer F500: verdict

All in all the F500 is a compelling package. You get an awful lot included in the box, which really raises the value, as a battery and charger could easily cost a third of the price if bought separately.

The build is solid too. Not the best but the plastics are nice enough and it feels robust.

Although I had a few niggles, like the bottom ports and slight coolness of the image, the overall experience was very good and any filmmaker looking for a budget field monitor wouldn't go far wrong shortlisting this one.

Alternatives

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. 

If you've just started out in video, on-camera monitors may seem like a luxury. Experienced videographers will tell you otherwise.

Also known as field monitors, some of the more high-end on-camera monitors not only increase the size of your display but can improve your camera's video functionality. For example, when shooting with a Panasonic Lumix S5 and an Atomos Ninja V external recorder, you can shoot 12-bit RAW instead of 10-bit 4:2:2 with its internal recording option. On-camera monitors are also great additions if your camera lacks features such as a fully articulating screen - the Blackmagic Pocket Cinema Camera 6K being one example.

Even if you have features turned on like focus peaking, zebra lines, and false colors, an on-camera monitor lets you apply frame monitors which can reveal flickers that smaller monitors might not. They also enable you to proof content and show it to other people on set, without having to cram around a small screen.

In this list, we run through the best external monitors and video recorders around, so you can get the big-picture experience before you hit your editing suite and it’s too late to re-shoot.

The Quick List

Best on-camera monitors

Best on-camera monitor overall

The Atomos Ninja has become pretty much the industry standard in monitor recorders. It's a popular choice among both budding and professional videographers and filmmakers thanks to its beautifully calibrated 5.2-inch HDR display and its ability to support 4K 60p ProRes HQ, H.265, 4:2:2 ad DNxHR.

The Ninja will also support 6K Apple ProRes RAW with select cameras. Other features include pro-level monitor tools such as waveforms, false colors, HDR monitoring, and LUT support.

If your camera doesn't support 4K, the Ninja might be a bit overkill as you won't make the most out of the features you're paying for. If you're just after a monitor so that you can view your video easier, the Atomos Shinobi would be a better option and it will save you money.

Alternatively, if you're shooting some serious projects and need something even bigger, the Atomos Shogun which appears later in this list sports a massive 7-inch screen, perfect for use with the best cinema cameras.

Read our full Atomos Ninja review for more details

Best external monitor for Blackmagic RAW

Size may not be everything, but the Blackmagic Video Assist 7 12G HDR boasts a sharp and vibrant 7-inch touchscreen that's an absolute delight to use. With its large, clear display and up to 2500 nits of brightness, it's hard to imagine going back to a standard 3-inch camera screen.

In addition to the user-friendly interface, the built-in scopes for exposure and focusing assessments make achieving precision a breeze. Furthermore, it offers the capability to record up to 4K 60fps broadcast quality Raw footage with the option to overlay or hard-code LUTs into Blackmagic Raw. While there's a lot to love about this device, it may not be suitable for everyone.

The 7-inch monitor adds significant weight when combined with lenses, a camera cage, and other accessories attached to your camera. For those who find this setup too cumbersome, there's a 5-inch version – the Blackmagic Video Assist 5 12G HDR – which is ideal for run-and-gun handheld shooting, where size and weight are key considerations.

Read our full Blackmagic Video Assist 7 12G HDR review for more

Best on-camera monitor for monitoring only

If you're just looking for an external monitor and don't need recording capabilities, the Atomos Shinobi delivers the display quality of the Atomos Ninja V but at a fraction of the price. It's the perfect choice for vloggers who shoot with a camera with limited screen articulation such as the Sony A7 III or the Blackmagic Pocket Cinema Camera 4K which has a fixed display.

You can easily view waveform and histogram information thanks to its intuitive menu. With its centrally mounted battery, the Shinobi is nicely balanced which is perfect for when you need to shoot with a gimbal.

Whether you're a photographer or videographer, the screen on the Shinobi will be able to accurately display HDR pictures which a camera's native screen won't be able to do. The standard model comes with HDMI connectors (although you will have to supply your own HDMI cables) but you can choose to go for the Atomos Shinobi SDI which has lockable SDI sockets.

Read our full Atomos Shinobi II review

Best on-camera monitor for beginners

With the built-in camera control for various Canon, Sony, Panasonic, Blackmagic, and even Z Cam cinema cameras, this is a great option for anyone wanting a monitor that will help a filmmaker get the shot and be a very helpful visual aid in the composition process.

For a reasonable price, you get a great package that is built to withstand the vigorous day-to-day life of a filmmaker while on set, in the studio, or for on-the-go shooting.

Paired with a tough travel case for ease of transport between shoots, great monitor features, and the ability for onboard audio monitoring, the PortKeys LH5P II is a great 5.5” monitor for anyone looking to up their game in the cinematography world.

Read our full PortKeys LH5P II review for more details

Best on-camera monitor for pros

Hollyland’s Pyro 7 is a great option for any shooter. It boasts an extensive feature list: it can transmit and receive, has a full range of shooting assist tools, as well as multiple IO, different powering options, and much more. Build quality is rock-solid, the controls are well designed and easy to use, and the screen is fantastic, even in daylight. It’s full HD, crystal clear, with good colour rendition and contrast, and it has the ability for the user to load 3D LUTs; the first in a full complement of shooting aids. These cover the usual suspects, from zebras and false colour to peaking, waveforms, histogram, and even a vectorscope.

The Pyro 7 can also be used to record footage, as it has an SD card slot, though video is limited to limited to 40 minutes of MP4 footage. Another handy extra feature is its wireless transmission ability with a range of up to 400 meters and a lag of just 60ms. There's also dual bands and automatic channel hopping that ensure a strong signal and low latency.

Overall, if you want a well specified, robust field monitor and need reliable wireless transmission, the Hollyland Pyro 7 is well worth the money.

Read our full Hollyland Pyro 7 review

Best budget on-camera monitor

The F700 is a device with two sides. It's built to a price point, with cheap-feeling plastics and the menu design (graphically at least) isn't the best. But the screen itself is excellent, with a 2000-nit max brightness that means this monitor can be used outdoors, even on sunny days, with no need for a hood. It feels very much like looking at a good phone screen: clear, bright, detailed, and rich. The screen is also touch-sensitive, though this function can be switched off for those who prefer button control. There are both ins and outs for HDMI, USB-C, and DC inputs for power and an SD card slot, although this is for firmware and LUT loading. Though not perfect, it's hard to criticise the the F700 too much when it's price is so reasonable.

Read our full Neewer F700 review for more details

Best budget on-camera recorder

The Blackmagic Video Assist 5 3G is definitely a solid monitor with excellent build quality and a significant upgrade from the typical 3-inch LCD screens found on most cameras. The larger 5-inch screen greatly enhances focusing, composition, and exposure adjustments.

However, it's worth noting that the monitor's limitation to 1080p video capture might be a setback for some, especially in the current era where 4K has become the standard for many high-end productions.

Nevertheless, for individuals primarily working with 1080p video, the monitor remains a compelling option, especially with its ability to capture Raw video footage. Nonetheless, it's important to acknowledge that the resolution limitation might make the Video Assist 5 3G feel somewhat outdated, so considering a more advanced and pricier model could be a wise move for seasoned users and industry professionals looking to future-proof their equipment.

Read our full Blackmagic Video Assist 5 3G review for more

Best ultra-bright

The Viltrox DC-A1 is a powerful field monitor, well suited to any location, indoor or outdoor. The screen has great contrast and colour accuracy; however, the star feature is the max brightness of 2800 nits. Pretty impressive; it makes for a wonderful experience. Other Viltrox field monitors have good brightness, but nowhere near the capabilities of this one, so if you often shoot outdoors or on particularly bright sets, I would highly recommend this. It minimises the effects of glare, reduces eye strain, and aids in better shots.

The user interface is great too, making one handed use a breeze. The filming assistance is also top notch, so exposure, focus and composition are made just that bit easier.

Considering the accessible price, the DC-A1 is quite a bargain!

Read our full Viltrox DC-A1 review for more details

How to choose the best on camera monitor

As you'd expect, there are a number of different factors that contribute to the decision-making process. The first is the size of the monitor, with most in the range of 5 and 7 inches. Generally, the larger the screen, the heavier your setup is going to be. That brings me to the second consideration, that of weight. If you are a pure run-and-gun, then pick a super lightweight option, as you don't want to carry around any unnecessary weight.

Not all monitors let you record from the device itself, so if that's important to your workflow, then make sure this is included.

How we test on camera monitors

We look at three key elements when reviewing on-camera monitors, including key features, build and handling, and performance.

By looking at the key features first, we're able to see what sets each monitor apart from its rivals. Every company is looking for an edge to be first in people's hearts and minds, so considering these first is important.

We then move on to the quality of the actual unit itself. Monitors need to be rugged and robust, so we're taking the time to check what the build quality is like and whether it'll stand the test of time.

Finally, we obviously want to assess the ability of the monitor to perform as it should. This involves using the monitor in real-world situations and using all its features.

Prices compared

Having a good on-camera monitor is quite frankly the best kit investment any filmmaker should consider when wanting to start out or progress their filmmaking career, Monitors are usually bigger and brighter than the standard monitor see on your mirrorless cameras, which makes composition and framing much easier, let alone all the other parameters you'd want to check.

Most professional cinema cameras don’t feature a screen at all, so it is essential to pick one that suits your needs and overall makes it easier to compose your shots, gain crucial focus and above all allows you to do your job quicker. The PortKeys LHP5 II takes all these must-have qualities and even expands on them, depending on which camera system you're using. Let's find out how well this 5.5” monitor performs.

PortKeys LH5P II Specifications

LCD:  5.5"
Resolution: 1920 x 1080
Aspect ratio: 16:9
Viewing angle: 178°
Brightness: 2200 cd/m2
Contrast ratio: 1000:1
Bit depth: 10-Bit (1.07 Billion Colors)
Color gamut: 100% Rec. 709, 85% DCI-P3
Image controls: Anamorphic De-Squeeze, Check Field, Color Temperature Selection, Customizable Aspect Ratios, False Color, Focus Assist, Focus Peaking, H/V Delay, Histogram, Image Flip, Screen Markers, Waveform, Zebra
Connectivity: HDMI input, HDMI output, 3.5mm headphone output, Proprietary (24 VDC) Input/Output, Mini-USB, USA Type-A input
Battery: Sony NFP style
Dimensions (WxHxD): 144 x 90 x 30.88 mm
Weight: 8.8 oz / 250 g

PortKeys LH5P II Key features

The PortKeys LH5P II is a bright 5.5” monitor that supports a 1920 x 1080 touchscreen to make is incredibly user-friendly, it also features built-in control for Sony Alpha and FS/FX cameras, control for Canon C line-up and R5 and R6, as well as supporting the range of Blackmagic cinema cameras, Z cam and finally Panasonic Lumix models such as the GH and S series. Meaning no matter what camera you are shooting you will be able to have full menu control at your fingertips, which is incredibly intuitive and refreshing from a well priced product.

The PortKeys LHP5 II is very well equipped with many features and connections that would make even the most serious filmmaker’s job easier throughout a shoot. It supports HDMI in and HDMI out via passthrough and can take and display a signal of DCI 4K at 24fps. 

You have a built-in 3.5mm headphone for audio monitoring on the fly, as well as remote options and DC inputs. A great feature is that this wonderful monitor supports the widely available Sony NPF style batteries which come in multiple power options, I use some 5600mAh / 40.3Wh NP-F750 batteries that I had in a draw and they are able to power the LH5P II for a very long period of time, in fact I have only had to charge them once and I have used the monitor on multiple shoots outputting 1080p or 4K singles.

PortKeys LH5P II Build & handling

The LH5P II is built line a tank, constructed of aluminium hard-shell with robust hard plastic buttons for menus controls and 4 function setting, it makes it feel like a quality product right out the box, and even the packaging is useful as the PortKey supply you with a handy pelican-style hard case to put your newly required monitor into when travelling, which I thought was a very nice touch. 

The LH5P II is equipped with a lot of software built-in, you are able to adjust picture color, temperature, layout and more to have it display a single just the way you want it, you can also flip the image on the horizontal or vertical axis making this a perfect companion for those for are shooting vertical video for social media. You can also set the display gamut to an option of your choice from bypass, Rec.709, P3-DCI, or P3-D65. You also have the option to upload your own LUT to the monitor so you can see exactly how your video is going to look before applying it in the editing studio, which is a massive time saver when on set.

Assist settings include focus assist in the form of zebra, peaking or waveform so you can be sure you will hit critical focus every time with your preferred option of choice. You also have option for RGB waveform or a histogram if you are coming from a photography background, all in all the PortKeys LH5P II really packs a wealth of features in such a robust and sleek form factor that any filmmaker would be proud to use.

PortKeys LH5P II Perfromace

On test I tried this monitor out with the Panasonic Lumix BS1H and on my older Nikon D800, it performed flawlessly on both setups, whether shooting indoor or outside. I found that the 2200 cd/m brightness cut out glare whilst shooting in bright sunlight and did not distract from being able to compose various scenes. 

As previously mentioned the LH5P II takes NPF style batteries and found that I could easily use 1 battery for a whole shoot day with the monitor being turned on and off during breaks. Your own mileage may vary, and if you are using bigger professional equipment you might want to invest in a dummy NPF battery to a D-Tap on either your Gold or V-mount battery for longer running hours, but if you are a Mirrorless user the NPF batteries are the way to go, yes it means carrying two different batteries but two will certainly get you through the most depending of shoots with plenty of juice to spare 

PortKeys LH5P II Verdict

With the built-in camera control for various Canon, Sony, Panasonic, Blackmagic, and even Z Cam cinema cameras, this is a great option for anyone wanting a monitor that will help a filmmaker get the shot and be a very helpful visual aid in the composition process.

For the reasonable price you get a great package that is built to withstand the vigorous day-to-day life of a filmmaker while on set, in the studio or for on the go shooting. Paired with a tough travel case for ease of transport between shoots, great monitor features and the ability for on-board audio monitoring, the PortKeys LH5P II is a great 5.5” monitor for anyone looking to up their game in the cinematography world.

You might also like to look at the best Netflix-approved cameras or the best cameras for filmmaking, alongside the best cine lenses to complete your setup.

Canon has designed a folding rear screen for mirrorless cameras, taking a trick out of the book of the smartphone industry and the wave of foldable devices. 

This marks an interesting turn of the work from a camera manufacturer. After years of seeing traditional camera sales eroded by camera phones, as handsets have taken the best features of cameras and combined them with the advantages of phones, Canon has turned the tables and the best mirrorless cameras could now take the signature feature of the best fold phones. 

That is if one or both of Canon's recently spotted designs make it to the marketplace. The manufacturer's first design features a screen with two folding hinges, which fold open like old-fashioned window shutters. Its second design features a single folding hinge, which opens like a landscape-oriented greetings card. 

"A display of an electronic apparatus includes first to third display portions that at least partially have flexibility and are integrally configured," says the first patent (20220269152, as spotted by Canon Watch).

"The display has a first bending portion at a boundary between the first display portion and the second display portion and has a second bending portion at a boundary between the second display portion and the third display portion."

"In an electronic apparatus, a display at least partially has flexibility, includes a plurality of display portions, and includes a bending portion at each of boundaries of the display portions," reads the description of the second patent (20220272266). 

"An electronic apparatus includes, near each bending portion, a hinge portion that relatively rotatably couples two display portions and is configured to be bendable at each bending portion as a start point in response to rotation of each hinge portion."

As foldable screens become more commonplace on all manner of electronic devices, it makes sense that they should also make their way to cameras – and it's also high time that the camera industry started taking some cues from smartphones.

Now, if we could only get a decent touchscreen interface rather than these archaic menu systems…

Read more: 

Best Canon cameras
Samsung Galaxy Z Fold 4
Samsung Galaxy Z Flip 4

Just because someone is visually impaired doesn’t mean they can’t enjoy photography – they might just need a little more help to navigate the camera. Menu systems, (especially Sony’s) can be confusing even for someone with perfect vision but luckily the Sony A7 IV now includes a screen reader feature. 

Launched in 2021, the Sony A7R IV has been a popular choice among professionals and enthusiastic hobbyists looking for a high-resolution camera. With a 61MP sensor, 4K 60p video recording and 10 frames per second burst shooting, it’s a brilliant all-rounder that is now more accessible to those with visual impairments. 

• Discover the best Sony cameras

The screen reader works exactly how you might think – it simply reads out the words in the menu system allowing the user to hear the options available. You can turn the feature on/off by going to Menu > Setup > Accessibility > Screen Reader and once set up you can also adjust the speed and volume of the voice. For those who might struggle to turn it on in the first place, it’s recommended that you plug your camera into a larger monitor or TV via a HDMI cable so the menu text is easier to read. 

According to the Centers for Disease Control and Prevention (CDC) there are an estimated 12 million people aged 40 and over who suffer from some kind of visual impairment. Loss of vision can cause a substantial social and economic impact but features such as a screen reader will go a huge way to make photography easier for people suffering from various eye conditions. 

Sony is still improving the screen reader feature but it has definitely taken a step in the right direction to be more inclusive. What once would’ve been impossible, Sony has made possible by giving some independence back to people who suffer from vision loss. Hopefully, more camera manufacturers will follow suit and those who are visually impaired will be to have a choice of cameras suited to their needs. 

Read more:

Best Sony lenses
Best Sony flashguns
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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:

Atomos Ninja V review
Best on-camera monitors and recorders
Best monitor for video editing
Best wireless follow focus
Best DAWs
Best filmmaking camera

Canon does not make regular consumer monitors, but it does make high-end on-set for cinema and TV production crews. The new DP-V180 is an 18-inch 4K HDR display designed for “bold, true to life colors” and  uncompromising performance to enable detailed image analysis on set.

Reference monitors are specialized tools designed for extremely accurate color display with no digital artefacts or artificial optimisations like dynamic contrast – they’re not designed for the end-user viewing experience but to check exactly the images being recorded during film and video production. Although they are usually used for filming, they can also be used for video post production.

Canon DP-V1830 key features

The new Canon DP-V1830 has an 18-inch 4K HDR display with a resolution of 3,840 x 2,160 dots, and delivers a brightness of 1,000 cd/square meter. It meets Dolby Vision and EBU TECH3320 standards and supports advanced HDR monitoring with waveform monitor, false color (exposure and image clipping), range check (typically for peak brightness levels) and other features. It can analyse log footage from different manufacturers.

The DP-V1830 1 HDMI input and 12G-SDI terminals with 4 inputs/4outputs. It also offers Dual or Quad modes for simultaneous multi-camera monitoring. It weighs 7.5kg, but Canon says for its type it’s “compact and lightweight”.

Canon DP-V1830 price and availability

Canon says the DP-V1830 will go on sale in the first quarter of 2022, and a price of $14,299 (approximately £10,770/AU$20,250)– though Canon says RGB parade waveform monitoring and input switching via the multifunction SDI output will not arrive until a summer 2022 firmware update. 

See also
Best monitors for video editing
Best on-camera monitors & recorders
Best 8K monitors

The Sony Xperia Pro makes an assumption – photographers and videographers are experiencing stuff overload. It’s not uncommon for kit bags to weigh in excess of five or 10 kilos and include 10 or more separate bits, so any space and weight saved is welcome, surely. We’re definitely not going to argue with that logic, but how much multifunction can a smartphone really add to your imaging?

As much as we wish Sony found a way of shrinking lenses with no loss in quality, that’s not what the Xperia Pro does. Instead, this niche flagship smartphone combines premium 5G mobile specs with external monitor functionality. 

By way of a micro HDMI port that sits at the base of the phone, the Xperia Pro’s 10-bit 6.5-inch OLED screen, complete with astoundingly high resolution and a convenient 21:9 aspect ratio, acts as a viewfinder. In turn, with one of these and a camera like the Sony A7s III, matched with a grip that hooks up via the hot-shoe mount, you can enjoy a live preview of what you’re shooting that’s in a different league to any camera’s flip-out screen. 

The Xperia Pro’s flex doesn’t stop there, especially if you’re a livestream producer. The phone’s body has been designed with 5G in mind, switching out glass and metal for plastic to ensure better 5G signal. There are also under the hood changes including repositioned antennas and more. No other phone does what the Xperia Pro does, and thanks to its 5G might, it’s more of a three-in-one than a two-in-one. There’s no doubt – this is excellent multifunction, but it’s also expensive multifunction. 

Costing $2,499.99/£2,299, the price of this phone immediately hurtles the Xperia Pro to niche territory – so if you’re an enthusiast or pro, and are thinking about picking up Sony’s unique imaging accessory-cum-flagship handset, we’ve pulled together this set of questions and answers after our fortnight with the phone. 

• Read more: Sony Xperia Pro review

Xperia Pro 5G streaming

1. Why would you use a 5G phone for streaming?

In our tests, a 5G SIM card produced upload speeds of between 30-40Mbps, versus 7-10Mbps at 4G speeds. This was using the same UK network (EE) in an area with strong 4G and 5G signal.

2. Is the Xperia Pro’s 5G faster than other phones?

In our tests, the Xperia Pro averaged both faster 4G and 5G download speeds than the Samsung Galaxy S21 Ultra and Xperia 1 III.

3. Is the Xperia Pro better than other 5G phones for streaming?

Unlike most phones, which have antennas on two or three sides, the Xperia Pro features antennas on all four sides, so whether you’re holding it or mounting it, the phone has the best chance possible of getting great reception. In our time with the phone in a 5G area in London, we had no connectivity issues, never experiencing 5G drop out. While the additional antennas won’t always necessarily result in faster speeds than other premium 5G phones, according to Sony, the Xperia Pro delivers a more consistently strong signal, which is beneficial for smooth live streaming. Additionally, as covered in a later question, the phone’s glass and metal-free exterior ensure it has the best chance of acquiring optimum signal strength.

4. What streaming platforms are natively supported?

YouTube is supported natively when using the Xperia Pro as an external monitor. It supports live streaming at up to 4K resolution through the YouTube application. For services like Facebook Live or Twitch, a third-party application like Stream Labs will need to be used. 

5. Why not just stream from your phone?

With cameras like the Blackmagic Pocket Cinema Camera 4K, Canon EOS R6 and Sony A7S III and Sony FX3 all sporting HDMI output, streaming from the Xperia Pro delivers significantly higher-quality footage than that captured on any smartphone, together with far more flexibility around lenses and audio.

6. Who’s the Xperia Pro for?

On-location videographers who anticipate the need for livestreaming, and know they will have strong mobile signal wherever their shoot is planned, will benefit greatly from a device like the Xperia Pro.

7. Does the Xperia Pro livestream over 4G?

Yes, the Xperia Pro can comfortably stream at Full HD over a strong 4G signal.

8. Do you need to match the Xperia Pro with a Sony camera to livestream?

No, the Xperia Pro can livestream over YouTube with any camera that supports HDMI output. For additional live streaming services, the camera needs livestreaming capabilities and can connect to the internet using the Xperia Pro’s 5G connectivity.

Sony Xperia Pro hardware

9. Why does the Xperia Pro not use a single USB-C port for data and video?

The separate USB-C port and micro HDMI port enable the Xperia Pro to charge and ingest footage simultaneously. Additionally, it also guarantees the highest quality feed.

10. The power button is low on the right side and criticized in reviews. Is this a dealbreaker?

When the Xperia Pro is mounted on a grip in landscape orientation, the power button is in a great position as it isn’t covered up by any mounting equipment. When being used as a phone, however, it is low, and takes some getting used to, especially given the fact it doubles up as the phone’s fingerprint scanner. If you are picking up the Xperia Pro primarily as a personal phone, it might be a consideration that works against it. 

11. Why is the Xperia Pro made out of plastic, not glass and metal like the lower-cost Xperia 1 II?

Glass and metal may make phones feel fancier, but they don’t deliver the very best mobile signal – especially metal. Additionally, for a phone designed for imaging professionals, glass elements are another point of weakness. While plastic does damage, the Xperia Pro is finished with a similar aesthetic to Sony’s plastic cameras, which have a textured surface to minimize visible wear while providing sufficient grip.

12. What does the Xperia Pro offer compared to the Xperia 1 II, which costs over £1,200 less? 

The Xperia Pro features four times the storage of the base capacity Xperia 1 II (512GB versus 128GB), so it can be used as a backup hard disk in a pinch (with the right dongle). It also features 12GB RAM versus a starting capacity of 8GB, as well as more antennas for better mobile signal. The body has been redesigned to be hardier and, in turn, it’s slightly thicker, taller and wider. One omission on the Xperia Pro’s spec roster, though, is wireless charging. 

XPeria Pro as a monitor

13. What kit do I need to set up my Xperia Pro as an external monitor?

You will need a grip to hold the phone, and a cold shoe attachment to connect it to the mount. If you want greater articulation, a tripod ball and socket head like the Manfrotto MH492-BH would be  a worthwhile addition. Of course, you will also need a micro HDMI cable that can connect the phone to your camera. In select regions, the phone ships with the accessories to connect it to a camera, so be sure to check with retailers before picking up a separate mounting kit.

14. Does the Xperia Pro support external recording?

Not in the sense of recording camera footage, as captured, over HDMI. The Xperia Pro does support screen recording, a feature native to Android. However, this caps at Full HD resolution, so the phone does not directly record footage at the attached camera’s native resolution or aspect ratio. Given the 21:9 screen of the Sony phone, the screen recording will share its aspect ratio, so if you intend to use recorded 16:9 footage it will need to be cropped in the edit phase. Sony has suggested it is looking into offering native external recording in the future.

15. What are the Xperia Pro monitor functions?

• The Xperia Pro either mirrors the display of your camera or, if a clean HDMI feed is supported, showcases the video channel without any display overlays. 

• Within the phone, there are options to overlay gridlines (rule of thirds, square, or diagonal and square), frame lines (1:1, 4:3, 13:9, 14:9, 15:9, 1:66:1:85:1, or 2:35:1).

• The phone also features control over the display resolution (original, up to 1080p, or up to 720p), colour space and HDR settings (BT.2020, BT.2020 HLG, BT2020 HDR10, BT.709, BT.709 HLG). 

• Interaction with the Xperia Pro is intuitive, with a double tap giving you a magnification of two times by default, though this can be adjusted to three or four times magnification.

• Finally, in the top left of the live preview, battery percentage, resolution, frame rate and colour space indicators are displayed. 

16. Why buy the Xperia Pro over a monitor like the Atomos Ninja V, for example?

Space saving is the primary reason to opt for an Xperia Pro as opposed to a regular external monitor. The display quality is also very high, with strong colour reproduction from the OLED technology, 10-bit HDR visuals and strong peak brightness.

17. Is the Xperia Pro a photography or videography accessory?

The Xperia Pro can benefit both photography and videography, especially when matched with a camera that doesn’t feature an EVF or an adequate screen. 

18. Can the Xperia Pro control a Sony camera’s UI through touch control when connected via HDMI?

No, the Xperia Pro monitor doesn’t extend to support touch input for the interface of the camera, even on the new A7S III and FX3, whose screens support touch interaction.

19. How long does it take to set up the Xperia pro as a monitor?

Seconds. The Xperia Pro is a fantastically plug-and-play solution, and is simpler to use as an external monitor than any standalone monitor we’ve tested, though it also lacks some of the advanced functionality, like focus peaking etc (which may be available natively on your camera). Just plug it in, open the External Monitor app and you’re good to start filming.

20. What would an alternative DIY setup cost with a different phone and an external monitor?

With some of the best camera phones like the OnePlus 9 Pro coming in at under £900 ($1,250 approximately), and an external monitor like the Ninja 5 costing under £500 ($680), matched with a 500GB Samsung SSD costing around £70 ($100), if you can handle a few extra items in your kit bag, you’ll be saving around £600-700 ($830-970) buying everything separately. Additionally, until the Xperia Pro gets a native 4K recording option, the Atomos Ninja 5 also doubles up as an external recorder when matched with a hard disk.

Sony Xperia Pro for FTP transfer

21. What is file transfer protocol (FTP) and who would need it?

FTP uploading is a means of sending files (photos and videos) to a server so that multiple people can access it. Think of it like a pre-Google Drive/Microsoft OneDrive file storage solution anyone with the right access details and an internet connection can access. This makes it great for sports photographers who need all their shots backed up fast, and automatically so someone else can sift through them and get editing.

22. Is an FTP server easy to set up?

There are countless ways to set up an FTP server. Whether you opt for a solution managed by third parties, create your own FTP server using an old computer and hard drive, or use your website hosting solution as an FTP server, you have options. While setting up an FTP isn’t hard per se, it isn’t always intuitive, and you will need to research the best solution for you and your workflow.

23. Can you use FTP transfer with any camera?

No, you can’t use the FTP functionality directly from cameras that don’t support it. However, with Sony’s Transfer and Tagging app, available from the Google Play Store, the feature is available for many Sony cameras. Additionally, cameras like the A7S III and FX3 support FTP access within the camera.

24. Can the Xperia Pro support an FTP workflow?

Yes. If your camera supports FTP uploads, then connecting it to the Xperia Pro’s 5G wireless hotspot, or enabling USB-tethering will enable on-the-fly backups for sports photographers and other on-location camera operators, using platforms like Sony CI Media Cloud, or your own FTP server. Once connected to the Xperia Pro’s internet, it’s simply a case of setting up the FTP upload on your camera. Additionally, Sony’s Transfer and Tag app means that setup can be done on a smartphone, though this is not exclusive to the Xperia Pro.

25. How do I enable USB-tethering on the Xperia Pro for optimum 5G FTP uploads?

In the Xperia Pro UI, open the phone’s settings, select Network and Internet, followed by Hotspot and Tethering. Here, you can toggle USB-tethering on.

26. What’s the benefit of FTP support on the Xperia Pro over other smartphones?

The Xperia Pro is a well oiled 5G machine. With faster uploads, you’ll spend less time waiting for your photos and videos to be transferred to the FTP server.

27. Is it really realistic to transfer high resolution stills and 4K footage over 5G?

It’s definitely realistic to transfer stills over 5G. With an upload speed of 40Mbps in our tests, even without reaching peak 5G speeds as quoted by networks, the Xperia Pro would be able to upload over 45 RAW images shot on the A7 III in a minute. Footage would take significantly longer, with a six second recording in 4K from the A7S III. Weighing around 100MB, a one minute clip would take between three to four minutes to upload, and 15 minutes of footage nearer an hour.

28. Is there a size limit to FTP uploads?

The FTP owner sets limits on transfer sizes, so if you’re uploading to your own FTP server, then you can enjoy uploads that are only limited by the amount of storage on the server.

29. What if my camera doesn’t natively support FTP uploads and there isn’t an equivalent app that does what Sony’s Transfer and Tagging does?

The manual way to upload to an FTP is more convoluted than the elegant in-camera option Sony provides, and involves uploading content through an Android FTP app on the Xperia Pro such as AndFTP. It will also require you manually transfer your photos or video from the camera’s storage card to your phone first. To do this, you will either have to set up a wireless transfer through your camera manufacturer’s app on your phone, or you will need a memory card reader USB-C dongle. When plugged into your smartphone, you can transfer the content from the connected memory card to the Xperia Pro, and through the FTP app, it can be uploaded to a server.

Sony Xperia Pro conclusions

Ultimately, the Xperia Pro is a very interesting device. It costs a huge amount of money, but so does everything that has anything to do with Sony’s cinema line, and pro-grade video in general. 

With no other manufacturer offering a smartphone with HDMI input, let alone one with all the pro-grade features the Xperia Pro packs, the appeal for photographers and videographers is self explanatory, especially true for livestreaming content creators. 

As for whether it’s worth it, only you can say, but we can, at the very least confirm, as with most things Sony makes, the phone does indeed do what it says on the tin, and we can’t argue with its quality.  

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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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Blinked and you might of missed it during the launch of the Sony A1 professional camera today. But as well as launching a new flagship camera, Sony also released a new flagship phone in the shape of the Sony Xperia Pro.

With 512GB of internal storage, the Xperia Pro offers three rear-facing cameras with Zeiss lenses:

12MP Ultra-Wide: 16mm focal length, f/2.2 aperture, 1/2.55in Exmor RS sensor with 124° FOV
12MP Wide: 24mm focal length, f/1.7 aperture, 1/1.7 Exmor RS sensor, and 82° FOV
12MP Telephoto: 70mm focal length, f/2.4 aperture, 1/3.4" sensor, and 34° FOV 

And then at the front there is a 

8MP selfie camera with HDR and an 84° FOV

• Read more: Sony Xperia Pro review

A key attraction of the camera will its live streaming capabilities - which promises blistering transfer speeds using 5G mmWave technology. Boast the first HDMI input ever on a phone, you simply connect your camera or camcorder to the phone via its HDMI output – and then stream content at upto 4K at 60fps over popular streaming and social network apps..

The handset, as we have seen with other Xperia models, can be set up to be used as an on-camera camera monitor - giving you a 6.5" 4K HDR OLED with which to monitor images shot on cameras such as the new Sony A1.

Other key photographic features include manual controls, support for shooting RAW, up to 20 fps continuous wide-angle shooting (Up to 10 fps at 16mm or 70mm), and real-time eye autofocus that works on both humans and animals.

The Android handset features a microSD card slot, and a 4000mAh rechargeable battery.

The Sony Xperia Pro is set to retail at $2499. 

• Pre-order the Sony Xperia Pro at B&H Photo

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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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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.

• Read more: Best on-camera monitors

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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We’ve got fixed screens, we’ve got tilting screens. We’ve got vari-angle screens, we’ve got multi-axis swivel screens. Why can’t we have a screen that comes off completely so that we can do what we like with it?

It does sometimes feel like camera makers have been sitting on their hands and turning out the same designs year after year without ever stepping back and thinking about how cameras could be designed just that little bit better, with technology that’s already out there.

So this is an open question from Digital Camera World to every camera maker. Is a detachable display really that difficult?

Just think about it. With a detachable screen there are no pivots to bend, no fiddling around with awkward angles, no more wet knees as you set up a ground level macro shot – and no more having to peer at a tiny flip-forward screen three meters away when you’re vlogging, even assuming you have a camera where the screen CAN flip forward.

We don’t really mind how they do it. They can use a cable if that’s what it takes. More than likely, though, it would need a combination of Bluetooth and Wi-Fi.

So if that’s the case, how is that different to using your phone and a remote app? As we all know, wireless-to-smartphone connections can take a lot of fiddling, can drop out unexpectedly and generally just take time to set up and operate. Essentially, this is because for smartphone connections the camera has to set up a Wi-Fi network and then you have to tell the phone to connect to it. If you have an iPhone, you'll know that iOS is very picky about letting apps swap Wi-Fi networks without permission – and quite right too.

So surely camera makers could get round all this with a bespoke, dedicated device? Why couldn’t the detachable screen have a factory-set automatic wireless connection to the camera all the time? These would be two dedicated bits of hardware which only ever needed to talk to each other. Would they even need to stick to strict Wi-Fi and Bluetooth communications protocols?

And just imagine. You could actually use your smartphone phone for what it was originally designed for.

So, camera makers, what we want to do is put the camera on a tripod, detach the screen, step back out of the shot, grab a selfie or a group shot, shoot a vlog, fetch a cappuccino, whatever – all from a distance with the screen in our hand offering a live view display and remote control.

Is that so difficult?

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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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10 best pro video accessories in 2020

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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If you've been longing to mount your smartphone on your hotshoe to act as an external monitor, your wish has come true! Among its host of dazzling new features, the Sony Xperia 1 II can pair with your Sony Alpha camera to act as a second screen.

This fascinating function enables the Sony Xperia 1 II to work in conjunction with the Alpha series of mirrorless cameras, radically increasing the 3-inch rear screen of Sony's bodies with the huge 6.5-inch display of the new flagship camera phone.

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And it's not just the sheer size of the screen; the high quality 21:9 HDR OLED display boasts 4K resolution and a smooth 90Hz refresh rate, and is optimally tuned for image fidelity. Its white balance, for example, can be customized to D50 or D55, enabling pristine reproduction for reviewing stills or footage.

Likewise its color rendition is highly impressive, with an equivalent 10-bit display (achieved via 8-bit with 2-bit smoothing) that can display a spectrum of color without exhibiting banding issues. Indeed, the screen supports professional reproduction standards such as DCI-P3 100%, BT.202013 color space and D65 White Point, and also boasts a high contrast ratio of 1000,000:1 to display deeper blacks and more natural whites.

So what does all this mean – will the Sony Xperia 1 II replace the best on-camera monitors and leave the likes of Atomos and Blackmagic quaking in their boots? Well, perhaps not yet. 

Sony has been very reserved in its claims for the phone's use as a display, which employs wireless connectivity to connect to cameras via the Imaging Edge app. In short, it's not going to serve the same purposes as professional-grade external video screens – but it definitely looks to be a useful tool for framing and reviewing your stills and footage on a larger, more accurate display.

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Best on-camera monitors: external screens and video recorders for filmmakers

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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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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