New Products

Atomos Unveils Neon Monitors, ProRes Raw Recording Solutions 

Neon 17" and 24" monitors are now shipping, and Atomos devices enable ProRes Raw recording on new Sony and Nikon cameras.

ASC Staff

Neon 17" and 24" monitors are now shipping, and Atomos devices enable ProRes Raw recording on new Sony and Nikon cameras.

Atomos has released Neon HDR monitor/recorders, available in 17" and 24" models. The 17" model is suitable for focus pullers and gaffers and as a production monitor for mobile editing systems, whereas the 24" is suitable for the cinematographer, the DIT and video village.

Neon monitors offer consistent SDR/HDR monitoring and provide recording functionality for easy shot review or render-free output delivery to Apple ProRes or Avid Dnx at up to 4K DCI 60p. Screens are factory calibrated or can be user calibrated with the optional USB calibration cable and Xrite i1 Display Pro Plus.

Neon 17" utilizes an FHD 1920x1080 panel with 10-bit display processing, 4K-to-HD scaling and option for 1:1 display pixel mapping. Neon 24" utilizes a 4K DCI resolution panel with True 10-bit fidelity and HD/2K-to-4K UHD /DCI upscaling that avoids interpolation methods.

Both Neon models incorporate Full Array Local Dimming backlight technology to deliver deep blacks at 1,000 nits full screen HDR peak brightness. The viewing angle of 180 degrees H/V and a dynamic contrast ratio of 1,000,000:1 provide detail across the shadows and spectacular highlights.

The AtomHDR engine provides the ability to accurately manage input and display Gamma/Gamut. Selectable monitor modes allow users to work in either SDR or HDR settings that match camera-acquisition settings or defined delivery standards, including Rec. 709, Rec. 2100 HLG or ST.2084 PQ. Built-in transforms allow for the conversion of Log to HDR EOTFs for display on the Neon or downstream to client monitors, or utilize 3D LUTs for SDR to monitor with a specified show look or exposure print-down.

The Neon platform features a modular approach that ensures the I/O of the monitor is easy to maintain, replace and ultimately upgrade without taking the panel out of commission. The Master Control Unit features support for HDMI 2.0 for both in and loop out, which provides support for video input at 4096x2160 4K DCI at up to 60p.  The MCU firmware is upgradeable and allows the upload and storage of up to 8 3D LUTs in its internal memory or can use a 2.5" HDD or SSD to store an unlimited library that can be uploaded to the Neon via the AtomOS app on iOS. The MCU offers a second level of connectivity via the Xpansion port, and Neon includes the AtomX SDI module, which provides 2x12G SDI.  The configurable ports allow for input of up to 4K60p video with backward-compatible support for single- or dual-link 1.5G/3G/6G SDI or the ability to toggle between A and B cameras. File naming is also supported for Red and Arri cameras.

Built-in LE Bluetooth facilitates remote operation of the Neon via AtomRemote OS from Apple iOS devices running v.12 or higher.

Cameras or any video sources can be connected via SDI, supporting up to 4K DCI 60p via 12G or Dual 6G or lower resolutions and frame rates via 1.5/3G SDI with up to 12 channels of embedded audio. HDMI signals without HDCP are supported up to 4K60p or HD 120 fps with up to 8 channels of audio and detection of HDR info frame to automatically match the input signal type. Neon is designed to connect via HDMI or SDI to NLE or grading system I/O to provide 10-bit base band monitoring; this is not affected by the computer OS or ICC profile. 

Broadcast frame guides with the option of EBU R5 Graphic and Action safe areas can be enabled for onscreen display. Cinematic guides are also available and can be used alongside the anamorphic de-squeeze mode with support for 2x, 1.5x and 1.33x, allowing users to match a variety of lenses.

Neon 17" lists for $3,999, and Neon 24" lists for $6,499.

Atomos has also announced it is providing Apple ProRes Raw recording support for Sony’s new FX6 camera, which natively outputs raw over SDI, via the Atomos Shogun 7, which records ProRes Raw images at up to DCI 4K60p.

Recording over SDI from the FX6 to the Shogun 7 extends the performance of the camera, taking 16-bit linear raw data from Sony’s Exmor R sensor and recording it in ProRes Raw. The codec harnesses the ability to capture 12-bit raw in the same file sizes as 10-bit 4:2:2 standard ProRes. In addition, Apple ProRes Raw files are smaller than other raw file types, simplifying file transfer, media management and archiving. 

“I’m thrilled to be continuously working with the team at Sony to bring this to life and to add another Sony camera to our ProRes Raw ecosystem,” says Atomos CEO Jeromy Young. “The flexibility and convenience of ProRes Raw makes the FX6 and Shogun 7 a perfect combination for any filmmaker.” 

The 7" Shogun 7 features a 1920x1200 HDR screen that is 3,000 nits in Peak HDR and 1,500 nits in daylight-viewable mode and displays 15+ stops of dynamic range. It records to AtomX SSDmini or other approved SATA SSD drives. 

Atomos has also announced its Ninja V HDR monitor-recorder enables the new Nikon Z 6II camera to output and record files of up to 4Kp30 ProRes Raw. The Z 6II is the latest full-frame mirrorless camera to join the Nikon family. 

When teamed with the Atomos Ninja V, the camera will output 4K UHD or full-HD 12-bit raw. (Atomos Ninja V users will need to update their device with the latest firmware, available on the Atomos website.)

The Ninja V allows users to monitor the raw signal on a daylight-viewable 5" 1,000-nit HDR screen. The image can be viewed in either HLG and PQ (HDR10) format. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, and it records ProRes Raw data onto a removable AtomX SSDmini or other SSD drive. 

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