Cine Gear Expo 2017: Panasonic EVA1, Atomos Shogun Inferno Team Up for 5.7K Raw Recording
The new Panasonic AU-EVA1 combined with the Atomos Shogun Inferno will take Raw recording to the next level of performance at its price. Soon users will be able to unleash the full power of the camera’s 5.7K sensor by outputting over 6G SDI to the Shogun Inferno and recording directly to Apple ProRes or DNxHR. Atomos will also support 4K Raw recording to CDNG Raw, along with Apple ProRes and Avid’s DNxHR (5.7K output will be supported with the planned Panasonic firmware release).
In addition, the combination will be able to record 2K 240fps Raw to ProRes. From the outset the AU-EVA1 will also output 10-bit 4K 4:2:2 video which allows users to record high quality production friendly ProRes or DNxHR to compatible Atomos products. These combinations will allow the camera to slot easily into a wide range of everyday productions from the day the camera ships.
“Panasonic are pulling no punches here”, says Atomos CEO Jeromy Young. “We are working together on solutions and Panasonic are delivering the absolute best they can for the price, trying hard to remove arbitrary recording limitations that just frustrate users. Our strong partnerships with industry leaders like Panasonic mean that together we can deliver practical solutions like the EVA1 and Shogun Inferno with end-to- end support. With the Atom HDR features of the Shogun and Ninja recorders we also make it simple for users to monitor for HDR with the EVA1. The result is an amazing feature-rich package that users will love.”
Atomos and Panasonic have previously worked closely together to deliver 10-bit 4K 60P out of the GH5 and Ninja Inferno combination, as well as affordable Raw recording options for the Varicam 35 and LT models with the Shogun Inferno.
The Shogun Inferno and Ninja Inferno also bring practical HDR monitoring and tools to the AU-EVA1, along with the full range of Atomos exposure and focus assist tools including waveform, vectorscope and the ability to preview and record with LUTs.
Sumo 19 inch monitor recorder
At Cinegear, Atomos are also showing working prototypes of the upcoming 19-inch production monitor recorder. First shown at NAB earlier in the year, the Sumo is first in a brand new category of devices and is shaping up to be one of the most in-demand products of 2017.
The 19-inch 1200nit high brightness display allows for operation even in daylight. It offers on-set HDR monitoring with the AtomHDR tools including Log to HDR and PQ/HLG live conversion and play out. It also has the full range of Atomos exposure and focus assist tools and LUT capabilities. Additionally, it can record 4K from most RAW-output- capable cinema cameras, as well as a wide range of 4K, UHD, 2K and HD video signals. After release it will gain the ability to live switch between four separate HD inputs and record ISOs for each.
Sumo is also equipped with the latest dual 12G SDI inputs, which alongside the quad 3G SDI inputs, give the monitor practically every SDI input choice a user might want.
Atomos support ARRI dual 6G outputs
Thanks to the future proofed dual 12G SDI ports on the Sumo, Atomos have also announced the support for the dual 6G SDI outputs from ARRI’s Alexa Mini and Amira with the latest SUP5.0 update. This means that the Sumo 19-inch production monitor recorder will be able to accept and record UHD signals with embedded audio from these ARRI cameras. This functionality should be available when the Sumo starts shipping in Q3, 2017.
Canon C200 gets broadcast ready with 4:2:2 10-bit HD output
The new C200 brings RAW recording to the middle of Canon’s Cinema EOS lineup. What’s missing from the camera is broadcast friendly bitrates and file formats. The high quality internal HD recording maxes out at just 35 Mbps in 8-bit 4:2:0.
Using any of the current Atomos 4K HDMI or SDI monitor recorders users can get a broadcast friendly 10-bit 4:2:2 HD recording direct from the camera into Apple ProRes or Avid DNxHD. With our Flame and Inferno series users can also record 4K direct to ProRes in 4K 4:2:2 over HDMI (up to 30fps), although the camera limits the output to 8-bit. In addition, when using a Flame or Inferno series recorder users gain affordable and easy to use HDR monitoring, LUTs, High Bright screens and a full range of exposure tools. What’s missing from the C200 is any form of RAW output over SDI. If a use want flexible range of RAW and RAW-to- ProRes options, from a Canon camera Atomos still recommend the excellent C300 mkII instead.
Price Drops Across the Atomos Flame and Inferno Range
The recent price drop for the Atomos Flame and Inferno series monitor recorders makes them even more affordable to filmmakers who want to achieve the best possible results from their cameras – users can now get a 4K recorder for the cost of a HD product. The 4K monitor recorder range starts with the HDMI-only Ninja Flame at $795 (ex local taxes) and goes up to the Shogun Inferno at $1295 (ex local taxes) with quad SDI input.
The Sumo and the full range of Atomos Monitor Recorders can be seen at S108 in Stage 14 of Paramount Studios during Cine Gear Expo.