Atomos are currently offering great deals on the Ninja V and Ninja V+. These are great little units and very capable. The V+ can even record 8K raw. Check out the deals if you are looking for a handy, compact recorder and monitor with an HDR display. The Ninja V is $/£399 and the Ninja V+ is $/£599 (plus any local taxes). Follow the link for the details http://ow.ly/LUUJ50J0SuN
I know this is something A LOT of people have been asking for. For a long time it has always seemed odd that only the Shogun 7 was capable of recording raw from the FX9 and then the FX6 while the the little Ninja V could record almost exactly the same raw form the A7SIII.
Well the engineers at Atomos have finally figured out how to pass raw via the AtomX SDI adapter to the Ninja V. The big benefit of course being the compact size of the Ninja V.
There are a couple of ways of getting the kit you need to do this.
If you already have a Ninja V (they are GREAT little monitor recorders, I’ve taken mine all over the world, from the arctic to Arabian deserts) you simply need to buy an AtomX SDI adapter and once you have that buy a raw licence from the Atomos website for $99.00.
If you don’t have the Ninja V then you can buy a bundle called the “Pro Kit” that includes everything you need including a Ninja V with the raw licence pre-installed, The AtomX SDI adapter, a D-Tap power adapter cable, a mains power supply and a sun hood. The cost of this kit will be around $950 USD or £850 GBP + tax, which is a great price.
On top of that you will need to buy suitable fast SSD’s.
Like the Shogun 7 the Ninja V can’t record the 16 bit raw from the FX6 or FX9 directly, so Atomos take the 16 bit linear raw and convert it using a visually lossless process to 12 bit log raw. 12 bit log raw is a really nice raw format and the ProResRaw codec helps keep the files sizes nice and manageable.
This is a really great solution for recording raw from the FX6 and FX9. Plus if you already have an A7SIII you can use the Ninja V to record via HDMI from that too.
Here’s the press release from Atomos:
The Atomos Ninja V Pro Kit is here to equip you with increased professional I/O, functionality and accessories.
The Ninja V Pro Kit has been designed to bridge the gap between compact cinema and mirrorless cameras that can output RAW via HDMI or SDI. Pro Kit also pushes these cameras’ limits, recording up to 12-bit RAW externally on the Ninja’s onboard SSD. Additionally, Pro Kit provides the ability to cross covert signals providing a versatile solution for monitoring, play out and review.
What comes in the Pro Kit?
Ninja V Monitor-Recorder with pre-activated RAW over SDI
AtomX SDI Module
Locking DC to D-Tap cable to power from camera battery
AtomX 5″ Sunhood
DC/Mains power with international adaptor kit
Ninja V Pro Kit offers a monitor and recording package to cover a wide range of workflows.
Why choose Ninja V Pro Kit?
More powerful and versatile I/O for Ninja V – Expand your Ninja V’s capability with the Pro Kit with the ability to provide recordings in edit-ready codecs or as proxy files from RED or ARRI cameras.
Accurate and reliable daylight viewable HDR or SDR – To ensure image integrity, the AtomX 5″ Sunhood is included and increases perceived brightness under challenging conditions or can be used to dial out ambient light to increase the view in HDR
HDMI-to-SDI cross conversion – HDMI or SDI connections can be cross converted, 4K to HD down converts RAW to video signals to connect to other systems without the need for additional converters.
Record ProRes RAW via SDI to selected cameras*:
Three ways to power your Ninja: – DC power supply – perfect for in the studio. – DTap cable – perfect for on-set, meaning your rig can run from a single power source. – Optional NPF battery or any four-cell NPF you might have in your kit bag.
The ProRes RAW Advantage
ProRes RAW is now firmly established as the new standard for RAW video capture, with an ever-growing number of supported HDMI and SDI cameras. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro, Avid Media Composer 2020.10 update, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius.
Existing Ninja V and AtomX SDI module owners
While the Pro Kit offers a complete bundle, existing Ninja V owners can enhance their equipment to the same level by purchasing the AtomX SDI module for $199, and the New RAW over SDI and HDMI RAW to SDI video feature can also be added to the Ninja V via separate activation key from the Atomos website for $99.
Existing AtomX SDI module owners will receive the SDI < > HDMI cross conversion for 422 video inputs in the 10.61 firmware update for Ninja V update. You will also be able to benefit from RAW over SDI recording with the purchase of the SDI RAW activation key. This feature will be available from the Atomos website in February 2021.
Special Offer for Pro Kit buyers
The first batch of Ninja V Pro Kits will include a FREE Atomos CONNECT in the box. Connect allows you to start streaming at up to 1080p60 directly from your Ninja V!
I’m sitting here in the UK, Its February and it almost 20c (68f). Very nice indeed for the UK this time of year. Just a couple of weeks ago I was in Northern Norway, up above the arctic circle running one of my annual Northern Lights adventure tours. The weather there was very different. At no time did the temperature get above -15c(5f) and for most of the trip it was around -24c(-11f) both during the day and during the night.
Now, you might consider me a sadist when I say this, but for my Northern Lights trips I normally want it to be -20c or colder. The reason being that when it’s very cold like this we normally get beautifully clear skies. And we need clear skies to see the Aurora.
After many years of taking a full size video camera up to Norway I decided to go light this year and just take my trusty A7S and A6300 cameras. We get around on snow scooters and on sledges towed behind the snow scooters. This can make lugging around a larger camera tricky and there are times when you just can’t take a big camera. But in order to get the very best from these cameras I also decided to take an Atomos Ninja V.
The Ninja V is the first of a new generation of recorders and monitors from Atomos. It’s much smaller than the Shogun range of recorders making it a better size and weight match for smaller cameras and DSLR’s. It has a very, very nice 5″ screen with a maximum brightness of 1000 Nits. The 1000 Nit output and Atomos’s clever way of driving it means it can display both SDR and HDR images depending on how it is set up. A key difference between the Shogun and the Ninja devices is that the Shoguns have both SDI inputs and HDMI inputs while the Ninja only has an HDMI input. But if your using this with a DSLR than only has an HDMI output, as I was, the lack of SDI connectors is not a problem.
The build quality of the Ninja V is really good. Most of the body is made of aluminium. The rear part where the slots for the SSD and battery are is made from plastic, but it appears to be a good high quality and tough plastic. A new feature is an “AtomX” expansion port tucked inside the battery compartment. The expansion port allow different modules to be attached to the Ninja V to add functionality such a video over IP (ethernet) using the Newtek NDI protocol for live streaming or to turn the Ninja V into an IP connected monitor. There is also an AtomX sync module that allows you to wirelessly synchronise timecode and control multiple Ninja V”s on a single network and to use Bluetooth remote control. You can find out more about the AtomX modules here https://www.atomos.com/AtomX
Anyway – back to Norway. We were very lucky with the weather, and with the Northern Lights. On the first night at the cabins we stay at the Aurora put on a pretty good display. I was shooting with my Sony A7S with a Sigma Art 20mm f1.4 lens. I was shooting a mix of time-lapse, in which case I simply record the raw frames in the camera on it’s internal SD cards as well as real time video.
The Northern Lights are only rarely very bright. Most of the time they are fairly dim. So I was using the Sigma lens wide open, shooting at 24fps and with the shutter at 1/24th. The adjusting the cameras ISO to get a nice bright image. At times this did mean I was using some very high ISO’s with a lot of gain. Shooting like this is going to put a lot of strain on any codec. But the Long GOP XAVC-S codec used in the A7S is going to be very hard pushed to not introduce a lot of additional artefacts. In addition my older original A7S can only record HD internally.
By using the Ninja V I was able to record video of the Northern Lights in 4K using the ProRes codec. I used ProRes HQ and ProResHQ uses much less compression than XAVC-S. So even though both the internal recordings and the external recordings are limited to 8 bit (due to the cameras HDMI output limitations rather than any limitation of the Ninja) the ProRes recordings are far more robust and will noise reduce in post much better than the XAVC-S.
When you’re working outside for extended periods and it’s -27c(-17f) it’s tough on the gear and tough on you. When shooting the Aurora my camera are outside all night, exposed to the cold. Typical problems include frost and ice on the front element of the lens. The moisture from your own body can easily freeze onto the lens if you stand close to the camera. If you look at the lens to check it for frost and breath out you will leave it coated in ice.
Wires and cables that are soft and flexible in normal temperatures become as stiff as steel rods and can crack and fracture if you try to bend them. All batteries will loose some of their capacity. Very small batteries are worst affected. Larger batteries tend to fair a bit better, but there is a tremendous difference between the way most cheap budget batteries behave in the cold to good quality brand name batteries. For this reason I power my complete setup from a single PAG PAGLink V-Mount battery. The PAGlink batteries are great for all sorts of different applications, but for these trips a big benefit is that a small plug type charger can be used to charge many PAGlink batteries by stacking the batteries together. Then to power multiple devices I use the clip-on PAG Power hub plate to provide 5V for the camera battery adapters that I use, 12V for the lens heaters I use and another 12V feed for the Ninja V.
After more than a few minutes outside the camera kit itself will have become extremely cold. If you then take that kit inside into a nice warm cabin the warm moist air in the cabin will condense onto the cold camera body. Because the camera body will be extremely cold this will then freeze. Before you know it the camera kit is covered in ice. What you can’t see is that it’s likely that there will also be some ice and moisture inside the camera. It can take hours to warm the camera back up again and get it dried out properly. Bagging the camera before you take it indoors can help, but taking the camera in and out many times over the coarse of a shoot like this can cause a lot of damage. So I prefer to leave all the camera kit outside for the duration of the trip.
This means that when you come to fire it up you are often trying to switch on an absolutely frozen camera. In the past I have had problems with cold recorders that wouldn’t start up. But I’m pleased to report that the Ninja V always came to life no matter how cold it was. Whenever I pressed the record button it went into record. Operating the touch screen in the cold was not an issue. In fact using touch screen gloves, the Ninja was really easy to use. Pressing small fiddly buttons isn’t easy, even with thin gloves, but the touch screen turned out really easy to work with.
A big change on the Ninja V over previous models is the operating system. The new operating system looks really good and is quite logically laid out. Gone is the old AtomHDR slider that changes the brightness of the screen when in HDR. This is replaced with dedicated viewing modes for Native, 709, PQ HDR and HLG HDR and viewing via a LUT. I prefer the new fixed HDR modes over the Atom HDR slider modes as it eliminates the uncertainty that can sometimes creep in when you use a slider to change the brightness of the display. In my case, when shooting during the day using S-Log2 I would simply select S-Log2 as the source and then use PQ to display an HDR image on the screen. At night when shooting the Aurora I used Rec-709.
The Ninja V can take the same size 2.5″ SSD caddies as the current Shogun recorders. So I was able to use the SSD’s that I already own. However to keep the size of the recorder down it has been designed around a new slightly shorty SSD form factor called SSDMini. When you use a standard size 2.5″ SSD it does stick out from the side of the recorder by about 25mm. If you use an SSDMini it doesn’t stick out at all. SSDMini’s are currently being manufactured by Angelbird and Sony. They have the same sata connector as regular 2.5″ SSD’s and the SSDMini’s can also be used on the larger Atomos Shoguns.
By the time we were ready to leave Norway we had seen the Northern Lights on 3 different nights. By day we had seen some beautiful sunrises as well as other optical effects like sun dogs caused by the light from the sun being refracted by ice crystals in the air. The Atomos Ninja V had impressed me hugely. It just worked perfectly despite the extreme cold. It allowed me to record at higher quality than would have been possible without it and turned out to be easy to operate. What more can you want really?
This has been asked a couple of times. How do I record the slow motion S&Q output of my PXW-FS5 to an external recorder if I don’t have the raw option or don’t want to use raw.
Well it is possible and it’s quite easy to do. You can do it with either an SDI or HDMI recorder, both will work. The example here is for the new Atomos Ninja V recorder, but the basic idea is the same for most recorders.
Just to be absolutely clear this isn’t a magic trick to give you raw with a conventional non raw recorder. But it will allow you to take advantage of the higher quality codec (normally ProRes) in the external recorder.
Oh and by the way – The Ninja V is a great external monitor and recorder if you don’t want raw or you need something smaller than the Inferno.
So here’s how you do it:
In the camera menu and “Rec Set” – set the file format to XAVC HD and the Rec Format to 1080/50p or 1080/60p it MUST be 50p or 60p for this to work correctly.
In “Video Out” select the HDMI (for the Ninja, if you recorder has SDI then this works with SDI too).
Set the SDI/HDMI to 1080p/480i or 1080p/560i it MUST be p not i
Set HDMI TC Output to ON
Set SDI/HDMI Rec Control to ON
Connect the Ninja (or other recorder) via HDMI and on the Ninja under the input settings set the record trigger to HDMI – ON. If you are using a recorder with SDI you should have similar options for the SDI input.
So now what will happen is when you use the S&Q mode at 100fps or higher the camera will act as normally, you will still need a SD card in the camera. But when the camera copies the slow motion footage from the internal buffer to the SD card the external recorder will automatically go into record at the same time and record the output stream of the buffer. Once the buffer stream stops, the recorder will stop.
The resulting file will be 50p/60p. So if you want to use it in a 24/25/30p project and get the full slow-mo benefit you will need to tell the edit software to treat the file as a 24/25/30p file to match the other clips in your project. Typically this is done by right clicking on the clip and using the “interpret footage” function to set the frame rate to match the frame rate of your project or other footage.
And that’s it. It’s pretty simple to do and you can improve the quality of your files over the internal recordings, although I have to say you’ll be hard pushed to see any difference in most cases as the XAVC is already pretty good.
Hi all. This is a quick day one report from Interbee in Tokyo. Sony today revealed the often rumoured “other” 35mm camera to feature in their product line up that will be sold along side the already announced PMW-F3 (more on that later). This new camera from Sony’s Shinagawa factory, which at the moment has no name or product number is part of the NXCAM product line, so it will almost certainly record Sony’s version of AVCHD to SD cards and memory sticks. The camera is of a fully modular design with a 35mm sensor housed in a square sensor module that has a flip out LCD panel on the left side. There are separate hand grip and microphone modules so you can put the camera together in a configuration to suit your needs. In the rear of the camera module there is a very large recess which looks too big to be just a battery compartment to me. Perhaps there will be a removable media storage device in this area. The lens mount appears to be the same mount as used on Sony’s NEX range of cameras. The prototype was in a plastic tiffany case so no chance of a real close look.
This new camera will be a direct competitor to the Panasonic AF100/AF101 which is being well received by those that have had a chance to play with one. It’s obviously a slightly different approach to the Panasonic with it’s modular design so it will be interesting to see how it performs in the real world. I have no details about the sensor being used, but my guess would be that it is an adapted DSLR/NEX sensor with a new optical low pass filter tailored to video as opposed to stills. One thing to note is that like the Panasonic it appears that this camera will be able to shoot 1920x1080P at up to 60fps.
PMW-F3… So we saw this getting announced a week ago and many details have already been given. I pressed the engineers for more information about the sensor, but they are keeping very tight lipped. All they would say is that it has been developed specifically for this camera and as a result has some very big pixels which is why the sensitivity is so high and the gain so low.
The native sensitivity (0db gain) is ISO 800 with normal gammas and hypergammas and ISO 1600 when using S-log, that’s pretty impressive. There are two PMW-F3?s on display here at Interbee along with a set of the new PL mount lenses that will be available with the cameras. The PL mount lenses are very impressive to look at, they look like big Ziess primes with chunky lens barrels and big fat control rings. The three lenses all look the same, only the writing on the side tells you which is which. There are 35mm, 50mm and 85mm lenses in the kit and the F3 with any one of these on the front certainly looks the part. The camera body is about the same length as an EX3 body, but is quite wide and overall the camera looks a fair bit bigger than an EX3, but it doesn’t weigh much more. The biggest surprise with the PL mount lenses is the weight. These are not heavy lenses, in fact they are really light. There is a lot of plastic used in their construction. I have mixed views on this. The lightness of the lens helps prevent the F3 from being front heavy, so you can use it handheld without it trying to tip forwards under the weight of the lens. On the other hand when you pick up a Zeiss prime it feels like a high quality piece of kit and these new low cost PL’s just don’t have that feel.
Of course you do have to consider that there is a huge price difference between a Zeiss PL prime and these lenses, so it’s not fair to expect them to be the same and a heavy Zeisss (or Cooke) lens on the front of the F3 would make it all but impossible to use handheld. While looking at the front end of the camera I had a good look at the lens adaptor. The F3 has it’s own proprietary lens mount, the F3 mount. In front of this, as standard, is fitted an F3 to PL mount adapter. The adapter is easily removed and is about 25 to 30 mm deep. This means that the flange back from the F3 mount to the sensor is short enough for adaptors for Nikon and Canon DSLR lenses to be used. As yet no one has such adapters but I image there will be a race to produce them as soon as the camera hits the streets.
Of course you can have all the bells and whistles in the world on a camera, but the important thing is the image quality. On the Sony booth they had a mixture of pre recorded footage plus the two demo cameras that are connected to nice big HD monitors for you to see the results first hand. Once again the images have amazed me. There is simply no obvious noise visible in the footage. Shoot with the standard gammas or hypergammas and the noise figure is 63db. Take my word for it…. you can’t see the grain in the pictures. Colours are beautiful and well balanced, the images of autumn (fall) leaves that Sony have shot look incredible as do the live pictures on the camera stand. In addition the images have a very nice organic look showing very high resolution but without any obvious edge enhancement or electronic artefacts.
I think that once again we are seeing a game changing camera in the Sony XDCAM EX stable. While I am quite sure that the Panasonic AF100 (AF101) will do very well as it appears to be a very competent camera the F3 takes you up to another level. This is a true movie making tool at a price that is very attractive. I can see many programmes that would have traditionally been shot with HDCAM or DVCPRO-HD being shot with one of these. It is a great shame that the internal recording is only 4:2:0, 35Mb/s, while a good codec capable of great things, it just isn’t going to do justice to the beautiful images this camera produces. 50Mb/s 4:2:2 would have been sooo much better. Then this camera would probably have been accepted for broadcast production straight out of the box, but as it stands your really going to want to record on to something else like a NanoFlash or KiPro. Another entrant in the small recorder arena that may be suitable is the new and much talked about “Ninja” ProRes recorder.
Still only in it’s prototype stage, although production promised soon, this small device acts as both a monitor and ProRes recorder. It comes with an empty caddy to take a 2.5? laptop type SATA drive. This could be a really cheap hard drive or a more expensive SSD. Frankly I would not want to trust valuable rushes to a hard drive, so for me the only option would be the SSD. It looks like a very attractive device especially when you consider the $1000 USD price tag. We shall see. Having experienced getting stuff from design through to production the one thing I’ve learnt is that it’s very hard to go from the drawing board to full scale production and even harder to meet your target price point.
Talking of which, for the first time we are showing the Genus Hurricane Rig on the Manfrotto stand. The Hurricane Rig is my light weight, easy to use, low cost 3D rig. I have been working frantically with Genus to get the rig into production over the last few months (hence the lack of posts) and we are very close now. In fact we have started a run of 15 rigs which will be going out to customers early next month. Manfrotto will be distributing the rig around the world. The price has crept up a bit and is now $7995 USD. But for that we are now including a fold flat mirror box which makes the rig incredibly easy to pack up and take on your travels. Also being shown here is the new optional lower stiffener and tripod mount that tilts the tripod head forwards through 30 degrees so that the front heavy nature of the rig can be offset against the counterbalance springs in the tripod head. There are several other small changes to the rig including a new stiffer mirror tray, stronger mirror frame with mirror locks and improved left camera pivot.
So lots to see here at Interbee. Tomorrow I will be getting some hands on time with the F3 and doing a video report. I have my SxS cards ready to try to shoot some footage with it and share it here with you all, so please check back soon. These are exciting times. Once I finish writing this I’m placing an order for an F3. I can’t wait to really start putting it through it’s paces and playing with the different picture profiles and scene files. I have a big shoot in Norway at the end of Jan and I’d love to try and get an F3 for that, but they might not be shipping by then. Later in the year I will buy a second F3 so I can pair them up and use the 3D link function for stereoscopic production.