Just a few hours after Panasonic unveiled more details regarding their latest cinema camera the AU-EVA1, Atomos announced that they will be supporting the 5.7K RAW recording output once the flagship camera becomes available. Users will be able to output the Raw feed over 6G SDI to the Shogun Inferno thus being able to record directly to Apple ProRes or DNxHR.
Atomos will also support 4K Raw recording as well as 2K 240fps Raw. Considering that the Shogun Inferno already offers an affordable RAW recording workflow for the Panasonic Varicam 35 and LT cameras, it’s not a big surprise that the company is going to support the AU-EVA1 as well.
What’s more, the Shogun Inferno and Ninja Inferno will 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.
The company is also offering support for the latest addition to the Cinema EOS lineup – the EOS C200. Using any of the current Atomos 4K HDMI or SDI monitor recorders, seasoned professionals will be able to get a broadcast-friendly 10-bit 4:2:2 HD recording direct from the camera into Apple ProRes or Avid DNxHD. According to Atomos, with the 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.
At Cine Gear Expo 2017, the company is also showing off working prototypes of the upcoming Atomos Sumo production monitor recorder. Just as a quick reminder, the 19-inch 1200nit high brightness display offers on-set HDR monitoring with an impressive set of HDR tools including Log to HDR and PQ/HLG live conversion and playout.
It also has the full range of Atomos exposure and focus assist tools and LUT capabilities and comes equipped with the latest dual 12G SDI inputs. Additionally, the monitor can record 4K from most RAW-output-capable cinema cameras, as well as a wide range of 4K, UHD, 2K and HD video signals. The Atomos Sumo will also be able to live switch between four separate HD inputs and record ISOs for each.
Currently, you can take advantage of the recent price drop for the Atomos Flame and Inferno series monitor recorders that start at $795 for the HDMI-only Ninja Flame and goes up to $1,295 for the Shogun Inferno with quad SDI input.
[source: Atomos]
B&H Order Links:
Atomos Ninja Flame 7″ 4K HDMI Recording Monitor
Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor
Atomos Shogun Inferno 7″ 4K HDMI/Quad 3G-SDI/12G-SDI Recording Monitor
Disclaimer: As an Amazon Associate partner and participant in B&H and Adorama Affiliate programmes, we earn a small comission from each purchase made through the affiliate links listed above at no additional cost to you.
Claim your copy of DAVINCI RESOLVE - SIMPLIFIED COURSE with 50% off! Get Instant Access!
I’m an fs7 owner but this camera attract me a lot, First cause I have a gh5 like second camera but also for the weight.
The problem for me are the bit rate (are we sure that 400mb is enough forum 4k 10 bit?) And the ef mount (I love Speed Booster!).
Let’s see how It Will perform…
I dont think you have anything to worry about 🙂 The FS7 makes you money and will for the foreseeable future. I see no point for any FS7 owner to change their camera as it will be more of a lateral move compared to an upgrade IMHO.
Yes, and no,
I also own a Sony FS7 but I work on assignment and I can’t choose the camera I will be using.
My corporate clients are all over the world and call me when they have a shooting in Asia. If some part of their movie is also done already in the US, for example, and shot with a Panasonic, I will have to use a Panasonic on my side to avoid too much difference and speed up the grading / matching process.
So, If Panasonic become a new standard for corporate and B roll, I will have to follow the demand and switch to this one.
Also, I’m traveling a lot, and saving some space in my bag is always welcome.
Right now, FS7 is the leader in my line of ENG work as one man band, after being the C300, let see who is next.
What is also interesting to notice is that the combo FS7 + 18-110 is amazing package when I have to do office B roll or following a process in a limited time. Panasonic may have a very nice body, but there are no option as convenient as the Sony one. Even the Canon cine lens can’t be compared, need an external power and is more expensive.
In any case, I guess it will takes few months and I feel confident that nothing will change in the coming year.
The FS7 is indeed a very nice camera, but does it feature 5.7k? No, it does not. The EVA-1 together with the Atomos Shogun Inferno will be an absolute BEAST, 5.7K RAW!!! Definitely an upgrade over a FS7.