With its large, bright color-accurate 19″ LCD screen and 4K recording capabilities, the Atomos Sumo can be implemented to enhance professional video workflows in both production and post-production. On set, the Sumo’s HDR capabilities enable cinematographers to realize more of a cinema camera’s dynamic range when shooting in log or raw formats. All the built-in monitoring tools are also compatible with the HDR rendering, updating to accommodate the larger dynamic range. Additionally, the Sumo can record incoming DCI and UHD 4K video in various flavors of Apple ProRes or AVID DNxHR to Master Caddy II storage media. With supported cameras, ProRes Raw/Raw HQ recording is also possible, for more flexibility in post-production.
Blackmagic Design’s HyperDeck Studio Mini is a portable broadcast quality record/playback deck that can also be rackmounted. It features a 6G-SDI input that allows capturing video up to 2160p30, and it incorporates one HDMI and two 6G-SDI outputs. It records to two SD card slots, which enable virtually endless recordings. The HyperDeck Studio Mini is housed in a 1RU rackmountable unit but is approximately 1/3 of a rack wide. It features a front panel button control and a jog/shuttle wheel for an analog scrubbing feel. RS-422 control is supported for external control. You can also control the unit using either the USB port or over Ethernet via the RJ-45 connector. An integrated LCD on the front panel allows you to monitor the video.
The AJA Ki Pro Ultra is a 4K/UltraHD/2K/HD file-based video recorder and player, supporting the latest connectivity and large raster high frame rate workflows, including 4K 60p.It features 3G-SDI, fiber and HDMI digital video connectivity and a wealth of analog and digital audio connectivity answers any project’s demand for efficient, powerful and flexible workflows. Designed to be either portable or rack-mountable with half rack wide 2RU high dimensions, it’s well suited for use in studio/truck environments in addition to on-set and even digital signage applications. This AJA Ki Pro Ultra enables manageable large raster workflows with the efficiencies of Apple ProRes®, Avid DNxHD® with full MXF support or Avid DNxHR® MXF for high resolution workflows up to 4K and a broad range of video formats and frame rates.
Expanding on the Ki Pro Ultra, the AJA Ki Pro Ultra Plus allows for four channels of simultaneous recording in up to 1080p60/50, as well as single channel recording and playback of DCI 4K, Ultra HD 4K, 2K, and HD signals. Ki Pro Ultra Plus features four 3G-SDI inputs and one HDMI input, and the same number of outputs, and also supports optional fiber modules for extended distances. Recording to ProRes codecs up to ProRes 4444 and to Avid DNxHD, and offering familiar VTR-style front panel controls, the Ki Pro Ultra Plus is simple to use and records to robust, edit-ready formats. It records to optional AJA Pak Media SSDs. Two AJA Pak slots are available and allow for rollover recording without dropping frames. Ki Pro Ultra Plus has a 4.8″, 720p LCD screen that delivers a clear playback image.
The Atomos Shogun Inferno is a 7″, 1920 x 1200 on-camera recording monitor that combines 4K recording with a 10-bit FRC panel that supports native display of HDR (log) footage as well as high-brightness viewing of Rec. 709 footage. It utilizes 4K HDMI and 12G-SDI inputs to support clean output signals at resolutions up to UHD 4K (3840 x 2160) at 60 fps, recording it to 2.5″ SSDs using 10-bit, 4:2:2 Apple ProRes, and Avid DNxHR codecs. The Inferno, unlike the similar Shogun Flame, supports Quad 3G-SDI input. It even supports DCI 4K (4096 x 2160) raw video streams over SDI from select Sony and Canon cameras, encoding it as ProRes/DNxHR files.
The Atomos Shogun Flame is a 7″, 1920 x 1200 on-camera recording monitor that combines 4K recording with a 10-bit FRC panel that supports native display of HDR (log) footage as well as high brightness viewing of Rec. It utilizes 4K HDMI and 12G-SDI inputs to support clean output signals at resolutions up to UHD 4K (3840 x 2160), recording it to 2.5″ SSDs using 10-bit, 4:2:2 Apple ProRes and Avid DNxHR codecs. It even supports DCI 4K (4096 x 2160) raw video streams over SDI from select Sony and Canon cameras, encoding it as ProRes/DNxHR files. The monitor features 10-bit FRC processing and AtomHDR display technology support a 10-stop brightness range, allowing you to more accurately monitor your log gamma footage without having to view flat, washed-out looking images or use a LUT to compress the dynamic range and color space.
Convergent Design’s Odyssey7Q+ is a monitor/recorder that provides all of the features and functionality of the Odyssey7Q but adds support for 4K recording over HDMI. It features a 7.7″, 1280 x 800, OLED, touchscreen display with a 3400:1 contrast ratio, true blacks, and professional monitoring features such as waveform, histogram, vectorscope, anamorphic de-squeeze, and 3D LUT support. Out-of-the-box, the Odyssey7Q+ can record up to DCI 4K (4096 x 2160) and Ultra HD (3840 x 2160) in the compressed Apple ProRes 422 HQ format or up to 2K/1080p using the uncompressed DPX file format. The Titan Extract option, which allows you to create multiple HD windows from a single 4K source, is included. Additionally, it supports several RAW recording options for ARRI, Canon, Sony, and POV cameras.
The Sony AXS-R5 Recorder enables 16-bit RAW 4K and 2K video recording on the PMW-F55 and PMW-F5 CineAlta cameras. With its “bolt-on” design, the recorder attaches to the rear of the camera for a sleek, tightly integrated form factor. Users can simultaneously record RAW files to the AXS-R5 recorder and 2K/HD with the camera’s built-in recorder. You get matching time code, start frame, stop frame, file names and other metadata for seamless conforming in post. The AXS-R5 also unlocks high speed frame rates up to 240 fps 2K RAW on the F55 and F5.