Last year Atomos announced they were developing a new range of High Dynamic Range field monitors, in sizes 17 inches, 24 inches, 31 inches, and 55 inches. Now, the monitors are ready for ordering at B&H Photo.
Here’s the entire Atomos NEON series that’s available. The monitors differ only in size and price – except the 17-inch monitor, which only has 128 backlight zones and a 1920×1080 resolution, compared to 512 zones and 4K resolution on the other three sizes.
Do you need to start thinking about HDR for your production or post-production workflows? Here’s a good article at MZed that summarizes a few educators’ perspectives on the matter: What does HDR mean? In our opinion, HDR is not a fad or even an unnecessary technological iteration – there are clear and often remarkable differences in a High Dynamic Range moving image compared to an HD image in Standard Dynamic Range (SDR).
But while cameras like ARRI have been recording HDR video for years now, there haven’t been many options for monitoring the HDR image on set, let alone watching the final product. Now, thanks to consumer-driven electronics, we have HDR TVs pushing the technology across all spectrums of media. From Dolby theaters to iPhones, HDR is here.
And now with Atomos NEON monitors, the ability to monitor and edit with HDR screens is available to us mere mortals. And before you scoff at the price, you need to think about what typical color accurate broadcast monitors cost, or even an Apple XDR display. The NEON displays are meant to compete with monitors costing $20-40,000, and they can also record 4k and 8k RAW, ProRes, and AVID DNxHR.
Unlike most so-called 10-bit displays that are actually supercharged 8-bit, the NEON screens are actually 10-bit. Along with their zoned backlights, the NEON screens use a combination of LED and LCD tech that is supposedly as good or better than OLED screens. You’ll be abloe to view up to 15 stops of dynamic range, which will make colors appear more vibrant, blacks more rich, and brights will feel as bright as direct sunlight on an afternoon along Venice Beach.
More info from B&H below:
This Atomos NEON 17″ 4K HDR Monitor/Recorder is part of the NEON family of monitor/recorders designed to create a consistent viewing and recording pathway for productions. This 17″ monitor/recorder features a 1920 x 1080 native resolution while supporting DCI and UHD 4K, as well as 1080p/i and 720p. The monitor provides a clear image well capable of supporting HDR and displaying a 10-bit image that covers 100% of the DCI P3 standard. Its 1000 cd/m² brightness and 128 zones of backlight allow the monitor to achieve a contrast ratio of 1,000,000:1.
The NEON features a Master Control Unit that runs the AtomosOS, controlling the monitor. The Master Control Unit is user-replaceable, so you can have the latest Atomos technology without having to replace the entire monitor. Limited control over the NEON is via an included IR remote, but for full control, it is best to use the downloadable app and your iOS mobile device. Input your video for display via HDMI or SDI (using the included SDI expansion module) and the monitor displays your video. It can also capture your footage as ProRes Raw, ProRes, DNx, or Cinema DNG to a 2.5″ SSD (not included) in the Master Caddy II or to a separately available AtomX SSDmini. The monitor features loop-through and cross conversion outputs, and supports both Rec 709 and Dolby Vision.
The Atomos Neon Lineup of Monitor/Recorders
ProRes Raw Recording
Inputs and Outputs
Supported Input Gamma
- Sony: SLog / SLog2 / SLog3
- Canon: CLog / CLog2 / Clog3
- ARRI: Log CEI160 / LogCEI200 / LogCEI250 /LogCEI320 /LogCEI400 / LogCEI500 / LogCEI640 / LogCEI800/ LogCEI1000 / LogCEI1280 / LogCEI1600
- Panasonic: Vlog
- JVC: JLog1
- RED: RED Log3G10 / RED LogFilm
- FUJIFILM: F-log
Supported Input Gamut
- Sony: SGamut / SGamut3 / SGamut3.cine
- Canon Cinema: / DCI P3 / DCI P3+
- Nikon: NLog
- Panasonic: V Gamut
- ARRI: ALEXA Wide Gamut
- Rec. 709 / BT.2020
- RED: WideGamut / DragonColor / DragonColor2 / Color2 / Color3 / Color4