Atomos Sumo 19″ HDR/High Brightness Monitor Recorder/Switcher
With its large, bright color-accurate 19″ LCD screen and 4K recording capabilities, the Atomos Sumo 19″ HDR/High Brightness Monitor Recorder/Switcher 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. The AtomOS 9.2 firmware update enables SDI quad-HD switching and five-channel recording, which allows you to record and switch up to four ISO channels in a resolution up to 1080p60, as well as recording the program. An Apple Final Cut formatted XML is also created when using multistream recording, making it easy to edit your program in post.
Back in the studio, the HDR capabilities of the Sumo are again beneficial; enabling editors and colorists to see deeper into the captured image information. The 10-bit image processing, combined with the 10-bit FRC capable LCD panel, shows subtle gradations in recorded footage whether playing back directly from recording media or a connected computer. The display itself can be calibrated to maintain color accuracy over the Sumo’s lifetime.
Use Cases
On the DIT Cart
Get HDR on set in real time with on-the-fly log to HDR and PQ (Perceptual Quantizer)/HLG (Hybrid Log-Gamma) playback, complete with mission-critical monitoring tools such as waveform, focus peaking, false color, and vectorscope on the calibrated screen. Beyond monitoring, with DCI 4K, UHD, 2K, and 1080p recording, you can generate instant dailies to readily available SSD media.
1st AC Monitor
The large 19″ panel gives focus pullers access to a high-quality HD image with focus assist tools such as peaking and 2:1/1:1 zoom. The robust aluminum-alloy chassis ensures that this monitor can be moved and reset for every shot during the production.
Client/Director’s Monitor
Remap incoming flat-looking log footage to HDR for a more exciting and true-to-life preview of the footage. Full playback controls and XML file tagging means that a director can review footage and create an instant lightweight ProRes LT copy, with baked-in LUTs and audio, to the onboard SSD. You can choose to view both log and standard gamma images with or without looks applied, with quick toggling between them for ease of comparison.
Studio Monitor
In the studio, you can leverage the HDR capabilities of the Sumo for accurate monitoring. With a 10-stop dynamic range and 10-bit processing combined with X-Rite calibration, you can be sure that your color-corrected images will translate through the post-production pipeline.
Features
Quad-HD Live Switching and 5-Channel Recording
The AtomOS 9.2 firmware update enables SDI quad-HD switching and five-channel recording, which allows you to record and switch up to four ISO channels in a resolution up to 1080p60, as well as recording the program. An Apple Final Cut formatted XML is also created when using multistream recording, making it easy to edit your program in post.
Production-Grade Build Quality
The aluminum alloy chassis houses 10 mounting points around the top, bottom, and side, a rear panel VESA mount, and an included stand for a variety of mounting configurations.
Versatile I/O Options
Seamlessly connect an SDI or HDMI device and convert between HDMI 2.0 and SDI (Quad 3G/6G/12G) in any combination. Quad SDI inputs connect cameras with multiple 1.5 or 3G-SDI outputs without the need for converters or four separate video inputs for multiview display or ISO recording up to 1080p. HDMI 2.0 supports up to DCI 4K and UHD input and output, along with the very latest Atomos open protocol that supports HDR automation, including importing of camera settings. There is also support for Genlock and LTC timecode.
High-Quality Recording
Capture the raw data stream output from Sony’s FS5, FS7, or FS700, Canon’s C300 Mark II or C500, or Panasonic’s VariCam LT over SDI at rates up to 5.7K at 30p (with compatible cameras) as ProRes Raw/Raw HQ, Cinema DNG, 10-bit Apple ProRes, or 10-bit Avid DNxHR. The processing power of Sumo preserves pristine quality direct from the camera, with data rates up to 3.2 Gbps.
Versatile Functionality
Using multiple inputs, you can record and play back up to four HD video channels, live. Leveraging the Sumo’s XML capabilities, you can switch and mix a live recording, and stream or record four HD ISO recordings. Switch between feeds on-screen with cueing, crossfade, and hard cuts from the locked sources, or tag and adjust final edits with advanced metadata tagging preserving ISO feeds, with the desired result infinitely editable.
Built-In XLR Audio
Eliminate the need for a separate audio recorder by using the full-size XLR connections to connect and power external microphones, for balanced analog audio with dedicated meters and adjustments for frame delay and gain. Phantom powered (48V) mics and line-level audio are all seamlessly synchronized, so there’s no need to match in post. There are also a 3.5mm stereo headphone jack and built-in speakers, for on set instant or playback review with clients or the production team.
HDR Processing
The Sumo’s 19″ 1920 x 1080 10-bit LCD panel is driven by the AtomHDR engine which precisely maps log, PQ, or HLG video feeds from popular cameras, game consoles, or TV manufacturers to resolve 10 stops of HDR in real time. The brightness range and vivid colors of HDR bring scenes to life, either on the monitor itself or when outputting to larger HDR/Rec 709 displays for on set review. It can also be used with popular editing software programs or grading suites for affordable HDR/SDR editing or grading in the studio.
Daylight-Viewable LCD Screen
The bright 1200 cd/m² display means you can accurately monitor SDR signals, even when outside in full daylight. If additional light control is required, an optional sun hood is available separately.
X-Rite Calibration
Like many high-end video and computer monitors, the Sumo can be calibrated to compensate for the natural color and brightness drift that monitors exhibit over time. The Sumo’s calibration input lets you use X-Rite’s separately available i1Display Pro to always ensure accurate HDR and REC. 709 monitoring.
Continuous Power
Dual 4-pin XLR inputs for power means that the Sumo can automatically switch power sources should one stop providing power. In the field, a separate power bracket can be used to supply the Sumo with power from V-Mount or Gold Mount batteries. When one battery dries up, you can hot-swap it for a fresh one without interrupting the shoot.
Weight | |
| Weight Without batteries, media & stand | 5.6kg / 12.3lb |
| Weight With stand | 6.2kg / 13.7lb |
| Dimensions (W x H x D mm) | 504 x 310 x 63mm, 19.8″ x 12.2″ x 2.5″ (without stand) |
| 504 x 330 x 180mm, 19.8″ x 13″ x 7.1″ (with stand) | |
| Construction | Aluminium alloy chassis with built in armor protection |
| Mounting Points | 1/4-20 screw; 4 x top, 4 x bottom, 2 x side 3/8-16 screw; 2 x top, 2 x bottom, 1 x side VESA mount rear |
Power | |
| Operating power | 75W |
| Compatible batteries | V-Lock / Anton Bauer via XLR terminal |
| (optional mounting plates available) | |
| Input voltage (battery) | 14.4V nominal |
| Battery time (based on 7.4V) | Depends on Watt Hours specification of battery used |
| DC In | 1 x DC in (12 – 16.8V) |
| Continuous power | |
| * Patent pending | Primary-secondary battery system. Change batteries without losing power Loop batteries continuously |
Touch screen | |
| Size | 19” |
| Resolution | 1920 x 1200 |
| PPI | 120 |
| Aspect ratio | 16:9 native |
| Color Gamut | REC709 HDTV |
| Look up table (LUT) support | 3D LUT (.cube format) |
| Anamorphic de-squeeze | 2x, 1.5x, 1.33x, Panasonic 8:3 |
| Technology | SuperAtom IPS panel (capacitive touch) calibration to Rec.709 with optional calibration unit |
HDR | |
| AtomHDR | Yes |
| Supported Log formats | Sony SLog2 / SLog3, Canon CLog / CLog 2, Arri Log C, Panasonic Vlog, JVC JLog, Red LogFilm |
| Supported Gamuts | |
| Sony SGamut / SGamut3 / SGamut3.cine Canon Cinema / BT2020 / DCI P3 / DCI P3 Panasonic V Gamut Arri Alexa Wide Gamut | |
| Bit depth | 10-bit (8 2 FRC) |
| Brightness | 1200nit ( /- 10% @ center) |
| HDR input (PQ/HLG) | Yes / Yes |
| HDR output (PQ/HLG) | Yes / Yes |
Video Input/Loop Out | |
| HDMI | 1 x HDMI (2.0) |
| SDI | Quad link 4 x 3G SDI* or up to 12G single link SDI |
| Signal | Uncompressed true 10-bit or 8-bit 422 (camera dependent) |
Video Output (Play Out) | |
| HDMI | 1 x HDMI (2.0) |
| SDI | 1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G |
| Signal | Uncompressed true 10-bit or 8-bit 422 (playback file dependent) |
Supported Loop Out Formats | |
| HDMI to HDMI | 720p 50/60, 1080i 50/60, HDMI to HDMI 1080p 24/25/30/50/60/100/120 2160p 24/25/30/50/60 |
| SDI to SDI | 720p 50/60, 1080i 50/60 1080pSF 24/25/30 1080p 24/25/30/50/60/100/120 2160p 24/25/30/50/60 |
Video Signal Conversion | |
| HDMI to SDI | 720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120/200*/240* 2160p 24/25/30/50/60 |
| SDI to HDMI | 720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120/200*/240* 2160p 24/25/30/50/60 |
| Supported Codecs & Frame Rates (Record & Playback) | |
| Raw Record | Sony FS5/FS7^^/FS700 CDNG |
| 4K DCI; 24/25/30p | |
| 4K UHD; | |
| 2K; 24/25/30/50/60/100/120p | |
| 1080; | |
| Canon C300MKII/C500 CDNG | |
| 4K DCI; 24/25/30p | |
| 4K UHD; 24/25/30p | |
| 2K; | |
| 1080; | |
| Panasonic VaricamLT / Varicam35* CDNG | |
| 4K DCI; 24/25/30p | |
| 4K UHD; 24/25/30p | |
| 2K; | |
| 1080; | |
| Arri Alexa Mini .ARI* | |
| 2880×1620; 24/25/30/50/60p | |
| 2880×2160; 24/25/30/50/60p | |
| Raw to ProRes / DNxHR | Sony FS5/FS7/FS700 |
| ProRes (HQ, 422, LT) | |
| DNxHR (HQX, HQ, SQ, LB) | |
| 4K DCI; 24/25/30/50/60p | |
| 4K UHD; | |
| 2K; 24/25/30/50/60/100/120/200/240p | |
| 1080; | |
| Canon C300MKII/C500 | |
| ProRes (HQ, 422, LT) | |
| DNxHR (HQX, HQ, SQ, LB) | |
| 4K DCI; 24/25/30p | |
| 4K UHD; 24/25/30p | |
| 2K; | |
| 1080; | |
| Panasonic VaricamLT / Varicam35* | |
| ProRes (HQ, 422, LT) | |
| DNxHR (HQX, HQ, SQ, LB) | |
| 4K DCI; 24/25/30/50*/60p* | |
| 4K UHD; 24/25/30/50*/60p* | |
| 2K; not supported in camera | |
| 1080; not supported in camera | |
Video to ProRes / DNxHR | |
| (DNx utilizes a .MOV wrapper) | Codecs |
| Apple ProRes HQ, 422, LT | |
| AVID DNxHR HQX. HQ, SQ, LB | |
| Frame rates | |
| 4K DCI; 24/25/30/50/60p | |
| 4K UHD; 24/25/30/50/60p | |
| 2K; N/A | |
| 1080p; 24/25/30/50/60/100^/120^/200/240p | |
| 1080i; 50/60i | |
| 720p; 50/60p | |
Onboard Processing | |
| Pulldown removal | 24/25/30pSF > 24/25/30p (2:2 pulldown) |
| 60i > 24p (3:2 pulldown) | |
| 4K UHD downscale for HD monitoring | Yes – Loop-out and playback (Not available in RAW) |
| Audio In/Out (48kHz PCM Audio) | |
| HDMI | 2 or 8ch 24-bit, camera dependent |
| SDI | 12ch 48kHz 24-bit |
| Audio | 2ch balanced XLR analog in/out (direct XLR connection) |
| Dynamic range >90dB | |
| Max signal level 24dBu | |
| Max analog gain 52dB | |
| 48V Phantom Power for Mic | |
| Headphone Out | 3.5mm |
| Built-in Speakers | Yes |
Remote Start/Stop | |
| HDMI | Auto HDMI Trigger Supported Protocols – Canon, Sony, Atomos Open Standard |
| SDI | SDI trigger camera selectable |
| Other | LANC control – Slave |
Playback | |
| Playlist / Genlock / LTC | Yes / Yes / Yes |
| CDNG (Recorded content) | No support |
| ProRes (Recorded content) | All recorded files can playback. Playback in slow motion >= 100fps |
| DNxHR / DNxHD (recorded content) | All recorded files can playback. Playback in slow motion >= 100fps |
Recording | |
| Pre-roll record | Yes (HD 8s, 4K 2s) |
| Custom timelapse | Yes |
| Meta data tagging | Yes (10 tags available) |
| Supported media | 2.5” SSD/HDD compatibility depends on recording format, resolution and frame rate. Visit atomos.com/drives for list of tested and approved drives |
| Master caddy case | Master Caddy II (included) |
| 75mm x 105mm x 12mm | |
| Master caddy dock | 2.5” SATA to USB 2.0/3.0 |
| Supported applications | Supported Applications FCPX/FCP7 / Media Composer |
| 5.0 / Premiere 5.5 | |
| EDIUS 6.0 / Vegas Pro 10 / Lightworks / | |
| Autodesk Smoke 2015 | |
| XML support | FCPX XML native, FCPX/Adobe limited supported with 3rd party conversion tools |
| Accessories included | Sumo unit, 1x Master Caddy II, 1x BattWing mounting bracket with 4x |
| screws, 2x Desktop Feet with 4x 1/4” Mounting screws, AC power supply | |
| Optional extras | Sunhood, VESA battery adapter plate, Atomos HDMI |
| cable, X-Rite i1DisplayPro calibration |
