With the addition of Apple ProRes RAW, the Atomos Sumo19 brings flexibility to a slew of workflows in need of an affordable option. Atomos dominates the monitor/recorder market and are known for giving loads of features with a lower than market price. Their Sumo19 is designed to follow you from the set through the edit.
Let’s start off by saying, outside of the 19-inch monitor, the Sumo19 has the same features as the Shogun Inferno. If the recording feature isn’t what you need, then for $500 less, the Sumo19M is the monitor minus the recorder. With either option you get a 1920 x 1080 IPS touchscreen display that can give you up to 1,200 nit brightness. In AtomHDR mode, the Sumo19 can display 10-stops of dynamic range with internal LUTs ready for just about every camera on the market.
Apple released ProRes RAW at NAB 2018, announcing it with two partners, DJI and Atomos. Atomos included the ability to capture ProRes RAW in the Sumo19 and the Shogun Inferno. ProRes RAW is more efficient than the ProRes that came before it, while still allowing for the RAW sensor data to be captured. That means that ProRes 4:4:4:4 has a larger data rate than ProRes RAW HQ, even though there is more information in the RAW files. Additionally, the ProRes RAW data rate is dependant on the image content, giving it a variable data rate range. The biggest drawback for ProRes RAW at this point is that to use it, you need to use Final Cut Pro X. We hope that support will grow over time, but currently there is no news on if or when that might happen.
Just as we were wrapping up our review, Atomos released a brand new firmware update for the Sumo: AtomoOS 9.1. This opened up Quad ISO recording and on-screen switchable output. If you have a sync generator that can provide full Genlock sync, you can connect four different inputs (and capture their individual input) or record the program out with a separate recorder. Atomos plans to add internal recording of the program out in a future update.
As a Capture Device
Because of its size, using the Sumo as a capture device will fit some workflows and not others. Regardless, it has loads of inputs for just about every workflow. It will convert SDI to HDMI, if you want to tie in non-SDI monitors. Offering up to 12G-SDI and HDMI 2.0, the Sumo makes it easy to switch between inputs. Since it has a touch screen and the menu operation is intuitive, a quick tap of the input location and it can easily toggle between inputs. Beware though, if you desire to capture ProRes RAW, it will require SDI input.
If you want to capture in another format, just like with the input select, it’s an easy tap on the menu. You can also capture 10-Bit 4:2:2 ProRes, Avid DNxHR HQX or Cinema DNG. To capture, you will need an SSD that fits in to the Atomos Master Caddy. Depending on the brand and capacity you choose, they range from $150 up to $1,570. A great use of the Sumo is when your camera can only capture 8-bit video internally but has 10-bit out, like with the Panasonic Lumix GH4.
As a Field Monitor
The brightness of this monitor can not be undervalued when being used as a field monitor. The brightness allows for HDR workflows and when battling the bright sun, the added brightness comes in clutch. Additionally, the included hood doubles down on that usage. The size is great for a director or a group that wants to view the same screen. This will allow easier communication, and because you can apply LUTs, it will even help in situations where the viewer doesn’t understand or want to see the look from shooting log. Like other Atomos monitors, the Sumo19 includes pre-set LUTs for previewing log footage from most camera brands in Rec. 709 and other common gamuts. A slider feature helps compare the look before and after LUT application, which is helpful when setting exposure for log footage. To preview HDR, Atomos offers AtomHDR, which offers a way to preview SDR +3 stops for 809 percent of Rec 709. With the slider, you can go between the SDR and HDR exposure to verify the information in your shot and preview HDR on location.
The brightness of this monitor can not be undervalued when being used as a field monitor.
In the Edit Bay
Completing the production workflow capabilities of the Sumo19 is its ability to be a used as a monitor for editing and color grading. Because HDR is dependent on the monitor you are finishing for, using the same monitor throughout production is a big help. That means what it looked like when captured is how it looks in post. We connected the Sumo to the AJA Io 4K Plus so we could monitor Premiere Pro and Final Cut Pro X through it. This allowed for a seamless HDR workflow for someone on a SDR budget.
Size and brightness are the cornerstones of the Sumo19, if you exclude the internal capture. At this level for a monitor, input type, LUT application and shoot assists are essential. Atomos has put a lot of value into its feature offerings in the Sumo19. Because of that, it’s a production monitor with flexible workflows. Let’s look at two alternatives for comparison: a 15-inch 1200 nit monitor from Bon and 17-inch 1000 nit monitor from SmallHD.
The Bon BSM-183H costs $3,000. It has a smaller screen at just 15 inches and has a lower resolution of 1366 x 768 compared to the 1920 x 1080 of the Sumo. It’s just as bright at 1200 nit. Based on the specs, the Atomos offers more at $500 less.
The SmallHD 1703 HDR costs $4,000. The 17-inch 1920 x 1080 Display has SDI and HDMI inputs, but is 200 nit dimmer than the Sumo19. SmallHD calls it the brightest most durable 17-inch monitor in the world. Even if that’s true, you’ll pay $1,500 more than the Sumo for it.
The Sumo19 is a great option if you need a 1,000-plus nit bright 19-inch monitor and recorder. The size won’t fit everyone’s workflow and not every workflow will benefit from having an external recorder. We liked how intuitive the touch-screen and menu are, but we were disappointed that SDI is required for ProRes RAW capture. If you need an HDR monitor that works both on set and in post-production, you should consider the Atomos Sumo19.
The Atomos Sumo19 is an affordable HDR monitor and recorder that will enable HDR workflow from set to post.
- ProRes RAW
- SDI only ProRes RAW capture
- Narrative Filmmaking
- Documentary Filmmaking and Journalism
- Corporate and Event Videography
- Marketing Video Production
- Online Video Production
Display Type: 19″ / 48 cm IPS capacitive touchscreen
Resolution: 1920 x 1080
Bit Depth: 10-bit (8-bit plus FRC)
Color Gamut: REC. 709
Video Aspect Ratio: Native: 16:9
Brightness: 1200 cd/m²
LUT Support: 3D LUT (.cube file format)
- 1 x HDMI Type A, v2.0
- 3 x BNC, HD/3G-SDI
- 1 x BNC, HD/3G/6G/12G-SDI
- 2 x XLR, balanced analog audio with 48 V phantom power
- 1 x HDMI Type A, v2.0
- 1 x BNC, HD/3G/6G/12G-SDI
- 1 x 3.5 mm, stereo headphone
Supported Signals Video:
Input/Output: 8/10-bit 4:2:2 (dependent on video source)
- Apple ProRes Raw: Raw, Raw HQ
- Apple ProRes: HQ, 422, LT
- AVID DNxHR: HQX, HQ, SQ, LB
- ProRes Raw/Raw HQ
- Cinema-DNG Raw
- Raw to ProRes/DNx
SDI to HDMI:
- 4096 x 2160 24/25/30/50/60
- 3840 x 2160 24/25/30/50/60
- 1080p 24/25/30/50/60/100/120
- 1080i 50/60
- 720p 50/60
- 24/25/30PsF to 24/25/30p (2:2 pulldown)
- 60i to 24p (3:2 pulldown)
Supported Audio Formats
- HDMI 2/8-channel, 24-bit (camera dependent)
- SDI Up to 12-channel, 24-bit, 48 kHz
Dynamic Range: > 90 dB
Signal Level Maximum: +24 dBu
Maximum Analog Gain: +52 dB
Voltage: 14.4 VDC
Power Consumption: 75 W
Supported Battery Types: V-Mount, Gold Mount (requires optional mounting plate)
- 1/4″-20: 4 x top, 4 x bottom, 2 x side
- 3/8″-16: 2 x top, 2 x bottom, 1 x side
- 19.8 x 12.2 x 2.5″ / 50.4 x 31 x 6.3 cm (without stand)
- 19.8 x 13 x 7.1″ / 50.4 x 33 x 18 cm (with stand)
- 12.3 lb / 5.6 kg (without stand)
- 13.7 lb / 6.2 kg (with stand)
Chris Monlux wears glasses, so don’t punch him in the face. He is also Videomaker’s Multimedia Editor.