March 9th, Melbourne, Australia: Atomos is excited to be continuously working with the team at Sony to be bringing Apple ProRes RAW recording using the Ninja V with Sony’s brand new FX3 (ILME-FX3) camera. The FX3 & Ninja V combination will bring users the ability to record the camera's 16-bit RAW output at up to 4kp60.

Sony’s Cinema Line FX3 is compact and perfect for solo shooting. In line with Sony’s other Cinema Line cameras, the FX3 includes S-Cinetone™, the highly regarded look profile inspired by Sony’s digital cinema camera VENICE colorimetry. Allowing the camera to be used standalone or alongside the other cameras in Sony’s Cinema Line. The compact and rugged camera offers users a wide dynamic range with 15+ stops* for video whilst also making it perfect for low light conditions. This groundbreaking new camera perfectly complements the current line-up offered by Sony; with the Alpha 7S III, the FX6 and the FX9, all outputting 16-bit RAW to an Atomos monitor/recorder. The recording of the Apple ProRes RAW files takes place on the Ninja V. This means that every type of use case and budget can be met with the new camera range

Ninja V & Sony’s FX3 Combination

The FX3 and Ninja V combination allow for a super compact rig set-up so that users can be mobile and agile in constrained environments whilst also being able to shoot in low light conditions. Add to this the ability to record data-rich 16-bit RAW from the FX3. Users will be able to benefit from the full flexibility offered by the ProRes RAW format as Atomos ensures that all the camera White Balance and ISO/Exposure Offset adjustments will be available within Final Cut Pro to the user.

Content creators and filmmakers will not only benefit from these available adjustments, but also the storage advantage of ProRes RAW, where the codec harnesses the ability to capture 12-bit RAW in the same file sizes as 10-bit 422 standard ProRes. In addition to their groundbreaking combination of flexibility and performance, Apple ProRes RAW files are smaller than other RAW file types – simplifying and accelerating file transfer, media management, and archiving. The Ninja V and RAW recording also opens the camera to the wider Atomos eco-system for enhanced on-set HDR and SDR monitoring. A video signal can be output from the Ninja V to the Atomos Sumo19, or the recently released NEON line of production monitors, for perfect HDR viewing by directors, clients, focus-pullers or any crew member who needs access to an accurate view onset. Jeromy Young, Atomos CEO, said: “I’m thrilled to be continuously bringing to life ProRes RAW support for Sony cameras this being our second collaboration in 2021. Having such a groundbreaking camera with the additional benefits and flexibility of ProRes RAW, the FX3 and Ninja V combination equips content creators with the tools they require to deliver beautifully crafted content.”

ProRes RAW- the new standard for RAW

Atomos is proud of the continuous growth of the ProRes RAW eco-system. Throughout 2020 ProRes RAW continued to build momentum with over 20 cameras supporting ProRes RAW with Atomos, cementing its position as the industry standard for RAW video capture. ProRes RAW support continues to expand across camera manufacturers and models, demonstrating industry commitment to the future of ProRes RAW recording. The range of cameras supporting ProRes RAW is only set to expand in 2021.

ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro and Avid Media Composer along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

Still the best full frame 4K 120p (better than the R5, which either pixel bins or line skips).

And no overheating shooting 1200 Mbps all day long.

I was reporting on my experience with overheating shooting out in the sun for hours, of which there was none. I don't shoot 8 minute clips, which would end up as 40 minutes of video slowed down. Mind telling us the use case for that? The 240fps is much inferior to that from the zv-1. But no 5 minutes of 240fps, which, again, seems a peculiar use - one 50 minute clip of 10X slow motion? Why?

Getting ready to travel again. This is a try out of the tiny fx and the collapsible FE 28-60 lens.

Still the best FF 4K 120 fps.