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Which Ninja’s best for you?
The Atomos Ninja monitor-recorder range - the RAW, TX GO and TX – all have a 1500- nit HDR touchscreen and tally light. And they enable Apple ProRes or ProRes RAW recording over HDMI direct from the camera sensor to CFexpress Type B media or USB-C SSD and handle ProRes RAW, ProRes RAW HQ, ProRes LT, 422 and 422 HQ codecs plus H.265 recording for social media cuts. There is compatibility with all leading software such as DaVinci Resolve, Adobe Premiere Pro, Apple Final Cut Pro and Avid Media Composer. Each five-inch device has a full suite of professional monitoring tools including EL Zone false colour, focus peaking, waveforms and more, plus camera control to manage ISO, shutter, aperture and white-balance. They can run on an NP-F battery, USB-C
Screen test The Ninja TX GO (left) and TX (right) offer more advanced features than the Ninja RAW, such as Wi-Fi connectivity, cloud connectivity and live streaming
connectivity, dual recording for camera- to-cloud workflows plus live streaming to YouTube and Facebook. Moving up to the flagship TX adds 12G-SDI in and out, 8K/30p ProRes RAW, integrated AirGlu timecode sync and conversion between HDMI and SDI.
power bank or DC adapter and offer firmware updates via the internet, although the most affordable option, the Ninja RAW, requires a USB-C network adapter. Upgrade to the TX GO and you get more preloaded codecs - Avid DNx and NDI 6 HX3 TX and RX, plus integrated Wi-Fi
Pitch side The Ninja RAW is compact enough to be used on a gimbal for a better view of the action when rushing around filming footie
After a summer moving between very different productions, what began as another piece of equipment has become something Penman now expects on the camera.“At this point, I’d find it hard to do a shoot without this monitor,” says Penman. “It’s compact enough to carry anywhere, but the screen is still large and sharp enough to give a proper, detailed view.” “That means no surprises when you’re reviewing footage later,” she adds. “I highly recommend it. I love this wee monitor.” For a filmmaker whose career isn’t defined by one genre, one job title or even which side of the camera she happens to be standing on, Penman needs to be ready for whatever comes next – so that she can concentrate on the bit that matters: getting the shot.
Penman admits that much of her technical knowledge came from watching other filmmakers explain what they were doing online. “I taught myself many of the skills I use every day from YouTube videos,” she says. “There are breakdowns on how to do pretty much every technical task.” When you’re travelling or working with a small crew, however, every extra piece of equipment needs to justify its place in the bag. Penman found the Ninja RAW’s battery performance welcome. “Battery life is noticeably better than other monitors I’ve used,” she says. “The unit itself is neat, slick and genuinely easy to use.”
can be adjusted so that shutter speed, white-balance and other information can be included. For somebody who regularly creates photography and filmmaking tutorials, that offers a simple way of showing viewers exactly what she is seeing and doing. “I loved being able to record the camera screen straight to the card. It’s so handy,” she says. “I’m always looking for ways to show my settings and this was easily the best. For photography or cinematography tutorials, viewers can see exactly what the camera sees in real time. It’s brilliant for making how-to content, and people have said they appreciate seeing my screen.”
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