GEAR
and size but not intensity; something that more advanced users might find limiting. The Sumo 19SE slots smoothly into a multicam workflow, with four SDI inputs (but only one output) and additional HDMI in/out and sync ports for audio. It’s a plug-and-play solution that can handle a range of production roles, from lighting reference to continuity playback. The unit runs cool even after hours of continuous use thanks to two internal fans, but the fan noise is noticeable in very quiet environments, so it’s best kept clear of the sound department. Power options are flexible, with an AC adapter and dual four-pin 14v XLR inputs, compatible with both block batteries and standard mains. There’s no top handle included, which slightly hinders portability, but generous 3/8in and 1/4in mounting points make rigging options diverse. The Atomos Sumo 19SE is a smart, capable monitor well-suited to directors, cinematographers and continuity teams. The robust build, intuitive interface, strong image reproduction and on-board recording make it a valuable addition for any medium- to large-scale production. While not ideal for focus pulling, its strengths in multicam support, workflow integration and exposure monitoring more than make up for it and make it a standout in its class. It’s a worthy upgrade and a serious tool for professional use.
ATOMOS SUMO 19SE Joshua Ighodaro touts the Sumo 19SE ’s capabilities for exposure monitoring and helping to streamline workflows T ested during an LUT and lens shootout for an upcoming feature film, the
might find it lacking compared to higher- resolution alternatives. That said, higher- res alternatives are typically quite a bit more expensive, while the Sumo comes in at a pretty affordable £1773. Brightness is rated at 1200 nits, which was sufficient even in bright outdoor conditions – but particularly good in shade. When using it in direct sunlight, a hood or monitor tent is advisable. One of the standout features is the ability to record up to 6K ProRes Raw via external drives. This makes the Sumo more than just a preview monitor: it can serve as a backup recorder or on-set reference tool for continuity supervisors and directors. Take-tagging and XML export features are especially useful for time-conscious productions, allowing useful notes to be captured and exported with each take. The included scopes and exposure tools (false colour, zebra, vectorscope, waveform) work well, but some lack deeper customisation. Focus peaking, for example, allows you to change colour
Atomos Sumo 19SE proved itself a reliable and flexible monitor in both controlled test environments and exterior daylight conditions. Working with an ARRI ALEXA Mini, shooting 3.2K ProRes 4444 XQ at 25fps, the Sumo was connected via 3G SDI to deliver high-quality image feedback. Lenses included ZEISS Super Speeds Mk III and vintage Astro-Berlin Pan-Tachars, offering a strong test of the monitor’s colour accuracy and image handling under varied lighting – from indoor tungsten to bright sunlight. Right out of the box, the Sumo 19SE makes a good impression. It’s solid but relatively lightweight, and while the 1920x1080 HDR touchscreen is the only interface aside from the power button, it’s responsive and intuitive, with a smartphone-style UI that will feel familiar to most users. Boot-up takes under five seconds, and the layout of the main control interface makes it easy to toggle between essential tools like waveform, vectorscope and false colour. A simple tap of the yellow ‘Mon’ button brings up the overlay toggles, the Home icon clears them and a quick press of the power button locks the touchscreen to prevent any accidental adjustments. The monitor ships with tabletop feet, but lacks a standard stand mount. While it’s sturdy enough to survive on set without a protective case, a stand mount and outer shell could be advisable for long-term use. The screen size and brightness make it equally useful in both studio and field environments. Image fidelity is a strong point for the Sumo 19SE. Colour accuracy appears solid, with HDR support and Atomos’ own AtomHDR system allowing compatibility with various camera HDR formats. Rec. 709 is available for standard workflows, and you can also easily load in your own custom looks. Sharpness is adequate for monitoring and lighting work, though focus pullers
LIGHT IN THE DARK 1200 nits of brightness makes the monitor suitable for use in all environments
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