Atomos Sumo: Go large with a 19″ on set HDR monitor – recorder – switcher

Sumo Insitu Work Station 1

Known primarily for their range of on-camera monitor/recorders, Atomos have gone decided to go large, in fact, Sumo large with the announcement of the Atomos Sumo: a 19″ HDR 1200nit 10+ stop panel with 4K 12bit Raw or 10bit 422 ProRes/DNxHR recording and HD recording up to 240p or live switching and recording of four 1080p60 channels.

Going large with the Atomos Sumo

Called the Sumo, this is the first time to my knowledge that someone has made a large HDR production monitor that features in-built ProRes/DNxHD recording. The whole concept behind Sumo is to reinvent how production monitors can be used on set and in the studio. Traditionally on-set monitors have just been for monitoring, but I can potentially see Sumo being used as a one-stop video village.

The Sumo gives clients and crew on set instant access to review recorded content in HDR quality and doubles as a grading and editing monitor for laptops in the field. It also has the flexibility to live switch between four 1080/60p channels, record 4 x ISO channels and mix a live record complete with cueing, cross fade and hard cuts.

Atomos Sumo
The rear of the Sumo features two HDMI ports, six SDI connectors and XLRs for balanced audio in

Sumo’s 19” 1920×1080 10-bit LCD panel uses the same AtomHDR engine which is found in several other Atomos products to precisely map the Log/PQ/HLG from popular cameras, games consoles or TV makers. It can also be used with popular NLE or grading suites for affordable HDR or SDR editing or grading in the studio.

12-bit Raw, 10-bit ProRes/DNxHR up to 4Kp60

Atomos Sumo
The Sumo’s 12G SDI connectors

Capture the RAW output from Sony FS5/FS7/FS700, Canon C300MKII/C500 or Panasonic Varicam LT over SDI up to 12-bit 4Kp30 as CDNG or 10-bit Apple ProRes / Avid DNxHR up to 4Kp60 / 2Kp240 depending on the camera’s capability. The processing power of the Sumo can preserve pristine quality direct from the sensor with data rates of up to 3.2 Gbps. It records to high capacity, widely available 2.5″ SSD’s that provide an affordable solution for long recording times.

Live Switch and Record up to four 1080/60p channels, four channel iso record and playback

Switch and mix a live record and stream or record four HD iso recordings using the QuadLink SDI connections. Switch between feeds on screen with cueing, cross fade and hard cuts from the locked sources or tag and adjust final edits with advanced metadata tagging preserving ISO feeds,

Balanced XLR Monitor and Record with 48V Phantom

Atomos claim that because the Sumo uses full size XLR connections to connect and power external microphones for balanced analogue audio with dedicated meters that is no need to use a separate audio recorder. 48V phantom mics or line level audio are also available. There is also a 3.5mm stereo headphone jack and built-in speakers for on set instant review or internal recording review with clients or production team.

High Bright 1200nit 19” calibrated 1920×1080 monitor

Atomos say the Sumo will be bright enough to use outdoors.

According to Atomos having a 1200nit display means you can accurately monitor, even when outside in daylight. If it is too bright there is an optional sun hood available.Sumo also has calibration to compensate for the natural colour and brightness drift that monitors exhibit over time. Sumo’s calibration input lets you use X-Rite’s i1DisplayPro to ensure accurate HDR and Rec709 monitoring.

Quad SDI and HDMI 2.0 in/out

You can connect any SDI or HDMI device and convert between HDMI 2.0 & 3G QuadLink/6G/12G SDI in any combination. Quad SDI inputs connect cameras with multiple 1.5 or 3G SDI outputs without the need for converters. HDMI 2.0 supports up to 4Kp60 input/output along with the latest Atomos open protocol that supports HDR automation including importing of camera settings. There is also support for Genlock and LTC timecode.

Construction and mounting options

Atomos Sumo
The Sumo’s handle and power button

The Aluminium alloy chassis with built-in armor houses ten mounting points around the bezel/top/bottom/side, a rear panel VESA mount and an included stand for a variety of mounting configurations. The optional mounting plates connect 2 x V-Lock / Anton Bauer batteries allows batteries to be hot swapped in the field. The Sumo has a total weight of 6.2kg (13.7lb).

Atomos Sumo pricing and availability

The Sumo is scheduled to be released in Q3 at 2017 – and at $2,495 US Sumo will be very well priced, seeing as you get a 19″ HDR panel that features recording, switching and playback. We look forward to checking it out at NAB.

Atomos Sumo Specifications

Weight
Without batteries, media & stand 5.6kg / 12.3lb
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 speci cation of battery used
DC In 1 x DC in (6.2 – 16.8V)
Continuous power
* Patent pending Primary-secondary battery system.
Change batteries without losing power
Loop batteries continuously
Touchscreen
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%)
HDR input (PQ/HLG)
HDR output (PQ/HLG) Yes / Yes
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,
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, Master Caddy II x 1, AC power supply
Optional extras Sunhood, VESA battery adapter plate, Atomos HDMI
cable, X-Rite i1DisplayPro calibration
Warranty 1 year. Extended to 3 years on product registration
All specifications correct when published, subject to E&OE.

24/30/60 frame rates also means 23.98/29.97/59.94 frame rates for all resolution

* Available in future firmware updates

*** No HDMI spec for 2K DCI

^ From supported HDMI sources such as gaming consoles and graphics cards.

^^ Optional unit (XDCA-FS7) needed for Raw output.

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