Atomos Ninja V

Isn't this an issue with the GH5 output, more than the Ninja V input (I mean the Inferno's are going to have the same issue?)
 
More user reported issues:
https://www.youtube.com/watch?v=JdcPL6ZS0mc

The Ninja-V was NOT behaving as expected; it still needs some special treatment when used with the Fuji X-T3. E.g: if you end a recording via the camera, the Ninja will flash black and the kangaroo icon appears; after that, most of the time, the Ninja will stutter and you will have to remove and plugin the HDMI. Nothing that a firmware update can't fix i guess.
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Thomas Smet said:
The issue is also that not every NLE or application allows the user to change if data or video levels is used. This is a great feature in Resolve but no other application has this ability. We can’t assume every user uses Resolve and has an easy fix for this and Atomos definitely shouldn’t assume that.
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In Premiere you simply drop a Fast Color Corrector onto the clips and set in to 16-235. You can do this as a master effect to all the clips in your bin before you even start cutting.

It's annoying, yes, but it's something that editors have been dealing with for a long time, especially with Quicktime files, and most of them know how to quickly identify and rectify the issue. It's not as though it's a problem that is isolated to Atomos.
 
The Ninja V is not recognizing my DVX200. Because of this the trigger button isn't working and luts are not being recognized. The Ninja just says that the camera is unknown and the manufacturer is unknown. I've used the same setup with the Ninja Flame without any problems. The Atomos website shows that the DVX200 is supported.
 
Is there any reason I couldn't use one the Ninja monitors as a display for a Mavic Pro? I've been toying with getting a CrystalSky, but getting one of the Ninja monitors would kill two birds with one stone. DJI is not listed on the compatibility list at the Atomos website, but I'm not looking to record with it, just use it as a bright monitor.
 
If compatible, might as well get the Ninja Flame which is 500 nits more for $100 more if 7" is okay.

1000nits (V) might not be bright enough for some.
 
NorBro said:
If compatible, might as well get the Ninja Flame which is 500 nits more for $100 more if 7" is okay.

1000nits (V) might not be bright enough for some.
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Yes, I've been weighing up both options. As a monitor for the drone, the 7" would be better, but for use on a camera I prefer to be more compact. The main thing is, I need to be sure that they are actually compatible with the DJI. They're advertised as working with anything that outputs HDMI, so I can't see why they wouldn't be. On the other hand, if they're compatible with everything, why have a compatibility list on the website?
 
I imagine the compatibility list is only for recording specs (and note of clean HDMI cameras)...can't see anything not working for regular HDMI monitoring.
 
In most cases, with a DJI product, you're still going to need a tablet or phone running the app to get full operational details on your drone.
 
Maybe this can help somebody with the Ninja V or any other monitor and/or recorder that cannot change or detect if the incoming HDMI signal is data or full range levels. I made this lut awhile again to use with the Ninja Blade material. Friend of mine decided to do an episode of his show on the subject and host the lut for free. You can find the lut in the Youtube description. Watch the video for a little extra details on the subject of 16-235 and 0-255 issues with monitors. Most of you are affected by this even if you don’t realize it.

https://www.youtube.com/watch?v=Cq3dlh0ZEuY


This affects anybody that shoots in a 0-255 or 0-1023 mode on their camera or uses a log format that only works in those ranges. Some DSLR cameras can also only put out 0-255 like the Sony A7S and likely most other DSLRs. This only affects external output and not files record in camera. Also affects regular monitors like Feelworld or any camera monitor that doesn’t have the ability to switch the input range from 0-255 to 16-235. Ironically some comsum r TVs have such a input switch for video game consoles that also use a 0-255 full range. My hope is that if this is made more public and people are more aware of it that Atomos and other monitor manufacturers will finally add in a menu setting to compensate for this.
 
Anyone else having audio issues when attaching a mic to the recorder?. I'm get bad clicking sounds in the recording.
 
Thomas Smet said:
This has been an issue ever since we have had monitors and external recorders and Atomos absolutely refuses to do anything about it. I have emailed them, called them, others have begged on forums and Atomos doesn't believe its an issue so they will not do anything with it. We have been asking since the Ninja 2 and the response is always dancing around the issue and never really answering why they will not address it.

Thank goodness Panasonic has enough brains to allow users to select if they want 16-235 or 0-255 for the HDMI output but alas it doesn't work when shooting v-log and the camera is forced to use 0-255 which makes external recording not correct.

I honestly don't know how/why so many in the industry ignore this. Almost every review of external recorders I have ever watched on YouTube incorrectly thinks the recorder or ProRes just create darker video. The utter lack of understanding of this issue and the rabid spread of misinformation out there is enough to make me curl up into a fetal position in the corner of a dark room and cry myself to sleep.

Yes there are solutions in post and I have created my own lut and FCPX effect to deal with this but that still doesn't help how the image looks on the monitor while shooting. I know this because again thanks to Panasonic I can switch my camera back and forth between 16-235 and 0-255 and see how crushed the video looks on the monitor when using 0-255. This can lead to exposing the image incorrectly and attempting to over compensate for the added contrast and crushed dynamic range. While its a life saver to have solutions in post in 2018 we shouldn't have to deal with this issue anymore. Since the vast majority of external recorder users out there likely use a camera stuck at 0-255 Atomos needs to get their act together and add in a feature to correct the signal on input to the device.
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As I understand it, a lot of cameras when outputting log over SDI or HDMI use the full range 0-255. The problem occurs when an external monitor or recorder is set to video 16-235 which then compresses hi lights and shadows making it impossible to view the correct exposure on the external monitor.
I recently bought a Swit CM-55 5.5 inch monitor. It has a setting that allows choosing between video or full data input range. When I use it with my Canon 1Dc in log mode, I choose full 0-255 setting on the Swit and get an identical image as on the 1Dc monitor (with view assist disabled on the 1DC) which then displays correct levels for waveform, histogram, false color etc on the Swit. I then use an imported Wide DR user LUT to de-log the image for monitoring on the Swit confident that what's showing on the scopes is pre-lut and correct. The Swit monitor is very light, 1920x1080 res, great scopes, takes sony or canon batteries, super easy to use and cost around US$200. It seems logical that the user should be able to choose full or video data levels on input to allow the device to be set up correctly. Surprised more expensive brands like Atomos don't have this ability.
 
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Gingercat said:
As I understand it, a lot of cameras when outputting log over SDI or HDMI use the full range 0-255. The problem occurs when an external monitor or recorder is set to video 16-235 which then compresses hi lights and shadows making it impossible to view the correct exposure on the external monitor.
I recently bought a Swit CM-55 5.5 inch monitor. It has a setting that allows choosing between video or full data input range. When I use it with my Canon 1Dc in log mode, I choose full 0-255 setting on the Swit and get an identical image as on the 1Dc monitor (with view assist disabled on the 1DC) which then displays correct levels for waveform, histogram, false color etc on the Swit. I then use an imported Wide DR user LUT to de-log the image for monitoring on the Swit confident that what's showing on the scopes is pre-lut and correct. The Swit monitor is very light, 1920x1080 res, great scopes, takes sony or canon batteries, super easy to use and cost around US$200. It seems logical that the user should be able to choose full or video data levels on input to allow the device to be set up correctly. Surprised more expensive brands like Atomos don't have this ability.
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Yeah, Blackmagic has an input range setting in their 5" View Assist.

Atomos products have lots of issues in general, recent ones include audio distortion on the Ninja V (apparently due to improper internal shielding).
 
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