Atomos Ninja V new AtomOS 10 features, setup and HDR run through with CEO Jeromy Young

hi Jeremy young Atomos CEO here to explain to you about the ninja five new user interface we shipped it about two or three weeks ago and it has been seriously the most amazing response from all the amazing customers that have bought the product so thank you very much for buying it we have neglected to inform you of some of the changes to the user interface if you are an Atomos customer we now have Atom OS 10 and it it's significantly different not only did we have some challenges on the five-inch screen from the 7 inch to make it work on that size we also had some changes to the workflow that we'd been polling customers looking at how people worked and then trying to evolve the wave 4k HDR was delivered pro res raw helped us do that and we're now we think in a better position to explain to you how to expose correctly for high dynamic range and it's not easy I think anyone who's tried to do it follows the rule of two stops above and I'll be okay well we've got four or five stops for you to use so we want you to use that and this user interface will help you achieve it so here is a very similar signal on both the gh 5 and the ninja 5 that's not how we want to expose we want to show you what it's going to look like on an HDR TV preferably the latest TVs but if you need to deliver to an H LG TV which is kind of halfway house and I'll explain that soon or a normal SDR TV with a little bit more range in it we can show you how to record for that and then you take it into your final card and an amazing Apple Mac system and finish it but on the setup it's super easy but a little bit different so first of all I want to point out that we've reduced the color saturation of all the buttons on the screen why did we do that because with HDR and with video especially 4k HDR you need to see the image in all its glory so our buttons were distracting you from seeing that and on the 5 inch it became even more so so we knocked back the saturation and gave you black and white button so that we weren't the main color and brightness profile the image was which is kind of what you want shooting for clients so if you just take a look at the new UI all of it looks very similar we've still got our rec play monitor edit we've moved that to the left so I flick over to monitor and you can see I've got all my normal user interface you can see I've got this scrolling bar which shows you everything at once instead of having to go through menu system so that's a new improvement on the ninja 5 OS so I've got my luminance parade on here and you'll notice it's not blue anymore it's white and that's to detract from it distracting you from the image across the top I have all my normal settings but I've also rearranged them a little bit for you so let me walk you through that so the first thing is everything is as it was however you've got it not as saturated in color all the settings are over here on the side you bring those up I can change my focus peaking settings yellow whatever zebra LUT settings they're all there but you can still see the image so if I shut that I can just adjust them in one tick I can change my UI here for all the settings that I've got so that's one thing if I want to get rid of the overlay I'll just touch the middle and it goes away so that I can just see the image but while I'm doing settings in monitor mode this all comes up if I take off monitor mode I just see my recording settings and guess what my HDR waveform is sitting right there in luminance parade and that allows me to see what I'm doing I've also got my timecode I can go to any of these settings plus I've got audio this is your shooting page which we never had before so this hides everything because you're not adjusting anything when you're coming you go I want to shoot then everything pops up for you well that sounds intuitive well you think it is the first thing you want to do is set up your input I'm in V log V gamut coming from V current light coming from this camera so I touch on my input and guess what all the settings come up the first thing I want to do down here is camera output the camera output is a log output I'm not in rec 709 I'm not shooting the normal video output of the camera I want to capture all of that brightness range for HDR and just for those of you who are new to the Ninja 5 you need to enable log on your camera to capture wider brightness range which allows you to deliver an 8 later HD I just means brightness so I'm going to turn on my wide brightness range because what HDR allows you to do what log allows you to do is not only finish for HDR but it also allows you to clean or STR which I'm going to show you one in this demo but I need to turn that on because my camera output is a log output so it says is your camera output a log output an HDR off means it's not which means you are in rec.709 land all the way our normal STR land or I say yes it is so now it bonks into the mode that the camera is giving it which is Panasonic V log V gamut perfect I'm ready to roll my input is set correctly the reason we've moved it to the input page and not on the monitor page where you can adjust it is we don't want you screwing up that adjustment because that will change the way that your image is processed inside the unit so you need to make sure that we know which log setting you're coming from so we're in panasonic V log V gamma if you're in Canon C log 3 cine gamut then use that just make sure it's set up correctly so my inputs correct let's get out of there I'll just while I'm in there you can go to output you get a record file the level meters and the audio meters are all there for you to adjust in one place that's not the case from previous so we've improved that so now my monitor nothing's changed on the monitor why because we've added this new monitor page here or a shortcut to the monitor page so if I touch on that it shows you native what I'm representing is the native video coming in which is the V log which looks washed out just like it does on your camera and just like it does on our screen and on this screen now I've got native the first thing I'm gonna do is go rec.709 now everyone's gonna say well that doesn't look very good does it that's because the line here is a hundred a hundred nits a hundred ira is what we have been shooting in this much range not very much your sensors today depending on the log curve and the capturing in raw it's a bit bit bigger but log gives you basically identical it's much wider so i've got this much range 7:09 log Scylla nine log are you getting it I hope so this is 709 this is log this allows you to go HDR and map down to SDR this allows you only rec 709 that's it you can't go up here so let's capture up here the tools photo cuts amazing at it many packages are amazing at it you can do anything if you go up here so let's go up here that's what we're all about so this is rec.709 doesn't look that good that's because so normally I would stop down or aperture down and I'm adjusting adjusting shutter speed here to get the image into a rec 709 image now that looks pretty good wouldn't you say not bad the problem is when i zoom in don't to a two to one noisy why because I've throttled the silicon by reducing the light coming into the sensor get the voltage to give me a digital signal so what I want to do is not that I want to go back I'm going to zoom back out and what I'm gonna do is raise up above 709 and every camera man on the planet is looking at me going this will kill everything look how much you're blown out everything's crazy I'm gonna show you something pretty cool we've given you not the slider and this is where some of our current customers are a little bit confusing we do apologize for that sorry for confusing you but we wanted to simplify it the slider is STR rec 709 the atom HDR slider the atom HDR engine is still inside the ninja v we're just trying not to make it too complicated so if we went a bit too far we apologize but I think you can understand this this end of the slider this end is rec 709 the normal slider would go between seven and nine through HL G which is about halfway up the log curve right to the end of the log curve which is HDR on the old slider but what we've called them now and when when we actually made that slider there were no standards no hlg no PQ and three and a half years later now there are so we want to map to those standards and what each one gives you this is rec.709 when I hit hey Choji boom guess what it looks like the 709 stop down but I've actually captured not the full range of the log curve I've captured around halfway this is not 100 IRA this is 1200 by re the maximum on this camera is around 2000 to 2200 IRA or 2,000 myths in PQ they're equivalent 100 nits equalled 100 I or II 1200 minutes 1200 IRA hey Choji 2000 Nets 2000 IRA is PQ and that's what we represent here we represent 2000 PQ because that's what our monitor is capable of mapping we're a 1000 nits display but we can map it into a 2,000 net so that's the maximum we think we can deliver on this screen as the screens develop and we go to 2,000 nits and we go to 5,000 it will get higher contrast ratio then we can actually map more and that's the future but right now we've worked really hard to give you the best that you can get in a 5 inch monitor at a thousand nits using our atom HDR engine so the animation engine is still inside so let's go in and see what that looks like HRG and then P Q now P Q I'm mapping a bit more so I can actually go up a little bit now you can see we put strategically he this light that we normally wouldn't put in a shot and the reason why showing this is if I go back to 709 it starts the disaster starts here it follows all the way along here but if I get a hey Choji then I can see a bit more if I go to P Q now I've got even a little bit more latitude the difference is for example this Panasonic v-log light is mm 200 around see long three is at 3200 s log 3 is at 3200 it's a longer range doesn't mean the sense is actually that capable right at the end but in certain scenes you could map that we're showing you a representation people this is not the recording the recording is log the recording is raw on our Shogun and sumo you do not need to see everything on this screen because we are not baking it in what you see is pretty much what you get but you have complete control post-production because we don't want to limit you at the camera that's what además is all about giving you the creative flow in the Edit and in the post-production so let's go through that again 709 blown out log from the camera I'm converting it hlg looks much better I've got a pretty good range on my waveform so this waveform is not a 709 waveform hundred net hundred IRA this is a maximum of the log-log curve waveform which in this case is around 2200 for v-log light so let's say I'm I understand that I'm in this V log light I'm converting it around and now I'm just playing with my exposure to make sure that I fit into the HDR range because of course you can always blow air out above the HDR range but see this bit is really important because I'm bringing the brightness out of the noisy area of the sensor and that gives me clean SDR but perfect HD at the same time who doesn't want that now you can offer your clients I don't know how much do you charge first year I'd be charging 5 grand extra but that's up to you and I'm sure there's gonna be competition in the market especially if you're using además products as we've been offering it to you for a long time but you can deliver that so what I have here is I'm gonna stay in ATL G because that's 1200 I feel like that's a nice halfway house if I wanted to go max I could go to P Q and I'd get a little bit more actually I might do that let's stay in P Q and go a little bit higher yeah that's where I would end up looks really nice I might even come down a stop looks pretty good so what would happen if this was a slider well what we'd be doing is we will be sliding between rec.709 hey Choji and PQ but I want to give you the standards so that you know what it's going to be delivered to the TV you what youtubes going to read it and play it back on the computer in what it's going to look like in final cut what it's going to look like on HDR monitors that you buy and I think that's probably the best way to go I am interested to hear if you want the slider back where we can give you the nuances between rec 709 and H or G and P Q if you want that go to atom AUSA's Facebook page or Instagram and please tell us what you want but I think you should be in the standards but that's just me I'm a techie guy I'm not a shooter and I'm always in all the creative stuff that you guys do with our products so keep doing that all right so I have a stay in peak you so just to recap my input if I go off I'm just in log all the way but I do want my input to be log if I go rec.709 I'm blown out that's to show you that you are overexposed for just an SDR production so don't do that hlg looking pretty good PQ a little bit more range on this camera if it's a wider range camera a bigger sensor bigger pixels then I'd have a bigger range for you to actually work work to and the slider would just go from SDR through to HDR exactly like the buttons do but we've just locked it for you to the standard so I hope you can understand that and we hope that that's beneficial for you so now that I'm in here and I'm shooting what happens when I want to zoom in on the people so I've got this light in here and what I'm going to do is just move around and zoom in and you know what still maintaining that wonderful dynamic range of the image and I'm absolutely ready to record and I probably should have hit record a little bit earlier as we zoom out and no matter what my range is I've still got to be highlight here but I'm capturing all of that range whereas this would be an absolute disaster in rec.709 now what oh my god did you change your recording when you did that no I didn't because we are talking about the monitor only we're not talking about the recording the recording is v-log the recording is ProRes that in log the recording is pro res raw done deal tnx cinema D&G all good no matter which product you have but what we're showing you here is a rec.709 representation to say if you want to shoot only for rec 709 then that's what it's going to look like remember if you shoot hlg or PQ you can map back down to 709 and it looks amazing that is the new user interface on the ninja 5 I'm recording away thank you to our team here for their wonderful modeling thanks guys very good showing off the ninja 5 on the couch happy shooting ninja 5 Adam OS 10 changed but still the same Adam HDR

Channel: ATOMOS

Views: 78,492

Keywords: Atomos, Ninja V, Ninjav, ProRes, HDR, 4K, dslrvideo, mirrorless camera, lovemyatomos, Sony A7S II, Sony A7R III, Sony A7 III, Panasonic GH5, Panasonic GH5S, Fujifilm X-T2, Fujifilm X-T3, Canon EOS R, Nikon Z7, Nikon Z6

Id: SRCi6fjGK1Q

Length: 16min 50sec (1010 seconds)

Published: Fri Oct 26 2018