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The Atomos Neon 24 Production Monitor is part of the NEON family of monitor/recorders designed to create a consistent viewing and recording pathway for productions. This 24" monitor/recorder features a 4096 x 2160 native resolution while supporting DCI and UHD 4K, as well as 1080p/i and 720p. The monitor provides a clear image well capable of supporting HDR and displaying a 10-bit image that covers 100% of the DCI P3 standard. Its 1000 cd/m² brightness and 512 zones of backlight allow the monitor to achieve a contrast ratio of 1,000,000:1.
Input your video for display via HDMI or SDI (using the included SDI expansion module) and the monitor displays your video. It can also capture your footage as ProRes Raw, ProRes, DNx, or Cinema DNG to a 2.5" SSD (not included) in the Master Caddy II or to a separately available AtomX SSDmini. The monitor features loop-through and cross conversion outputs, and supports both Rec 709 and Dolby Vision.
ProResRAW | DOLBYVISION |
---|
24" Monitor |
4096 x 2160 Resolution |
193 ppi |
17:9 Aspect Ratio |
512 Backlight Zones |
1,000,000:1 Contrast ratio |
1000nits Display Brightness |
15 Stops Dynamic Range |
AtomHDR HDR Technology |
Upgradable Also supports AtomosX Units |
4K or 8K Master Control Unit |
HDMI, SDI Video Connectivity |
The Atomos Neon series is the beginning of a new journey for filmmakers by bringing together traditional filmmaking
roles and pairing it with Atomos innovation and technology.
Combining RAW recording with cinema display technology for monitoring, on-screen production checking and review of creative intent, story flow and matching
continuity between scenes. Neon streamlines the creative workflow from lens to viewing.
Industry standard formats like ProRes RAW from major camera makers enables the performance of ProRes and the flexibility of RAW into cinema productions and built for computer finishing.
Neon performs real-time Dolby Vision processing to enable down-stream viewing on any Dolby Vision capable TV or monitor.
Neon is a series of precision on-set and in-studio 4K HDR monitor-recorder production workhorses and comes in four sizes (17”, 24”, 31” and 55”) that can be synced together to provide an ecosystem of field monitors where accuracy of image representation and consistency of image is critical between crew members.
The Neons’ best-in-class zoned dynamic backlight displays provide a calibrated 4KDCI 180-degree perfect viewing, 10-bit DCI-P3 100% colour coverage, and 1,000,000:1 HDR-ready
contrast for cinematographers to maintain exposure and creative look.
Directors can make more creative on-set decisions, viewing perfect images in TV and Cinema standards at all times.
Camera assistants and focus pullers can trust the ultra-sharpness of an actor's eyes.
Editors and colour graders can lock down the director’s creative intent from shot to shot, frame by frame and review it across varying displays from SDR to HDR – accurately in real-time.
With the built-in 4Kp60/HDp240 Apple ProRes RAW recorder capturing each take, Neon enables quick review and real-time playout with Dolby Vision to reality test content on domestic TVs. With Neon, Atomos has reimagined the role of the reference monitor to meet the HDR challenges of modern TV and film production.
Neon deliberately does away with touchscreen operation and is Bluetooth controlled by the Atomos iOS App or a physical remote control. Neon has the simple-to-use AtomOS built into it so that you can use the App to access real-time production tools including focus peaking, exposure, calibration, zoom, waveform monitor, RGB monitor, vector scope and LUT selection.
Neon shortens the gap between capture and final edit with real-time recording and playback of your captured shots at up
to 4Kp60 in formats including ProRes, ProRes RAW, Cinema DNG, Avid DNx.
When you’ve got the take you like, tag it on-set
with the App for easy identification during editing. The App unlocks the ability to insert project specific meta-data
frame-by-frame, allowing project management of a complex production to be simplified and automated so that the creator
can focus on their artistic storytelling enhancements.
If you have more than one Neon in your production, you can perfectly sync them asynchronously together using the Atomos iOS App. Simply pair the Neons through the App and select all the monitors you wish to sync. You can also sync the Neons to any Atomos Ninja V using an AtomX Sync Module attached.
Recording control has never been easier for any production with a multicamera setup. Meta-data is captured for the entire production in every file recorded, avoiding the need for a sidecar file. At the end of filming, take each Neon’s SSD with the captured footage and meta-data, and import into your editing suite ready to go.
The challenge with HDR production is maintaining the creative intent of the production at the time of shooting vs the finished product that is viewed on devices and TVs. Atomos and Dolby have teamed up to give you Dolby Vision live HDMI out, in real-time, from any SDI or HDMI HDR camera. All courtesy of AtomOS.
Simply connect your Dolby Vision capable TV or monitor to your Neon and magically, automatically, the AtomOS analyses the image, queries the TV, and applies the right colour and brightness profiles for the best possible HDR image on the display or TV. This ensures HDR footage always looks – as it was intended by the creator. This is a valuable on-set reference check for the creative director and client.
This function is also available in playback and playout from RAW and Log recorded ProRes RAW, ProRes and DNx rushes for instant time-saving, on-set and in-studio review. Utilize playback features like slow-motion functions, insert-edits, and rearranging rushes for review and scheduling.
Atomos brings dynamic zone backlight technology to the entire range of Neons powered by Dynamic AtomHDR innovations. This yields a contrast ratio from one to a million gradations on discreet parts of the image on Neon’s daylight viewable anti-reflection display.
With the Neon series, blacks and colours are rich and deep. Images appear to
‘pop’ with added dimensionality and detail.
The precision Atomos display uses a unique combination of advanced LED and
LCD technologies which together offer deeper, better blacks than rival OLED screens, but with the much higher brightness
and vivid colour performance of top-end LCDs. Objects appear more lifelike than ever, with complex textures and
gradations beautifully revealed.
Capture technology moves fast, so your investment shouldn’t be locked into older formats and functionality. Atomos future-proofed the Neon series by designing it with the Master Control Unit, a replaceable brain that allows for upgradability as newer functionality and technology becomes mainstream.
The Master Control Unit is also compatible with the AtomX expansion modules that provide SDI and NDI connectivity on top of the standard HDMI connectivity that comes with NEON.
Capturing ProRes RAW video with the Neon unlocks the true potential of your RAW cinema camera and provides complete control of your video image at the highest quality possible. ProRes RAW combines the flexibility of RAW video with the incredible performance of ProRes.
Import, edit and grade pristine video with RAW data straight from your camera sensor without slowing down your edit. These RAW files provide maximum flexibility for adjusting the look of your video, while extending brightness & shadow detail.
Neon preserves your content’s maximum dynamic range, colour accuracy and detail. Colours can be easily matched and the extra information means footage can be quickly manipulated in post-production, which is especially useful for grading and VFX shots.
The Neon can withstand the most extreme production conditions with its durable aluminium chassis and polycarbonate back plate affording protection from rough handling.
Neon 17, 24 and 31 additionally come in their own road case providing peace of mind that the next time you need it, it’s ready for action.
Whatever way you like to view your images, the Neon comes with flexible mounting options for any production including
Arri standard edge mounting points, VESA mount and feet for floor or desk viewing.
The Neon 17 and Neon 24 are also
designed to be rack ready and will fit seamlessly into any rack environment.
Film & Episodic TV | Live on-set TV |
---|---|
The Atomos field monitor ecosystem is an online powerhouse and offline workhorse to speed up the time from idea to final
exhibition. Directors and cinematographers can record online quality of ProRes RAW recording at the same time
integrating into the ARRI workflows. This brings cinema production at the fraction of the cost of current approaches
where HDR monitoring varies from crew member to crew member. Directors can tag takes while
reviewing footage on-set which the Editor can pick up after importing into an NLE, and can be confident that what they
saw on-set will look the same when they get to the edit suite. Alternatively, directors can record at a lower bitrate offline quality on a Neon to record over 20hrs of footage in Prores/DNx/H.265 on an SSD (while the ARRI is recording online quality). This gives the Director to enough integrity to check shots at after each take, or to do quick test edits on-set which avoids expensive re-shoots. |
The Atomos field monitor ecosystem allows you to monitor any camera, record any camera, playback onscreen or out to any
TV in HDR. Directors can review multi-cam setups camera by camera by connecting a Sumo 19, which allows for 4 x ISO asynchronous streams to be recorded in real-time, to a larger Neon reference monitor for high-quality HDR monitoring. Producers can also take the same feed and preview the program stream on a Neon 31 or 55, to feel confident that every detail is recorded to the same format ready for final finishing. A Dolby Vision compatible monitor can be also reviewed when output from a Neon to allow directors and producers to see a shot as it would be viewed in the living room of their audience. Directors can tag takes while reviewing footage on-set which the Editor can pick up after importing into an NLE. |
Live Event | Indie Filmmaking |
Atomos has created the most portable and light-weight live event production suite of combined
monitor-recorders-switchers. Paired with the Sumo 19 the Neon line is ideal for any event including corporate, theatre, wedding, sport, school and church productions. Production teams can take a combination of up to 4 live cameras on-site, whether DSLR, mirrorless or cinema cameras, and live-switch between them. |
Independent filmmakers can pair Neon with Atomos on-camera monitor-recorders mounted onto DSLR, mirrorless or cinema
cameras to record high-quality ProRes RAW footage synced and recorded on all Neon monitors. Ninja V with an AtomX Sync
Expansion Module installed can also be synced to the Neon ecosystem. Directors can quickly check the take and tag the ones they like for final edit. Editors can import the ProRes RAW footage into their NLE and quickly assemble the go-takes to create a rough cut of the story, and take the work to final finishing. |
The Atomos Neon 24 Production Monitor is part of the NEON family of monitor/recorders designed to create a consistent viewing and recording pathway for productions. This 24" monitor/recorder features a 4096 x 2160 native resolution while supporting DCI and UHD 4K, as well as 1080p/i and 720p. The monitor provides a clear image well capable of supporting HDR and displaying a 10-bit image that covers 100% of the DCI P3 standard. Its 1000 cd/m² brightness and 512 zones of backlight allow the monitor to achieve a contrast ratio of 1,000,000:1.
Input your video for display via HDMI or SDI (using the included SDI expansion module) and the monitor displays your video. It can also capture your footage as ProRes Raw, ProRes, DNx, or Cinema DNG to a 2.5" SSD (not included) in the Master Caddy II or to a separately available AtomX SSDmini. The monitor features loop-through and cross conversion outputs, and supports both Rec 709 and Dolby Vision.
ProResRAW | DOLBYVISION |
---|
24" Monitor |
4096 x 2160 Resolution |
193 ppi |
17:9 Aspect Ratio |
512 Backlight Zones |
1,000,000:1 Contrast ratio |
1000nits Display Brightness |
15 Stops Dynamic Range |
AtomHDR HDR Technology |
Upgradable Also supports AtomosX Units |
4K or 8K Master Control Unit |
HDMI, SDI Video Connectivity |
The Atomos Neon series is the beginning of a new journey for filmmakers by bringing together traditional filmmaking
roles and pairing it with Atomos innovation and technology.
Combining RAW recording with cinema display technology for monitoring, on-screen production checking and review of creative intent, story flow and matching
continuity between scenes. Neon streamlines the creative workflow from lens to viewing.
Industry standard formats like ProRes RAW from major camera makers enables the performance of ProRes and the flexibility of RAW into cinema productions and built for computer finishing.
Neon performs real-time Dolby Vision processing to enable down-stream viewing on any Dolby Vision capable TV or monitor.
Neon is a series of precision on-set and in-studio 4K HDR monitor-recorder production workhorses and comes in four sizes (17”, 24”, 31” and 55”) that can be synced together to provide an ecosystem of field monitors where accuracy of image representation and consistency of image is critical between crew members.
The Neons’ best-in-class zoned dynamic backlight displays provide a calibrated 4KDCI 180-degree perfect viewing, 10-bit DCI-P3 100% colour coverage, and 1,000,000:1 HDR-ready
contrast for cinematographers to maintain exposure and creative look.
Directors can make more creative on-set decisions, viewing perfect images in TV and Cinema standards at all times.
Camera assistants and focus pullers can trust the ultra-sharpness of an actor's eyes.
Editors and colour graders can lock down the director’s creative intent from shot to shot, frame by frame and review it across varying displays from SDR to HDR – accurately in real-time.
With the built-in 4Kp60/HDp240 Apple ProRes RAW recorder capturing each take, Neon enables quick review and real-time playout with Dolby Vision to reality test content on domestic TVs. With Neon, Atomos has reimagined the role of the reference monitor to meet the HDR challenges of modern TV and film production.
Neon deliberately does away with touchscreen operation and is Bluetooth controlled by the Atomos iOS App or a physical remote control. Neon has the simple-to-use AtomOS built into it so that you can use the App to access real-time production tools including focus peaking, exposure, calibration, zoom, waveform monitor, RGB monitor, vector scope and LUT selection.
Neon shortens the gap between capture and final edit with real-time recording and playback of your captured shots at up
to 4Kp60 in formats including ProRes, ProRes RAW, Cinema DNG, Avid DNx.
When you’ve got the take you like, tag it on-set
with the App for easy identification during editing. The App unlocks the ability to insert project specific meta-data
frame-by-frame, allowing project management of a complex production to be simplified and automated so that the creator
can focus on their artistic storytelling enhancements.
If you have more than one Neon in your production, you can perfectly sync them asynchronously together using the Atomos iOS App. Simply pair the Neons through the App and select all the monitors you wish to sync. You can also sync the Neons to any Atomos Ninja V using an AtomX Sync Module attached.
Recording control has never been easier for any production with a multicamera setup. Meta-data is captured for the entire production in every file recorded, avoiding the need for a sidecar file. At the end of filming, take each Neon’s SSD with the captured footage and meta-data, and import into your editing suite ready to go.
The challenge with HDR production is maintaining the creative intent of the production at the time of shooting vs the finished product that is viewed on devices and TVs. Atomos and Dolby have teamed up to give you Dolby Vision live HDMI out, in real-time, from any SDI or HDMI HDR camera. All courtesy of AtomOS.
Simply connect your Dolby Vision capable TV or monitor to your Neon and magically, automatically, the AtomOS analyses the image, queries the TV, and applies the right colour and brightness profiles for the best possible HDR image on the display or TV. This ensures HDR footage always looks – as it was intended by the creator. This is a valuable on-set reference check for the creative director and client.
This function is also available in playback and playout from RAW and Log recorded ProRes RAW, ProRes and DNx rushes for instant time-saving, on-set and in-studio review. Utilize playback features like slow-motion functions, insert-edits, and rearranging rushes for review and scheduling.
Atomos brings dynamic zone backlight technology to the entire range of Neons powered by Dynamic AtomHDR innovations. This yields a contrast ratio from one to a million gradations on discreet parts of the image on Neon’s daylight viewable anti-reflection display.
With the Neon series, blacks and colours are rich and deep. Images appear to
‘pop’ with added dimensionality and detail.
The precision Atomos display uses a unique combination of advanced LED and
LCD technologies which together offer deeper, better blacks than rival OLED screens, but with the much higher brightness
and vivid colour performance of top-end LCDs. Objects appear more lifelike than ever, with complex textures and
gradations beautifully revealed.
Capture technology moves fast, so your investment shouldn’t be locked into older formats and functionality. Atomos future-proofed the Neon series by designing it with the Master Control Unit, a replaceable brain that allows for upgradability as newer functionality and technology becomes mainstream.
The Master Control Unit is also compatible with the AtomX expansion modules that provide SDI and NDI connectivity on top of the standard HDMI connectivity that comes with NEON.
Capturing ProRes RAW video with the Neon unlocks the true potential of your RAW cinema camera and provides complete control of your video image at the highest quality possible. ProRes RAW combines the flexibility of RAW video with the incredible performance of ProRes.
Import, edit and grade pristine video with RAW data straight from your camera sensor without slowing down your edit. These RAW files provide maximum flexibility for adjusting the look of your video, while extending brightness & shadow detail.
Neon preserves your content’s maximum dynamic range, colour accuracy and detail. Colours can be easily matched and the extra information means footage can be quickly manipulated in post-production, which is especially useful for grading and VFX shots.
The Neon can withstand the most extreme production conditions with its durable aluminium chassis and polycarbonate back plate affording protection from rough handling.
Neon 17, 24 and 31 additionally come in their own road case providing peace of mind that the next time you need it, it’s ready for action.
Whatever way you like to view your images, the Neon comes with flexible mounting options for any production including
Arri standard edge mounting points, VESA mount and feet for floor or desk viewing.
The Neon 17 and Neon 24 are also
designed to be rack ready and will fit seamlessly into any rack environment.
Film & Episodic TV | Live on-set TV |
---|---|
The Atomos field monitor ecosystem is an online powerhouse and offline workhorse to speed up the time from idea to final
exhibition. Directors and cinematographers can record online quality of ProRes RAW recording at the same time
integrating into the ARRI workflows. This brings cinema production at the fraction of the cost of current approaches
where HDR monitoring varies from crew member to crew member. Directors can tag takes while
reviewing footage on-set which the Editor can pick up after importing into an NLE, and can be confident that what they
saw on-set will look the same when they get to the edit suite. Alternatively, directors can record at a lower bitrate offline quality on a Neon to record over 20hrs of footage in Prores/DNx/H.265 on an SSD (while the ARRI is recording online quality). This gives the Director to enough integrity to check shots at after each take, or to do quick test edits on-set which avoids expensive re-shoots. |
The Atomos field monitor ecosystem allows you to monitor any camera, record any camera, playback onscreen or out to any
TV in HDR. Directors can review multi-cam setups camera by camera by connecting a Sumo 19, which allows for 4 x ISO asynchronous streams to be recorded in real-time, to a larger Neon reference monitor for high-quality HDR monitoring. Producers can also take the same feed and preview the program stream on a Neon 31 or 55, to feel confident that every detail is recorded to the same format ready for final finishing. A Dolby Vision compatible monitor can be also reviewed when output from a Neon to allow directors and producers to see a shot as it would be viewed in the living room of their audience. Directors can tag takes while reviewing footage on-set which the Editor can pick up after importing into an NLE. |
Live Event | Indie Filmmaking |
Atomos has created the most portable and light-weight live event production suite of combined
monitor-recorders-switchers. Paired with the Sumo 19 the Neon line is ideal for any event including corporate, theatre, wedding, sport, school and church productions. Production teams can take a combination of up to 4 live cameras on-site, whether DSLR, mirrorless or cinema cameras, and live-switch between them. |
Independent filmmakers can pair Neon with Atomos on-camera monitor-recorders mounted onto DSLR, mirrorless or cinema
cameras to record high-quality ProRes RAW footage synced and recorded on all Neon monitors. Ninja V with an AtomX Sync
Expansion Module installed can also be synced to the Neon ecosystem. Directors can quickly check the take and tag the ones they like for final edit. Editors can import the ProRes RAW footage into their NLE and quickly assemble the go-takes to create a rough cut of the story, and take the work to final finishing. |
Weight: | 8.6kg / 18.95lb |
---|---|
Weight: Master Control Unit | 300g / 0.66lb |
Dimensions (W x H x D mm): | 594 x 339.7 x 72.5mm |
Dimensions: Master Control Unit (W x H x D mm) |
151 x 91.5 x 31mm |
Construction | Aluminium alloy chassis with ABS Polycarbonate back plate |
Mounting points | Full ARRI compatible, 3 Left, 3 Right, 7 Top, 7 Bottom VESA Mount. |
Operating power | 10-22W TBC |
---|---|
Power Adaptor | TBC |
Size | 24" |
---|---|
Resolution / PPI | 4096 x 2160 / 193ppi |
Aspect ratio | 17:9 |
Color Gamut | DCI-P3 100% Coverage, D65 or D93 White Point, Calibrated |
Look up table (LUT) support | 1D/3D LUTs (.cube format) |
Anamorphic de-squeeze | 2x, 1.5x, 1.33x, Panasonic 4:3 |
Calibration | Calibration to DCI-P3 with optional calibration unit |
User Interface | iOS App via Bluetooth, IR Remote control of focus peaking, exposure, calibration, zoom, waveform monitor, RGB monitor, vector scope |
Backlight | Direct LED |
---|---|
Zones | 512 direct backlight individual LEDs |
LEDs | Wide Color Calibrated D65 or D95 |
Bit depth | True 10-bit |
Color | DCI-P3 100% coverage |
Brightness | 1000nit (+/- 10%) |
Control | Dynamic backlight control |
HDR Conversion | Log/RAW to HLG or PQ |
HDR Monitoring | Log/RAW to HLG or PQ |
---|---|
SDR Monitoring | Native Rec.709, Log/RAW to Rec.709 |
Supported input Log/Gamma | Sony SLog / SLog2 / SLog3 Canon CLog / CLog2 / Clog3 ARRI Log CEI160 / LogCEI200 / LogCEI250 / LogCEI320 / LogCEI400 / LogCEI500 / LogCEI640 / LogCEI800 / LogCEI1000 / LogCEI1280 / LogCEI1600 Panasonic Vlog JVC JLog1 RED Log3G10 / RED LogFilm FujiFilm F-log PQ1000 up to PQ10,000 HLG |
Supported input Log/Gamut | Sony SGamut / SGamut3 / SGamut3.cine Canon Cinema / DCI P3 / DCI P3+ Nikon NLog Panasonic V Gamut Arri Alexa Wide Gamut Rec709 / BT.2020 JVC RED WideGamut / RED DragonColor / DragonColor2 / RED Color2 / RED Color3 / RED Color4 / |
Supported input RAW/Gamma | Sony SLog / SLog2 / SLog3 Canon CLog / CLog2 / Clog3 Panasonic Vlog |
Supported input RAW/Gamut | Sony SGamut / SGamut3 / SGamut3.cine Canon Cinema / DCI P3 / DCI P3+ Nikon NLog Panasonic V Gamut |
Video Output | Rec.709, HLG, PQ, LUT |
HDMI | 1 x HDMI 2.0b |
---|---|
SDI SDI Expansion Module required |
2 x configurable BNC |
Signal | Up to uncompressed true 10-bit |
HDMI | 1 x HDMI 2.0b |
---|---|
SDI SDI Expansion Module required |
2 x configurable BNC |
Signal | Up to uncompressed true 10-bit |
HDMI to HDMI | 720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120, 4kUHD/4kDCI 24/25/30/50/60 |
---|---|
SDI to SDI SDI Expansion Module required |
720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120, 4kUHD/4kDCI 24/25/30/50/60 |
HDMI to SDI Note: No simultaneous HDMI out possible |
720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120, 4kUHD/4kDCI 24/25/30/50/60 |
Dolby Vision Tunnelling | Selectable on HDMI |
Video to ProRes / DNxHR | Apple ProRes RAW, ProRes HQ, 422, LT AVID DNx, HQX, HQ, SQ, LB, Cinema DNG RAW |
---|---|
Resolution / Frame rate | 4K DCI / UHD 24/25/30/50/60p 2K 24/25/30/50/60/100/120p 1080p 24/25/30/50/60/100/120/200/240p 1080i 50/60i, 720p 50/60p |
Pulldown removal | 24/25/30pSF > 24/25/30p (2:2 pulldown) 60i > 24p (3:2 pulldown) |
---|---|
4K DCI > UHD | Yes - Loop-out and playback |
4K UHD downscaling | Yes - Loop-out and playback |
HDMI | 2 or 8ch 24-bit, camera dependent |
SDI SDI Expansion Module required |
12ch 48kHz 24-bit |
Audio | Line in / Mic in |
Headphone out | 3.5mm Headphone out 2ch 48kHz 24-bit |
Built-in speakers | No |
HDMI | Auto HDMI Trigger Supported Protocols - Canon, Sony Atomos Open Standard - Panasonic, Nikon, Olympus, Fuji, Leica |
---|---|
SDI | SDI trigger camera selectable |
Genlock / LTC | Yes – Bluetooth / iOS App |
Serial Control | LANC control - Slave RS232 |
Playback Features | Jog control, slow motion, scheduled, tag-based scheduling |
---|
Pre-roll record | HD 8s, 4K 2s |
---|---|
Project Metadata | AtomOS on unit and iOS App input |
Supported media | Support for AtomX SSDmini and MasterCaddy II with 2.5” SSD/HDD. Please visit atomos.com/drives for list of approved drives. |
Master caddy dock | 2.5” SATA to USB 2.0/3.0/USB-C 3.1 |
Supported applications | All popular NLE applications, 3D applications |
XML support | FCPX XML native, FCPX/Adobe limited supported with 3rd party conversion tools |
Included | Neon Series Unit, Master Control Unit, IR Remote, Master Caddy II x 1, 12V-3A AC power supply, AtomX SDI Expansion Module, Feet, Quick Start Guide Road Case |
---|
Note: 24/30/60 frame rates also means 23.98/29.97/59.94 frame rates for all resolution
*Available in future firmware updates
^^Optional unit (XDCA-FS7) needed for Raw output.