Atomos Shinobi 7 $599/€599/£525 plus tax

Looking around recently at 7in on-camera monitors, I noted that the choice isn’t as wide as I had expected. Units that are bright enough to use outside seem to cost quite a lot, while those that are priced in a range affordable to new filmmakers lack some key features and elements of specification that allow flexibility and growing room. I was also surprised to find that the Atomos Shinobi 7 has a price that makes it accessible while at the same time offering features that, on paper at least, appear to make it good value. Atomos isn’t a brand I always associate with products that cost less than I expected, so I was surprised. I then wanted to see if it is actually any good, and how it stands up almost two and a half years after its launch. 

Physical Features

The Atomos Shinobi 7 is the larger of a 2-part series of non-recording camera monitors. The other is a 1000nit 5-in monitor simply called Shinobi, which came out before this model in 2019. The original model has a single battery plate and accepts HDMI only – there was a 3G SDI version but that seems to have been discontinued. The Shinobi 7 differs not only in the size of its display, but also in the input/output options it offers, its power solutions and its brightness – among many other things. 

The key feature of the unit is the 1900×1200-pixel screen that measures 7in across, and which offers a maximum brightness of 2200nits. That 2200nit peak means the screen should be clearly visible when working outside on a sunny day – and that the Atomos Shinobi 7 is a whole lot brighter than the majority of monitors of this type. But that’s not all it offers. 

Without the need for recording media, there’s a lot more space on the back of the monitor. You’ll find plates that allow two NP-F Type batteries to be mounted at the same time, along with a series of connection ports. We have 1.5/3G SDI in and out, as well as HDMI 2 – also in and out. We also able to cross the ports to feed an image in through HDMI and take it out via the SDI – or visa versa. If a 4K signal is supplied via the HDMI the Shinobi will output HD resolution from the SDI port, and a LUT can be applied on the way through to another monitor. You can feed the unit a 4K 60p stream via the HDMI and take the same out via HDMI, but the 3G SDI only allows 2K 60p either way. 

When we aren’t using NP-F batteries, we can power the screen via the locking DC input port, either with the included mains supply cable or via an optional adapter for V-Lock type batteries. There’s also a USB A port and an RJ45 Ethernet port, neither of which as yet has a use – they are provided for ‘future developments’, such as expanded camera control features that will widen the range of compatible models. Perhaps we will be able to network the monitor too at some stage. 

On one side of the device you’ll find a SD card slot for loading firmware and LUTs to the brain, and on the other side Atomos has given us remote control and headphone ports. The remote control port allows us to control a number of camera functions via the monitor screen, but at the moment the system is compatible only with the Z-Cam E2. With a LAN adapter the remote port can also be used to connect the monitor to a PC so that the screen can be calibrated using the Atomos Calibration software and an X-Rite i1Display Pro calibration tool. 

We have mounting points on the top and bottom of the monitor, each with anti-rotation holes to prevent slippage, and fan vents occupy the space either side of the mounting points. It is all very nicely designed. 

Build and Handling

Made with ABS polycarbonate plastic, the monitor is remarkably lightweight at just 577g/1.04lbs – before you attach the batteries of course. With batteries added the story changes quite a lot, as a pair of NP-F750 batteries brings almost 400g to the burden – but at least Atomos has done what it can to keep the main part of the kit light. 

Despite the light weight, the body feels solidly built, pretty tough, and as though it will last well in a professional environment. As the unit I reviewed wasn’t mine I took the precaution of adding the SmallRig 3456 cage to ensure it was returned in the same condition. The cage has the benefit of not only protecting the edges of the monitor but also of adding clamps for the HMDI ports and additional mounting points for other accessories. The HDMI ports are, though, quite tight – in this unit anyway – and cables are not likely to come lose or be accidently pulled out. The cage can also add a sun hood, which can be very useful. A slight downside of this cage is that it uses the central mounting point of the Shinobi to attach itself, and then doesn’t offer us an alternative for mounting the monitor. Thus, screw-in monitor mounts have to be attached off-centre or we have to find a different way to attach the cage to the camera with a mount that has a longer screw. The cage has NATO rails top and bottom, which can also be useful, but they aren’t always the answer. 

Atomos has built a lip around the on/off button so we won’t press it by accident, though we also have the same safeguards that come with the Ninja recorders that require a long press to turn the monitor off – a short press locks the button. The unit starts up quite quickly to display the screen layout, and images from the camera are received in no time at all. 

On-screen features

If you have used an Atomos product before, you will find your way around this one very easily, as the OS is familiar and reasonably straightforward. The range of options is extensive but not overwhelming, as Atomos has managed to produce a user interface that makes sense and which allows most features to be found quite easily – after a bit of practice. 

Almost every monitor display feature you can imagine is offered within the operating menus of the Shinobi 7. We have all the regular magnification (up to 4x) modes, as well as focus peaking with adjustable colours, strengths and the options to display only the peaking without the image or to show the peaking against a monochromatic rendition of the image. We also have false colour, adjustable Zebra patterns, a waveform and RGB parades, Vectorscope, a histogram, blue channel for noise detection, as well as the Analysis mode that shows the image with miniature waveform, histogram and vector displays all on one screen. We also have ten aspect ratio options as well as five anamorphic de-squeeze choices from 1.25x to 2x. 

We can monitor up to eight channels of audio, load up to eight LUTs, flip the screen vertically and horizontally, and employ Native, Rec.709, HLG and PQ profiles for the on-screen image. 

The monitor can accept a 4K 60p feed via HMDI or 2K 60p via SDI, and most camera brands are recognised for automatic image processing for the display, or we can switch off and just view a Rec.709 rendition. 

In use

On start-up the device’s fan really kicks in, but it calms down once it has stretched its legs and remains at a low hum level from then on. If you are concerned the fan is a little noisy it can be switched to a ‘low’ mode, but screen brightness may be restricted when temperatures rise. Outside in British weather, I suspect I’d never need the fan on or suffer a brightness drop due to increasing temperatures, but in the studio and in places blessed with more sunshine, the fan will likely be needed. It comes on by default, so you can determine how you want to deal with it. Close to a mic, the sound of it will be picked up. 

The next thing you will notice about the screen is how astonishingly good it looks, as it is bright and full of contrast. The 10-bit display (8+2FRC) delivers a bold image but one that appears to show extreme tones without loss of detail to either peak highlights or shadows, and colours are accurate and easy to view. Indoors there may be occasions when you will need to turn down the backlight to preserve your own vision, but outside it comes into its own. Even on the brightest day the picture and menu displays are clear to view and use, but not only in a practical, functional way – you can actually see what you are shooting clearly, and you can judge colour and exposure without having to go inside or put a blanket over your head. The glass panel covering the screen is very reflective, but the 2200nit display just punches through so we can see exactly what we are doing. After using this, it will be hard to go back to anything that isn’t as clear. 

Controlling the panel and menu through the on-screen interface is made much easier by the highly reactive touch system in the Shinobi 7. There won’t be occasions in which you are jabbing your finger at the screen in frustration, as the slightest touch is enough to get you where you want to go. The touch zones are precise too, so you won’t miss or touch something else by mistake. It helps that the screen is large and that there is plenty of space for the icons and displays, but even cold and wet fingers get a response. This is an important aspect for me, as unresponsive touch screens can really ruin my day. 

As with other Atomos products, there are often a couple of ways to get to the same feature, which works well for set-up as well as on-the-fly changes and checks. 

The screen might feel a bit big when mounted on smaller cameras, and where the 5in Atomos Ninja feels at home the Shinobi may not. It definitely suits a fully rigged camera on a shoulder mount better than it does a bare body with a hotshoe when shooting handheld. It can feel a little big on a Micro Four Thirds body, for example, especially when it’s packing a pair of batteries, but put the camera on a tripod or add a cage with a handle and the balance begins to return. Not once, though, did the monitor feel too big when mounted directly on a stand or on a handle for focus pulling. 

I’m never happy with battery life, and found here again batteries run down too quickly. That’s the price you pay for a big, bright screen I suppose, but at least with hot-swappable dual battery plates we don’t need to switch off to change them. Atomos says a 5200mAh NP-F750 should last up to two hours, but time flies when you are having fun, and that quoted figure will be with the screen brightness turned all the way down and the backlight off. Even in that state the monitor is very useable, but where’s the joy in that? On full blast you should expect about an hour per battery. 

I wasn’t able to test the monitor in its camera-control mode as I don’t have a Z Cam E2, but those who do will have the option to adjust shutter speed, aperture, ND values, ISO and White Balance directly from the screen, as well as to delve into the main menu system of their camera. I really hope Atomos adds compatibility with other models and brands at some stage – though after two years and no update I’m not sure how realistic that hope is. Officially the USB and RJ45 ports are going to be used for this purpose, but we shall have to wait and see. It would be a really useful addition, particularly for other box-style cameras. 

Conclusion

This is a stunning bit of kit that works brilliantly as an on-camera screen as much as an off-camera monitor for focus pullers and directors. When powered via the mains it’s light enough to carry around all day and, even with a pair of batteries attached, it is a whole lot lighter than it looks. What I like about it most though is that it is big and bright, and the colours look spot-on straight out of the box. That it is so easy to see outside in bright light makes it very much more relaxing to use for long periods. There’s no squinting or leaning in for a better view needed, and the picture you get to see can either inspire you or make it particularly obvious where you are going wrong. For focus pullers, either stand-alone or behind the camera, the clarity of the view is a blessing and will make a significant difference when compared to using a regular 5in monitor – it is just better all round. And while larger monitors will offer a better view, the Shinobi 7 is small enough that you can actually walk around with it so you don’t have to remain in a fixed position by a stand. 

Going back to one of my first points, the Atomos Shinobi 7 isn’t expensive, and compared to what else is on the market it is remarkably good value. When you try to match the display size, brightness, connections, build, features and price it is actually very hard to beat. 

For more information visit www.atomos.com. To purchase the Atomos Shinobi 7 please visit Filmtools.