Crash Course on External Recording Monitors
External recording monitors are the Swiss Army knives of the camera department. They are an external hard drive, a reference monitor, and an exposure assist tool all in one device! They are used at all levels of production, from one-person crews to big budget commercials and movies.
When You Need an External Recording Monitor
In order to determine whether or not you will need an external recording monitor for your camera, it’s very important to understand what your post-production needs will be. Most modern digital cameras on the market, at every price point, can produce quality images on their own. So if you have a project with a fast turnaround and without the necessity of color work, you may not need an external monitor solution. However, if you plan on doing moderate-to-heavy color grading or green screen work, the more color information and less compression the better. You’ll want to pay attention to the quality of the codec that the camera produces as well as the color space.
Less Compression and Better Codecs When Using External Recording Monitors
One feature that all recording monitors share is the low-compression codec, Apple ProRes. Despite what the name may imply, ProRes codecs are fully compatible with Macs as well as PCs and can be used with most non-linear editing systems. These codecs are capable of high data rates and color space, which is a major reason why they come standard in external recording monitors. The most common formats of ProRes that you’ll find (listed in descending quality) are: ProRes 422HQ, ProRes 422, and ProRes LT.
External Recording Monitors and Color Space Benefits
Many entry-level prosumer cameras like the Panasonic GH4 or the Sony a6500 record highly-compressed 4:2:0 color subsampling internally, which means that in order to save on bandwidth most of the color information is thrown away. This can be circumvented by using an external recorder like the Sound Devices Pix-E7, which is able to accept a 4:2:2 signal (up to 4K resolution) from those cameras, allowing you to retain more color information. This is not to say that footage with 4:2:0 color space will necessarily look inferior to footage with a 4:2:2 color space. You’ll notice the subtle difference in quality if you zoom in on areas of the image where you see a sharp transition between two colors, especially if they’re contrasting colors. Pixels along the edge of a color transition in a 4:2:0 colorspace image will look muddy due to the high level of color subsampling. However, the loss of color information in a 4:2:0 image is more apparent when you start pushing colors around while color grading or when you’re trying to perform a chroma key for green screen work.
If heavy color or special effects work is involved and it is within your budget, you’ll want to strive for the most color information possible with ideally no color subsampling. Top-of-the line cameras like the ARRI ALEXA Mini and even the more budget-friendly Blackmagic Ursa Mini 4.6K have the ability to record in 4:4:4 color space, which means that every pixel’s color is represented and, therefore, no subsampling has occurred. The Odyssey 7Q can to take a RAW signal from select cameras and encode it into enormous, data-rich codecs, ProRes 4444XQ, and ProRes 4444. The Odyssey 7Q, Atomos Shogun, and Shogun Flame also allow you to record RAW to CinemaDNG without compressing the data into a ProRes Codec. As you can imagine, this allows for even further control over the manipulation of the footage. These files can be astronomically large so be sure to gauge your data storage and computing power before considering recording RAW or ProRes 4444.
Using the External Recording Monitor as Your Backup Recorder
Aside from color and compression, you can use an external recording monitor to record continuously, beyond the DSLR or mirrorless camera’s manufacturer-imposed recording time limit. Another reason you may want an external recording monitor is if your camera records massive, data rich files and you want to record more compressed files to accompany your camera’s internally-recorded footage. This reduces stress on your computer during editing. Once you’ve finished your edit, you can replace the proxy footage with the master files. Additionally, you can use an external recording monitor to record backup footage at the same time you are recording on your camera.
Choosing the Right Recording Monitor for Your Needs
Identify whether your camera is capable of outputting a clean video signal via an HDMI or an SDI port. Most modern digital cameras have at least an HDMI port and are able to output a clean video signal. You may find that older cameras and a small number of budget-friendly cameras are only able to output a cropped video feed along with embedded camera information. Higher-end cinema cameras will also have an SDI port in addition to an HDMI port. In most cases, the SDI port will be the superior connection in that it will be capable of transferring larger amounts of data at the speed required for real-time monitoring and recording. Some cameras that are equipped with an SDI port are even able to output a RAW signal. At the moment, even the fastest HDMI ports are not capable of transferring the massive amount of data involved with RAW video.
Once you find out which ports your camera is able to output a video feed from, be sure to choose a monitor that is capable of matching that connection. For example, aside from lacking SDI inputs and outputs as well as RAW recording capabilities, the Atomos Ninja Flame has all of the functionality of the higher-end Atomos Shogun Inferno, so it’s a budget-friendly pairing if your camera only has an HDMI port.
Choosing the Correct Media for your Recorder
It’s important to research the compatible storage devices as well as the speed requirements of the recorder you’ll be using. The Odyssey 7Q and the Atomos series recorders all technically use SSDs with the 2.5″ form factor. However, you’ll notice that only certain brands and speeds are acceptable depending on the model. Despite the fact that the Blackmagic Video Assist 4K takes SD cards, which is a common storage device, the list of compatible SD cards is in fact very limited. If the storage device does not fall within the exact parameters of recommended media for your recording monitor, you will risk skipped frames, disrupted recording or merely the inability to record at all.
Communicating with the External Monitor
Once you have your recorder connected to the camera and your media is freshly formatted, one of the last things to do is to set your recording settings. The first step is to ensure that the camera is sending a clean feed to the recorder. As I’ve mentioned earlier in the article, some older cameras and a small number of budget DSLRs will only output a compressed feed. However, some cameras that are capable of sending a clean HDMI feed will actually output a compressed feed as part of their factory default settings. HDMI settings can be easily accessed via the menu.
Choosing the Resolution and Framerate for Your Recording
Most cameras that can shoot 4K typically have the ability to output 4K as well as 1080p and, in certain models, 2K. Take care to identify if the camera is capable of outputting 4K and simultaneously record internally at the same resolution, if simultaneous recording is possible at all. It’s important to note that external recording monitors typically mirror the incoming signal’s resolution and framerates and are typically only adjustable via the camera. The Odyssey 7Q is an exception in that you have the ability to down-convert 4K to 2K or 1080p.
Record Triggers and Signal Transfers
Most external recording monitors have the ability to be triggered to record via the camera’s record button as long as the camera is capable of that feature. When your camera is set to trigger record mode and you hit the record button on the camera, a digital signal is sent to the recorder, called a “flag”. The signal transfer is instant and triggers the external recording monitor to record. A flag can be sent via HDMI or SDI depending on the camera.
A recurring theme you may have gathered from this article is the importance of doing your homework! There are a large number of cameras and a variety of external recording monitors out in the world. Some combinations will work and others may surprisingly not. Nothing is worse than receiving a camera package shortly before a shoot and realizing that your recording monitor can’t record the framerate that you need or your media is incompatible. Borrowlenses has a knowledgeable team of video specialists who will be more than happy to help you navigate through the confusing process of choosing the right monitor.
Hello, I have a Sony a7ii and was wondering if it is possible to use this to record 4k externally since the camera itself cannot internally
I like the article, but the reason I got here is that I have a Ninja Inferno and was not able to record with my Sony HXR-NX80 camcorder. Whenever I set it up I get a message that it was not recorded.
I would appreciate if somebody knows a place where to get information of setting the camera and the recorder.
Hi, I’m late to the party, but I want to output 4K 50fps from my Panasonic Eva1 to the Ninja V. I know it can do this, but when I change settings on the camera to 50fps, it doesn’t do the same on the Ninja V and stays at the same settings. I have trigger record set up. Does the footage from the Ninja need to be taken into an edit timeline and slowed down by 50% or should I not need to do this? THANKS.
Any recording monitor that accepts Sony’s RAW signal will work with that FS5’s RAW upgrade. However, to use some of the higher-speed RAW options you’ll want a recording monitor with fast SDI protocols. A good example is the Atomos Shogun: https://www.borrowlenses.com/product/Atomos-Shogun-Inferno-7-4K-Recording-Monitor
I have the Sony Fs5, bought and installed the raw license for it, my question is which monitor/recorder to get? Thanks for any help!
Unfortunately, recording 4K externally with an external recorder will not give you a higher bit-depth (with that camera specifically, anyway – some cameras can output a higher bit-depth externally). The a6500 pushes out an 8-bit 4:2:2 4K signal out of the HDMI so, while you will get a higher Chroma Sampling (pixels recording color information), you would still have the same bit-depth as your internal recording options. To put it simply, 4:2:2 Chroma Sampling makes it so that 2 out of every 8 pixels record color information but you are still restricted to the 1 in 16.7 million colors 8-bit lets you see, as opposed to the 1 in over 1 billion colors 10-bit sees. You will still have more room to push colors with the higher sampling rate, but not as much as if you had higher bit-depth.
Using an HDMI – SDI converter will not allow you to record RAW on the Shogun Inferno. While the Inferno is capable of recording RAW via its 12gSDI from compatible cameras, it requires a RAW signal to be sent out of the camera in the first place. The a7s does not send a RAW signal out of the HDMI port so, regardless of what connection you use, it will not convert the 8-bit 4K signal into a RAW signal.
I have a question. Do you think it is feasible to take a Sony A7S, put in a HDMI to SDI to the Shogun Inferno, and it record RAW?
Very good article. Well written. Explained a lot to me. I got the Sony A6500 and from what I’m gathering from this article, I can shoot 4k at 4:2:2 vs the 4k at 4:2:0. Definitely, give me some more room to push the colours and get more dynamic range. Also, external monitors could be used as a face or selfie screen for camera’s like the A6500 that don’t have a flip out face screens. But I wonder, does it increase my bit rate from 8bit to 10bit at 4k? Or will I be able to jump from 100mbits to 150mbits and get a bit more color data juice? Still have some questions, but overall I got a very good understanding from your article. Thank you.
Here’s a view from a very late comer to this blog. I am a new documentalist working on stories for persons and agencies for who are or work with persons with disabilities. Each of us have a story and for some reason society seems to avoide the stories of those with disabilities. So I’m working on raising their voice as well as teaching them how to live, work, play and operate safely through Safety Training programs I developed. I own a Canon Eos Rebel SL1 and for about three days I owned the Ninja Flame because I was led to believe by the vendor that it would allow me to record past the 30 min. limit. They were wrong. I also had other problems such as no being able to monitor the audio from the camera into the Flame. My Camera would continue to stop recording at the 29:59 break but the Ninja would record on with nothing but the notice that the camera has stopped recording. I reached out to both Atomos and to Andorama (vendor) and there was no one who could help with anything other than suggesting I might try searching the web for a solution. So, I pack up the flame and sent it back to make sure I beat the 30 day return deadline. At least I got one time limit beaten. I am open for ideas that will help me conquer this time problem but I am also (like many) limited on funds but I will accept donated gear that is no longer being used by anyone.