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Atomos Neon 17 Inch HDR Cinema Display Monitor-Recorder For On-Set And In-Studio


Brand: Atomos
  • Saves you time by letting you make more choices ‘in the moment’
  • Accepted industry standard formats like ProRes RAW from major camera makers
  • Dependable and trustworthy as a series of precision on-set and in-studio 4K HDR monitor-recorder production workhorses
  • Correctness of image representation all controlled by the Atomos App
  • Allows cinematographers to maintain exposure and thier creative look

Saves You Time By Letting You Make Choices On The Fly

The Atomos Neon HDR Cinema Display Monitor-Recorder saves you time by letting you make more choices in the instant of:

  • Recording
  • Playback
  • Monitoring
  • Editing

The Atomos Neon brings together traditional film-making roles, pairing it with Atomos innovation and technology – giving you a whole new experience.

An On-Set Computer Replacement Merged With An Ecosystem Of Field Monitors

With the Atomos Neon you get an on-set computer replacement, merged with an ecosystem of field monitors that will:

  • Combine RAW footage with cinema display technology for monitoring, on-screen production checking and review of creative intent.
  • Improve story flow and matching of continuity between scenes.
  • Streamline the artistic workflow from lens to viewing.
  • Do real-time Dolby Vision processing to allow down-stream viewing on any Dolby Vision capable TV or monitor.

The Atomos Neon HDR Cinema Display has accepted industry standard formats like ProRes RAW, from major camera makers, enabling the performance of ProRes and the flexibility of RAW into cinema productions. It is built for computer finishing.

You need the Atomos Neon because:

  • It is dependable and trustworthy as a series of precision on-set and in-studio 4K HDR monitor-recorder production workhorses.
  • Reliability of image is important among crew members. The Atomos Neon offers correctness of image representation all controlled by the Atomos App.
  • It allows cinematographers to maintain exposure and a creative look.

Re-Imagine The Role Of The Reference Monitor To Meet The HDR Challenges Of Modern TV And Film Production

Who is the Atomos Neon HDR Cinema Display for?

  • Cinematographers who want to preserve exposure and artistic look. The Atomos Neon’s best-in-class 512 zoned dynamic back light displays provide a calibrated 4KDCI 180-degree perfect viewing, 10-bit DCI-P3 100% colour coverage and 1,000,000:1 HDR-ready contrast.
  • Directors who want to make more inspired on-set decisions, observing perfect images in television and cinema standards every time.
  • Editors and colour graders who want to lock down the director’s original intent from shot to shot, frame by frame and review it across varying displays from SDR to HDR – precisely in real-time. With the built-in 4Kp60/HDp240 Apple ProRes RAW recorder capturing each take, the Atomos Neon HDR Cinema Display enables rapid review and real-time play out with Dolby Vision to reality test content on domestic TVs.

Four Sizes For Flexibility In Any Production

The Atomos Neon comes in four sizes (17”, 24”, 31”, 55”) that can be synced together to deliver an ecosystem of field reference monitors.

They also work with other Atomos products such as;

  • Shinobi SDI
  • Ninja V
  • Shogun 7
  • Sumo 19

The Atomos Neon HDR Cinema Display allows you the flexibility of employing your Atomos on low budget productions with;

  • HDMI 10-bit uncompressed video cameras
  • Up to 12G-SDI 12-Bit, 4Kp60 RAW from the best cinema cameras in the world

You get cinema production at a portion of the cost of other current approaches where HDR monitoring differs from crew member to crew member.

Use Cases

Use cases include;

  • Cinema And Episodic TV Production
  • Live On-Set TV
  • Live Event Production
  • Indie Film Making

Cinema And Episodic TV Production

Capture Online Quality Whilst Also Assimilating To Workflows

Directors and cinematographers can capture online quality of ProRes RAW recording at the same time assimilating into the ARRI workflows.

The Atomos field monitor ecosystem is an online dynamo and offline mainstay to speed up the time from inkling to ultimate showing.

Atomos Neon bring the certainty of the recorded image to your entire crew including;

  • Camera operators
  • Focus pullers
  • Make up and sound technicians
  • Editors and colour graders

What You See On-Set Is What You Get In The Editing Suite

Directors can label takes while revising material on-set which the Editor can pick up after importing into an NLE and can be assured that what they saw on-set will look identical when they get to the edit suite.

A Dolby Vision compatible monitor can also be reviewed when output from an Atomos Neon.

This lets directors and producers see a shot as it would be viewed in the living room of their audience.

Alternatively, directors can record at a lesser bitrate offline quality on a Atomos Neon.

This will allow you to record over 20 hours of footage in ProRes/DNx/H.265, on an SSD (while the ARRI is recording online quality).

This gives the Director sufficient integrity to check shots at after each take or to do swift test edits on-set which avoids costly re-shoots.

Live On-Set TV Production

The Atomos field monitor ecosystem allows you to:

  • Monitor any camera
  • Record any camera
  • Replay onscreen
  • Output to any TV in HDR

It also allows:

  • Directors to analyse multi-cam setups camera by camera by linking a Sumo 19, which permits 4 x ISO asynchronous streams to be recorded in real-time, to a bigger Neon reference monitor for high-quality HDR monitoring.
  • Producers to also take the matching feed and preview the program stream on a Neon 31 or 55, to feel assured that every detail is recorded to the equivalent format ready for final finishing.
  • Directors to label takes while revising footage on-set which the Editor can pick up after importing into an NLE.

A Dolby Vision compatible monitor can also be revised when output from a Neon to let directors and producers see a shot as it would be seen in the living room of their audience.

Live Event Production

Atomos has shaped the most transportable and light-weight live event production suite of combined monitor-recorders-switchers.

The live switching capability is ideal for any event including;

  • Theatre
  • Corporate
  • Sport
  • School or Church Productions

Production teams can take a mixture of up to 4 live cameras on-site, whether:

  • DSLR
  • Mirrorless
  • Cinema cameras

…and live-switch among them.

For example;

  • Directors can use the Shogun 7 with its precision HDR zone back lit monitor to control their storytelling while they are close-up to the action.
  • Producers can view the program stream via a Neon 24, with the same zone back light technology.
  • Camera Operators can use a Shinobi SDI or Ninja to ensure they are getting the shots, exactly as the director will see them.

Indie Film Making

Independent film makers can couple Neon with Atomos on-camera monitor-recorders, riding 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 connected can also be synced to the Neon ecosystem.

  • Directors can rapidly check the take and label the ones they like for final edit.
  • Editors can import the ProRes RAW footage into their NLE and quickly assemble the go-takes to make a rough cut of the story and take the work to final finishing.

Use The App To Access Instantaneous Production Tools

The Atomos Neon HDR Cinema Display has the simple-to-use AtomOS built into it.

So you can use the App to access instantaneous production tools including;

  • Focus peaking
  • Exposure
  • Calibration
  • Zoom
  • Waveform monitor
  • RGB monitor
  • Vector scope
  • LUT selection

Atomos Neon purposely does not use touchscreen operation and is Bluetooth controlled by the Atomos iOS App or a physical remote control precisely for this reason.

Cuts The Gap Between Capture & Final Edit

The Atomos Neon HDR Cinema Display cuts 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.

Tag the take you like with the App for easy documentation during editing.

The App unlocks the capacity to insert project explicit meta-data frame-by-frame, permitting project management of a complex production to be simplified.

It’s automated so that the creator can focus on their creative storytelling enhancements.

Ensure Your HDR Footage Always Looks As You Intended

The Atomos Neon HDR Cinema Display guarantees that HDR footage constantly looks – as it was envisioned by the creator.

This is a valuable on-set reference check for the creative director and client.

The challenge with HDR production is preserving the creative intent of the production at the time of shooting VS the finished product that is seen on devices and TVs.

Atomos and Dolby have joined forces to give you Dolby Vision live HDMI out, in real-time, from any SDI or HDMI HDR camera.

All courtesy of AtomOS.

Just link your Dolby Vision capable TV or monitor to your Neon and amazingly, the AtomOS;

  • Evaluates the image
  • Queries the TV
  • Applies the right colour & brightness profiles for the best probable HDR image on the display or TV

This function is also accessible in playback and play out from RAW and Log recorded ProRes RAW, ProRes and DNx rushes for instant time-saving, on-set and in-studio review.

Utilise playback features like;

  • Slow-motion functions
  • Insert-edits
  • Re-arranging rushes for review & scheduling

Recording Control Has Never Been Easier For Any Production With A Multi Camera Setup

If you have additional Atomos Neons in your production, you can flawlessly sync them asynchronously together using the Atomos iOS App.

Merely pair the Atomos Neon HDR Cinema Displays 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.

Meta-data is taken for the complete production in each file recorded, evading the necessity for a sidecar file.

At the end of filming, take each Atomos Neon’s SSD with the captured footage and meta-data, and import into your editing suite ready to go.

The Most Complete Window Into Your Image

Atomos Neon HDR Cinema Displays offer the most complete window into your image, truly changing the way you produce visually.

Atomos Neon brings dynamic zone back light technology to the full range of Neons, powered by the Atomos Dynamic AtomHDR innovations.

With the Neon series:

  • Blacks and colours are rich and deep
  • Images appear to ‘pop’ with extra dimension and detail

Neon’s daylight viewable, anti-reflection display produces a contrast ratio from one to a million gradations on discreet parts of the image.

The precision Atomos display uses a unique blend of advanced LED and LCD technologies, which together offer deeper, better blacks than competing OLED screens, but with the much higher brightness and vivid colour performance of top-end LCDs.

Objects appear more life-like than ever, with intricate textures and gradations attractively revealed.

Up-Gradable As Newer Functionality & Technology Becomes Available

Atomos Neon HDR Cinema Displays are future-proofed. Designed with the Master Control Unit, a replaceable brain allows for upgrade-ability as newer functionality and technology becomes normal.

The Master Control Unit is available in two sizes – 4K capture and 8K capture. Capture technology moves forward quickly, so your asset shouldn’t be locked into older formats and functionality.

Full Flexibility When It Comes To Your Production Environment

The Atomos Neon HDR Cinema Displays afford you full flexibility when it comes to the production environment you are operating in. This is because the Master Control Unit is compatible with the AtomX expansion units that provide SDI and NDI connectivity, on top of the usual HDMI connectivity that comes with NEON.

The Ideal Combination For HDR Workflows

ProRes RAW combines the flexibility of RAW video with the amazing performance of ProRes. 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.

Import, edit and grade pristine video, with RAW information straight from your camera sensor, without slowing down your edit. These RAW files offer maximum flexibility for changing 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 effortlessly coordinated and the extra information means footage can be rapidly manipulated in post-production, which is particularly valuable for grading and VFX shots.

In addition to ProRes RAW, Neon supports;

  • ProRes
  • CinemaDNG
  • Avid DNx via HDMI
  • SDI

Capture from any HDMI or SDI source including cameras from;

  • Nikon
  • Canon
  • Panasonic
  • Sony
  • RED
  • ARRI

Endure The Most Extreme Production Situations

The Neon can endure the most extreme production situations with its tough aluminium chassis and poly-carbonate back plate, affording protection from irregular treatment.

Neon 17, 24 and 31 additionally come in their own road case providing peace of mind that the next time you want it, it’s prepared for the job.

Flexible Mounting Options

No matter how you like to view your images, the Atomos Neon comes with flexible mounting options for any production including;

  • Arri standard edge mounting points
  • VESA mount
  • Feet for floor or desk viewing

The Neon 17 are also designed to be rack ready and will fit seamlessly into any rack environment.

Technical Specifications

Technical Specifications


Weight: Neon Monitor

  • Neon17: 4.5kg / 9.92lb.
  • Neon24: 8.6kg / 18.95lb.
  • Neon31: TBC.
  • Neon55: TBC.

Weight: Master Control Unit

  • 300g / 0.66lb.

Dimensions: Neon Monitor (W x H x D mm)

  • Neon17: 413 x 253 x 71.4mm.
  • Neon24: 594 x 339.7 x 72.5mm.
  • Neon31: TBC.
  • Neon55: TBC.

Dimensions: Master Control Unit (W x H x D mm)

  • 151 x 91.5 x 31mm.


  • 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.



  • Neon17: 17″.
  • Neon24: 24″.
  • Neon31: 31″.
  • Neon55: 55″.

Resolution / PPI

  • Neon17: 2048 x 1080 / 142ppi.
  • Neon24: 4096 x 2160 / 193ppi.
  • Neon31: 4096 x 2160 / 147ppi.
  • Neon55: 3840 x 2160 / 84ppi.

Aspect Ratio

  • Neon17: 17:9.
  • Neon24: 17:9.
  • Neon31: 17:9.
  • Neon55: 16:9.

Colour 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 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.

Dynamic AtomHDR Technology

Back Light

  • Direct LED.


  • Neon17: 128 direct back light individual LEDs.
  • Neon24: 512 direct back light individual LEDs.
  • Neon31: 512 direct backlight individual LEDs.
  • Neon55: 512 direct backlight individual LEDs.


  • Wide Colour Calibrated D65 or D95.

Bit Depth

  • True 10-bit.


  • DCI-P3 100% coverage.


  • 1000nit (+/- 10%).


  • Dynamic back light control.

HDR Conversion

  • Log/RAW to HLG or PQ.

HDR Monitoring Technology

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 DragonColour / DragonColour2 /RED Colour2 / RED Colour3 / RED Colour4.

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.

Video Input/Loop Out


  • 1 x HDMI 2.0b.

SDI | SDI Expansion Module Required

  • 2 x configurable BNC.


  • Up to uncompressed true 10-bit.

Video Output (Play Out)


  • 1 x HDMI 2.0b.

SDI |SDI Expansion Module Required

  • 2 x configurable BNC.


  • Up to uncompressed true 10-bit.

Video Signal Conversion


  • 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.

Supported Codecs & Frame Rates (Record & Playback)

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.

Onboard Processing

Pull Down Removal

  • 24/25/30pSF > 24/25/30p (2:2 pull down) 60i > 24p (3:2 pull down).


  • Yes – Loop-out and playback.

4K UHD Down Scaling

  • Yes – Loop-out and play back.


  • 2 or 8ch 24-bit, camera dependent.

SDI | SDI Expansion Module Required

  • 12ch 48kHz 24-bit.


  • Line in / Mic in.

Headphone Out

  • 3.5mm Headphone out 2ch 48kHz 24-bit.

Built-In Speakers

  • No.

Remote Start/Stop


  • Auto HDMI Trigger.
  • Supported Protocols – Canon, Sony.
  • Atomos Open Standard – Panasonic, Nikon, Olympus, Fuji, Leica.


  • 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 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.

What’s In The Box


  • 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 (for 17″, 24″ & 31″ models).

Optional Extras

  • Atomos HDMI cables, Master Caddy Dock, X-Rite, i1DisplayPro calibration.

All specifications correct when published, subject to E&OE.

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.

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