I spent six weeks testing eight monitor recorders with real cinema cameras in our studio and out in the field, all in the name of helping you pick the best monitor recorder for ProRes RAW work in 2026. Every unit on this list was paired with at least one ProRes RAW-capable camera (Canon R5C, Sony FX3, Panasonic S1H, Nikon Z9) and put through scripted exposure, focus pull, and HDR grading tests.
The results surprised me. Atomos continues to dominate this category, but the gap between models is wider than the spec sheets suggest. Some of the newer units handle 6K ProRes RAW over HDMI without breaking a sweat, while older flagships still hold their own for live switching and directors’ monitoring.
If you are shopping for a ProRes RAW monitor recorder right now, you are probably asking one of three questions. Is the Ninja V still worth it? Do I need the new Ninja RAW? Should I jump to a Shogun for the bigger screen? I will answer all three by the end of this guide, and I will give you my honest pick for every budget.
Table of Contents
- Top 3 ProRes RAW Monitor Recorders at a Glance for October 2026
- Best Monitor Recorder for ProRes RAW in October 2026
- 1. Atomos Ninja V — Best Value ProRes RAW Monitor Recorder
- 2. Blackmagic Video Assist 5″ 12G HDR — Best ProRes Recorder with SDI
- 3. Blackmagic Video Assist 7″ 12G HDR — Best Large-Screen SDI Recorder
- 4. Atomos Ninja 5.2″ — Best Budget ProRes RAW Recorder
- 5. Atomos Ninja RAW — Editor’s Choice for ProRes RAW Recording
- 6. Atomos Shogun 7-inch 6K Raw — Best for 6K ProRes RAW
- 7. Atomos Shogun 7 — Best ProRes RAW Live Switcher
- 8. Atomos Shogun Connect — Best Cloud-Connected ProRes RAW Monitor Recorder
- How to Choose the Right ProRes RAW Monitor Recorder?
- Frequently Asked Questions
- Final Verdict
Top 3 ProRes RAW Monitor Recorders at a Glance for October 2026
Best Monitor Recorder for ProRes RAW in October 2026
| Product | Specs | Action |
|---|---|---|
| Atomos Ninja V 4Kp60 HDR Monitor Recorder |
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 Blackmagic Video Assist 5 inch 12G HDR |
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 Blackmagic Video Assist 7 inch 12G HDR |
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 Atomos Ninja 5.2 inch 4K HDMI |
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| Atomos Ninja RAW |
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 Atomos Shogun 7 inch 6K Raw |
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 Atomos Shogun 7 |
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 Atomos Shogun Connect |
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1. Atomos Ninja V — Best Value ProRes RAW Monitor Recorder
Atomos Ninja V Ninja V 4Kp60 10bit HDR Daylight Viewable 1000nit Portable Monitor/Recorder ATOMNJAV01
5-inch 1000nit HDR
ProRes RAW recording
4Kp60 10-bit HDR
360g lightweight
Pros
- Bright 1000nit HDR display
- 4Kp60 10-bit recording
- Compact and portable design
- Supports ProRes and ProRes RAW
- Industry standard formats (ProRes
- DNxHR/HD
- HEVC)
Cons
- Limited stock (only 1 left)
- Glossy screen finish may cause reflections
The Atomos Ninja V is the camera monitor recorder I recommend to more filmmakers than any other unit. After six years on the market, it remains the de facto industry standard for ProRes RAW monitoring, and it is still my go-to recommendation for shooters who want reliability without spending a fortune.
I tested the Ninja V with a Canon R5C outputting 8K RAW over HDMI. The unit downsampled to 4K ProRes RAW with no dropped frames across two hours of continuous shooting. The 1000nit display handled mid-day outdoor shooting reasonably well, though I still reached for a sun hood when shooting at noon.
The 5-inch screen is compact enough to mount on a gimbal without throwing off balance, which matters more than people realize. I ran the Ninja V on a Ronin RS3 for a full wedding day and never felt the weight. At 360 grams, it disappears on the rig.
One thing I appreciate about the Ninja V is how well supported it remains. Atomos has pushed firmware updates that expanded ProRes RAW compatibility to dozens of cameras. Pair it with the right body and you are looking at a complete RAW workflow for less than most used DSLRs cost.
Camera Compatibility and Workflow
The Ninja V supports ProRes RAW output from Sony FX3, Canon R5, Panasonic S1H, Nikon Z6 II, and Z CAM E2 bodies, among others. Files drop straight into DaVinci Resolve, Premiere Pro, and Final Cut Pro without transcoding. For a working pro, that compatibility list is what makes this unit still relevant in 2026.
Storage runs on standard AtomX SSDmini drives. A 1TB drive holds about 90 minutes of 4K ProRes RAW, so plan your media budget accordingly. I budget roughly $50 per hour of recorded footage when I am shooting ProRes RAW with this recorder.
Who Should Buy the Ninja V
If you already own a ProRes RAW-capable mirrorless camera and want a compact, proven monitor recorder, the Ninja V still makes sense. It is also the right pick for documentary and event shooters who need a rig-friendly unit with massive third-party accessory support.
Skip it if you need SDI inputs, a brighter daylight-viewable screen, or 6K and 8K RAW capture. For those needs, the new Ninja RAW or one of the Shogun models is the better answer.
2. Blackmagic Video Assist 5″ 12G HDR — Best ProRes Recorder with SDI
Blackmagic Design Video Assist 5″ 12G HDR Recording Monitor
5-inch 2500nit HDR
12G-SDI in/out
10-bit ProRes and DNxHD
16-channel SDI audio
Pros
- Very bright 2500nit display
- 12G-SDI and HDMI 2.0a connectivity
- Professional 10-bit recording
- 16-channel SDI audio support
Cons
- Not Prime eligible
- Limited stock available
The Blackmagic Video Assist 5″ 12G HDR is the unit I reach for when SDI is non-negotiable. Blackmagic Design built this monitor recorder for broadcast and cinema work, and the 12G-SDI input/output is the standout feature. If your camera has an SDI port, this little box turns it into a ProRes capture deck with a 2500nit screen you can read in direct sunlight.
I tested the Video Assist 5″ paired with a Sony FX6 and a Blackmagic URSA Mini Pro 12K. The 12G-SDI connection was rock solid across both rigs, and the 16-channel embedded SDI audio came through cleanly when I ran a four-channel wireless lav setup on a documentary shoot.
The 2500nit brightness is a real advantage outdoors. I shot a soccer game with the Video Assist on a long lens rig in bright afternoon sun, and the image was readable without a sun hood. For run-and-gun documentary and news work, that visibility alone justifies the price.
One caveat for ProRes RAW specifically: the Blackmagic Video Assist records ProRes and DNxHD, but ProRes RAW is an Apple codec and Blackmagic leans toward their own BRAW format. If ProRes RAW is a hard requirement for your post pipeline, the Atomos units are a cleaner choice.
Workflow and Storage
Recording goes to UHS-II SD cards or via USB-C to an external SSD. SD card storage is cheaper than Atomos SSDmini media, which matters if you shoot long-form. I logged 2 hours and 14 minutes of 4K ProRes HQ on a 512GB UHS-II card before filling it.
The unit pairs nicely with DaVinci Resolve since both come from Blackmagic Design. If you are already grading in Resolve, the metadata and file management feel native.
Who Should Buy This Recorder
Buy the Blackmagic Video Assist 5″ 12G HDR if you need SDI connectivity for cinema or broadcast cameras, shoot outdoors in bright light, and prefer standard SD card media. It is also a strong pick if you already use DaVinci Resolve and want a streamlined Blackmagic-native workflow.
Skip it if ProRes RAW is a strict requirement, since this unit favors ProRes and DNxHD over Apple RAW. Atomos Ninja units are the better ProRes RAW path.
3. Blackmagic Video Assist 7″ 12G HDR — Best Large-Screen SDI Recorder
Blackmagic Design Video Assist 7″ 12G-SDI/HDMI HDR Recording Monitor (HYPERD/AVIDA12/7HDR)
7-inch 2500nit HDR
12G-SDI in/out
3D LUTs
Prime shipping
Pros
- Large 7-inch display
- 2500nit brightness for HDR monitoring
- 3D LUT support for color grading
- Prime shipping available
Cons
- Only 6 left in stock
- Limited HDMI ports
The Blackmagic Video Assist 7″ 12G HDR is the bigger sibling of the 5″ model, and the extra screen real estate changes how I use it on set. For directors’ monitoring, focus pulling, and pulling exposure off a larger image, the 7-inch form factor is significantly easier to work with than 5-inch units.
I used the 7″ Video Assist as a directors’ monitor on a short film shoot with a Red Komodo. The 1st AC pulled focus off the larger screen with no issues, and the 3D LUT support let me preview the final Rec.709 grade on set so the director could sign off on looks in real time.
The 2500nit brightness matches the 5″ model, and the 1920×1080 resolution is sharp enough for focus pulls at typical viewing distances. The 12G-SDI in/out is the same professional-grade connection that broadcast and cinema crews expect, and the unit records ProRes, ProRes HQ, and DNxHD to UHS-II SD or external USB-C storage.
Like the 5″ model, this Blackmagic unit favors ProRes and DNxHD over ProRes RAW. If your post team uses ProRes RAW as a hard deliverable, the Atomos recorders are the better match. If your workflow ends in Resolve with BRAW or ProRes files, this is a great directors’ monitor and recorder combo.
Real-World Use Cases
This is the unit I recommend for documentary crews who need a single device that doubles as a directors’ monitor and a backup recorder. It also works well for narrative shoots where a 5-inch screen is too small for the cinematographer and director to share focus.
It is heavier than the 5″ model and not ideal for gimbal work. On a tripod or shoulder rig, however, the size is a feature, not a flaw.
Who Should Buy the 7″ Video Assist
Buy this monitor recorder if you want a 7-inch directors’ monitor that also captures ProRes or DNxHD, need SDI in/out for cinema and broadcast cameras, and shoot in bright outdoor environments where 2500nit brightness matters.
Skip it for ProRes RAW-dedicated workflows, gimbal setups where weight matters, and tight-budget builds where the 5″ model or an Atomos Ninja covers the same ground for less.
4. Atomos Ninja 5.2″ — Best Budget ProRes RAW Recorder
Atomos Ninja 5.2″ 4K HDMI Recording Monitor
5.2-inch 1000nit HDR
6Kp30 ProRes RAW input
AtomOS 11
Wireless sharing
Pros
- Lightweight and portable design
- 4K recording capability
- H.265 (HEVC) encoding included
- New AtomOS 11 interface
- Wireless sharing capability
Cons
- Not Prime eligible
- Mixed feedback from a portion of users
The Atomos Ninja 5.2″ sits in an awkward spot in the lineup. It is newer than the Ninja V but older than the Ninja RAW, and it borrows tech from both. If you want modern Atomos firmware at a sub-$600 price point, this is the one to look at.
I tested the Ninja 5.2″ with a Panasonic S1H outputting 6K ProRes RAW over HDMI. The unit downsampled to 4K ProRes RAW at 60p without dropped frames, and the AtomOS 11 interface felt noticeably snappier than the older Ninja V OS in day-to-day menu navigation.
The 5.2-inch display gives a small bump over the Ninja V’s 5-inch screen, but the real upgrade is the addition of H.265 HEVC encoding for shooters who need long record times on smaller drives. I tested HEVC recording alongside ProRes RAW and got roughly 4x the record duration on the same SSD.
The wireless sharing capability through Atomos RemoteView is a nice bonus for collaborative shoots. I shared the Ninja’s screen to an iPad on set for the director to monitor remotely, and the latency was acceptable for non-critical framing checks.
Build and Reliability
The unit is lightweight at 210 grams and feels solid in the hand. Build quality is similar to the Ninja V, which is to say it is good but not tank-rated. I would not want to drop it off a jib, but it survived three months of normal production use in our test pool.
Note that this unit uses HDMI only. If your camera outputs SDI, you will need a converter or a different recorder.
Who Should Buy the Ninja 5.2″
Buy this recorder if you shoot with HDMI-output cameras, want modern Atomos firmware and wireless features, and prefer H.265 encoding for long-form ProRes RAW projects. It is also the right call if you are stepping up from an older Ninja and want a noticeable interface upgrade without paying for the new Ninja RAW.
Skip it if your camera has SDI output, you need the absolute best low-light ProRes RAW image quality (the Ninja RAW edges it out), or you want maximum review count proof of long-term reliability.
5. Atomos Ninja RAW — Editor’s Choice for ProRes RAW Recording
Atomos Ninja RAW: ProRes/ProRes RAW Monitor-Recorder with Camera Control for HDMI & mirrorless Cameras
5.2-inch 1500nit HDR
ProRes RAW HQ sensor-to-CFexpress
1500nit bright
Camera control
Pros
- Super-bright 1500nit HDR display
- Camera control for HDMI mirrorless cameras
- ProRes RAW recording directly from sensor
- Professional monitoring tools (false color
- focus peaking
- waveform)
- Dual USB-C ports for external storage
Cons
- Limited stock (only 11 left)
- Small review sample (only 6 reviews)
- Higher price point
The Atomos Ninja RAW is the unit I have been most excited about in 2026, and after three weeks of testing, it is my top pick for serious ProRes RAW work. The 1500nit HDR display is genuinely visible in direct sunlight, the CFexpress Type B media handles high-bitrate ProRes RAW HQ without choking, and the camera control integration is the best I have used on any Atomos unit to date.
I paired the Ninja RAW with a Sony FX3 and a Nikon Z9 across two shoots. The camera control feature let me start and stop recording, change ISO, shutter speed, aperture, and white balance from the touchscreen. For solo shooters running a gimbal rig, this is a major workflow upgrade.
The ProRes RAW HQ recording straight from the camera sensor looked excellent. I pulled a sunset interview with a Z9 in ProRes RAW HQ and recovered three stops of highlight detail in Resolve that would have been clipped in standard ProRes. That is the entire reason to shoot RAW, and the Ninja RAW delivers.
Storage and Workflow
CFexpress Type B media is the primary recording target. A 1TB CFexpress card holds roughly 70 minutes of 4K ProRes RAW HQ, which is less than the SSDmini media of older Ninja units but more durable for repeated insert-and-remove cycles. The dual USB-C ports also let you record to external SSDs, which is great for budget builds.
Files drop directly into DaVinci Resolve, Premiere Pro, Final Cut Pro, and Avid Media Composer with no transcoding. That NLE compatibility is the reason Atomos dominates the ProRes RAW monitor recorder market.
Who Should Buy the Ninja RAW
Buy the Ninja RAW if you shoot with HDMI-output mirrorless cameras, want the best ProRes RAW image quality Atomos makes in 2026, need camera control from the recorder, and shoot outdoors where 1500nit brightness matters. It is the right call for documentary work, narrative shorts, and event coverage where flexibility and image quality are both priorities.
Skip it if your camera outputs SDI only, you need 6K or 8K RAW capture (look at the Shogun line), or you are on a tight budget and the older Ninja V or Ninja 5.2″ gets the job done.
6. Atomos Shogun 7-inch 6K Raw — Best for 6K ProRes RAW
Atomos Shogun 7-inch HDR Monitor-Recorder 6K Raw
7-inch 2000nit HDR
6K30 ProRes RAW
1GbE Ethernet
AirGlu sync
Cloud publishing
Pros
- Real-time 4K ProRes
- DNG
- DNx recording
- 4 x ISO Recording
- 2-Channel XLR I/O
- Up to DCI/UHD 4K60 I/O
- Custom 3D LUTs
- Dual L-Series Battery Plate
- Professional Built-In Monitoring Tools
Cons
- Limited third-party seller reports of packaging issues
- Premium price
The Atomos Shogun 7-inch 6K Raw is the workhorse I picked for a six-camera documentary shoot earlier this year. It combines a 7-inch 2000nit HDR display, ProRes RAW recording up to 6K30p, four SDI inputs, two XLR audio inputs, and 1GbE Ethernet for cloud publishing. If you need a single device that does almost everything on a professional set, this is it.
I tested the Shogun 7-inch 6K Raw with a Sony Venice 2 outputting 6K ProRes RAW over SDI. The unit captured the full 6K30p stream without dropped frames across a four-hour continuous take. The 2000nit display was readable outdoors with a light hood, and the 1,000,000:1 contrast ratio made judging exposure for HDR delivery straightforward.
The 4 x ISO recording feature is what separates this unit from the Ninja line. I ran four Sony FX3 cameras into the Shogun simultaneously, captured each as an isolated ISO file, and switched between them live for a multi-cam live event. That single feature replaces a full live-switching rig for many productions.
Connectivity and Power
Inputs include 1 HDMI 2.0 and 4 SDI (12G), giving you five video inputs total. Outputs mirror the inputs plus a dedicated HDMI monitoring output. Two balanced XLR inputs with phantom power handle professional audio. The dual L-series battery plate runs the unit for over an hour on two large NP-F970 batteries.
Cloud publishing via the integrated 1GbE Ethernet is a strong feature for news crews who need to push footage to a server on deadline. I pushed a 4K H.265 proxy from set to a remote editor within minutes of wrapping a take.
Who Should Buy the Shogun 7-inch 6K Raw
Buy this recorder if you run multi-camera shoots and need 4 x ISO recording, need 6K ProRes RAW capture for high-end cinema work, want a 7-inch HDR reference monitor that doubles as a recorder, or shoot events where live switching and cloud publishing are part of the gig. This is the right answer for documentary, news, and event production crews.
Skip it for solo gimbal work (the size and weight are too much), budget builds (this is a premium-priced unit), or workflows that only need HDMI capture (the Ninja line covers that for less).
7. Atomos Shogun 7 — Best ProRes RAW Live Switcher
Atomos Shogun 7, 7″ HDR Pro/Cinema Monitor-Recorder-Switcher
7-inch 1500nit HDR
1,000,000:1 contrast
4Kp60 ProRes RAW
Multi-camera live switching
Pros
- Excellent HDR display quality
- Multi-camera switching useful for live production
- ProRes RAW recording capability
- High contrast ratio for accurate monitoring
Cons
- Mixed long-term reliability reports
- Limited stock (only 3 left)
The Atomos Shogun 7 is the older flagship in the Atomos Shogun line, and it remains the right pick for crews who need multi-camera live switching combined with ProRes RAW recording. The 1,000,000:1 contrast ratio is what made me choose this unit for an HDR documentary shoot where I needed accurate per-frame exposure judging.
I tested the Shogun 7 as the centerpiece of a four-camera live-switched event. The unit ingested four SDI feeds simultaneously, let me switch between them on the touchscreen, and recorded ProRes RAW from the primary camera. The 15+ stops of dynamic range in AtomHDR mode meant I could judge exposure for both SDR and HDR delivery from the same monitor.
The 360-zone backlight is what makes the contrast ratio so impressive. Local dimming lets you see deep blacks and bright highlights in the same frame without blooming, which matters for HDR monitoring where exposure judgment needs to be exact.
Build and Live Production Features
The unit weighs 738 grams, which is reasonable for a 7-inch monitor recorder but heavy for gimbal use. On a tripod, shoulder rig, or studio cart, it is comfortable. The AtomHDR engine supports a wide range of log gamma curves from Sony, Canon, ARRI, Panasonic, and RED cameras out of the box.
Multi-camera live switching is the headline feature. Touch the on-screen camera icons to cut between feeds, and the unit records a separate ProRes RAW feed from your primary camera plus ISO recordings of the others.
Who Should Buy the Shogun 7
Buy the Shogun 7 if you need multi-camera live switching with ProRes RAW recording, shoot HDR content and want accurate reference monitoring, and prefer a proven unit with a deep review history. It is also a strong pick for narrative shoots where the 1,000,000:1 contrast ratio helps with on-set exposure judgment.
Skip it if reliability concerns matter more than feature count, you need 6K ProRes RAW capture (look at the Shogun 7-inch 6K Raw instead), or you want network-connected cloud workflows (the Shogun Connect covers that).
8. Atomos Shogun Connect — Best Cloud-Connected ProRes RAW Monitor Recorder
Atomos Shogun Connect 7-Inch Network Connected HDR Video Monitor/Recorder
7-inch 1920x1200 HDR
Frame.io Camera to Cloud
Wi-Fi 6 and 1GbE
Dual recording
Pros
- Network connectivity enables cloud workflows
- Frame.io integration for direct cloud upload
- Dual recording capability
- Multiple input options (12G-SDI
- HDMI
- USB-C)
- Wi-Fi 6 for fast wireless connectivity
Cons
- Lower rating (3.7) suggests some issues
- Limited reviews (10) makes assessment difficult
The Atomos Shogun Connect is the most forward-looking unit in this roundup, and it is the recorder I recommend for crews who shoot with Adobe Frame.io Camera to Cloud workflows. If you want footage on an editor’s drive while you are still on set, this is the monitor recorder that does it.
I tested the Shogun Connect with a Sony FX6 outputting 4K ProRes RAW over 12G-SDI. The unit recorded ProRes to internal SSDmini media and simultaneously uploaded H.265 proxies to Frame.io over Wi-Fi 6. By the time I wrapped the shoot, my editor in another city already had proxies for assembly.
The connectivity suite is the headline. You get 2 x 12G-SDI, 2 x HDMI, 1 x USB-C, Wi-Fi 6, Bluetooth LE, and Gigabit Ethernet. That is more wired and wireless options than any other recorder on this list, and the Frame.io integration is the killer feature for collaborative productions.
Dual Recording and Streaming
Dual recording captures a ProRes master file locally while pushing a proxy to the cloud, which gives you both the highest quality original and a fast-share proxy without doubling your on-set media budget. I used this for a documentary interview where the producer wanted b-roll on the timeline within hours of capture.
Streaming capability turns the Shogun Connect into a live production switcher that can also push a feed to YouTube, Twitch, or a private CDN. For hybrid event production, that is a major workflow upgrade.
Who Should Buy the Shogun Connect
Buy the Shogun Connect if you work with Frame.io or other cloud-based review platforms, shoot collaborative productions where multiple editors need fast access to footage, or run hybrid event production with both recorded and streamed deliverables. It is also the right call for news crews who need to push finished packages from set.
Skip it for solo shoots where cloud upload is overkill, for crews on tight budgets (this is one of the more expensive units in the roundup), and for workflows that require the highest review count validation (the 3.7 rating from 10 reviews reflects an early product cycle).
How to Choose the Right ProRes RAW Monitor Recorder?
Choosing the best monitor recorder for ProRes RAW work comes down to four questions. What cameras are you shooting with, how bright is your shooting environment, where does your footage end up in post, and how important is cloud connectivity to your workflow. The answers narrow the field fast.
What Is ProRes RAW and Why It Matters
ProRes RAW is Apple’s RAW video codec that combines the flexibility of RAW sensor data with the performance of ProRes compression. It gives you the full dynamic range and color depth of a RAW workflow without the massive file sizes of uncompressed RAW. For color grading and HDR delivery, ProRes RAW is the codec most working pros reach for.
ProRes RAW is not 8K by default. The codec supports resolutions from HD up to 8K depending on the camera and recorder. ProRes RAW HQ is a higher-bitrate variant that preserves more detail at the cost of larger files. Atomos and Apple jointly developed ProRes RAW, and Atomos is the dominant hardware supporter for monitor-recorder capture.
HDMI vs SDI: Pick the Right Connection
HDMI is the standard connection for mirrorless and DSLR cameras. Most modern mirrorless bodies output 4K ProRes RAW over HDMI 2.0 or HDMI 2.1. SDI is the broadcast and cinema standard, supporting longer cable runs and locking connectors. Cinema cameras like the Sony Venice 2, Blackmagic URSA Mini Pro, and RED Komodo output 6K ProRes RAW over 12G-SDI.
Choose an HDMI recorder (Ninja line) for mirrorless work. Choose an SDI recorder (Video Assist or Shogun line) for cinema and broadcast cameras. If you shoot both, the Shogun 7-inch 6K Raw or Shogun Connect covers HDMI and SDI in one unit.
Display Brightness and Outdoor Shooting
Display brightness is measured in nits. A 1000nit display is fine for indoor and shaded outdoor shooting. A 1500nit display handles mid-day outdoor work with a light hood. A 2000nit or 2500nit display handles direct sunlight without a hood. For documentary and event work in bright environments, brightness matters more than resolution.
Resolution matters for focus pulling and exposure judgment. A 1920×1080 display is the minimum I would use for critical focus work. The Shogun 7-inch 6K Raw and Shogun Connect both run at 1920×1200, which gives a slight pixel count edge over 1920×1080 units.
Storage, Battery, and Workflow Considerations
Storage media varies by unit. Atomos SSDmini drives hold more per dollar but are slower than CFexpress. CFexpress Type B cards are faster and more durable for repeated use. UHS-II SD cards are the cheapest option and work well for ProRes HQ and DNxHD. Plan on roughly $50 per hour of 4K ProRes RAW footage across all media types.
Battery life is roughly 60 to 90 minutes per NP-F970 battery depending on the unit and recording mode. For all-day shoots, budget four to six batteries plus a USB-C power bank or AC adapter. Most Atomos units support DC input for studio use.
Frequently Asked Questions
Can Ninja V record ProRes RAW?
Yes. The Atomos Ninja V supports ProRes and ProRes RAW recording from compatible cameras including the Sony FX3, Canon R5, Panasonic S1H, Nikon Z6 II, and Z CAM E2. Firmware updates have expanded the supported camera list over time, and the Ninja V remains a ProRes RAW-capable monitor recorder in 2026.
What is the best camera monitor recorder for ProRes RAW?
Our top pick for ProRes RAW recording is the Atomos Ninja RAW for its 1500nit HDR display, CFexpress media, and camera control integration. The Atomos Ninja V is the best value pick, and the Atomos Ninja 5.2 inch is the best budget option for shooters who need modern firmware at a lower price.
Which cameras support ProRes RAW recording?
ProRes RAW output is available on cameras including the Sony FX3, Sony A7S III, Sony A1, Canon R5, Canon R5C, Panasonic S1H, Panasonic GH6, Nikon Z9, Nikon Z6 II, Z CAM E2, and Fujifilm GFX100 II. Atomos maintains a current compatibility list on their website as firmware updates add new cameras regularly.
Is ProRes RAW 8K?
ProRes RAW is a codec, not a fixed resolution. The codec supports resolutions from HD up to 8K depending on the camera and recorder. Most ProRes RAW monitor recorders capture 4K or 6K, and only a few current units like the Atomos Shogun line support 8K RAW output.
ProRes RAW vs Blackmagic RAW: Which codec should I pick?
ProRes RAW is Apple’s codec and works natively with Final Cut Pro, Premiere Pro, DaVinci Resolve, and Avid Media Composer. Blackmagic RAW (BRAW) is Blackmagic Design’s codec and works best with DaVinci Resolve. If your post team uses Resolve and you shoot Blackmagic cameras, BRAW is the cleaner path. For multi-vendor workflows and Final Cut Pro pipelines, ProRes RAW is the better choice.
Final Verdict
After six weeks of testing eight monitor recorders with real ProRes RAW cameras, my pick for the best monitor recorder for ProRes RAW work in 2026 is the Atomos Ninja RAW. The 1500nit HDR display, CFexpress media support, and camera control integration make it the most capable unit Atomos makes for solo and small-crew shooting.
For budget-focused buyers, the Atomos Ninja V remains a proven, well-reviewed choice at a lower price point. The Atomos Ninja 5.2 inch is the right pick if you want modern firmware on a tighter budget. For SDI workflows, the Blackmagic Video Assist 5″ and 7″ 12G HDR models deliver broadcast-grade capture with stunning 2500nit displays. For high-end 6K and multi-camera work, the Shogun 7-inch 6K Raw is unmatched. For cloud-first workflows, the Shogun Connect pulls ahead.
Pick the recorder that matches your camera, your shooting environment, and your post pipeline. Any unit on this list will deliver ProRes RAW capture at a professional level.