Choose Your Fighter

I’ll be up front: this is the first time I’ve ever used a field monitor.

My coworker Ryan Lloyd and I met up early one Friday morning to catch the sunrise to take photos and video of a 1989 Jeep Wagoneer and a newly restored canoe. We had two ideas in mind—tell a story and make beautiful images.

With the Atomos Shinobi II mounted to our Canon EOS R5, we quickly realized that as the sun began to rise, we were missing shots, and the Atomos Shinobi II was hindering our ability to capture what we wanted. Let me explain.

When it comes to using field monitors like the Atomos Shinobi II, the learning curve can be steep, especially if you’re new to this kind of gear. Our experience using this monitor in a variety of environments brought to light some key takeaways for any photographer or filmmaker looking to integrate this tool into their workflow.

First, let’s talk about what you’ll need to get started:

• Atomos Shinobi II
• USB-C to USB-C control cable (included)
• HDMI cable compatible for your brand of camera (sold separately)
• Atom X Camera Mount (sold separately)
• Sony L-Series (NP-F Type) batteries (sold separately)

If you don’t have the equipment listed above that is sold separately, you will not be able to utilize the Atomos Shinobi II as it was intended. The supplied USB-C to USB-C cable allows you to both charge your camera and control your camera from the monitor. Once the Atomos Shinobi II is connected to your camera, you will use the HDMI cable to activate a live camera feed. The Sony L-Series battery, which you will also need to purchase, powers the Shinobi II.

PHOTOGRAPHY FIELD TEST

Ryan and I were photographing early in the morning, in a time-sensitive scenario where the natural light was shifting rapidly—something every photographer dreads. Here’s where the monitor proved to be more of a hindrance than a help. Trying to keep up with the changing conditions while making split-second adjustments using the monitor felt cumbersome. It wasn’t designed for the kind of run-and-gun situation where agility is crucial.

For example, when attached to the Canon EOS R5, the Shinobi II overrode the camera, meaning every camera setting had to be changed through the monitor. Even the viewfinder was inaccessible. This caught us off guard, and as a result, we made the decision to remove it, get the shots we needed, and then talk about what we discovered.

In these high-pressure moments, you need a system that enhances your speed and accuracy, but the Shinobi II struggled to help us make better images. In retrospect, this monitor seems better suited for controlled environments where the lighting is stable and there’s more time to fine-tune your settings. Once the morning’s excitement was over and the light became more consistent, we moved to a more remote location to photograph the Jeep against a backdrop of evergreens. This more controlled environment proved to be the ideal setting for the Shinobi II to excel in capturing still photos. Essentially, the monitor acts like a tethered setup. Think of it as connecting your camera to a laptop but on a smaller screen. The clarity it offers in these conditions can be a game-changer, helping you fine-tune your exposure and focus with precision.

VIDEO FIELD TEST

To put the Atomos Shinobi II to the test in a real-world scenario, we paired it with a Sony a7S III and filmed some behind-the-scenes footage of a professional portrait photographer working both in-studio and outdoors. The goal was to assess how the monitor handled quick, on-the-fly adjustments for focus and exposure while also testing its usability in a hybrid photo-video setup.

Ryan and I switched back and forth, with one of us filming on the Sony a7S III and Atomos Shinobi II and the other filming with a Canon C70 to capture the Shinobi II in action. It didn’t take long to become accustomed to the Sony a7S III hybrid video camera setup, and I preferred having the larger screen. The Shinobi II allowed us to make rapid focus adjustments, evaluate exposure in real time, and determine whether this monitor could seamlessly integrate into a fast-paced, dynamic environment. The Shinobi II uses a waveform to evaluate exposure, which I prefer as a filmmaker, as opposed to a traditional histogram. I believe it provides a more accurate view of how the light is behaving in real-time.

VERDICT

The monitor’s performance can vary depending on the camera you’re using. For instance, when I connected the Shinobi II to my Canon EOS R5, it completely over-rode the camera’s internal settings, forcing me to operate everything through the monitor. On the other hand, when I hooked it up to a Sony a7S III, I could still use the camera’s built-in controls alongside the monitor. This flexibility with the Sony setup made a noticeable difference in usability and is something to consider when selecting your gear.

After extensive use, I found the Atomos Shinobi II to be a solid tool—when used in the right setting. If you’re working in controlled environments or you’re a filmmaker with a hybrid setup, this monitor can significantly improve your workflow. The monitor’s accurate depiction of exposure and focus makes it easy to make quick adjustments, which is a huge plus for those who prefer manual control over autofocus.

For photographers and filmmakers who like to manually focus or fine-tune their shots, the Shinobi II’s focus peaking and bright display are invaluable. But this is not a one-size-fits-all solution. In a fast-paced, ever-changing environment, this monitor can feel more like a hobble than an advantage. Ultimately, when considering a piece of gear like the Shinobi II, the question you should always ask is, Does this make my job easier, and does it make me better? For controlled environments and hybrid video systems, the answer is yes. But for fast-paced, dynamic conditions, it may not be the best fit. 

Tyler Rickenbach is a filmmaker and photographer based in Idaho.