20 October 2026

Seeing the final look with Shinobi

From live events to music videos, Monnelle Britt uses Shinobi’s monitoring tools to capture sharper images on set.

By Atomos

New York-based filmmaker Monnelle Britt grew up in the Tampa Bay region of Florida, where she first picked up a camera in high school while creating videos for a local non-profit. “It was an experience that set me on the path to film school,” she says. After graduating, she moved to New York to be closer to larger productions, starting out as a production assistant and working her way up. As Monnelle developed her skills, she invested in her own equipment, grew a client base and began securing work as a videographer and editor. Today she shoots events, marketing campaigns and branded content, while developing her own creative projects including short films and comedy sketches.

Monnelle’s go-to camera is the Panasonic Lumix GH5, which she’s relied on for most of her work over the years. “I love the in‑body image stabilization for run‑and‑gun shooting and the lightweight build that makes long production days easier,” she says. She pairs it with a Metabones Speed Booster to get even more from her lenses. “It improves light transmission and depth of field, which makes a big difference,” she adds.

As her work grew and she started shooting in LOG, Monnelle needed a clearer way to check exposure and colour on set, and Shinobi quickly became an essential part of her kit. “Being able to load multiple LUTs and preview what the footage could look like with different colour grades was a complete game-changer for me,” she says. “It not only improved the way I shot, but also helped me properly expose my footage.”

Comparing her footage side by side showed Monnelle just how much focus assist was helping. On event shoots, her A Cam, with Shinobi attached, was consistently delivering more usable shots than her B Cam, which had no monitor. “It gave me much more confidence in what I was shooting,” she explains. Before long, she added a second Shinobi to her B Cam. “It’s always a huge plus when you get into the edit and don’t have to spend time trying to fix preventable mistakes in post,” she adds.

Shinobi has also earned its place on bigger productions. On a music video shoot using the Sony FX3, Monnelle was working in LOG with a predetermined LUT loaded into Shinobi. “Having the monitor on set made a huge difference,” she says. “It allowed me to view the footage with a consistent look and spot subtle shifts in color temperature between scenes that would’ve otherwise been easy to miss.”

“Being able to load multiple LUTs and preview what the footage could look like was a complete game-changer for me.”

Despite a fast-paced schedule, rain in the forecast and little room for error, the team was able to stay on track and capture high-quality footage throughout the day. Shinobi also helped get everyone on board with the look. “Being able to show the artist and the team near-final footage in real time helped communicate the creative vision instantly,” says Monnelle. “It meant we weren’t relying on flat, ungraded footage, which can sometimes feel underwhelming to clients.”

Looking back on her journey, Monnelle’s advice to aspiring filmmakers is simple: start shooting. “Say yes to projects and meet as many people as you can,” she says. “When people see you working, the networking happens naturally, and that can lead to some amazing opportunities.” Referrals from past projects helped build a steady stream of work, eventually allowing her to turn freelance filmmaking into a full-time career. Investing in her own kit was another key step. “Keep showing up,” she adds, “and don’t be afraid to invest in yourself.”

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