1 October 2026

Monitoring at speed with Sumo PRO-19

Filming a promotion video for the new CUPRA Born electric car meant tracking it at speed, with no time to second-guess the image. Two Sumo PRO‑19 monitors changed how much commercial DOP Dan Flinter could see and how fast he could react.

By Atomos

Dan Flinter is a commercial DOP and the owner of UK-based Depth of Field Media. He and his automotive team were tasked with capturing a series of high-speed tracking shots for the brand-new CUPRA Born. Shooting from a moving vehicle, with seconds to get it right, they needed a setup that let them see every detail as it happened. “We’re always looking for ways to tighten up our monitoring. If we can see more, we can make better decisions,” Dan says.

Dan had previously been working with 5-inch Ninja and Shinobi monitors, mounted on magic arms and suction cups suspended from the roof of the car. It worked well, but reading fine detail at speed was a challenge. “The industry standard for this type of tracking vehicle is typically at least a 12-inch monitor,” he says. For the CUPRA Born shoot they switched to two Sumo PRO-19s, each with a bright 19-inch display, full monitoring toolset, touch-to-focus and camera control. Rather than hanging them, they built custom brackets onto the headrests, placing both displays exactly where they were needed. “It creates a much larger and more practical monitoring setup,” Dan adds. “Smaller monitors can handle the basics, but having a 19-inch display in the back of the tracking car gave us a completely different level of visibility.”

“Once you’ve worked like this, it’s hard to imagine going back.”

The project took them across London, starting on the motorway where open lanes made it possible to follow the CUPRA Born in long, continuous shots. After dark they moved to Canary Wharf, swapping open roads for narrow streets, glass towers and reflections running over the car as it moved through the cityscape. “With the Sumo PRO‑19 we could see far more detail in the image, which made it much easier to judge composition in real time,” he explains.

On automotive work, a few millimetres of focus can be the difference between a usable shot and one that doesn’t make the edit. With the larger Sumo PRO‑19 screens, the team could see those changes as they happened and reach the tools they needed straight away. “What really takes it to the next level for us is using the custom buttons to instantly pull up false color, focus peaking and LUTs,” he adds. The one-touch anamorphic desqueeze is a godsend for the same reason. “Anamorphic is everywhere these days, so one button saves us time and keeps us concentrating on the shots, not the menus.”

By the end of the shoot, Sumo PRO-19 had become the centre of the workflow. The director and client could see what was being captured, and the crew could keep working without stopping to check. “Atomos has been at the heart of our camera packages for years, giving us confidence in the image,” Dan says. “The Sumo PRO‑19 has become a key part of our tracking setup. Once you’ve worked like this, it’s hard to imagine going back.”

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