GE AR RE V I EW. DJI RONIN 4D
“Pans, tilts, dolly shots... every type of movement you could want is easy and fast” MAKING SENSE OF SENSORS Rather than just upping the
So, when walking, running or traversing steps, the camera still bobs up and down. Real Steadicams can offer this fourth-axis control, but the DJI has it built-in using drone technology. Downward and forward sensors are included, as is a built-in accelerometer to measure movement in every direction, and a barometer to monitor air pressure changes while the camera moves. These advanced electronics, combined with the mechanical arm, produce an incredibly smooth stabiliser. You can walk or run with it, and it records impossibly smooth shots. Pans, tilts, dolly shots, tracking shots… every type of movement you could want is easy and fast. You don’t have to build dolly tracks, or even hire a specialist Steadicam operator. It’s not perfect, but it’s close – as long as you are fit and strong. Once rigged, this is a heavy set-up. With a small lens and SSD, plus an external mic, you’re looking at around 5kg/11lb in total – and the unit is held out in front of you, straining the arms and lower back. You could always deploy a support rig or even a shoulder mount, but this would put the camera higher up than the operator’s head. Just because the Ronin 4D can record smooth and wobble-free handheld shots, doesn’t mean it can’t go on a tripod. It is a large sensor cinema camera, after all. Simply disable the Z-axis and you are good to go.
resolution and allowing users to record Raw if they add on a third- party recorder, the DJI Ronin 4D comes with a choice of camera sensor units. The Zenmuse X9-6K camera supports up to 6K/60fps and 4K/120fps – we tested this version. The forthcoming Zenmuse X9-8K goes to 8K/75fps, and this camera ‘unit’ can be retro-fitted to the Ronin 4D. The 6K combo is £5999/$7199; while the 8K version is £9499/$11,499, but comes with more accessories, including a 1TB SSD drive. Both record internally in H.264, ProRes or ProRes Raw, in D-Log, Rec.709 or HLG. And the image quality is stunning, with very natural colours, around 14 stops of dynamic range and low noise – thanks to dual native ISO of 800/5000 on the 6K camera, and 800/4000 on the 8K. Before anyone gets to even think of the camera and codecs, it’s the unusual form factor that is the most striking component. Instead of the unit being held by a separate three- axis gimbal, there is a very obvious carbon-fibre arm that protrudes from the front of the boxy main unit. This adds the fourth-axis – or Z-axis – of stabilisation. Where three-axis gimbals control pan, tilt and roll, the Z-axis of vertical motion is not stabilised.
THE LONG GAME Most gimbals are used with relatively short focal length lenses, although there is no real reason you can’t go longer – apart from weight and the centre of gravity of the camera kit. The X9 is equipped with an interchangeable lens mount, with adapters to use DJI’s proprietary DL Mount, Leica M-Mount and Sony E-mount lenses with AF contacts. This allows fast glass, anamorphics and vintage manual lenses. DJI offers three super-light lenses that have a reasonably quick f/2.8 maximum aperture, in 24mm, 35mm and 50mm focal lengths. We tried the 35mm optic and it’s a decent performer, even wide open. DJI has a recommended list of M-Mount and E-mount glass, some of which require a counterweight or don’t give Z-axis support. The E-mount list includes Sony’s prime and zoom optics, as well as Zeiss Batis primes, Tamron zooms, Sirui anamorphics and Sigma AF primes and zooms. We fitted
SILVER SCREEN The footage is beautiful and cinematic. However, shooting Raw does eat up a 1TB SSD (above)
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