EYE-OPENER The DJI Ronin 4D is a new concept in cameras
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior account manager Emma Stevens 01223 499462 emmastevens@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck
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Has it ever struck you just how similar in spec most cameras are to their rivals? Althoughmanufacturers point out the unique advantages of their latest products, they are usually just a step ahead, rather than a major leap. Whether you’re talking full-frame mirrorless, cinema cameras or even ENG-style camcorders, there is a never-ending quest for the upper hand in spec. If a big new technology is universally praised, then rivals find some way of leapfrogging it with something similar or ‘better’. Firstly, it was Full HD recording, then 4K, and now 6K or 8K. Sensors have grown fromone inch-type to Super 35, full-frame and even bigger. Frame rates have gone from24fps to 240fps. Dynamic range has increased, as has bit rate and bit depth. Focus has shifted frommanual to hybrid on-sensor phase or contrast detection. Yet the differences betweenmodels from various manufacturers remain slim. However, these similarities make it easy to buy with confidence, as you can feel safe that you’re purchasing exactly the right kit for your requirements. Then, along comes one renegade manufacturer that does something so totally different and unique, it causes shock waves. DJI’s new Ronin 4D is an interchangeable- lens, Raw-recording, full-frame 6K or 8K cinema camera, mounted to a four-axis gimbal, that uses drone technology to keep it level and beam its signal miles away. It deploys lasers to turn any manual focus lens into a full autofocus optic, and the Ronin can lock onto a subject and automatically follow its movements. Now that’s a real seismic shift in filmmaking – and it’s technology that DJI is uniquely placed to build. The company has vast experience in gimbals, drones and cameras, thanks to subsidiary company Hasselblad. Nobody else has all these areas of expertise in-house, so are unlikely tomake anything similar in a hurry. Therein lies a potential problem: general acceptance by filmmakers. Currently, most use mirrorless, cinema cams or camcorders – not hybrid Franken-cameras like the DJI Ronin 4D. It is simply incomparable to other units. DJI has a big task ahead in proving its worth to a world of potential consumers, largely content with their current camera kits. But it’s a fresh way of thinking and should be applauded. Read all about the radical Ronin in this issue. Hopefully you will be enlightened, andmaybe even tempted to try something totally new.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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