GEAR
DJI RONIN 4D
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. 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 even vintage manual lenses.
CINEMA STYLE The widescreen 6K footage is beautifully cinematic (above). However, shooting Raw does eat up a 1TB SSD (top)
Optic options 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 the E-mount adapter and tried a range of lighter Sony lenses which retain autofocus – but not image stabilisation, as this isn’t needed.
However, you can fit any Sony mount lens you like, as long as you are prepared for it not to balance properly if it’s too burly. We fitted the 24-70mm f/2.8 G Master, and although it’s officially too heavy, it balanced and worked well. The new Sony 70-200mm f/2.8 GMaster II is also outside themaximumweight for Z-axis stability, but as a long lens, it just needs a support when used with the DJI Ronin 4D on a tripod. You can use long lenses on the DJI when tripod-mounted, but it really negates the whole stabilisation/ handheld concept. For long lens or tripod work, you’re better off with a mirrorless or cinema camera. One of the Ronin 4D’s greatest tricks is that you can fit a manual
HANDS ON The grips are adjustable and offer great control (top right), but the weight does take its toll after shooting handheld for a while
“Just because the Ronin 4D records smooth and wobble-free handheld shots, doesn’tmean it can’t go on a tripod. It is a large-sensor cinema camera”
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