@@BestboyAdam I definitely trust you after every video you make on the 4d I get excited to pick it up. Im wondering if now it has the Olpf that it will get Netflix approved although it’s not that big of a deal it would be cool to see it on the list. I’m guessing you don’t need to buy raw license again if you get the new 8k head?
Wow man... I can't believe how technical and Macgyvery you are. I have one question since I am really looking into buying the Ronin 4D over the Red Komodo or Sony FX6: Why would you prefer such a setup with the ronin 4D on rods rather that using a different camera like the Red Komodo and install DJI's lidar sensor on that? Second question: How would you compare the rolling shutter between the 6k and 8k version? The rolling shutter is one of the things that make me hesitate. Much appreciated! Keep up the incredible work.
Fajnie ogląda się te Pana Filmy! Są rewelacyjne. Dużo ciekawych informacji i porad mimo iż znalazłem Pana kanał dopiero dzisiaj (o zgrozo)! Sam od niedawna w firmie i poza nią zacząłem coś tam robić w temacie filmowania, ale jeszcze sporo pracy przede mną, aby posiąść taką wiedze i umiejętności jak Pan. Może uda mi się kiedyś trafić na Pana w trójmieście ;) Także subik musiał polecieć!
*Great video as usual Adam!. The shot at **10:30** walking on the bridge looks like it's straight out a movie. Gorgeous..That's a great demo for the Proteus 60mm!*
I just wish that they had an open gate option! Even in 4k, or at a worse codec, it would make a massive difference. Using an anamorphic lens with DCI 17:9 is just too wide at the moment. Still going to get the 8k upgrade though!
Open gate and global shutter are the new must haves. although I would opt for OG over GS. As long as the censor readout is fast enough to minimize most of the jello effect OG is so useful!
Oh so you used the Ronin 4D body as the bottom weight like a normal steadicam sled were the V mount battery and monitor is, Nice!! And ran the 4D flex cable through the post and up towards the stage plate where you mount the 8K sensor and lens. Nice! Creative as bro!!
@@BestboyAdam I guess you get the best of both worlds really. If the steadicam config don't fit in tight spaces, you go 4D flex handheld, and if you got more room for movement, then you can always go back to the sled. Win/win 🫡
How many minutes of 8k footage do you get on the 1TB drive? (with what FPS did you test?) (does the higher dynamic range make the files significantly larger?) Thx in advance! 😊 Super exciting video! I have the 6k version and absolutely love it. Thanks for these great first insights Adam 😍 Greetings from Munich Germany 🍻
@@markbremerkamp6614not quite. 8K up to 25p is ProRes Raw HQ, then 8K 30p and over is ProRes Raw standard version. That’s why you will see the bitrate drop substantially in their frame rate/ codec table. It’s a shame they won’t let you select ProRes raw standard for those 24 and 25p. Dynamic range expansion doesn’t increase the file size as it’s still recording in the same format. What it does do thought is make the rolling shutter a lot worse.
For your comparison to RED Komodo X would you consider doing and over and under exposure comparison? When it comes to DR that’s a really valuable way to see how far each can be pushed.
Hi, thanks for the helpful and very thorough information. Do you feel the autofocus has worked fairly consistently across the lenses you've tried? I'm curious both about how the manual lenses do versus native auto-focus lenses, and also, how the different mounts may or may not affect autofocus lenses (I've heard the L-mount lenses seem to be a bit better than e-mount maybe?)
Would love to see a 6k global shutter sensor upgrade! 8k has always felt like overkill for me. Give us a 6k global shutter with maybe some more DR DJI! :)
ProRes RAW and unfortunately there is no open gate mode, but I hope there will be such an update. And for the long usb you only need two additional original cables (DJI 4d) and two usb-c female adapters.
Also wondering how you got the lidar attached to a rod? Looks like you took the original screw out and then used 1/4”, but can’t seem to pull the original lock out of the lidar unit
@bestboyadam can you please leave a link of all the extra gear you used in this video. I've been looking for the easy rig you used as well as the parts you used to mod the location of the lidar sensor and the usb c adaptors
Surprised to see that the dolly you are using isn't DIY. Wouldn't wanna take a shot at this? Also would be super great for content as well, DIY dolly and jib combo, for product and cinema shooting
Yes, with a tilta cage you can turn this into a regular traditional camera. Unfortunately there is no opengate mode , but I keep my fingers crossed and maybe there will be such an update one day
Actually, 12k is ratger cheap for a camera like this. Not only do you get 8k recording and good low light performance (although SONY offers even better low light performance), you also have a gimbal included. Compared to a FX6 with a RS4 Pro Combo that will set you back 7k. But then you only get 4k recording and loose stabilization on tge 4th axis, which actually is a huge deal if you run a lot. You could also opt for the 6K version of course, which would be even cheaper than a FX6 + gimbal, while you actually also get a decent monitor, that would also cost extra anyway.
When they make the whole 4D gimbal replaceable like the venice sensor block, and you can use a standard sensor block in its place then it will be gold. too niche until then.
Why Ronin 4D 6K/8K is not in the Netflix approved camera list? I think Ronin 4D have all the requirements features that Netflix ask to be approved on the list. Anyone got answers?
You mentioned the 14 bit color beeing new. According to DJI the 6K can do 16bit prores raw. Is that actually 12 bit info slapped in a 16 bit format? I feel Bamboozled.
I know at least with blackmagic cameras shooting blackmagic raw they record in 12-bit log, which translates to 16-bit linear.... I wonder if this is also the case with DJI? Maybe they mean 14-bit Log? If that's the case that's really interesting considering the new Alexa 35 doesn't even do that, it's only 13-bit log
Stupid setup. You literally buy the 4D to use the built-in gimbal. If you overload the gimbal to the point, you have to LOCK it out and use external gimbals. You are better served with using different camera to shoot like Alexa, Red, or even Sony FX6 or Canons cine lineup
I mean the ronin 4d 6k has an almost identital image quality to the red and the same price, but it has built in NDs, a better user interface, interchangeable lens mount, and the list goes on! Tbh the gimbal isnt the best part of the camera, the sensor is really spectacular. The highlight roll off is way better than the fx3.
All what you said is of of your imagination. Quality is not on-par with like of Red and I don't even like Red (Red is way better here ) also all the lidar stuffs can work with other systems and again you can even purchase much better mirrorless like Panasonic for way less. Every camera has its strength and weakness but way spend so much just not to use the gimble which is the reason why it has the 4D in its name.
@@winngh look at beastboys comparison of red komodo and ronin 4d - you cannot tell the difference. The red komodo doesn't even have more DR a lot of it is stretched by red bc there is no colour data on the higher stops. Both shoot Raw. If youre comparing to V Raptors then yeah obviously, but the 6k ronin only costs £5,600.
@@winngh on Hijack, an Apple TV show with Idris Elba, they used the ronin on tripods to get close ups of Idris' face, so if its good enough for big tv shows to use without the gimbal, it's probably good enough for us 😂 ppl don't take in how good the sensor on this camera actually is
Почему в "рапиде",? Смотреть стабилизацию нужно в углу экрана при нормальной скорости сьемки и воспроизведения! Тогда всё будет видно, насколько хорошо или плохо работает стабилизация подвеса! Дальше так называемые F-стопы? Есть номинал светочувствительности и набор выдержек( электронный затвор), у оптики есть диафрагменное число( расчетное и истинное), всегда смотрят на падение контраста в изображении, при изменении диафрагмы конкретного объектива,в паспорте которого указывается его ЧКХ( частотно-контрастная характеристика и разрешающая способность данного экземпляра)! А не какие-то выдуманные стопы "взятые с потолка"! Всегда используйте профессиональный подход, а это всегда световые условия с определенной цветовой температурой источника и контрастом свето-тени на объекте съёмки, при соотношении объект - фон! Про цвет ,можно ещё больше написать, а это воспроизведение эталонной тестовой тоновой и цветовой шкал при всех изменениях настройки самой камеры, в зависимости от цветового диапазона цветового профиля камеры, и цветовой дискретизации записи файловой системы, при выбранной цветовой системе PAL или NTCI. Кроме этого мы знаем ,что в каждом цветовом канале RGB можно изменять, как гамму контрастности ,так и насыщенность цвета основного,так и дополнительного в меню самой видеокамеры, добиваясь конкретного оттенка цвета, но не выходя за диапазон RGB, при цветоразностном и яркостном сигналах! Яркостный сигнал -основной и имеет свою характеристику в милливольтах плюс частота! Всегда помним ,что свет - это и длинна волны,частота и фотон( заряженная частица)! Конечно хочется проще,но никто и никогда не отменял практической тестовой съёмки при разных , не лабораторных условиях,при различных настройках и выбранной оптики!!!
Always great when the Macgyver of Cinematography drops a new video.
Thank you !!
As a new DP, I really appreciate all the work and information you put together. Definitely going to consider this for rental on certain jobs. 🙌🏼👏🏼
Thank you !!!!
“You will never want to use any other camera again” so true. I can’t wait to get the 8k gimbal head for my 6k.
it's really worth it Tyler !!
@@BestboyAdam I definitely trust you after every video you make on the 4d I get excited to pick it up. Im wondering if now it has the Olpf that it will get Netflix approved although it’s not that big of a deal it would be cool to see it on the list. I’m guessing you don’t need to buy raw license again if you get the new 8k head?
Wow man... I can't believe how technical and Macgyvery you are.
I have one question since I am really looking into buying the Ronin 4D over the Red Komodo or Sony FX6:
Why would you prefer such a setup with the ronin 4D on rods rather that using a different camera like the Red Komodo and install DJI's lidar sensor on that?
Second question: How would you compare the rolling shutter between the 6k and 8k version? The rolling shutter is one of the things that make me hesitate.
Much appreciated! Keep up the incredible work.
Fajnie ogląda się te Pana Filmy! Są rewelacyjne. Dużo ciekawych informacji i porad mimo iż znalazłem Pana kanał dopiero dzisiaj (o zgrozo)! Sam od niedawna w firmie i poza nią zacząłem coś tam robić w temacie filmowania, ale jeszcze sporo pracy przede mną, aby posiąść taką wiedze i umiejętności jak Pan. Może uda mi się kiedyś trafić na Pana w trójmieście ;) Także subik musiał polecieć!
Always a good time when you upload a video.
Thank you Nelson !!
*Great video as usual Adam!. The shot at **10:30** walking on the bridge looks like it's straight out a movie. Gorgeous..That's a great demo for the Proteus 60mm!*
yea, i love this lenses !!!
@@BestboyAdam I can see why! It’s got an incredible look.. Keep it coming brother..
I can’t wait for the next.
7:49 shots fired. Watch out for the Sony yt gang. 👀👀👀
😅
I just wish that they had an open gate option! Even in 4k, or at a worse codec, it would make a massive difference. Using an anamorphic lens with DCI 17:9 is just too wide at the moment. Still going to get the 8k upgrade though!
Open gate and global shutter are the new must haves. although I would opt for OG over GS. As long as the censor readout is fast enough to minimize most of the jello effect OG is so useful!
@@timdanyo898 or even what BM is doing with the 6k FF and using the meta data to reduce jellow in post!
I am for it, open Gate would be the thing !!!
We watch because you have a great channel and you are a good human
As always top info in this video! Thank you!
Oh so you used the Ronin 4D body as the bottom weight like a normal steadicam sled were the V mount battery and monitor is, Nice!! And ran the 4D flex cable through the post and up towards the stage plate where you mount the 8K sensor and lens. Nice! Creative as bro!!
thanks !!! it really works great in this configuration 💪
@@BestboyAdam I guess you get the best of both worlds really. If the steadicam config don't fit in tight spaces, you go 4D flex handheld, and if you got more room for movement, then you can always go back to the sled. Win/win 🫡
How many minutes of 8k footage do you get on the 1TB drive? (with what FPS did you test?) (does the higher dynamic range make the files significantly larger?)
Thx in advance! 😊
Super exciting video! I have the 6k version and absolutely love it. Thanks for these great first insights Adam 😍
Greetings from Munich Germany 🍻
the filesizes for prores and prores raw are constant per quality choice
When shooting ProRes Raw 8k 60fps, 1tb gives you around 26 mins of recording
@@hawaiifreespeechnews Ah okay, thanks for the reply!
@@markbremerkamp6614not quite. 8K up to 25p is ProRes Raw HQ, then 8K 30p and over is ProRes Raw standard version. That’s why you will see the bitrate drop substantially in their frame rate/ codec table. It’s a shame they won’t let you select ProRes raw standard for those 24 and 25p.
Dynamic range expansion doesn’t increase the file size as it’s still recording in the same format. What it does do thought is make the rolling shutter a lot worse.
For your comparison to RED Komodo X would you consider doing and over and under exposure comparison? When it comes to DR that’s a really valuable way to see how far each can be pushed.
sure i will
.. the x is far beyond. The skin colors are not that nice either in the chicken
I want to purchase one because there aren’t any for rental in Puerto Rico and also would love to try it out for my personal projects.
Hi, thanks for the helpful and very thorough information. Do you feel the autofocus has worked fairly consistently across the lenses you've tried? I'm curious both about how the manual lenses do versus native auto-focus lenses, and also, how the different mounts may or may not affect autofocus lenses (I've heard the L-mount lenses seem to be a bit better than e-mount maybe?)
Can you please give more details about focus motor mounting on small rig rods mount which size and types of screws you used 5:57 please
Would love to see a 6k global shutter sensor upgrade! 8k has always felt like overkill for me. Give us a 6k global shutter with maybe some more DR DJI! :)
Does the 8k have global shutter?? Just watched the video to the end haha. Would like to see the difference in rolling shutter between the two.
Would love to see a video about your Steadicam setup. 💪
I promise you that I will make such a video
Thank you for sharing, Open Gate ?? DJI Raw ? or BM Raw ? great video!!., could you share more information about the USB C cables please
ProRes RAW and unfortunately there is no open gate mode, but I hope there will be such an update. And for the long usb you only need two additional original cables (DJI 4d) and two usb-c female adapters.
what was the lens for the signer with the mic shot omg that is stunning really love those shots! how did you get so close with bad focus distance?
Also wondering how you got the lidar attached to a rod? Looks like you took the original screw out and then used 1/4”, but can’t seem to pull the original lock out of the lidar unit
Curious how you mounted the focus motor to the rod holder. What screws did you use? Thanks 🙏🏻
Right, but does it support anamorphic and open gate?
I am waiting for tilta hydra studio setup
@bestboyadam can you please leave a link of all the extra gear you used in this video. I've been looking for the easy rig you used as well as the parts you used to mod the location of the lidar sensor and the usb c adaptors
How do you lock the gimbal head without destroying the motors?
looks like the chicken has more contrast and sharpeness than the RED
Awesome🎉Thank You
Quick question, when the handles are attached to the high bright monitor are you able to control zoom function on the DJI 17-28 lens? Thanks!!
Surprised to see that the dolly you are using isn't DIY. Wouldn't wanna take a shot at this? Also would be super great for content as well, DIY dolly and jib combo, for product and cinema shooting
Because I got it as a gift :) but I was thinking one day to make a video of building such a DIY
@@BestboyAdam I am in the process of making it myself and I'm very interested in seeing specifically your take on it, just out of plain interest :)
It is a Dana dolly
isnt it possible to take one usbc-extension-cable "male to female" for the lidar?
How did you mount the camera on your back?
Had no idea you could through this on rails and use like a traditional cinema camera. Does it have an open gate recording mode?
Yes, with a tilta cage you can turn this into a regular traditional camera.
Unfortunately there is no opengate mode , but I keep my fingers crossed and maybe there will be such an update one day
Actually, 12k is ratger cheap for a camera like this. Not only do you get 8k recording and good low light performance (although SONY offers even better low light performance), you also have a gimbal included. Compared to a FX6 with a RS4 Pro Combo that will set you back 7k. But then you only get 4k recording and loose stabilization on tge 4th axis, which actually is a huge deal if you run a lot. You could also opt for the 6K version of course, which would be even cheaper than a FX6 + gimbal, while you actually also get a decent monitor, that would also cost extra anyway.
How did you get the thenos pro x arm to work with the Exo Vest? did you just swap the socket block?
it's a pretty easy modification, I removed the original socket and I had to drill some holes in the Thanos mount
Adam, what variant of stabilizer (Steadicam) were you using at @5:24?
this is my new combination , Steadicam Fawcett Exovest, and arm from Thanos PRO II
Fajna rodzinka, sprzęcik też zajebisty
To me pro res raw and the lack of resolve compatibility is the biggest deal breaker.
Video Time 5.24
can this set up work with tilta float regular arm? Or does it need to be modified?
This moment at 12:08 is when he remembers he has a wife and child.
When they make the whole 4D gimbal replaceable like the venice sensor block, and you can use a standard sensor block in its place then it will be gold. too niche until then.
Waiting until the Ronin 4D can carry heavier lenses
How do you put the the motor on the rod clamp? I know screws but the one from small rig has way to big holes
I simply used longer m5 screws and nuts
Why Ronin 4D 6K/8K is not in the Netflix approved camera list? I think Ronin 4D have all the requirements features that Netflix ask to be approved on the list. Anyone got answers?
I need to know this also
Get back to me when it can underswing haha 😂😝🤔🤪❤
Wow.
You mentioned the 14 bit color beeing new. According to DJI the 6K can do 16bit prores raw. Is that actually 12 bit info slapped in a 16 bit format? I feel Bamboozled.
I know at least with blackmagic cameras shooting blackmagic raw they record in 12-bit log, which translates to 16-bit linear.... I wonder if this is also the case with DJI? Maybe they mean 14-bit Log? If that's the case that's really interesting considering the new Alexa 35 doesn't even do that, it's only 13-bit log
I will make sure and let you know !
Achtel 9x7 camera
But the thumbnail though 😅
I'll pass. Waiting for 5D - 16K.
😂😂😂
You will never see the differences from the 6K to the 8K with anything on youtube. The compression is just too harsh.
Looks like an absolute nightmare. 6K BM Pro with RS3 and LiDAR and I’m good
przy standardzie REVEAL Color Science to wyglada jak badly graded canon clog
pewnie masz racje :)
Maybe it’s just CZcams compression but the skin texture looks god awful.
Blure is so much easier than sharpen in post 😂
maybe its YT compression, butbthank you for feedback
First thing I noticed as well
Stupid setup.
You literally buy the 4D to use the built-in gimbal.
If you overload the gimbal to the point, you have to LOCK it out and use external gimbals.
You are better served with using different camera to shoot like Alexa, Red, or even Sony FX6 or Canons cine lineup
I mean the ronin 4d 6k has an almost identital image quality to the red and the same price, but it has built in NDs, a better user interface, interchangeable lens mount, and the list goes on! Tbh the gimbal isnt the best part of the camera, the sensor is really spectacular. The highlight roll off is way better than the fx3.
Oh and did I mention lidar autofocus for cine lenses? Yeah, that's a game changer!
All what you said is of of your imagination. Quality is not on-par with like of Red and I don't even like Red (Red is way better here ) also all the lidar stuffs can work with other systems and again you can even purchase much better mirrorless like Panasonic for way less. Every camera has its strength and weakness but way spend so much just not to use the gimble which is the reason why it has the 4D in its name.
@@winngh look at beastboys comparison of red komodo and ronin 4d - you cannot tell the difference. The red komodo doesn't even have more DR a lot of it is stretched by red bc there is no colour data on the higher stops. Both shoot Raw. If youre comparing to V Raptors then yeah obviously, but the 6k ronin only costs £5,600.
@@winngh on Hijack, an Apple TV show with Idris Elba, they used the ronin on tripods to get close ups of Idris' face, so if its good enough for big tv shows to use without the gimbal, it's probably good enough for us 😂 ppl don't take in how good the sensor on this camera actually is
Почему в "рапиде",? Смотреть стабилизацию нужно в углу экрана при нормальной скорости сьемки и воспроизведения!
Тогда всё будет видно, насколько хорошо или плохо работает стабилизация подвеса!
Дальше так называемые F-стопы? Есть номинал светочувствительности и набор выдержек( электронный затвор), у оптики есть диафрагменное число( расчетное и истинное), всегда смотрят на падение контраста в изображении, при изменении диафрагмы конкретного объектива,в паспорте которого указывается его ЧКХ( частотно-контрастная характеристика и разрешающая способность данного экземпляра)! А не какие-то выдуманные стопы "взятые с потолка"! Всегда используйте профессиональный подход, а это всегда световые условия с определенной цветовой температурой источника и контрастом свето-тени на объекте съёмки, при соотношении объект - фон! Про цвет ,можно ещё больше написать, а это воспроизведение эталонной тестовой тоновой и цветовой шкал при всех изменениях настройки самой камеры, в зависимости от цветового диапазона цветового профиля камеры, и цветовой дискретизации записи файловой системы, при выбранной цветовой системе PAL или NTCI. Кроме этого мы знаем ,что в каждом цветовом канале RGB можно изменять, как гамму контрастности ,так и насыщенность цвета основного,так и дополнительного в меню самой видеокамеры, добиваясь конкретного оттенка цвета, но не выходя за диапазон RGB, при цветоразностном и яркостном сигналах!
Яркостный сигнал -основной и имеет свою характеристику в милливольтах плюс частота!
Всегда помним ,что свет - это и длинна волны,частота и фотон( заряженная частица)! Конечно хочется проще,но никто и никогда не отменял практической тестовой съёмки при разных , не лабораторных условиях,при различных настройках и выбранной оптики!!!