Is the DJI Ronin 4D ACTUALLY a REAL Cinema Camera?
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- čas přidán 2. 06. 2024
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Video sections:
0:00 - Intro
0:34 - DISCLAIMER
1:02 - The goal of this video
2:59 - Side by side tests
5:09 - Which camera was which?
7:39 - Styled test shoot
8:22 - Image analysis
12:30 - Usability and new lens
15:17 - Concluding thoughts and takeaways
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Did you actually read the description? - Krátké a kreslené filmy
Anyone coming from my Instagram stories comparing the frames, in those the Ronin 4D was A and RED Komodo was B. Sorry I realize that makes this video a bit confusing since the order is switched 😅
Also just realized there was an error at 3:06 on the first side by side shot. The B clip didn’t show for some reason! My mistake guys… 😅
@@RyanKao Initially I was like, damn, I couldn't even tell when it cut. It's the same at 4:48 and 4:54 btw. Cheers for making the comparison to a RED Komodo!
Colorist here! The breakage in the street lights likely isn't due to the 4D or its codecs, but is most likely due to the math in the manufacturer conversion LUT. I would bet good money that if you convert the Komodo into the DJI D-Log color space and run it through the same manufacturer LUT you'll see the Komodo footage break too.
99 times out of 100, if an image is falling apart, it's because of the math applied to it, whether that's a LUT or something being done in the color grade. IMO you don't need to worry about image quality when you buy a camera anymore... the bigger factors are the ergonomics, form factor, rolling shutter, etc.
To add on to this... you can tell if it's the codec that's breaking by turning off the LUT. If it only breaks after you apply a LUT, then it's the LUTs fault. If it breaks when in log, then it's the fault of the camera.
Really great input. I agree the DJI provided LUT stresses the image unnecessarily. I may do a follow up in the future with a more deep dive perspective of pushing the images in post with a colorist, along with more specific latitude / recovery tests.
Thanks for the info!
Yea just a cst instead of the lut might solve the issue
@@shotbro8521 actually likely it won’t. The CST’s built into DaVinci cause this kind of issue all the time. You can desat the light but then you have a desaturated street light which looks really strange… ACES parametric gamut compression can definitely solve this, though
@@shotbro8521 you could also potentially solve the issue by using a gamut limiter to limit your color volume to rec709 before you transform out of log
I actually sold 2 of my Red Komodos and now have 3 Ronin 4ds.
I agree with you man we got the 4D just a week or 2 after it came out and shot in Africa I fell in love with this camera right away I do a lot of commercial work and before I used to only shoot on a RED but now ever since I started using this camera I bring 2 cameras with me on set my RED and the ronin 4D I also do all our grading for the spots and I love how the 2 cameras look together i love pairing the 4D with my vintage lenes looks so good
The 4D definitely holds up against a lot of other cameras, which honestly is not what I was anticipating. I’m not saying it’s better by any means, it’s seriously just a pretty impressive innovation of a cinema camera!
Great video as always Ryan. The 4D is a really interesting camera for sure. Need to get my hands on one and try it out now!!
I agree that using a camera or lens in real world scenarios really tells us how good that cameras & lenses are
Of course we can make more detailed conclusions by doing specific and controlled lighting tests, but personally I wanted to see how this camera would react in unpredictable environments. I think it handled very well overall against the RED.
Thanks for watching Myron 🙌
That opening A-roll tho. Dang that looked so good!
Dude thank you! Might be my fav talking head shot to date
The iconic video that we have been waiting for! Still waiting for us to link up now that your in LA my friend! Keep up the great work brother, as always you truly inspire me to be a better creator and storyteller to match.
(Ps I’m getting more and more into Davinci and I think I’m ready to make the full switch and this video just solidified it for me, ❤)
Brother, we gotta do it soon!!
PS... 110% make the switch
musicbed needs to give you a raise asap bro!!!!!! that promo was fire!!!!!!!
Great video! I've used the DJI 4D a few times and I absolutely love it. I also love the Vespid lenses, they looked really great on the 4D. You said that you were able to do auto-focus with them as well? Because of the Lidar?
Great stuff man, I have to admit I'm in love with the Ronin 4D for Action and Sports..
Great reviev Ryan Kao!
Do you tried balancing the 25 mm Vespid on the 4D?
For that DZO 35mm you have on it, do you need a counterbalance? I’m trying to figure out what size lens I’d be able to put on it if I picked the 4D up. 0:35
Great content as always, keep it coming!
Great video! Is it best to expose the d-log a stop or so over like other log footage? Sony shooter here looking to rent this for an upcoming project.
When I saw it on your IG, DJI's image profile has a distinct look if you've used their other products, but like you said to the naked eye the 4D would win. It's crazy to think what film tools are coming too these days, but glad it's making things interesting.
It’s wild right? DJI is definitely paying attention to the market and creating products and results that people are drawn to
I decided a couple months back that the 4D would be my next big purchase.... I'm rigging out an A7S3 right now.
The 4D is a fanatic option and should certainly be credited as a cinema camera! You’ll love it
I'm using the 4D for a little over two years now and honestly, there's not a lot to say. It's an amazing system with amazing capabilities and a quick , reallly quick option to get into different modes/gimbal features that would take minutes with heavier cinema cameras on big chunky gimbals to set up. It is my main camera for sure but I do feel that it's eye-focus is not quite comparable to Sony (unfortunately cause thats actually so sad haha) and when tracking the Z-Achsis moves up and down with the subject. Did you find any way to turn that up and down thingie off? I was talking to other comercial cinematographers and no one was able to get that turned off haha. Love the video btw! Really great jub!
Thanks for the video. Interesting concept of how you presented this information. It is a complete contradiction of how you introduced the comparison though, since you said DJI asked you to treat it like a cinema camera. So much of what cinematography and image making has to do with controlling the lighting and environment. In cinema and commercial production, the harsh environments that you mentioned are often reproduced with natural and artificial lighting or bouncing to shape light, not to mention virtual production which is growing faster than ever. I'll finish by saying that I was impressed by what the Ronin 4D can produce and if there was a way to work with bigger glass (lenses make a world of difference in image quality) I could see the value of adding one to our kit.
I love my 4D. Sold my RED's after using it and my
zv-e1 as a B cam
Hi,
I'm watching your video for a second time since it's one of the better ones about this camera and I really like it.
I'm becoming more and more interested by the Ronin 4D BUT one information I cannot find is what is the maximum lens wight supported (with the counter weight) that also supports the Z-Axis ?
Like in the video you have a DZO (Vespid Prime I assume), does it work fine with it ?
1 kg
The Ronin 4D looked really good.
Dammit Ryan I think I’m going to snag one. For what I do with real estate it’s like the perfect all in one
Not a bad move at all... 🙌
I have the ronin 4d also with the flex they are Incredible and also Sony fx3 they are both camera amazing. but you have the Red komodo its my dream Camera :-)
Super informative bro! Definitely gives a different perspective on the 4D 🫣
Dude this thing shocked me honestly! Definitely worth considering for certain jobs. Thanks for stopping by Joe
But did you have to return the 4D to DJI?
I can imagine the Ronin 4D working really well with he NiSi Athena lens.
Interesting idea! Might have to try them on it
Did you manage to balance your Vespids on it?
DJI has a counterweight that works to help balance the Vespids! They’re not 100% balanced but it works
Still chapped I didnt get to try one against my FX6, jk, I'm being butthurt, who's gym is that ?! looks insane
Hey bro, I might be getting one soon -- I'm in London, ON
@@moseslatigoodida8465 Oh no way ! hit me up :D!
Dude it's nuts. I think it surpasses FX3 image for sure.
For real eh? brb, making a (begging) call to DJI
for my eye the Red looks digital...the 4D looks more film like
I have yet to see a critical review of the RONIN 4D. One that looks at audio workflows, timecode workflows, all the things that would be part of any other camera reveal. These types of things are glossed over by preludes such as, "this isn't going to be a critical review..." before going into a Vloggy presentation
If you dropped all that bread on a Red I definitely can see why you would feel salty about the 4D.
06:06 😂😂
4D was like 🥸 hey we gotta pay the bills somehow
@@RyanKao oh yeah😂
11:55 EI 5000? ISO 5000?
I knew it. See, Red doesn't really break in low light, it is just that their images natively just have this contrast. I love the Ronin 4D but even with 14 stops of dynamic range, Prores Raw doesn't seem adequate for narrative work.
The reason I felt like the Red image gave itself away is that frame with the red sidewalk.
Good perspective! I can agree, the RED offers more usable latitude in most environments, especially with its 16bit data. The 4D shocked me though, and does certainly hold its own!
DJI is a much humble company compare to RED, though. It should be a consideration too.
Ronin looks more cinematic… I KNOW, that sounds so stupid since everyone throws the “C” word around like crazy but it does… Red looks amazing too…
It certainly delivers a great looking image out of the box! In post you can push BOTH cameras a ton and grade a cinematic look, but I’m definitely impressed with DJI’s overall product and what it delivers
I only have 16 minutes left in my therapy session but I told my therapist this was more important.
She agreed.
im crying
Compare is unfair use same company lens with same millimeter and T-stop so compare will be fair. 😂😂
All side by sides were shit with the DZO Vespid primes which are extremely well matched throughout the set. The 4D is a full frame sensor, while the Komodo is Super 35. For that reason, we utilized the 25mm on the RED and 35mm to match the field of view. Depth of field a sharpness will defiantly vary between them, but that wasn’t the intent of this test! Thanks for watching
Great video and really appreciated! Along with the Blackmagic Design eco-system I have from the BMPCC OG to 4 & 6k cameras…. I actually have the DJI Ronin 4D with all 3 of their lenses to date, the Flex system and the Transmission monitor system as well. I LOVE the results the system delivers for me in addition to the functions it provides to make up for some physical challenges I have now. I’m excited that they did come through with their Zenmuse x9 8K sensor but I’m on the fence about getting it. Not sure if it’s overkill or a great future proof investment? The reason I love your video is that you addressed the issue of comparison to the common big boys! But maybe the 8K solidifies the answer? Will you get, have you already and, or your thoughts about the 8K sensor for the 4D? All exciting! Salute 🫡… “Thank you’
what kens do you use? do you have instagram maybe? im considering this camera