Video Director reacts to DJI Ronin 4D for Live Production
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- Опубліковано 27 лип 2024
- The DJI Ronin 4D is the strangest camera I think I’ve ever seen. But it may actually make a ton of sense for a live production looking to add a wireless cinema camera to their event.
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00:00 Introduction
00:16 How the NFL is Using Cinema Cameras in Live Productions
01:37 Disclaimer & I don't know what I'm talking about
02:00 Interesting potential uses of the Ronin 4D
02:36 Camera Overview 4-Axis Stabilized Gimbal
03:22 The Ronin 4D is the Osmo Pro Pro
04:15 Which Camera? 6K or 8K?
04:48 Weight and Form Factor
05:59 Lenses and Mounts
07:07 Wireless Transmission
08:13 Autofocus and Tracking
09:00 Price Comparisons
10:12 Takeaways
10:33 The Fundamentals of Live Production
This was a great explanation… I agree that this would be an amazing system for a production team
Thanks Danny! You’ve got a great channel
Well thought out points here. I know we will certainly be getting one in the near future. It's next to perfect for run & gun operations which is 90% of our work. This camera simply makes sense.
I like that each separate units are integrated into one in the Ronin 4D . To me, it just maximizes the efficiency of the whole camera system
This was a great video! Very well put together and timed, with good supporting media. But the biggest draw was your focus on live production! I need more of that, so you have a new subscriber. Looking fwd to your other videos...
A very clear and concise explanation. As an outdoor events live stream production engineer, I'm very interested in using this camera for following in a marshal boat at rowing regattas, particularly if the 1080p image transmission is clear and stable enough to cover a clear and straight line of sight 2km rowing lake. Great to know also that you can use Sony lenses, something I already have a number of.
Sounds like a great use case!
The full frame on a gimbal shot has made it to Australian rugby as well and I'm not 100% sold on it as the footage is so different from the broadcast cameras. Cheers for the explanation and the video.
I do muticam lie productions for mid size festivals and events and I totally agree with you, this is a dream for live. I run the Tricaster TC-1 and was going the NDI route but now I'm wondering if I could just run 4 of these haha
actually, 4D has 4 axis Gimbal, so for the price on the Komodo you still need to add a flycam or Tilta Float of some sort
I really like how he mentions the image transmission system as a standalone. would really make me feel better about buying the 1700 dollar monitor if i know it could work with other cameras if they had an independent transmitter available.
If it supported the longest Pz zoom lease I would consider this over the Sony rf7
Other then the 4-Axis the wireless system really makes me want this camera, $2000 for 20'000ft range I agree is a still, the only question I'd like to know could I use a loop hdmi adapter with the moniter and plug it into my computer and livestream with OBM.
I can’t confirm this until we get a chance to use it, but once the signal lands at the receiver, the HDMI should function like any other HDMI source. So it should work in an ideal situation
Did you try it for Live broadcasting?
And how well does the Video transmission work in a Real-Life Broadcast Environment?
It would be nice if there was an option on the wireless transmitter to broadcast UHD or 4K DCI at a quarter of the distance.
Interesting thought! Most live events still standardize on 1080i but that would be a nice option for critical focus, potentially.
Thanks for watching!
If the live feed is 1080p, zoom could be also extended digitally from the 6k/8k sensor.
I think this camera has potential especially for volunteer handling
The more we learn about this system, the more interesting it becomes. Thanks for checking out the channel and commenting!
But how do you integrate the remote control as a video feed into your live production?
The incoming video signal and outgoing control signal both operate over a wireless proptocol. DJI has confirmed in their FAQ that you can get a clean signal from the camera to the receiver.
You're wrong! That DJI image transfer kit isn't free. It's $2,000 ish sender and receiver monitor.
Thanks for letting us know. Yes, technically that’s correct. Our point is that the transmission system is what makes the kit so interesting- and it only works with its own ecosystem. You can see the prices broke down piece by piece closer to the end of the video. Thanks again
Does the camera actually output a 16x9 image? Spec sheet only mentions 17:9 & 2.39:1 aspect ratios. That would make it a bit more annoying to integrate into a live set up (extra steps, more delay)
That's true. The spec sheet says 17:9, but several people who actually worked on it mentioned 16:9 as an option. We'll know more as soon as we can get our hands on it.
The D4 can't carry a full frame 1,2 lens of my choice . For sure u can't compare the D4 to a Red comodo in regard of Log profiles, footage quality over all. The next problem I see in this system is when u have a small failure like Gimbal Motor etc. u have to sent the whole system back to DJI . The D4 has his place and I like the innovation of it but it could not replace my A or B camera. Thank you for your Information on this Video
Good points. Also, the inability to use a decent zoom with live broadcast is a showstopper for me.
i really like your tribute to French Fantomas , in style and looks. not sure if its on purpose.
Out of curiosity, did you ever get a chance to test this in a live production? I'm testing one in a multicam live production this weekend and interested if it fits the environment.
What was your experience in a broadcasting environment?
@@LarsZu it went well! No latency issues. Great image and easy to handle with an easy rig. Went between using the full gimbal system to locking every axis for a handheld feel with ease. Used it for two music videos last week as well and the system worked very well. The files were large but edited well!
The autofocus was a tad spotty at times and there is a learning curve but I think it’ll smooth out over time.
@@justinwilliams2919 Do you have some sample footage from your livestreams and/or music videos?
@@LarsZu I do--here are samples from 2 recent shoots: ua-cam.com/video/STfejvJP5WM/v-deo.html
ua-cam.com/video/oFS1tmHqkrM/v-deo.html
I am a Video Engineer in Sports production. The instant I saw this camera I was hoping one day we could somehow incorporate this camera into live broadcast and no longer use the mirrorless sony dslr cameras. The only obstacle I see with this system is the paint control system mounted on the monitor. Anyone painting the show would be in the Mobile Broadcast Unit and there is no way the signal would be able to reach from the truck all the way to field position especially if the operator needs to shoot locker room interviews. Also the monitor is an inconvenient thing to have since most Video Engineers shade between 5 to 8 cameras on a show.
All live broadcast cameras have an RCP (Radio Control Panel) or needs to run through a frame sync. No matter what the signal from the camera would have to run through a frame sync color corrector. If the DJI wireless control monitor also has some type of data port for an RCP for paint controls (something that resembles a Sony RCP-1500), we would be able to control the camera over our fiber optic networks from the truck. We would also be able to place the receiver virtually anywhere in the building. This would greatly increase the capabilities of the system and could truly be a camera that would consistently be used in live broadcast in almost every medium.
100% agreement on this. A true RCP solution would be a great add on to the system.
They could even take it a step further and make it IP based on a 2110 network. It would then become compatible with newer IP based Mobile Production Units.
Did you guys ever look into this as an option? I’m currently an operator for one of our Megalodon cameras in Atlanta for live sports and was wondering if this would be a one stop shop instead of what we are using now.