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DJI Ronin

Willis Chung

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Dear fellow Redusers
I like to start by saying thanks to Zeb and Patrick @ Aerial Media Pros for doing a fantastic job gaining so much interest on the reduser forum while evolving this GroupBuy into an amazing opportunity for all of us.

I have been an industry professional in various departments for almost 9 years, working in camera department for the past 4 years. Then decided to sell out to corporate world when DJI Innovations presented an opportunity to represent the future of technologies. I have been following Reduser posts since the launch of the Red1, while hanging onto my HVX200 posting on DVXUser. Now, a proud owner of a Dragon, and Epic package.

That being said, I understand the need for support on the field just as much as all of you do. When something doesn't work, it needs to be fixed right there and then because time is money anduser reputations are typically on the line.DJI, as most of you know, is the manufacture of the revolutionary white quadcopters that carries the GoPro w/ a 3-axis gimbal, is also the same company that's pioneered various 3-axis stabilized gimbals for many cameras on the multi-rotor platform.

Now that you know a little about me and DJI, let's talk about the Ronin.
-While 1, 2, or 10 IMU's can be implemented, IMU's typically reads where the motor is after it has been moved. The Ronin uses optical encoders w/ custom 32-bit CPU, the result is more precise movements and knows the exact position of each motor at all times. Of course an IMU is still in place for precision redundancy. Without getting too techy, it's a pretty badass system.

-The Product Manager/Engineer behind the Ronin, Paul Pan, is actually an American citizen from San Francisco. Quality means quality, Paul utilizes the R&D team and resources from DJI, as well as professional user inputs from DP's, DIT's, 3D Rig Techs, 1st and 2nd AC's, Key Grips, that's worked many studio projects to get the best quality.

-We build our own softwares & encoders from the ground up, if there are any changes that needs to be made to further the quality of the Ronin, it's a simple firmware update. The Alexmos kit has been fantastic for hobby aerial platforms and cheap handheld rigs, but this is the professional world, reliability and quality means everything, we welcome you to feel the difference.

-The Ronin that you saw at NAB is not going to be the same Ronin you will see when it's released. The product has evolved into something spectacular. Information is on the horizon, before we release any literature, I want to physically have a working unit in front of me to make sure it is what it is, and does what it does.

DJI Technology, LLC, the official name of the Los Angeles office located in Hollywood, CA. My role as Marketing Manager is to represent the company catering to the professional world of cinema. Support is very important, that is why I am forming a team away from the Hobby Line & Aerial Platforms. Pro Support will be managed by experienced prep techs, they will all be properly trained and be the experts at the product.

We thank you for all the support so far, Paul and his engineering team are hard at work to deliver the Ronin on time, currently scheduled for the end of June, for under $5,000. We're almost there. Come check it out at CineGear Expo, we'll have 3 pre-production units for hands-on experience.

Hope this information is helpful. Let me know if there are any questions or concerns.
Thanks.



Below is my previous post of the Ronin video I produced that launched at NAB.
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The DJI Ronin video that premiered at NAB is up, along with the Behind-The-Scenes. Enjoy!



On this video, we used the pre-production model, which loaded:

1x Red Dragon (non carbon fiber) w/ 128GB RedMag
1x 16mm Zeiss Superspeed w/ nd filter
1x C-Motion (2-Channel Iris & Zoom)
1x Paralinx Tomahawk
1x IDX Endura 70S Brick Battery

considering the 16lb payload capacity, this wasn't a problem.

NO POST STABILIZATION WAS APPLIED
 
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very cool. Just wondering, because I noticed the custom frame lines in the BTS- was there post stabilization?

My guess: of course it was. A gimbal just gets you close by taking out the bulk of problem. Shooting 6K and over-framing allows fine tuning in post.
 
Absolutely no post stabilization was applied.

Either way it looks great. Personally I always shoot fat when stabilization is a question mark just in case there needs to be some tuning in Post. That's the joy of Dragon 6K

Way beyond that is this short's production and direction which is superb for this type of piece. It's a new day for creative camera movements where we are only just now beginning to see the possibilities of what this style of move can do to draw the audience into the story. What was only possible with CGI can now be done organically with good ole fashion cranes, ropes and skilled humans.

Well done!
 
Thanks, couldn't have done this without the team. 4-day pre-production including the weekend, the week before NAB.

we originally shot this with the Kowa 40mm, creatively it was too tight, therefore on the day, we switched over to 16mm Superspeed.
 
BTW Willis . . . you play a great zombie ;-)
 
That is hot! Pardon the Paris Hilton quote but can't find better words to describe such precision execution. Wow.
 
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