Everybody quiet on set. Camera rolling, sound, lighting ready, and action! Hello. Welcome to todays DJI Pro Launch Event. When people ask what drives us to make thetools we create, the answer is simple. Its a complete focus on a single mission: to empower creators, giving them accessible, intuitive devices that let them capture and share the world exactly how they see it. The Inspire series transformed aerial cinematography with the first Super 35 sensor in a ready-to-fly platform. Our latest drones have given the world a new level of aerial intelligence with technologies like Time of Flight and vision sensors for obstacle avoidance, along with our video transmission system, which gave pilots reliable long-range control that is the best in its class.Our Ronin 2 and Master Wheels providedcinema-grade stabilization solutions on the ground, which are used today on film sets all around the world. For as long as those products have been in use, weve worked closely with film productioncrews, gaining invaluable on-site experience thats helped us to continually improveand optimize our products. Combining the needs of todays filmmakerswith DJIs cutting-edge technologies, were thrilled to present a product that will revolutionize filmmaking.Today, we introduce DJI Ronin 4D, a comprehensivecinematography solution designed to reimagine what the next generation of filmmaking will be. From the exterior design to the way it feelsbalanced in your hands, to the gimbal camera, the LiDAR Range Finderand the wireless video transmitter, every inch of this new platform speaks to the heritage of DJI products. Before we dive into the details, lets watch a brief showreel by our brilliant content partnersfrom all over the world, shot completely on Ronin 4D. Based on countless rounds of feedback from industry professionals, we know what matters most to them on set,and that drove us to create Ronin 4D. Image quality, camera movement, focus control, and coordination are some of the key issues cinematographers face on every project. DJI Ronin 4D provides an integrated solution thatcovers all of them with a unique design. It combines a cinema camera with an entire gimbaland control system along with monitoring, focusing, and wireless transmission modules. Crafted with carbon fiber and aluminum magnesium alloy, its solid light-weight body allowsusers to shoot in complex environments. The integrated design helps film crews avoid time-consuming setupand start shooting at a moments notice.Modules attached to the body like the Hand Gripsand the High-Bright Main Monitor can be adjusted or detached easily and give users the flexibility they need to shoot in any scenario. In addition to the most common single-handed, dual-handed, and shoulder setups, Ronin 4D can also be mounted on all kinds of traditional fixtures like jibs, cable cams, suction cups,and other industry standard accessories. With a whole ecosystem of expandability at their disposal, users can configure Ronin 4D as compact or as complex as they need, leaving the door wide open for their shoot. An intelligent image processing system has also been adopted on Ronin 4D. This delivers an internal 8K RAW codec with precise color reproduction, advanced assistive functions with a high-performance AI engine, and multi-link monitoringand control with low-latency image processing. All of this and much more is made possible by our flagship proprietary chip. As you can see, Ronin 4D provides a whole set of efficient,ready-to-use cinematography solutions, which have already been used on many feature filmsand commercial productions to great acclaim.To learn more about Ronin 4Ds imaging system,follow me to the color grading room. The imaging system is the core of any cinema camera. Ronin 4D is equipped with the all-new full-frame Zenmuse X9, available in two versions: X9-8K and X9-6K. Our Inspire 2 used the image processing system CineCore 2.1, which we have now updated on Ronin 4D with CineCore 3.0. This new version includes a brand-new DJI-developed proprietary processor, which brings higher computing power and support for more video codecs. In addition to the commonly used H.264 codec,both X9 cameras can internally record Apple ProRes and ProRes RAW, leaving more latitude for editing in post. It supports up to 8K/75fps, 6K/60fps, and 4K/120fps, giving creators multiple options for capturing cinema-quality footage. Between the two X9 cameras, the X9-8K deliversDCI 8K standard that retains stunning details. It also offers unprecedented creative flexibilityfor cropping and recomposition in post. X9-6K excels at capturing highlights and shadows. With a dual-native gain of EI 800 and 5000along with over 14 stops of dynamic range, it records images with gorgeous color gradesand natural transitions when shooting during sunset.When shooting at EI 5000, it can capture clean footage at nighteven without assistive lighting setups. X9 also has nine built-in physical ND filters, from ND 2 to ND 512. These can be switched on the fly to fit your shooting needs. Ronin 4Ds proprietary DJI Cinema Color System delivers natural skin tones, even in complicated lighting situations such as direct sunlight, overcast conditions, sunsets,neon lighting, or street lights. It also provides effortless compatibility with other cinema camerasfor tonal consistency across a project. X9 is equipped with interchangeable lens mounts,including DJIs proprietary DL mount, Leica M mount, and other mounts with short-flange focal distances. This provides extensive lens options, like ultra-large aperture lenses,anamorphic lenses, and vintage manual lenses. X9 can also provide wireless control and autofocusingfor all these lenses with expansion modules. Your favorite lenses can now shine in a whole new way on Ronin 4D. Now lets take a walk over to our outdoor setwhere you can check out Ronin 4Ds stabilization system. Stabilization has always been at the core of DJI. With the added Z-axis providing active vertical stabilization,Ronin 4D is an innovative outlier in the industry.Before we talk about the Z-axisand why it makes 4D so unique, lets look at the 3-axis gimbal camera first. One of the ways it provides powerful stabilizationis by keeping only the sensor and optical components necessary for imaging within thecamera, separated from the main body. It also benefits from a symmetrical dual-motor design on the tilt axis,while leaving abundant motor power on pan and roll axes. It now achieves the best stabilizationand responsiveness of the entire Ronin series, all within a compact and lightweight body. Thanks to the integrated design,Ronin 4D can start recording instantly without the need for tedious adjustments,even when using lenses that shift balance during use. A shortcut button allows seamless transitionsbetween Sport mode and Stabilization mode.In Sport mode, the gimbal quickly responds to the operators fast movements while maintaining a very tight follow. One of my favorite parts of Ronin 4Dis the active vertical stabilization provided by the Z-axis. It works with forward and downwardvisual sensors, a dual ToF sensor, a barometer, and a gyro sensor to effectively eliminate vertical shake. This technology allows the operator to shootwhile walking, running, or even moving around dynamically, with no need to practice pacing or rely on external equipment.Videos taken in complex spaces like stairways or uneven ground, for example, end up smooth without any trace of the operators footsteps. Wide sliding shots can also be achieved easily without the need of a dolly. With the additional Z-axis, Ronin 4D is still lighter and smaller than most cinema cameras mounted onto a professional three-axis stabilizer, reducing the size and complexity of a professional camera setupto something never seen before. ActiveTrack Pro can empower operators even morewith our latest artificial intelligence. Cinematographers can now get advanced tracking shots easily and efficiently. The Pro version of ActiveTrack allows subjects to be trackedfrom longer distances and while adjusting composition.You wont believe these complexcamera movements are achieved automatically on Ronin 4D. In addition to all of these impressive features,Ronin 4D uses a focusing system powered by LiDAR technology. Follow me inside to see what it can do. Focusing is a challenge for nearly all video projects,and the tools to solve it can be overly complex. Ronin 4D includes a LiDAR focusing system that offers a more user-friendly and universally accessible focusing experience. The entire system is realized by our newly designed LiDAR Range Finder, which can cast up to 43,200 ranging points simultaneouslyand reach a ranging distance up to 10 meters. It can locate subjects quickly and accurately,even in low-light environments. Another advantage of LiDAR is to realize faster focus speed without relying on visible surface texturesor compromising image quality in any way. There are three focusing modes to choose from:manual focus, autofocus, and our own Automated Manual Focus. LiDAR Waveform allows Ronin 4D to handle manual focus with ease. This assistive focusing tool displays LiDAR ranging data on the mainand remote monitors in a simplified top-down view.Cinematographers can use this tool to locatefocus points and pull focus with extreme precision. Even users with little or no experience withpulling focus can operate and excel at this feature in no time. In autofocus mode, Ronin 4D can maintain focus even when there is severe motion blur caused by subjects moving quickly. This system not only empowers DJIs ownlenses with advanced autofocusing capabilities, but it also enables 3rd party manual lensesto deliver autofocusing capabilities with the help of the X9 Focus Motor. When ActiveTrack Pro is turned on,X9 can track and autofocus on a subject continuously at the same time. This is especially convenient for solo camera operators and small crews.The AF/MF switch on traditional cameras sometimes creates a dilemma: trust autofocus completely or leave the job to yourself. Ronin 4Ds LiDAR focusing system combines the advantages of both autofocus and manual focus with Automated Manual Focus mode. When enabled, the focus wheel on the rightgrip will rotate automatically when the focus point moves, allowing users to jump in and focus manually. This gives cinematographers a physical sense of the distance changeto adjust the focus at any time, providing a more practical and modern focusing solution for an intuitive experience that is unrivalled today.In professional projects with large crews,communication and quick feedback are absolutely critical. The powerful transmission systemof Ronin 4D provides even more possibilities. Lets explore the technology behind it. Ronin 4D uses the all-new DJI O3 Pro transmissionsystem, which provides long-range transmission with ultra-low latency and improved anti-interference technology. The 4D Video Transmitter outputs a 1080p/60fps feed to remote monitors with a transmission range of up to 20,000 feet. It features AES 256-bit encryption for protected video feeds. O3 Pro also supports the DFS frequency band,in addition to 2.4GHz and 5.8GHz with frequency hopping, which improves stability and anti-interferenceperformance, even in crowded signal environments and locations that feature complex architectural structures. O3 Pro provides incredible end-to-end low latency. The three major factors that contribute to latency are image processing, wireless transmission, and image display. Since the camera, transmitter, receiver, and monitor are all designed by DJI and integrated into one wireless system,Ronin 4D can optimize the entire transmission process, minimizing the latency and offering a seamless experience.And O3 Pro enables multiple receivers withjust one 4D Video Transmitter, allowing users to switch feeds quickly between multiple Ronin 4Ds. DJIs new High-Bright Remote Monitor offersa compact design that integrates a 7-inch, 1,500-nit monitor with a wireless video receiverfor optimum portability and quick setup. It enables users to control everything they need remotely, like focus,gimbal movements, start/stop, and camera exposure. Mirror Control Mode empowers you even more, giving you full accessto the same menu system as the main monitor, including all advanced features, from raw footage playback to camera settings. This mode allows users to make quick and easy adjustments when Ronin 4D is mounted on a jib, cable cam, or other rigs. Besides these features, weve added a built-ingyro sensor that turns the monitor into a motion controller for Ronin 4D with movement-based control. It can also connect to the Hand Grips, DJI Master Wheels, DJI Force Pro, or the new DJI Three-Channel Follow Focus to modernize coordinated shoots. The remote monitor has a built-in microSD slot that supports independent recording of 1080p/60fps footage,allowing for convenient previews.When several remote monitors are used in conjunction,each monitor can play back material separately with independent LUTs loaded without interfering with other crew members. Now that weve finished shooting,lets transfer our files over to the DIT. That brings us to Ronin 4Ds storage system. To meet the needs of a wide range of users,Ronin 4D offers three storage methods. Among the three methods, USB SSD provides 4K projectswith a cost-effective solution, CFexpress covers both compatibility and stability, and DJI PROSSD 1TB delivers the best performance and highest stability for internal recordingat the maximum resolution and frame rate. In addition to reliable storage, users need excellent sound quality. Ronin 4D’s built-in microphones support 2-channel 24-bit audio recording. It also has a 3.5mm jack on the body and two XLR portson the Expansion Plate for additional input options.Ronin 4D comes with a 5.5-inch, 1,000-nit main monitor that can be mounted onto different positionson the body and adjusted to any angle. Common exposure assistance such as waveform, false color,and zebra can be enabled with just a tap on the grip. Just like Ronin 2 and Inspire 2, Ronin 4Duses the TB50 Intelligent Battery, which offers up to 2.5 hours of shooting time. Even in extreme environments, the TB50 battery is operational thanks to auto-heating technology. Every detail you care about is addressed with these thoughtful designs. A dynamic product like this deserves dynamic protection. Ronin 4D comes with a 2-year international warranty allowing it to be quickly servicedat any authorized service center around the world. Users who need extra assurance can upgradeto DJI Care Pro.During the 2-year protection period, you wont need to worry about any issues such as falling damage, water damage, or any other accidents. Access to our professionalrepair services will be provided within the coverage limit. Plus, factory maintenanceensures the optimal working condition of your We can go on and on about all the things thatmake Ronin 4D incredible. But the opinions that truly matter are from industry professionals. To give you a more comprehensive understanding ofRonin 4D and how its used in feature films, were honored to have four well-known DPs hereto talk about Ronin 4D from their perspectives.Lets hear what they have to say. If I had to describe this technology in one phrase, I’d say that it was exceptionally innovative towards betterment of cinematography. It does give you tools which allow for a new look at how you would normally film most situations. Following the foundation of Ronin and Ronin 2, Ronin 4D is another giant technical leap. It fuels our visual creativity with greater possibilities. I’ve been waiting for more and more cameras to adopt a technology that simplifies shooting operation. This camera does not require any extra equipment or a large crew but still can satisfy the needs of large-scale shooting scenarios. This is one of the core advantages of this camera. I could see this camera being exceptionally useful anytime you had car work, anything that’s in motion, helicopters, horses, working in Westerns, there’s a lot of motion where you need to control things.You want to go on a dirt bike alongside a horse at full gallop, you’re going to need all the help you can get and this camera will give it to you. Filmmaking is all about subjectivity and being experiential and so theidea that I could actually, physically skateboard with the camera and then have skateboardersbust the frame really allowed me to be their POVand have them enter it which is not something that I’ve had the opportunity to do. I think the Ronin 4D is a groundbreaking camera. It does embrace a lot of the technology that we’ve put together by parts by getting separate gimbals and so on and cameras have gotten smaller, people are handholding them, but to bring it all together from one manufacturer where you get, from top to bottom, you get the picture quality, you get it transmitted to you, you have full control of a very sophisticated device remotely is amazing. On behalf of everyone at DJI, we want to thank these DPs for being part ofthis event with such creative and compelling work.This is really just the beginning of our in-depth collaboration with global DPs. Today, were thrilled to announce were expanding our partnership program,and working with more incredible industry leaders. We cant wait to see what they do with Ronin 4D. And today, weve also prepared a big surprise for you. I believe most of you have probably seen Mindhunter, Fargo, and Legion. Weve invited the man behind these works to join us. He also won this years Academy Award of Best Achievement on Cinematography for his contribution on the film Mank. Please welcome Erik Messerschmidt, ASC. As cinematographers we’re, you know,we’re constantly in high-pressure situations. And we have to take responsibilityfor equipment choices. We have to fix the problems whenthey arise, you know. So I’m very suspicious of thisparticular tool, And I was pleasantly surprised. Much more sothan I expected, and not to say that I wasn’t expecting to be, actually,because DJI has consistently impressed me you know, in the Ronin in particularand the Inspire 2 and, I mean, it’s the track record for success is so high,butthis particular thing, this camera, being that it’s a standalone camera and it’snot a gimbal, and it’s not a drone is, felt like such a departure from the product line thatI was a little bit suspicious, and in the end I could not be more impressed.ProRes RAW is, you know,it’s totally new, for me anyway. You know I juststarted. That’s a completely new format for me.Weopened it in Baselight, which opens it natively. It seemed to have plenty of dynamic range. It was sharp.Didn’tsee any aliasing issues. We didn’t see any banding or breakup, you know,It’sclearly…it’s clearly got plenty of bit depth and dynamic range and we were looking atit in HDR actually.So we looked at it in Dolby PQ in DCI-P3 and it looked fabulous, I mean,it was on par with anything else for sure. I was really interested to see how it would handle the sodium vapor and themercury vapor stuff we had shot downtown.Those are always tricky colors to workwith,especially these kind of narrow-band, narrow-spectrum lights and skin tone,and how much how much room we have in the skin tones to move it around.You never expected to be able to correct anything back to, you know, a normal,anormal full-spectrum skin tone. But I was curious to see how much Icould manipulate the color, you know, taking the sodium vapor from canary yellow up to orange,and how we how we could move that around and where the image would start to breakbecause it it always does, you know, on every camera. And, you know, the camera had more color than I expected. There was no shortage ofcolor, you know,which is refreshing because inmany times, in many situations you end up with a kind of pastel looks or desaturated looks inthose kinds of situationsbecause the camera can’t render all the colors accurately and it seemedto do,it was extremely good.I mean, that’s the other thing.The highlightretention is spectacular and we were, we did some shots, we were on the beach,lookingstraight out to the sea with the setting sun and it’s reflecting in the water and in theDI,it really held up. You would normally expect that to start to look a little bit digitaland clip around the edges and and look kind of hard and it didn’t. It rolled off in a reallysoft and smooth way,which I was surprised about.I think lens choice is a huge part ofthe cinematographer’s tool kit, and how we help the director tell stories andlenses have an enormous effect on the way the image looks and also the resources thatare required to shoot scenes in many cases. For example, we were shooting in a downtownlocation that was relatively low-light and both didn’t have a lot ofresources in terms of lighting. But also didn’t want to use a lot becauseI wanted to push the camera a little bit and, but I knew that I would probablystill need to shoot close to wide open in some situations and I wanted a set of lensesthat would let me shoot at a 1.4 or 1.7 or, or what have you and so we went with theLeicas, but they also, those lenses also have a spectacular quality to them, especiallyin terms of the bokeh and the softness, soit was exciting to give that a try. you know, but having the freedom tomake that choice to support both the resources of the project we were doing, and also theaesthetics that Will and I were going for was important and and the fact that thecamera supported that opportunity was great. I didn’t have to do very much operating with thatat all.If i set the camera up to follow my handmovements,and I could operate it much more like a handheld camera and use the stabilizationin the gimbal to absorb those, those movements and still allow me to operatethe camera.So, you know, for example, in the short that Will and I did there’s ashotlooking down the staircase as the the actress comes up the stairs,and we kind of just lift the camera up and pan with her. It would be a very difficult handheld shot to do with any othersystem,you know.And I tried it with the thumb wheel and it wasnear impossible, and once we just kind of locked the camera and I just held overthe edge and pulled it up, it worked great. You know, I found that the Z-Axis is a really interesting concept that had never crossed my mind as being something that would work but it works great, youknow.We’re so used to doing passive Z-Axis stabilization, you know, like witha Flowcine Black Arm or with a vibration isolator, or you know, even an arm car you know we’reabsorbing all this with springs and dampeners, but to have it active and electronic was super interesting, and especially being able to set the camera up to say, okay,I wantthe camera to stay here, regardless of what I do.Or I wanted to dampen my move, you know,I’m going to boom the camera here and I want the camera to help me with that,help mekeep that smooth, and learning when to apply those settings was a new experience for me, but the result is fantastic. In my work I really think offocus as a critical storytelling tool,you know.It’s really important as a method to to tell the audience where to look, and it’s a director’s tool.So I love that DJI thought to make a focus unit that an assistantcould use as a storytelling tool, not just about focus but, you know, something that actuallyfunctions like a piece of equipment we’re usedto using. But the fact that the autofocus worksis great, and the fact that you can control and adjust the autofocus from the assistant’s handset is really cool, you know it’s, maybe you’re doing a quick, a really fast run up, or a tight insert,or you’re shooting a six-year-old, you know.Those things come in incredibly handy. Wow, the video transmission is amazing.I’venever seen anything like it. I want to take it off the camera and put it on all our other cameras,you know, it’s so cool. It’s so impressive. Being able to roll the camera remotely, which of course we cando with other systems, but in an integrated way is fantastic, you know. We’re not boltingaftermarket stuff on the camera. We’re not, there aren’t a bunch of cables and brackets thatare required,it’s all self-contained. So being able to change NDs, roll the camera, set ISO,setcolor temperature, and ride color temperature in between takes is a must at thispoint.I mean, I’m so spoiled now. It’s like oh, I can just, in between takes, you know, switch an NDquickly and drop the color temperature 200 degrees and we’re going again likethat and, I wish all cameras did that. Every manufacturer these days, they’re making, you know, they make a box you put a lens on,you know, and that’s what it is and everyone has a variation of their box with the lensand that’s perfectly great. I sawthis thing and I was so excited because it’s, at least in terms of what I’m usedto,completely out-of-the-box thinking in terms of how we, what we associate a cameraas being,you know, because it takes the the “box with the lens on it” idea and expandson it and this in this really interesting way. This tool takes all the things that I like, like stable, level horizon,elegant camera movement, and puts it into a very mobile package,and that’s super fun.I like the freedom that handheld operating gives me as afilmmaker.I like the idea that I can, especiallyin a scene where the actors are veryexpressive,and it needs to be free and open, and you’re not relying on peopleto hit marks or be super precise, and it’s sort ofit. There has to be a fluidity to the storytellingthat supports the story and so in those situations, being handheld is great, Ithink. The cameradoesn’t replace the dolly, you know, and I wouldn’t expect it to, but it does make the mobile, the process of movingthe camera and the resulting image of moving the camera easier in many ways, especially if you’re used to moving the camera with a gimbal, you know. If you’re carrying a traditional camerain a gimbal with a cage and you have a, you know, you’re wearing a rig that’s that’ssuspending the gimbal in front of you so you can manage the weight, you know, those things arecumbersome, and tedious, and heavy, and they affect the shots you can do.So, if you want to workin that way,which we often do, myself included, this camera frees you up in an enormous way, Ithink,and makes it easier, for certain. It frees up the filmmaker in manyways and can free up the cast, I think, and allow you to experiment a bit, you know. I do believein that,you know. I think it’s really important to work with the actors, and work with thedirector, and and think about staging and the relationships of the camera,and be able to justgrab it and, well, what about from over here and let’s look at it from over here and, you know.And during a rehearsal, for example, you know.In a traditional filmmaking environmentyou might set up a shot with a a director’s finder, and you get some positions,andyou work it out with the actor and no one can see it and you kind of, you find that shot, and then you commit to it.You lay the track and you do that and that has its benefits.And I love working that way, and I usually do. This particular toolgives filmmakers an opportunity to do things that they otherwise wouldn’t have been ableto do with this much ease prior.Thank you, Erik, for sharing your experience with us. Before we conclude todays event,we just want to point out one thing: the development of video shooting equipmenthas already come such a long way. From the first 35mm film cameras to the latest mirrorless setups, filmmaking has become more accessible to more creators throughout the years. But we think there are plenty of roads left ahead. Not just in terms of the imaging technology itself, but also for the supporting technologiesthat make films the magic we see onscreen.These include Steadicams, gimbal controllers,follow focus, and video transmitters. All these and more deserve wider popularity and usage. We aim to break the boundaries of filmmakingby using the power of technology to make cinema-standard production more affordable,make the movement of cinema cameras more flexible, and make cinematic imaging available to an even wider range of creators. Ronin 4D will be available in two versions. The 6K Combo of Ronin 4D retails at $7,199. It includes a main body, Zenmuse X9-6K Gimbal Camera,LiDAR Range Finder, High-Bright Main Monitor, Hand Grips, Top Handle, TB50 Intelligent Battery, and Carrying Case. The 8K Combo retails at $11,499. This combo features a more powerful Zenmuse X9-8K Gimbal Cameraand includes a PROSSD 1TB. The 4D Video Transmitter, High-Bright Remote Monitor, and DJI PROSSD 1TB are optional accessories and available separately.With Ronin 4D we hope more creators can unleash their vision and imagination. For film crews, this product line offers unlimited freedom to achieve unique camera language. For studios and production houses, it allows commercial projectsto shoot in the easiest and most efficient way possible. For solo filmmakers, it provides more potential to enrich creative expressions. In summary, Ronin 4D is DJIs answer towhat the future of cinematography can and should be, providing you with an unparalleled solutionthat can bring creative visions to life.This marks the end of today’s event. If you have any questions about Ronin 4D,please check in on our live Q&A session following this event. Thank you so much for joining us. Have a wonderful day, and an even better tomorrow..