Canon released their all-in-one full-frame 10x zoom lens for the RF mount. The Canon RF 24-240mm f/4-6.3 IS USM is now available for pre-order and it will ship during September 2019.
New Canon RF 24-240mm f/4-6.3 IS USM Lens
There are not that many 10x zoom lenses out there that cover full-frame sensors. In mirrorless world, there has actually been only one such a lens – Sony FE 24-240mm f/3.5-6.3 OSS Lens for Sony E-Mount. Reviews of this lens on B&H are actually quite good in general. Furthermore, there are a couple of full-frame DSLR lenses that cover 10x or more zoom range. Please note, that the massive zoom range always comes with trade-offs – mostly in form of a lower image quality. Simply put, you cannot expect such a lens to perform the same way as two or three zoom lens covering the same focal range.
The development of the lens was already announced in February 2019 (Together with five other RF lenses). Now it looks as if Canon is really committed to provide their new full-frame mirrorless cameras with enough native Canon RF lenses. There are currently two cameras within the RF mount ecosystem – the flagship Canon EOS R, which was released last year (see our review here), and its lower-specs, lower-price brother Canon EOS RP, which was released in February 2019.
Canon EOS RP (left) and EOS R (right).
Canon RF 24-240mm f/4-6.3 IS USM Lens
As its name implies, the lens features 10x zoom range and an optical image stabilizer, which compensates for up to five stops of camera shake when shooting handheld – that is usable for both stills and video. The lens incorporates Nano USM autofocus motor, which according to Canon delivers quick, quiet, and precise focusing performance. This focusing system also affords full-time manual focus control when working in the one-shot AF mode.
Additionally, the new Canon lens also features a unique customisable Control Ring, which can be configured to adjust a variety of exposure settings, including aperture, ISO, and exposure compensation.
Minimum focus distance of the lens is 1.64′ (50 cm). It has a 72mm front thread for filters. Dimensions of the lens are (ø x L) 3.2 x 4.8″ (81.28 x 121.92 mm) and the weight is 1.65 lb (751.26 g).
What do you think of the new all-in-one Canon Zoom lens? Do you have experience with the same focal range lens? Would such a lens fit in your workflow? Let us know in the comments underneath the article.
Shutterstock, the stock photos/videos/assets licensing platform, has launched a new video effects library: Shutterstock Elements. It features over 3000 elements in various categories, including transitions, VFX, lens flares, and so on. Let’s take a closer look at these handmade assets for filmmakers.
NEW! Introducing Shutterstock Elements | Video Effects - YouTube
The team at Shutterstock introduced Select last year, which is their premium content library. Now, they are back with Shutterstock Element, a new collection of over 3000 elements and assets for filmmakers.
This new library is entirely shot in 4K resolution by the Shutterstock team using RED cameras and cinema lenses.
The selection of elements is pretty extensive, and while some of the collections are clearly for by vloggers/YouTubers, others are more “high-end” for filmmakers and visual artists looking for quality and unique footage.
Here is a complete list of the various assets available:
VFX including fire and explosions, muzzle flashes, gun impacts, powder and water explosions.
Video kits and film overlays.
HUD (head-up display) and UI (user interface) elements.
Image credit: Shutterstock
All the elements from each category are made “by hand” on location except the HUD/UI elements that are made on Adobe After Effects. Also, please note that the AE project files are not included for these motion graphics elements.
The footage are either captured on black or white background for easy compositing in post-production. Obviously, all assets are compatible with nearly every video editing program available. If you don’t know how to composite it/use it onto your project, some tutorials come with your purchase.
There is a behind-the-scenes video with each collection so you can have a better idea of how they did it.
Also, for most of the VFX elements, dual camera angles are available according to Shutterstock. Indeed, some of the collections like the Detonate VFX pack are quite big (over 25 GB) with over 500 elements in it.
Pricing and Availability
At the moment, no bundles are available, and you can purchase each Shutterstock Elements collection/pack separately. Prices range from $79 to $199, and the files come with a standard Shutterstock license. You can take a look and download the Shutterstock Elements collections directly on their website.
What do you think of the Shutterstock Elements collection? Do you often use assets or VFX in your projects? Let us know in the comments down below!
The Sony a7R IV was just announced and it might bring many enhancements for dedicated photographers, but for us filmmakers, it brings very little in comparison to previous Sony models. In fact, some of the video specifications found in this new camera – like color sampling, bit depth, resolution, frame rates, data rate and such – are exactly the same as those found in the ageing Sony a7S II, which was released almost 4 years ago!
Sony a7R IV – still from the 4K timeline
I know this is a bit of a harsh opening for an article, but I do have to express my frustration. Please don’t be mistaken, I have A LOT of respect for the people who are behind the new camera, and I can assume that many photographers will find what they were looking for in this new Sony offering – but, let me take one step forward and say that when it comes to the filmmaking crowd, Sony is risking to become less relevant, not taking action like other manufacturers do. When attending the press event in Ireland, I kept hearing that “the new a7R IV is a photo camera primarily, and that is why the video side of it is not enhanced”, but in all honesty, in my opinion this argument is not so relevant anymore. Look at what FUJIFILM and Panasonic (for example) are doing with their new cameras: By offering the best they can for photo and video performance in one shooting device, they are able to attract many. Now, I’m not saying that Sony should do the same, but at least the argument should be different or, better yet, a bit more clear about their future camera roadmap.
Sony a7R IV
Sony a7R IV – Video Highlights in a Nutshell
Real-time Eye AF for movie recording and advanced Real-time Tracking
APS-C crop mode (1.6x crop)
5.76 million dot UXGA (Ultra-XGA) OLED electronic viewfinder
Full pixel readout with no pixel binning in Super 35mm mode
Multi Interface Shoe with digital audio interface for high-quality sound recording with Sony’s new ECM-B1M Shotgun Microphone and XLR-K3M microphone adaptor Kit
HDR recording (Hybrid Log-Gamma, HLG)
S-Log 2 and S-Log 3
Sony new ECM-B1M Microphone
Sony’s New Accessories
Actually, what keeps me optimistic are the 2 new audio accessories. If those are anything like a commitment to the filming community, then the future is bright. What really captured my attention is the new ECM-B1M Shotgun Microphone. This new device is like having 3 different microphones (pattern-wise) in a single product. I must say that the demonstration I had was very convincing (it will be interesting to see how this microphone performs in the filed). In addition, the new Sony XLR-K3M now supports an additional 3.5mm stereo mini jack for microphone and line input. Both of the new audio accessories are designed to work best with the new a7R IV, as they support digital audio interface, meaning audio is directly transferred to the camera in digital form without noise or degradation.
Sony XLR-K3M – Additional 3.5 input
I guess this is one of the shortest hands-on articles I’ve ever written, simply because there is not much to highlight about the video capabilities of the new Sony a7R IV. The video output is nice, but video specifications-wise, this camera leaves a lot to be desired. On the positive side, I managed to write a short article and not mention the much anticipated Sony a7S III. Bravo Johnnie…
Music is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer).
What do you think about Sony kind of neglecting us filmmakers? Are you still hoping for a better-spec mirrorless camera to arrive from Sony or have you moved on to use other manufacturers’ equipment? Please share with us your thoughts in the comment section below.
Full disclosure: Johnnie and other media representatives were guests at Sony Europe’s a7R IV launch event in Dublin, Ireland. Sony paid the transport and accommodation for this two-day trip, but there was no other payment involved whatsoever.
FUJIFILM has just announced two new lenses: the FUJINON XF 16-80mm F/4 R OIS WR for their X line of cameras, with APS-C sensors, and the FUJINON GF 50mm F/3.5 R LM WR for their GFX series with large-format sensors.
The FUJINON XF 16-80mm F/4 R OIS WR Lens. Image credit: FUJIFILM
FUJINON XF 16-80mm F/4 R OIS WR
In the FUJIFILM X line of lenses for APS-C cameras, there are quite a few quality zoom lenses to choose from. To name some, we can list the XF 18-55 mm f/2,8-4 R LM OIS which is a decent entry-level zoom lens, and the XF 18-135 mm f/3,5-5,6 R LM OIS WR which is a bit more versatile. Also, there is the excellent XF 16-55 mm f/2,8 R WR, but this zoom lens doesn’t feature image stabilization.
First announced back in July 2018, the FUJINON XF 16-80mm F/4 R OIS WR is finally here. This wide-angle to medium-telephoto zoom lens, equivalent to a 24-120mm (35mm equivalent) looks perfect for everyday and travel shooting. It’s the sweet spot compromise between focal range, brightness, and image stabilization while keeping a small (at just 88.9mm long) and lightweight (only 440g) form factor.
FUJIFILM XF 16-80mm. Image credit: FUJIFILM
While we are still waiting for a new FUJIFILM camera featuring IBIS, the Optical Image Stabilization of this lens is claimed to compensate up to a full six-stop image shake-correction. If you often forget to disable the lens’ OIS (we all do) while using your camera on a tripod, here is a cool thing. The lens can detect that you are not shooting hand-held. It will modify/decrease the intensity of the OIS accordingly to your shooting scenario.
The constant F/4 aperture features a nine-blade rounded diaphragm for creamy bokeh renders. In terms of lens design, there are 16 elements in 12 groups, including three aspherical elements to reduce lens distortion and spherical aberrations, and one extra-low dispersion aspherical element to minimize chromatic aberrations. Finally, a “Super EBC (Electron Beam Coating)” is applied to each piece of glass to reduce flare/ghosting and improve contrast and color accuracy.
If you are shooting under challenging conditions, the FUJINON XF 16-80mm F/4 R OIS WR is weather-sealed against dust and moisture. You can also use it up-to 14°F/-10°C while keeping the ability to focus super close at 35cm at every focal length.
The front diameter is 72mm, and the lens comes with a sun hood.
Image credit: FUJIFILM
FUJINON GF 50mm F/3.5 R LM WR
The FUJINON GF 50mm F/3.5 R LM WR is a tiny pancake lens with dimensions of just 84 x 48mm. At the moment, it’s the smallest and lightest GF lens available at just 335g. Otherwise, there is still a physical aperture ring on the back of the lens for immediate and tactile adjustment of your aperture. If you don’t want to mess with your aperture settings by hand, put the ring in the A position and let your camera do the job for you.
This lens is equivalent to 40mm (35mm equivalent) when paired to a GFX camera. It is a perfect compact lens to be attached on your camera at all time without noticing it.
The FUJINON GF 50mm F/3.5 R LM WR lens with the FUJIFILM GFX 50R. Image credit: FUJIFILM
The lens design consists of nine elements in six groups, with one aspherical element to reduce spherical aberrations. There is a linear AF motor for quick and quiet focusing in both photo/video modes. The diaphragm is a nine-blade rounded design.
The FUJINON GF 50mm F/3.5 R LM WR features the same dust/weather sealing and low-temperature capabilities (up to 14°F/-10°C) as the FUJINON XF 16-80mm F/4 R OIS WR.
Finally, the minimum focusing distance is 55cm, the front diameter is 62mm, and the sun hood comes with the lens.
Image credit: FUJIFILM
Pricing and Availability
The FUJINON GF 50mm F/3.5 R LM WR retails for $999.95, while the FUJINON XF 16-80mm F/4 R OIS WR is $799.95. The lenses can already be pre-ordered, with an expected shipping date around the end of September.
What do you think of these new FUJINON lenses? Do you consider replacing your XF 16-55 mm f/2,8 R WR with this new FUJINON XF 16-80mm F/4 R OIS WR? Let us know in the comments down below!
The Peak Design Travel Tripod became the most successful project in the history of Kickstarter in the photography section. Since the campaign’s launch on May 21st, the super-compact tripod gained massive amount of attention and funds – over $11,000,000 US from almost 25,000 backers. There are now only a few hours left for the campaign, so you can still pledge and get this revolutionary product.
Peak Design delivered their crowdfunded projects successfuly in the past, and the Travel Tripod seems to be a finished product. Still, please keep in mind that Kickstarter is not a shop or marketplace, and there are certain risks when backing up a project.
What do you think of the Peak Design Travel Tripod? Did you back the project? Are you considering it? Let us know in the comments underneath the article.
The enemy of all handheld gimbals is unwanted movement on the “Z” or “4th axis”. The Steadicam Steadimate-S promises to solve this for good.
The Steadicam Steadimate-S
The Steadicam Steadimate-S is a gimbal adapter kit to mount a handheld gimbal on an Aero 15 arm with the Aero vest, or the Aero 30 arm with the Zephyr vest. This turns your handheld gimbal into a fully isolated body worn stabilizer, greatly reducing z-axis movement and enabling more natural looking pan movements. Not only does it allow more precise control, it relieves the load from your arms, reducing fatigue and extending operating time.
Everyone who uses a handheld gimbal of any kind, of any brand, whether it’s for smartphone, mirrorless, DSLR or larger, faces this issue. This is the one axis a handheld gimbal can’t compensate for on its own.
For most, the solution involves the “Ninja Walk”, which is difficult at best, and not entirely effective. Even employing this mythical mode of walking, most of the shots you see are recorded at high frame rates and slowed down in post.
The solution is to isolate the gimbal entirely from the source of this unwanted movement (your body), and that requires one or more sprung and dampened articulated arms.
The Steadimate-S promises some important advantages.
Affordably converts handheld motorized gimbals into body worn stabilizers
Stabilizer arm greatly reduces the common bouncing image effect on the z-axis while walking with handheld gimbals
Execute more natural-looking manual camera pan movements
Wide vertical range of motion, including “low mode”
Greatly reduce operator fatigue and increase operating time by translating system weight to the hips through spring arm and vest
Steadimate-S for DJI Ronin-S - "Oner" Long Take - YouTube
Hand Held 4th Axis Stabilizers
There are a few hand held mechanical 4th axis stabilizers on the market, and they do seem to work, to varying degrees depending on the design, quality and how well the spring tension and dampening are tuned. These can be in the form of single handle, single arm, or dual handle, single arm, or dual handle, dual arm designs.
However, the best solution has been around long before electronic gimbals were even an idea.
The Steadicam Advantage
Before the motorized gimbal revolution, the Steadicam was (and still is) the go to prized solution for truly spectacular floating camera movement in sports, television and film. A highly specialized and practised skill set, together with the high cost of entry meant the steadicam was not for everyone.
Still, the Steadicam is superior to the now common motorized gimbal in many ways, and the Steadimate-S combination of a body worn, mechanical spring arm with an electronic motorized gimbal could bring out the best of both technologies.
Gimbal Collar/Yoke: 10.5” L x 5.1” W x 1.2” @ 1lb
Weighted Base: 9.7” L x 3.9” W x 1.5” H @ 5.7lbs (all weights attached)
Steadicam A15 Kit: 15lb / 6.8kg
Steadicam A30 Kit: 30lb / 13.6kg
Handheld motorized gimbals compatibility:
Zhiyun Crane 2
Compatible with Ø½” stabilizer arm posts
Weighted base utilizes Ø15mm x 60mm rods
¼-20 accessory mounting holes:
Gimbal Collar/Yoke handle
Weighted base clamp knob
Weighted base rod ends
The pricing for the Steadimate-S depends on exactly what you need. If you already own an A15 arm and Aero 15 vest, or an A30 arm and Zephyr vest, then you only need the Steadimate-S gimbal and base, at $295. If you need a complete kit that includes a vest and arm, you can choose between the Aero 15 kit at $995, or the Aero 30 kit at $2,495.
The difference between the A15 kit and A30 kit is the payload capacity. The A15 arm and Aero 15 vest will accommodate up to 6.8kg, and the A30 arm and Zephyr vest supports up to 13.6kg.
Steadicam have said the Steadimate-S should be available from August.
While this will be considered a premium solution, it is likely to be significantly more effective than handheld mechanical 4th axis stabilizers bringing many operational advantages of a traditional steadicam.
Is this a tempting option for you? Let us know what you think in the comments.
Remember “I’m Back” from 2018? A conversion kit for transforming your analogue SLR camera into a digital DSLR. No, it isn’t a high-performance piece of gear for pixel peepers but it is a lot of fun to play around (and work) with! Now, almost a year later, I’m Back is back, with a new digital add-on for analogue medium format cameras!
Samuel Mello Medeiros is a busy man. He is CEO of the company behind I’m Back and he seems to be a keen inventor and never-resting entrepreneur, indeed. After bringing the original I’m Back digital back for analogue (35mm full-frame) SLRs to market back in 2018 –read and watch our coverage here–, he felt that
the family is still not complete.
So he went back to the drawing board and, along with his colleagues, he created yet another digital back. This time for large, and undoubtedly professional-grade, analogue medium format cameras. the result is part of an Kickstarter campaign which is live as we speak.
“I’m Back” Digital Back for Medium Format
The concept behind this new line of digital backs is similar to the existing line for 35mm SLRs: Choose an adapter for your cameras make and model, attach the “I’m Back” digital back to that adapter and off you go!
The build-in camera captures the image projected to the ground glass of the host camera through an attached lens. That way, all the grain and imperfection goodness of past days are being recorded to a SD card.
This digital back was never designed to deliver perfect, high-res imagery. It was created to breath new life into long-gone tech while preserving its soul, so to say. Same goes for the new medium format digital back. Supported cameras include some famous medium format cameras such as:
Hasselblad 500 / SWC / 1000
For each of these models (and more to come) there is a dedicated adapter, the digital back itself is the same for each of them.
As stated before, the aim here is to create beautiful pictures and video, not to deliver high-end specs on paper. Having said that, the pure specs of this digital back are somewhat underwhelming but only on paper: The camera used for capturing the ground glass projection is build around a Panasonic 16 megapixel 1/2.33-inch sensor. It can shoot 1080/50p(60p) video or stills with a resolution of the aforementioned 16MP and that’s pretty much it. So you see, this is more about transforming old and dusty medium format cameras into digital cameras to have fun with but of course you can use this if you’re after that special in-camera look for a project.
The “I’m Back” features a build-in touchscreen for controlling the camera settings and you also can hook up an external microphone and a USB battery pack to the unit. Furthermore, wifi is build in so you can connect a phone in order to stream a live feed to it and to control the digital back.
Gadget or Creative Tool?
The specs are not impressive. And that was never the goal for this device. It can’t compete with professional digital back add-ons such as the Mamiya Leaf Credo 50 Digital Back, selling for $ 19,995. It’s obvious that the “I’m Back” plays in another league well below professional gear. But still, in these days of pixel-count mayhem and overly sharp and clean imagery, a splash of vintage imperfection might be the cure. For us here at cinema5D this concept and Samuels presentation of the original “I’m Back” for 35mm cameras made such an impact, we just had to honor his efforts with a show award at Photokina 2018.
those who want to have fun and are tired to discuss about high resolutions and megapixels!!!
And that’s it: Don’t pixel-peep but go out there and shoot something beautiful with all the imperfections and grainy oddities you might encounter on the way.
The Kickstarter campaign runs until September 5th. All of the early bird tiers are already sold out but you still can get a digital back fitting your medium format camera for 399 CHF (roughly $ 400 / 360 €). You still need a SD card for recording stills and video since it’s not included, everything else you might need is. Just choose the correct adapter for your camera.
Samuel with his new digital back.
If everything goes smoothly, the new “I’m Back” adapter for medium format cameras should be shipped out by June 2020. Remember, this is a Kickstarter campaign, not an online shop. Things can go south pretty badly and your investment might be lost. However, since this is not their first product, you can expect some expertise and hopefully this new back will be delivered just as fine as the last one.
Sample shot from the Kickstarter campaign (the resolution is not great since the uploaded photo was tiny already)
Today, DJI announced the newest addition to their “Ronin family of gimbals”. Please welcome the DJI Ronin-SC. It is smaller and lighter than the Ronin-S, features a maximum payload of 4.4 lbs (2 kg) and brings some new features like Force Mobile and ActiveTrack 3.0.
Ronin-SC Gimbal. Source: DJI
Last year, when DJI announced the Ronin-S, they were entering an already quite crowded market of one-handed gimbals. Because of their good name and popularity of their bigger Ronin-branded gimbals, the Ronin-S too became quite popular. The number of views on our DJI Ronin-S Review and Tutorial walk-through video only confirms its popularity.
As many filmmakers pointed out, one of the specs of the Ronin-S didn’t make them so happy. Mostly its weight: The DJI Ronin-S gimbal weighs 4.1 lb (1.86 kg) which is ok for a short shooting, but not so comfortable for longer shoots. To make handling of the Ronin-S easier DJI released the Switch grip dual handle. You can find out more about it in our article from last week.
The truth is that the Ronin-S can carry quite heavy payloads – up to around 7.94 lb (3.6 kg), which is twice its own weight. Many mirrorless camera setups are, however, much lighter and don’t need such a high payload. The problem was that DJI didn’t offer a smaller Ronin gimbal for lighter setups. Until today. What is the new Ronin-SC like?
As I mentioned above, the new DJI Ronin-SC (C stands for Compact) is a single-handed 3-axis gimbal aimed at lighter setups. The maximum payload is 4.4 lbs (2 kg), which should be enough for most mirrorless cameras with native lenses. It might even work with certain DSLR lenses with adapters, but there is always a danger of the resulting setup being too front-heavy (proper balancing is often limited by the roll arm of the gimbal).
Ronin-SC Gimbal – 360 degree roll. Source: DJI
The new Ronin SC weighs 2.4 lbs (1 kg), which is 41% lighter than the Ronin-S. It can be easily taken apart to fit into backpacks and cases. Like its larger sibling, the SC also features good and durable build quality with materials like magnesium, steel, aluminum and composite plastic.
Its dedicated battery offers users up to 11 hours of operation. Thanks to feedback from the Ronin-S users, DJI now incorporated 3 axis locks on the pan, tilt and roll axis of the Ronin-SC. This simplifies balancing the camera as well as transportation. Additionally, the Ronin-SC features a new position lock system. Once the gimbal is balanced, it is much faster to remount the camera and start working again.
Ronin-SC Gimbal – Sport mode. Source: DJI
Similar to the Ronin-S, users can control the gimbal movement with the responsive joystick and easily access different modes and gimbal settings with the use of the Mode (M) button and the front trigger button.
New Intelligent Modes
Using the redesigned Ronin app, users can set up to 3 different custom profiles, adjust various settings such as motor output and run balance tests to ensure that the camera system is properly balanced. The popular 360-degree roll movement can be saved in one of the custom profiles by simply selecting it in the app. Sport mode, which increases the response speed of the gimbal, is easily accessed by holding the Mode (M) button. The Ronin-SC offers the same modes as Ronin-S but with several new additions, including Force Mobile and ActiveTrack 3.0:
Force Mobile (similar to Force Pro) synchronizes the movement of the connected mobile device (currently it only works with iOS devices) with the Ronin-SC gimbal. This works at a max distance of 82 feet (24.9 m – tested in an open unobstructed environment) using the new Bluetooth 5.0 connection.
Ronin-SC Gimbal – Force Mobile feature. Source: DJI
ActiveTrack 3.0 can make the Ronin SC accurately follow selected subject using a mobile device. The new algorithms include deep learning and optimized calculations for human figures. Similar to the technology found in some DJI drones and the Osmo Series, ActiveTrack 3.0 uses the mobile phone’s camera view and sends this information to the Ronin-SC. Users can mount the mobile phone to the top of the camera’s hotshoe with the included phone holder mount, open the Ronin app and select the subject to follow automatically.
Ronin-SC Gimbal – Active Track Feature. Source: DJI
Other intelligent modes inherited from the Ronin-S include:
Virtual joystick: Control gimbal movement remotely using the virtual joystick, useful when the Ronin-SC is mounted on a tripod or monopod.
TimeLapse and Motionlapse: Create timelapse content, adjusting settings including interval, clips and frames per second. With or without movement.
Motion Control: Set movement paths with Motion Control by selecting up to 10 different points.
Panorama: Automatically capture panoramas in multiple rows or columns.
The Ronin-SC is compatible with a variety of DJI accessories including a new, lighter external focus motor, Command Unit, DJI Force Pro, DJI Master Wheels, and some third-party accessories.
Ronin-SC Gimbal is compatible with various accessories. Source: DJI
Pricing and availability
The DJI Ronin-SC is available now – we included links below our article. There are two versions of the Ronin-SC available:
Ronin-SC Pro Combo adds the focus wheel along with the external focus motor and the Remote Start Stop (RSS) Splitter for $539 US (€459)
Ronin-SC Gimbal is compatible with various accessories. Source: DJI
DJI Care Refresh is also available for the Ronin-SC. For an additional $49 US (€39) it offers comprehensive coverage as well as up to two replacement units within one year. DJI Care Refresh Express is available for faster replacements. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. Covered regions for the Care Refresh are US, Canada, EU, Switzerland, Norway, UK, Australia, Hong Kong, Taiwan, and mainland China.
What do you think of the new DJI Ronin-SC? Would such a compact gimbal fit well into your workflow? Let us know in the comments underneath the article.
As Jinni Tech already claimed in the first video and as I wrote in the first article (What’s Inside a RED Mini-Mag? The Controversy & Jarred Land’s Statement) more videos are about to come. And so it has happened: A second video has been published on YouTube by Jinni Tech and this time Bruce Royce (the guy behind Jinni Tech) stripped down a 120GB RED Mini-Mag, RED SSD Mini-Mag side module, further elaborated on the 480GB versus 512GB capacity discrepancy and showed how RED is not choosing the best quality SSDs. Parts of the video are also answering to Jarred Land’s answer in our previous article.
Furthermore, as Jarred Land already promised in his response in our previous article, RED now dropped prices of their 480GB and 960GB mini-mags by roughly 20%.
RED mini-mag controversy and recent price drops
The price of the RED mini-mags dropped by roughly 20%. This affects both 480GB and 960GB RED Mini-mags immediately. The 480GB version’s price dropped from $1,850 US to $1,450 US and the 960GB version’s price is down from $2,950 to $2,350. Jarred Land also stated on Reduser that this price drop will most likely increase the price of future RED cameras and accessories.
Jinni Tech published a second video which further dives into the RED controversy. As Bruce Royce stated, the second video is partly also a reaction to the official statement or RED Digital Cinema’s president Jarred Land, which we published in our previous article.
120GB RED Mini Mag using $20 US Kingston SSD
Stripped down 120GB RED Mini-mag. Source: Jinni Tech Youtube Video
First, Bruce Royce from Jinni Tech (further only as Bruce) strips down an entry-level 120GB RED mini-mag. Inside, there is a Kingston 120GB mSATA SSD (RBU-SMS100S3/120GD1), which according to Bruce is one of the most inexpensive Kingston SSDs available – its price is roughly $20 US. After briefly checking the Aliexpress webshop I found the same 120GB Kingston SSD for approximately $30 US. With a bulk order I believe the price would be lower.
120GB Kingston SSD included in the RED Mini-mag. Source: Jinni Tech Youtube Video
Given the actual price of the 120GB RED Mini-Mag, which is $850 US and the price of the Kingston SSD which Bruce claims is roughly $20 US gives a x42.5 mark-up on a 120GB RED mini-mag. Please note that this estimate ignores the cost of other components, shipping, assembly, and so on.
Right to Use “Made in USA” Label?
Furthermore, Bruce claims the “Made in USA” label is used unrightfully and that it is deceptive. There are also a quotations from Federal Trade Commission’s (FTC) website used in the video to further support the claim. Bruce said the RED Mini-Mags would, in fact, not even qualify for the “Assembled in USA” label as the final assembly of the RED mini-mag is not substantial. We reached out directly to FTC and asked to give us their official stand-point about the claims in the video. We will update the article with their official answer if/as soon as it arrives.
Part 2 - RED MINI-MAG - Things you only thought you knew. - YouTube
Next, Jinni Tech stripped down a RED Mini-Mag side SSD module. It turns out it is basically only a $10 US worth of PCB connectors to transform a RED’s proprietary mag connector into regular SATA connector. The SSD module was priced at $1,500 US. Bruce further elaborates on using the 480GB SSDs in 512GB mini-mags and finds evidence of a RED representative confirming they were lying about this fact on Reduser.
Is RED Choosing Consumer Grade SSDs instead of Industrial Grade?
Furthermore, Jinni Tech explains on the example of a 960GB RED mini-mag how RED actually decided to use a bare minimum quality SSD labeled as “CE – Good” even though the company offering them (Virtium) also offers other options – SSDs labeled as “XE – Better” and “PE – Best”. What is a bit misleading in this case in my opinion, is that in the screenshots included in the Jinni Tech’s video the two better grade SSDs are not available in 960GB size. That would only leave one option for RED anyway.
In this case RED could not choose a better or best option for the 960GB Mini-mag
Another example of RED choosing the lower quality (consumer grade “CA” instead of industrial grade “WA”) is shown on the 480GB RED mini-mags using the Innodisk SSDs.
Older REDMAG with Mini Mag SSD Inside
Next, Bruce takes apart the older REDMAG 1.8″ only to find out there is the same size SSD as in the mini mags with only difference being the bus connector. He claims that because of that RED forced their customers to buy another SSD side module when they in fact didn’t have to.
Stripped down 1.8″ REDMAG. Source: Jinni Tech Youtube Video
The second video has been posted on Reduser in the same thread (page 27). At the time of writing of this article there was still no official response to the second video from RED Digital Cinema in the thread. We will update the article if/as soon as Jarred Land or someone else from RED provides an official response.
Jinni Tech promised to keep publishing more videos – the next one should explain the RED ecosystem and be even more technical.
What do you think of the accusations made in the second video by Jinni Tech? Do you use RED cameras and their media? Let us know in the comments underneath the article.
Earlier this year, a drone paralyzed the entire Gatwick airport. But what happens if a drone hits a plane? There are various opinions around this subject, they range from “minimal risk” (like a bird hitting a plane), all the way to “total disaster”. Fraunhofer Institute in Germany ran some studies to solve that question.
Image credit: Fraunhofer EMI
Drone Crash Against a Wall?
The drone business has become enormous, and security concerns regarding their usage are continuing to grow. One of the best examples is the introduction of many “no-fly-zones,” but they are not unbreakable. Every year new rules and new regulations are popping up all over the world, often inconsistent. These rules are trying to solve security and safety issues, especially regarding the air traffic in the sky between drones and airplanes.
A German research institute – Fraunhofer EMI – is trying to simulate real impact scenarios between a drone and a plane. To do that, they built a unique test bench. In this bench, they threw a drone with a maximum three kilograms at various speeds – up to 500 Mph – against an eight millimeters thick aluminum plate. And the results are pretty scary.
Image credit: Fraunhofer EMI
No surprises, the drone ends up in a million pieces. The Fraunhofer EMI states:
There were substantial deformation and indentation of the plates, and the drone battery and engine were completely destroyed. Tests in this weight class of drone have never been carried out before.
These drone crash tests will be useful for aviation authorities and regulations. This kind of analysis has never been run before. But it also lifts another question, what happens if a drone ends up in one of the turbines of an aircraft?
Drone Crash in a Jet Engine
The only result I was able to find is three years old. In 2018, researchers at the University of Dayton Research Institute did a collision test between a DJI Phantom 2 and an airplane reactor. The least we can say is that neither the drone nor the aircraft won the battle.
What Happens When a Drone Hits an Airplane Wing? – AINtv - YouTube
A drone is mostly made out of plastic and electronics; the real problem and damages in these tests are caused by the lithium-ion battery that explodes. Yet, more tests need to be run about this as the results are inconsistent and there are too many variables that can influence the outcome.
Yet, while being aware of the dangers, and of course the obligation to fly safely and responsibly with our drones, we shouldn’t get too paranoid about these results and tests. A drone crash against an airplane is extremely rare, and there is no evidence of a plane crashing or being severely damaged by small drones (yet).
What do you think about these drone crash results? Do you take extra precautions near an airport? Let us know in the comments!