Wireless control for Rosco Cube LEDs

Wireless control for Rosco Cube LEDs

Rosco’s CubeConnect system enables eff-ortless wireless control of your Miro or Braq Cubes from distances up to 2000 – (600m), making it easier to place your lighting anywhere you need it and still have control.

Designed in conjunction with the design team over at The Black Tank, this new Wireless DMX solution has a name: CubeConnect. The system consists of two parts, the CubeConnect Transceiver and CubeConnect Dongle, which work together to enable simple wireless control of Rosco Miro and Braq Cubes from distances up to 2000 – (600m).

The compact CubeConnect Transceiver accepts lighting control commands (inputs) from DMX512, BlueTooth Limited Energy (BLE – which will be implemented soon -, or Serial DB9 connections, and sends the data back out on either the wireless antenna or the DMX output.

The CubeConnect Dongle is a 2.4Ghz radio receiver which plugs right into the back of a MIRO Cube or BRAQ Cube, and accepts wireless lighting control data from a CubeConnect Transceiver. The low-profile, self-contained CubeConnect Dongle is powered from the fixture itself, so it does not need any sort of external power supply – making for a streamlined, clutter-free installation.

An additional receiver option includes the use of a second CubeConnect Transceiver, allowing CubeConnect to be deployed with any product which accepts DMX or to convert existing non-data track systems into intelligent systems.

Wireless control for Rosco Cube LEDs

Key Features

  • DMX or Serial outputs
  • Universal power adapter (100 – 240 VAC In/5VDC Out)
  • Locking feature to save configured scenes
  • Up to 254 output channels can be controlled by a single Transceiver
  • Master & Slave configuration when using multiple Transceivers in a common area
  • Compact size with multiple antenna configurations for optimal performance

Blackmagic’s 4K Video Assist Update Available For Download

*** Update ***

The new 2.2 firmware for the Blackmagic 4K Video Assist is available for download. You can download the software here. We now have these features added to the 4K Video Assist, which I’ve been testing for the last couple weeks. It is very well paired with any of Blackmagic’s cameras.

  • Add MXF wrapper to DNxHD and DNxHR for the Blackmagic Video Assist 4K
  • Add DNx different bit-rates – DNxHD 220,145 and 45. DNxHR HQ,SQ and LB for the Blackmagic Video Assist 4K
  • Add False Color monitoring to the Blackmagic Video Assist 4K
  • Add expanded options for Focus Assist to include Red, Green, Blue and White as well as Peaking

**** Update ****

Blackmagic announces an update to the firmware for the Blackmagic 4K Video Assist Monitor / Recorder. The firmware 2.2 announcement means the Video Assist gains an important exposure tool, False Color. Other improvements are better support for DNxHD and DNxHR codecs, expanded focus options, and new screen rotation features. The Video Assist 2.2 firmware will be available soon and is a free download.

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This announcement was the kind of firmware update Blackmagic needed to make for the 4K Video Assist. When the monitor/recorder first shipped it had bare bones functionality. Just like Blackmagic does with many of their products, they continued to improve the Video Assist throughout the life of the equipment. I am interested in seeing what else they add to the monitor / recorder. For me, anamorphic de-squeeze options like 1.3x 1.5x and 2.0x would be a great addition.

RecorderAfter the announcement earlier in the year that Windows computers may not have QuickTime support. We are to expect in the near future .mov files will have a problem being played or reviewed on non-Apple computers. What Blackmagic has done is add MXF containers for Avid DNxND and DNxHR. This also means shooters will be able to choose between DNxHD 220, 145, and 45-bit rates or between DNxHR HQ, SQ, and LB formats for recording. For those who do not understand Avid’s codec names here is a primer. The “HD” in DNxHD means High Definition or 1080. The “HR” in DNxHR means High Resolution or 4K and the many flavors of it above HD.

Blackmagic also added more focus assist options allowing a shooter or camera assistant to choose their preferred color for focus peaking indicators. How would one use the different colors which are: Red, Green, Blue, Black, and White. Let me give you an example, I was shooting the wind in the leaves yesterday and the standard green focus assist was lost in the green of the Tennessee vegetation. Red, or the complementary color, would have been preferred because there would have been zero mistaking focus peaking for green leaves.

One of the coolest features on the 4K Video Assist is the screen auto-rotation. When the monitor is flipped the image flips too. Now you’ll have the ability to control the screen orientation manually or to turn off the auto rotation.

The 4K Video Assist is a Blackmagic product announced at NAB 2016 and released not long after. The recorder is less than 6 or 7 months old and is already being updated by Blackmagic. This is relatively new pattern of behavior for the company and one I think is a wise strategy.

Recorder

Vinten: Innovating Perfect Control

Vinten: Innovating Perfect Control

Filmmaker David Spurdens explores the concept of perfect control in a series of short films centered on his techniques and the use of Vinten equipment.

In a career that has spanned over 30 years and earned honours such as the World Press Photo Golden Eye and the Gold Lens from the International Olympic Committee, filmmaker David Spurdens has covered everything from world-class tennis tournaments, such as Wimbledon, to extreme sports in remote locations, including the North Pole and Tasmania. Now the filmmaker has partnered with Vinten, a Vitec Group brand, for a series of short films highlighting the brand’s acclaimed camera supports.

“The concept of these films was to bring a different aspect of the Vinten brand to life with each one,” explained Spurdens. “For the first film, which I titled “Innovating Perfect Control”, I had the opportunity to film multi-million dollar race horses in the United Kingdom. These horses have been carefully bred and genetically designed to perform consistently, reliably and with great precision. Each horse has thousands of pounds of power behind each stride and yet they run effortlessly and with perfect control. This concept of perfect control and effortless, fluid movement really personifies Vinten’s range of head and tripod system.”

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Vinten’s range of camera supports, from the Vision blue series, used by Independent Content Creators, to the Vector 750 used in this year’s Rio games, have a long standing legacy of award-winning engineering and technology that has proven to be ahead of its time. The range offers users the ability to perform reliably and consistently in application areas such as multi-camera studio production and live sports.

“Very rarely are there second chances in my world,” explained Spurdens. “So I need my tripod to deliver the goods in any condition – working with difficult moving subjects from -20 ?C (-4 ?F) on glaciers to holding tough one-chance pans. If a snowboarder drops a 70-ft icy face, a B.A.S.E jumper launches from a towering cliff, or if a surfer rides the wave of a lifetime you can hardly ask them to go back and do it again because your equipment failed on you the first time around. The people I have worked with for years would cease to trust me right there and then, which is game over for me.”

While he was used to working in difficult environments, it was even more important to get his shots the first time since he was dealing with unpredictable 1,000-2,000 lbs. horses that were sprinting at him.

“During the shoot, a huge stallion powered towards me in a slight arc at full speed, seeming through the viewfinder,” said Spurdens. “As I looked at the stallion rapidly growing larger in the frame, I knew I couldn’t flinch because it was a one-time opportunity. The stallion had his own mind and may never make this trajectory again; he may choose to roll in the mud or run to the end of this big paddock and start feeding on the lush grass.”

For such crucial and complicated project, Spurdens used the Vinten 10AS head with Carbon Fibre sticks as his support. “The 10AS was great. It offered a quick release for the rig if I had to move quickly, portability in an unpredictable environment, and the strength to handle the weight of a cumbersome rig,” said Spurdens.

Perfect for a wide range of digital camcorders in ENG configuration, the Vinten 10AS pan and tilt head comes equipped with an extensive camera payload capacity of 6.5 to 17 kg (14.3 to 37.5 lbs). Thanks to its infinitely adjustable Perfect Balance, advanced LF drag system, and Sideload plate for rapid camera attachment, Spurdens didn’t have to hold back when it came to getting the shots that he needed.

“I’m pulling focus, zooming, panning and the whole time creating a fulcrum as my large frame and the heavy rig starts to put ridiculous pressure on the tripod. While the pressure was too much, in that split second, I knew that this shot was going to be something special and there wouldn’t be another chance to take it. Most other tripods would have buckled at some point in that movement, wobbled the shot completely spoiling the pan, or even given way. Luckily, my Vinten 10AS was not one of those tripods. The flexibility of Vinten’s counterbalance and its rigidity enabled me to get those shots that would be nearly impossible to get with any other brand.”

How far you can lean on stock footage?

Depth of Field” is a three-part web series that showcases the breadth of the Adobe Stock Film Series collection. The series demonstrates just how far you can lean on stock footage, even if just used as placeholders for custom shots.

To bring the project to life, San Francisco-based design and moving picture company Skycar Creative reached out to artists and designers from around the world and asked them to share a story from their creative journey. Then Skycar brought the stories to life by producing short films inspired by the artists made with hundreds of Adobe Stock video assets.

depth-of-field-art

The movies in series features original narration from filmmaker and photographer Foster Huntington on quitting his day job to become a full-time artist, vector artist and illustrator Robert Generette III on the frustration of having an “idea strike,” and graphic artist Kahori Maki on the creative impact of the March 2011 Tohoku earthquake. “Looking through new images that I haven’t seen yet took me to a place that I haven’t been and showed me a new landscape. For me, it is like being in a zero gravity world,” says Maki.


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Using Adobe Premiere Pro and After Effects, Skycar Creative reversed, sped up, slowed down, colorized, merged and manipulated raw stock files to produce original works of art. “We wanted the audience to have a personal glimpse into pivotal moments and process from real artists. We also wanted them to experience the visual possibilities with stock and feel inspired to go out and make something cool,” says Skycar Creative Director and Co-founder, Aaron Barry.

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adobe-stock-logo-150x150In case you missed it, last week Adobe announced the public beta of the Adobe Stock Contributor website, a new platform where you can sell photos, illustrations, videos, and vector graphics directly to the world’s largest creative community. By contributing to Adobe Stock, you can showcase your work to millions of creatives right inside Creative Cloud apps. The platform is fully functional but still in beta, so feedback is welcome through the Adobe Stock Contributor forum.

One major new feature is auto-keywording, a time-saving feature that uses machine learning to automatically generate the first five keywords of each image you submit. It’ll be interesting to see if this technology can generate emotional keywords like “joy” that could help worthy content to stand out from the crowd.

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Adobe has integrated Stock contributor submission directly within Creative Cloud applications, though it’s not required. During the beta phase, you’ll have the ability to upload images to Adobe Stock directly from Lightroom CC and Bridge CC, which were also just updated and released. Adobe plans to open submissions to more content types in additional CC applications soon.

There’s a 33% commission for photos and vector art, and a 35% commission for videos, “based on the price of the image.” A payout request via Paypal or Skrill is available when you have reach $50 (or Euros) in royalties (allow 7 days for payment). Check out Adobe Stock itself for info on the range of pricing.

You can visit the Adobe Stock HelpX page for general information. See also this Adobe tutorial on how to Use Adobe Stock video footage with Creative Cloud Libraries inside Premiere Pro CC and After Effects CC.

Polaroid BrightSaber for video and photo

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It will not make a Jedi out of you, but the Brightsaber may well become your travel light wand for creative lighting system. It comes in two versions, one of them Pro.

The normal version of the new Polaroid BrightSaber features an array of 98 efficient, low-heat 3200K LED bulbs which offer a lifespan of more than 50,000 hours. The high-powered LEDs deliver maximum illumination in any lighting situation but 10 power settings let users control light output with exact precision. In terms of an output, the BrightSaber offers 1500 lumens and a color range from 3200k to 5500k to capture the perfect shot on-the-go or in the studio.

Weighing under two pounds, the new BrightSaber includes four color filters to give photographers and videographers maximum control and creativity when lighting their handheld shoots. The detachable wand handle allows users to break the wand down into an ultra-compact size for easy transport. With a price of $99.99, the BrightSaber is, according to Polaroid, “an affordable option, that costs less than other comparable wands on the market”.

Polaroid BrightSaber for video and photo

If you need more power, than the Pro version is the way to go. It offers an infrared lamp and camera shutter remote; rechargeable battery pack, professional-grade LED lamp driver chip to enhance consistency and lighting stability. The 1.7″ diameter multi-purpose grip provides maximum comfort during handheld use, while a built-in threaded tripod mount enables studio setups. The Pro version also offer intelligently integrated, freely rotating, tubular tungsten filter in wrap-around design, which ensures perfect lighting balance, and last but not least, an array of 298 powerful, efficient, low-heat 5600k LED bulbs that offer a life-span of more than 50,000 hours.

The Polaroid BrightSaber Pro is available now on Amazon for $162.29 and ships with a lamp, filter, remote control, battery, AC power adapter, case and manual.

Zylight LED white fixtures for Worship facilities

Zylight LED white fixtures for Worship facilities

Designed for special architectural and staging applications, white fixtures are popular in worship and professional environments because they blend in better than black fixtures. Zylight has new white fixtures available in their line of LED lights.

The new versions of Zylights’ F8-100 LED Fresnel are identical to the black version of the next generation of Fresnel lights but in white molded aircraft grade aluminum for houses of worship or architectural installations where fixtures are better left unseen! Available in both 3200K or 5600K color temperature versions, the Zylight F8 100 is extremely compact, durable and the most versatile Fresnel light ever built.

The F8-100 draws only 90 watts, but has the light output of a traditional 1000-watt Fresnel and an adjustable beam spread (16-70 degrees). Its glass lens delivers traditional Fresnel beam shaping, while a patented focusing system allows spot and flood operations. The fully dimmable IS3c is a wide, high-output soft light with built-in controls for adjusting color temperature and color correction. Both lights offer DMX and ZyLink wireless control.

Zylight LED white fixtures for Worship facilities

“More and more churches are moving to professional LED lighting for the power savings,” said Joe Arnao, president of Zylight. “With Zylight, you also get amazing light quality and reliability. Plus, we offer our popular IS3c LED panel light and F8-100 LED Fresnel in white fixtures to blend in better in sanctuaries and other permanent installations. We offer a variety of lighting solutions to fit the needs and budgets of WFX attendees.”

Zylight is the exclusive distributor of Aladdin LED lights and accessories throughout the Americas. Products include the BI-FLEX family of flexible LED panels, which are dimmable (5-100 percent), offer adjustable color Zylight IS3c White JPEGtemperature, run via AC or battery power, and are available in three sizes up to 200 watts. Aladdin also offers the A-LITE and EYE-LITE BI, two ultra-portable dimmable lights with and internal batteries that allow up to two hours of runtime.

The ZyLink Bridge is a lightweight, wireless fob that allows the ZyLink App for iOS devices to communicate with the integrated ZyLink wireless control found in most Zylight fixtures. There are no routing or network configurations necessary – simply turn on the lights, select one of the 10 ZyLink wireless channels, and take control with the ZyLink App. With an intuitive user interface, the ZyLink App provides easy access to brightness and white light temperature controls on lights like the F8-100. Plus, the app offers color and saturation adjustments for the IS3c and other models equipped with Zylight’s Color Mode, which produces millions of colors without gels or filters.

Sachtler announces Freddie Wong Signature Ace tripod

Sachtler announces Freddie Wong Signature Ace tripod

Available in a limited supply, the Freddie Wong signature ace tripod can handle camera packages up to 13.2 lbs and is perfect for any beginner or professional on the go.

As one of the biggest digital influencers of our time, filmmaker and YouTube superstar Freddie Wong has used the Sachtler Ace L throughout his rise in the industry and while filming comedy shorts for his acclaimed production company RocketJump. RocketJump has over 7 million subscribers and 1.2 billion views on YouTube and has branched out into its own Hulu Series entitled RocketJump: The Show.

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“I’m incredibly excited to be working with Sachtler and to lend my John Hancock to their Ace L line of tripods,” said Freddie. “Since 2010, when we started uploading videos, Sachtler has always been the go-to tripod for all of our productions. We tend to go for a guerilla aesthetic and the Ace L in particular fits right in by combining excellent build quality with a light weight so you can easily pick up your whole camera package and flee quickly from non-permitted locations when the fuzz comes to shut you down!”

Sachtler announces Freddie Wong Signature Ace tripodThis special Ace configuration offers an Ace L head with robust aluminum legs, giving users the smooth movement that Sachtler’s known for with a Lime Green accent just like Freddie’s go-to glasses. Available in a limited supply, this system can handle camera packages up to 13.2 lbs and is perfect for any beginner or professional on the go.

The 75 mm bowl tripod offers operators the most durable option providing the ease of use and quick set up vital for all applications. Like all Sachtler systems, this Freddie Wong Signature Edition Ace Tripod System guarantees users a great pan and tilt drag performance with its strong German engineering and patented SA-drag system.

Sachtler’s Director of Global Brand Management, Tobias Keuthen said, “The Sachtler brand has long stood for filmmakers and broadcasters who are on the go creating. We are thrilled to partner with Freddie and reach the next generation of creators. We hope this special configuration will help inspire them. With this new tripod, our customers get trouble-free shooting in every environment with improved features that will provide all the control and flexibility required to deliver a best-in-class Sachtler performance.”

This signature system weighs just 4.5 kg (9.9 lbs) and includes an aluminum tripod with a mid-level spreader, footpads with retractable spikes, and a carrying bag. It also incorporates premium Sachtler features such as easy, accessible controls and fast adjustments to deliver the ultimate professional performance for shooters on the go.

Bee Gees legend Barry Gibb in 360

BeeGees legend Barry Gibb in 360

Blackmagic Design announced that six Micro Studio Camera 4Ks were used by live virtual reality (VR) production specialists 360 Designs to capture and live stream an interactive, 360-degree experience with Bee Gees legend Barry Gibb.

In anticipation of the October release of his upcoming album, “In The Now,” legendary Grammy award-winning singer/songwriter/producer Barry Gibb invited fans to join him virtually and in person at Miami’s legendary Hit Factory Criteria studio for an intimate performance. During the exclusive rehearsal, Gibb performed brand new material from his upcoming album, as well as classic Bee Gees songs, and also hosted a Q&A. The entire event was live streamed in 360 degrees on YouTube and www.BarryGibb.com/360, giving fans around the world a better than front row seat to this special performance.

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In order to capture the 360-degree performance, Alx Klive, founder and CEO of 360 Designs, used six Micro Studio Camera 4Ks, as part of two Mini EYE 3 Professional 360 Camera rigs, with three cameras per rig. One rig was situated on a motion track near Gibb, which allowed for remote movement of the 360 camera setup. The other rig was positioned next to keyboardist Doug Emery, providing an alternate 360 viewpoint for the audience.

360 Designs also used several of Blackmagic’s DeckLink 4K Extreme 12G and DeckLink SDI 4K capture and playback cards as part of its live stitching technology, a number of Blackmagic HyperDeck Studio Pro broadcast recorders to record ISOs and the live stitched output and several Blackmagic Mini Converter Sync Generators to synchronize the Micro Studio Camera 4Ks for 360 capture.

360 Designs used its own live stitching, switching, grading and encoding boxes, which feature the DeckLink 4K Extreme 12G and DeckLink SDI 4K cards, to produce the one hour live stream and has used similar setups to live 360 stream from the Oscars red carpet, among a range of other high profile events.

BeeGees legend Barry Gibb in 360

“Over the past 15 months, we’ve built a rock solid broadcast technology workflow for live 360 video that leverages the 6G-SDI 10-bit capabilities of the Micro Studio Camera 4K, as well as our in-house expertise in designing and manufacturing 360 camera rigs and stitching equipment, to provide the highest possible standard of live 360 video with utter reliability,” said Klive. “Coming from a broadcast background, we designed a system that works within broadcast standards and 6G-SDI. For us, this is the only way to go as these events become larger and higher profile.”

He continued, “We had an incredibly talented team, and everyone involved in the production, from the engineers, to the musicians, to Columbia Records and Sony Music, all came together to create a unique and emotional experience for Barry’s fans. We didn’t just want to create another 360 experience; we wanted an intimate, live event where 360 was the focus instead of an add-on to traditional 2D production. Thanks to Barry’s enthusiasm for the project, we were able to plan ahead and design the production to work well for 360. We were able to get the Micro Studio Camera 4Ks much closer to the action than ever before, which was unprecedented and made a huge difference to the quality of the output.”

“This is an incredible technology which immerses you completely in the performance itself,” said Barry Gibb. “Pretty scary really when you’re being streamed around the world, but as kids Maurice, Robin and I always had to perform on live television. You could never previously record anything. Hats off to the 360 Designs team.”

DJI announce their new Mavic Pro drone

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Hot on the heels of GoPro’s recent (and log awaited) Karma drone announcement, DJI follows with the Mavic Pro. Billed as a “portable, powerful and easy-to-use drone featuring DJI’s most innovative flight technology in a sleek, foldable package that enables creative fun wherever you go” DJI is using their history of creating technology that brought drones and aerial cinematography to the masses in creating this next generation of an easy to fly quadcopter. Capable of some 27 minutes of flight on a single charge the Mavic supports 4K video at 30 fps and can transmit a video signal back to the controller at a distance of 4.3 miles. They even tout Mavic’s gesture mode to get “selfies like you’ve never seen before.”

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Availability will be later in the year but pre-orders begin today. From the press release below: U.S. retail price will be $999 with the remote controller included, and $749 without the remote controller. Additional Mavic Pro Intelligent Flight Batteries will cost $89. A Mavic Pro Fly More Combo, which includes a Mavic Pro, two extra Intelligent Flight Batteries, extra propellers, a charging hub, an adapter, a car charger and a shoulder bag, will be available for $1,299.


DJI Revolutionizes Personal Flight With New Mavic Pro Drone

Small Size And Folding Design Make Mavic Pro Perfect For Wherever You Go

September 27, 2016 – DJI, the world leader in unmanned aerial technology, Tuesday revolutionized personal flight by introducing Mavic Pro – a portable, powerful and easy-to-use drone featuring DJI’s most innovative flight technology in a sleek, foldable package that enables creative fun wherever you go.

Mavic Pro is DJI’s first personal drone designed to be taken just about anywhere. Small enough to toss in a bag and easy enough to launch quickly whenever the time and place are right, its unique folding design compresses the entire drone to practically the size of a water bottle.

The compact body of Mavic Pro holds a drone built for uncompromising performance. Equipped with a stabilized 4K camera and a visual navigation system, with a 4.3 mile (7 km) range and 27 minute flight time, Mavic Pro sets the new standard for compact drones.

“DJI has spent a decade making it easier for anyone to fly, and by rethinking everything about how a drones look, we have created an entirely new type of aerial platform for anyone to explore their creativity,” said Frank Wang, DJI’s CEO and founder.

“Mavic Pro is a technological triumph filled with features that once again show how DJI leads the industry. Most importantly, Mavic Pro allows you to reach the skies easily, see the world with new eyes and tell your stories like never before.”

Mavic Pro is designed to be ultra portable and quick to launch so it can take to the skies as soon as you need it. With four folding arms and propellers that tuck neatly away against its streamlined body, it can be easily carried in a purse or backpack, saving you the trouble of mounting propellers before a flight. It can be operated by the powerful long range remote controller, or simply by your smartphone at shorter range. When controlled by a smartphone, the whole system can be set up and airborne in less than a minute to capture every key moment.

Unparalleled Flight Experience

DJI’s commitment to unparalleled stability, maneuverability and safety is clear in Mavic Pro’s new FlightAutonomy system. FlightAutonomy is Mavic Pro’s brain and nervous system, a complex network of hardware and software consisting of five cameras, GPS and GLONASS navigation systems, a pair of ultrasonic range finders, redundant sensors and 24 powerful computing cores.

FlightAutonomy can position, navigate and plan routes for Mavic Pro, enabling it to avoid obstacles in various environments, with or without the help of satellite signals. FlightAutonomy provides a significant boost in working range and can cope with complex 3D environments. For navigation and obstacle avoidance, FlightAutonomy provides a superb speed-range envelope to make Mavic Pro self-navigational in various intelligent flight modes, and will avoid most obstacles at speeds up to 22 mph (36 kph).

An ultra light and aerodynamic airframe, together with DJI’s state-of-the-art propulsion and battery system, enables Mavic Pro to fly for up to 27 minutes. To experience the pure joy of flying, Mavic Pro can be switched to Sport Mode, which allows speeds of up to 40 mph (64.8 kph), increasing the drone’s agility and responsiveness. Mavic Pro flies smoothly and will remain stable in winds of up to 24 mph (38.5 kph), and uses DJI’s GEO geofencing system to help identify restricted areas, preventing flight in locations that might raise safety or security concerns automatically, and helping pilots make smarter decisions about when and where to fly.

As with all DJI drones, Mavic Pro is set to automatically return to its launch location if it ever loses contact with the controller or reaches critically low battery levels. The new Precision Landing feature records a burst of video with two stereo cameras every time Mavic Pro launches, then uses both video and satellite information when it returns to land within an inch of where it took off. If a pilot lets go of the controls, the drone will simply hover in place.

Advanced Stabilized Camera System

Mavic Pro’s small size is packed with powerful features. DJI’s advanced technology now includes our smallest-ever three-axis gimbal for shake-free photos and video. The autofocus camera features a minimum focusing distance of just 19 in (0.5 m) and can be flipped 90 degrees to portrait mode for vertical selfies and video. Mavic Pro records 4K video at 30fps and full 1080p HD at 96fps. Its 12-megapixel camera with Adobe DNG RAW support has been expertly tuned for aerial images. With the help of the high-precision gimbal, you can confidently shoot 2-second-long exposures in the air to get the most jaw-dropping aerial images.

New Remote and Live View Performance

A revolutionary new compact remote controller has been designed to provide a fully ergonomic experience with optimum comfort, and can accommodate a smartphone or control Mavic Pro on its own. Its built-in LCD screen displays essential telemetry data, while dedicated buttons for functions such as Return-to-Home and pausing during Intelligent Flight modes ensure a confident flight every single time. The video link system, OcuSync, represents new heights in DJI’s communication technology. It supports a range up to 4.3 miles (7 km) and live view resolutions up to 1080p.

The new band management algorithm makes OcuSync more robust in environments with many frequencies in operation. Mavic Pro is equipped with dual-band WiFi as a secondary link, allowing easy control via your smartphone for close range operation or for quick downloading of content from Mavic Pro straight to your device.

Most Intelligent Drone Ever

The powerful systems inside Mavic Pro are easy to use, even for beginners. Using just your phone’s touchscreen, you can use TapFly to direct Mavic Pro to go wherever you want, avoiding obstacles along the way. When you want to take a hands-free selfie, FlightAutonomy makes it possible to control the drone completely with just your gestures.

In Gesture mode, you can use gestures to have Mavic Pro locate you, center you in the frame and take the perfect shot as Mavic Pro’s flashing lights count down to the photo. Sharing your best aerial moments has never been easier with live streaming to Facebook Live, Periscope and YouTube through the DJI GO app.

An updated version of DJI’s ActiveTrack recognizes common subjects such as people, bicyclists, cars, boats and animals, which then sends Mavic Pro to follow behind, lead in front, circle above or track alongside the subject, keeping the camera focused on the subject while you concentrate on flight maneuvers. The new Terrain Follow mode means that you can race up a slope behind a subject while remaining at a constant height between 1 ft (0.3 m) and 33 ft (10 m).

At the other extreme, the new Tripod Mode is designed for indoor use, slowing and fine-tuning Mavic Pro’s position and angle based on controller movement inputs to allowing for precision framing and safe indoor flight.

Immerse Yourself

Mavic Pro also pairs with DJI’s new immersive DJI Goggles, displaying an 85-degree view from the drone in full 1080p for a true bird’s-eye view of the world below. With built-in OcuSync, the goggles receive video directly from Mavic Pro in the air and not through the controller, reducing lag to a minimum – and allowing you to share the in-flight view with a friend.

Specially designed for aerial first-person view (FPV) applications, DJI Goggles allows you to flick between third person view and FPV in under a second. You can comfortably wear your glasses while wearing the goggles and quit FPV mode instantly by flipping the mask up.

Price and Availability

Mavic Pro’s U.S. retail price will be $999 with the remote controller included, and $749 without the remote controller. Additional Mavic Pro Intelligent Flight Batteries will cost $89. A Mavic Pro Fly More Combo, which includes a Mavic Pro, two extra Intelligent Flight Batteries, extra propellers, a charging hub, an adapter, a car charger and a shoulder bag, will be available for $1,299.

Mavic Pro is immediately available for pre-order at dji.com/mavic and will begin shipping October 15. It will also be available in mid-October at DJI’s three flagship stores in Shenzhen, Seoul and Hong Kong. Mavic Pro can also be ordered on Apple.com and will be available in Apple Stores in early November.

DJI Care Refresh

A new optional protection plan, DJI Care Refresh, is available in select countries and provides peace of mind for Mavic Pro owners. DJI Care Refresh covers accidental damage to the Mavic Pro aircraft, gimbal or camera during normal use for up to 12 months, and for an additional charge will offer up to two full replacements that are new or equivalent to new. DJI Care Refresh is available for $99 before a new Mavic Pro is activated, or within the first 48 hours after activation.

Robic: a camera arm for high-speed filming

Robic: a camera arm for high-speed filming

Robic is the first rig to offer laser-focused images for high-speed cinematography. Recently announced, the system is available for productions through Triptent.

Robic is a custom developed robotic arm system designed for high-speed filming. It is a fully programmable camera arm that allows for precise, exact movement up to 105 miles per hour to capture and follow motion in laser-sharp focus at 2,500 frames per second. The system is compatible with professional cameras including the Phantom HD, Flex 4K, Red Epic and the ARRI Alexa Mini.


“Together with our longtime collaborator, director-technologist-inventor Fernando Kocking, we decided to develop a custom solution allowing our clients a way to create shots that we’ve never been able to capture before in-camera,” said Joe Masi, Founder at Triptent. “With Robic the speed and clarity of the footage is incredible. We can truly follow the action in real-time as it happens – a ballerina on pointe as she leaps into the air, a glass propelled by gravity as it crashes to the ground, the trajectory of a baseball through the air after a hit. Robic is the first rig to offer such laser-focused images even at high speeds. Using Robic’s infrared motion sensors, we can produce motion control shots that don’t require CGI, layering or effects because everything is captured precisely in live action.”

“Never before have we been able to move a camera while it’s shooting at 2,500 frames per second,” added Fernando Kocking, Creator and Lead Technical Operator of Robic. “Robic not only does that, but even does it successfully at high speeds of up to 105 mph, providing incredible image clarity. Furthermore, it’s also simple and user-friendly. And it results in awe-inspiring cinematography!”

Robic is built around a set of sophisticated robotic arms developed by world robotics leader Staubli, which were then custom engineered via a software toolset written by Kocking to specifically service high-speed cinematography workflows. Robic is ideal for capturing not only tabletop and product footage, but also people and objects, enabling new possibilities in sports, performance, automotive, beauty and lifestyle shoots.

Robic: a camera arm for high-speed filming

The current set-up includes four motion control arms, all fully synchronized to capture a shot with ultimate precision even though it may just be a millisecond in time. Two of the robotic arms, together with the custom Robic software, are designed to control cameras, and two are designed to control objects. The camera control arms can be used alone, or can be programmed to follow the movements of an object mounted on another Robic arm for perfectly synced capture. The system has also been designed so that camera arms can be controlled and programmed very simply via a videogame controller, dramatically reducing prep time.

The system is transportable and can be set up on a stage or on location, and is already in use on commercial projects. For more information about the system, or using Robic for upcoming shoots, visit Robic Team’s website.