Please select Into the mobile phone version | Continue to access the computer ver.
DJI OSMO Changes
3780 4 2015-12-22
Uploading and Loding Picture ...(0/1)
o(^-^)o
trip3980
lvl.2

United States
Offline

Hello DJI, I think the DJI OSMO is ground braking. I never thought to take a camera drone with gyro and put it on a selfie stick.  Brilliant.   Currently I am putting together a proposal for a non profit and a church for a mobile broadcast setup.  Ironically I wanted to incorporate drones in to the mix using the same camera that where used in the mobile broadcast setup.  The problem is that working with these setups I often have to get an adapter, converter etc for everything just to make it work right and still I have to cross my fingers to see if it will work.

As you may know, black magic cinema camera have made a lot of leaps and bounds to get where they are, but I think many of the camera companies are falling short because some will have most of what the consumers need but missing a few aspects that make it hard to adapt to a particular need or situation that we filmmakers have as simple or complex as it may seem.  Once DJI came out with the osmo and zenmuse x5 I think the company was on to something.  My only problem with the zenmuse x5 is the price point but I love the osmo price point and I am willing to go with the osmo package over the zenmuse x5.

I noticed that the osmo shoots raw which is nice, but is a bit of a nightmare to deal with.  Apple came out with a new codec that's called the Apple ProRes 4444 XQ.  The white paper can be found here:  

https://support.apple.com/en-us/HT202410

Once you read the white paper you will understand why I am pushing for the idea of using that as the cameras codec.  Makes a lot more sense then shooting raw not saying you can't do both but as a filmmaker I would rather go with Apple ProRes 4444 XQ if given the option.  Their are some Raw junkies out their that demand raw.  Which is fine, but for the majority of the filmmaking community the Apple ProRes 4444 XQ codec is what we need.  

I have studied video compression technology for a while now and the Apple ProRes 4444 XQ codec seems to be it when it comes to a compression standard.  Shooting raw becomes a data management and storage nightmare regardless of the budget.  If I had to sacrifice price over raw I'd pick price any day.  

As of now all your cameras are shooting in h.264 which is fine, but the artifacts are killing video quality especially for post editing work IE changing pixel expect ratio and compression down the post pipeline.     

Take a look the h.265 codec:

http://www.ericsson.com/res/thecompany/docs/publications/ericsson_review/2013/er-hevc-h265.pdf

This will give you a comparison of h.264 vs h.265. Its best to watch in HD.


Working with the h.264 codec, it has a similar quality to QT 422LT codec.  However, in the past working with h.264 was hard because of compatibility issues and buffering in editing programs particularly apple final cut pro 7, but the problem has been sense addressed.  Working with h.264 and raw has been addressed in adobe premier pro also, but I don't feel that the H.264 codec is the best option for us filmmakers.

I think working strictly in h.265 codec while shooting in 4 k is the way to go for conserving storage space especially uploading YouTube content.  Working with a codec like h.265 cuts down my editing time quite a bit because I don't have to change codecs and keep the same quality and codec from raw footage to post to final output.


In regards to GUI updates, I would also like to see data rate in real time like I can with the magic lantern firmware hack.

When it comes to post image processing like color correction h.264 and h.265 the codec is really fussy because of the dynamic range.  I noticed from reviews the DJI osmo camera doesn't give users the ability to choose whether they shoot in natural or custom color settings.  Being able to manipulate the color look in camera can help remove the issue of having to modify the footage in post.  hence the problem with not being able to shoot in raw and taking advantage of the dynamic range.  Canon allows users to produce their own color profile and I think should be the same for the DJI OSMO.  The profiles are called .lut LUTS: Look Up Tables.

In regards to the GUI, its not necessary, but it helps to have brightness level indicators to see what is peaking and what is too dark.  This helps when shooting with h.264 because the codec so fussy.

Current reviews of the DJI OSMO seem to indicate that the camera does poorly in low light and I noticed that the image seems milkey in low light and day light.  It comes off as a flat haze not sure if that is an issue with the sensor, image processing or color, but I would have to do some testing to understand what I am seeing.

Another issue with the OSMO is the focuse distance in regards to selfie mode.  The current focuse distance is 3 feet, but I feel 1-2 feet  is ideal but I know their are lense limitations so I am not to worried about this atm.   

Often when I shoot in bright daylight I would like to have an ISO that is 12 and or 25 ISO.  Often I will find myself using an ND filter.  ND filter can be avoided if the ISO could go lower.  I like shooting at a lower ISO because it allows me to open F stop ultimately effecting the depth of field.  

I have a b+w nd filter that cuts out the light by 10 stops.  Its great because I can shoot at F4 and F2 when the light meter reads F16 and F22.  Normally I will shoot at 24 FPS and the shutter at 50 or 60 based on what the camera will allow.  However, I would prefer to set the shutter at 48 fps because that is the normal shutter angle at 24 fps.

FPS ramping would also be nice, but this is a wish list more then a must have. Not sure why its so hard for digital camera manufactures to allow consumers to ajust frame rate at 1 FPS increments like on the old film cameras back in the day, but It would be ideal for practical effects.

When it comes to YouTube, the osmo is competing with the canon g7x.  I have looked at the image quality between the osmo and the canon g7x and I think the canon g7x looks cleaner in my opinion.  you can see the test here:  



Regarding sound, the problem with the sound is that the mic is next to the gimbal motor which is the main reason for the issue with the camera sound.  But in all honesty, I say take out the internal camera mic all together it is unnessary extra cost and most consumers will get a better mic anyways.  As for an external mic I would add a hot shoe mount right side of the device near the top.  I'm pretty sure it will be fine next to the gimbal motor.  The rode video micro is the best microphone I have seen so far that works with the osmo.  Same for the rodelink filmmaker kit.

The Battery in my opinion is not up to par at all and while I understand the need to remain compact the battery life must be addressed. I think the sony batteries like Sony NP-F975 battery would be great. It may be big but I would tolerate it my self.  

The current OSMO battery is 980 mAh and it only last 45 minuts.  On a long shoot I can't be messing with batteries. If their is no solution I feel that the osmo absolutly needs a power adapter like the canons have ie the power attapter that looks like a battery that has a power cable running out the end.  This is the same problem black magic and for some reason they won't address this issue with their systems. Espesialy when they desided to perminently put a battery inside the unit.  Sony I feel did it right when they opted for difrent size battery packs on their units.    I think to address the battery issue DJI can add the batteries at the end of the handle in the front and back to keep the balance the same. Or simpaly make the battery look like a tube shape that screws on to the base of the handle increasing the handles languth.  Basicly just a cilinder shape extending the handle at difrent languths.  but regardless I must have longer battery life while shooting even if that means hooking up to an external battery pack.   

I would like to see the incorporation of a break out cable attach at the bottom of the OSMO handle.  Blackmagic did something like this with their pocket studio camera.  works well.  The connections I would like to see is left and right female xlr input, hd sdi out, sdi data for camera  and lens control functions coming from the black magic television studio.  I would also add usb 3.0, HDMI and Ethernet to work with live streaming internet video much like a web cam but with higher functionality and control.  

The brake out cable should come out the bottom of the Osmo handle mainly because of gravity.

To give you an idea of what I am talking about take a look at this

Panasonic AW-HE2PJ Compact HD / SD Integrated Indoor Camera.  its Ethernet controlled and you can broadcast via hdmi input we use device at KZGN in Ridgecrest.  

You can view it here.


and





Theoretically I can hook up this setup to the black magic television studio or the Panasonic remote camera controller.  The data sdi and Ethernet can be controlled on the black magic but the  Panasonic remote camera controller can only handle Ethernet.

An accessory that I think would be killer is the ability to attach the zenmuse camera to a jib arm and add an extension cable connecting from the camera to the osmo handle for crane shots.  I'm guessing the length of the cord can be custom.  based the type of rig used.  I don't think DJI needs to manufacture the jib just the attachments needed to mount to a standard screw plate or to a car.

For example, during an action scene a car can have a camera mounted to the body using suction cups, but run a cable inside the car to control the camera from inside.  The creative potential is endless.  the video signal should come out raw out over hd sdi or hdmi and connected to say one of the external recorders like the black magic hyperdeck shuttle or the atomos ninja.  This connection can be attached via the breakout cable.

I think some modifications could be made to the osmo that could keep the price point the same but still maintain the current features that I need as a filmmaker.  I love the fact that the zenmuse x5 has a Micro Four Thirds Sensor with MFT Mount.  I know the weight is 6.7 oz, but the Olympus M.Zuiko Digital ED 40-150mm f/4.0-5.6 R Lens is the lens I was looking at when migrating to the Blackmagic Design Micro Studio Camera 4K and using that lens for live broadcast productions.  the  Panasonic - LUMIX G Leica DG Summilux 15mm f/1.7 ASPH. Lens weighs 4.6 oz which the other lenses is just 2 oz heaver.  I am crossing my fingers hoping you can integrate that lens onto osmo.

The problem I have with my current black magic setup is the is the amount of accessories I had to integrate with this one camera to get it to do what I needed while maintaining a reasonable price point.  Not to mention that black magic camera has no integrated viewing monitor and to buy one would cost me over 1k using the atomos ninja assassin. but I liked the osmo and how it took a new direction and using existing tech to view video and controls to the device over the android and iPhone.  very creative. This is truly out of the box thinking.

As far as the osmo goes I would like it if their was a dedicated tracking device that allows the camera to follow a subject via a wrist band or something that can fit on the talents person discreetly.  For example, lets say I am doing a car chase scene I can attach a tracking device on the person  while driving and not have to worry about operating the camera.  Less takes and easier to work with from an operators stand point.  I know this is cheating creatively speaking, but when you don't have the money or the budget to have 15 operators at 15 cameras it could make or brake a production.  

I know we can do this with drones IE tracking a moving subject.  Just the idea that we can almost operate a production with one person is amazing to me.

Attached is an excl snapshot that I think would give you a good idea of how I planned my mobile broadcast setup.  As complex as it may seem it is only 2 cameras and one switcher just to record and switch live.  

I was looking at the  Amimon CONNEX Wireless HD Video Link for UAVs  I saw at NAB this year selling for $1,600.00.  This technology can receive HD video and can control the camera gimbal.  I am pretty sure DJI can do the same thing in their drone system, but I would like to see the ability to output and control several cameras on one wireless broadcast transmitter.  For several reasons. such as video village, live stage events etc...  If this tech was incorporated in each handle of the OSMO or camera directly that would be great, but I think I am asking to much.


At least keeping the osmo camera with fixings under the $1,500 price point would be grate.  Might be less redundant if the wireless video and camera control was built in each DJI camera.  As for controlling the video and sending the signal I could see using Ethernet, HDMI and HD SDI coming out of the remote flight control pad and connecting to the black magic television studio and the Panasonic remote camera controller in a multi camera shoot if that makes sense.

If these changes where implemented at a reasonable price point I could see DJI owning the pro video camera market if not the consumer video market.  When I was at NAB, I talked to some of the camera companies and many seemed to alienate the consumer somewhat especially before releasing the product.  I know companies like black magic listens, but they still output cameras that seem to be lacking every time I see them.  

Thanks for listning.  

2015-12-22
Use props
witen
lvl.2
  • >>>
Hong Kong
Offline

Good Suggestions~~~
2015-12-23
Use props
DJI-Amy
DJI team

Hong Kong
Offline

Hi, thanks for all of the precious suggestions. I've forwarded your passage and suggestions to the product manager and engineers, they will consider those suggestions seriously.
2015-12-23
Use props
trip3980
lvl.2

United States
Offline

DJI-Amy Posted at 2015-12-23 18:56
Hi, thanks for all of the precious suggestions. I've forwarded your passage and suggestions to the p ...

Thanks Amy
2015-12-25
Use props
DJI-Amy
DJI team

Hong Kong
Offline


You're welcome.
2015-12-28
Use props
Advanced
You need to log in before you can reply Login | Register now

Credit Rules