 Hey, what is up? My name is Rebedium. Welcome to the Crimson Engine. Today we are looking at mounting the Canon C200B on the Ronin S gimbal. So I got this gimbal when I was away in Vermont. I only had the chance to try it out with a much smaller camera. But the reason I got it was that the capacity for it matches my primary shooting camera, the C200B. I was excited to get home and put the C200 on the Ronin S and see what kind of shots I could get, what kind of performance I could get. Really just how practical is it? Last year, I reviewed the Tilta Gravity 2 gimbal with the C200. And I personally found that the camera was way too heavy for the gimbal, even with the mounting accessories, even with the two-handed thing. It was just too much of a load. It couldn't stabilize it properly. And really, it just wasn't practical for getting the kind of shots that you want to get with a gimbal. But here we are six months later. Ronin have come out with their single-handed gimbal design. And, you know, it's a lot different being the B variation, which was actually partly designed by Canon for this kind of operation. I don't have any screens on the side. I don't have any monitors on the top or EVFs that I had to take away. I have kept my shape cage on the camera just because it gives it an added layer of protection. It doesn't weigh that much and it was too much of a hassle to be taking on and off every time I mount it. So that's added a little bit of weight. You could get it lower, but but in this case, it works fine. The lens that I'm going with is one that actually didn't know existed before I started looking. It is the Canon 18 to 55. It's a 3.5 to 5.6 variable aperture lens. It only costs $80 and it has autofocus and it's stabilized. But the reason that I liked it and the reason that I got this lens for this gimbal was that it's incredibly light and incredibly short and it doesn't move very much and it doesn't change its weight very much as you zoom in and out from the 18 to the 55. Yes, Canon also makes a version of this. An EFS version of this. That's the same focal length, 18 to 55, but it's a constant 2.8 aperture. It's also 10 times the price at almost $750. So for the shots that I wanted to get on this, I wanted to go with a small wide lens. An F 3.5 was definitely fast enough for what I want to do shooting outside. Now, one odd little thing about the Ronin S is that it doesn't have any quarter 20 mounting points in the handle. DJI may release some kind of conversion kit in the future. But what I went with was this cold shoe adapter that you can get on Amazon for $5. It's just a small little plate that screws into the side of the Ronin and lets you mount a monitor to see what you're shooting. In this case, I've gone with a Blackmagic five inch video assist. This runs off its own batteries. And the reason I put it on the handle and not on the head itself by placing the monitor on the handle, it reduces the weight that the gimbal has to balance. It also has the added advantage of like a steady cam mounting the screen lower so that as you're watching the screen, your peripheral vision takes in the ground that you're walking along. And it means that you're not going to trip over stuff. Balancing the C 200 was super easy, takes less than five minutes. I have to find the more times that I do it, the easier I kind of get my head around it. And you see when I switch the Ronin on, as long as you're somewhere in the ballpark of balance, it'll take up the slack and the motors will work to get a perfect level. Now able to detect level and get it a lot quicker. The only thing you're doing, if you're not perfectly balanced before you turn the unit on is you're making the motors work a little bit harder and you're going to reduce your battery life somewhat. So if you wanted to shoot all day, make it so it's perfectly balanced. If you just want to get a couple of shots as part of your making your day, then don't you don't have to spend too much time getting it perfect. Probably my favorite thing about the Ronin S is this cool little tripod feet that stick out the bottom. I mentioned this in the crane comparison. It means that it gets around the worst problem of having a gimbal, which is you've got nowhere to put it down. And you can see now that, you know, I can move this around. It's not that heavy, especially if you tack your elbows to your side. You can brace the tripod against your body. Double click the trigger on the front here and the Ronin will now bounce itself to your new level and take this into account. So you can sort of hang out here. You can give your arms a rest if you're waiting between shots in a way that you really can't do with any other single handed gimbal. So let's check out some shots that I got outside and in some different environments with this set up. And it shows just how smooth the footage can be and how easily you can get some shots that normally would have taken a steady cam or a dolly with a crane attached. I think most people that are looking at this gimbal for professional filmmaking are usually looking at the stabilization, but it also has a huge amount of options as far as motion control and different types of work go. So you could mount this on a tripod and just use the joystick to get really slow, smooth movement, really precisely controlled camera movement that you wouldn't be able to get operating manually. The applications that I'm excited about for the Ronin S in replacing crane or dolly or steady cam shots within your narrative cinematic storytelling. I don't think this sort of setup is ideal for a wedding or something that you're going to try and work for hours. Yes, the battery grip under good circumstances will last for up to 12 hours. That you're going to get tired really, really quickly if you take this thing to a convention or a wedding. It's much better suited to designing a specific master shot, a moving master or a following two shot of dialogue like you would do with a traditional Ronin or steady cam and then being able to take your A camera off its tripod because the Ronin S uses a standard Manfrotto base plate. Slide it on to your Ronin S, get the shot that you want, do a couple of takes, power it down, put it on charge, put the camera back on the tripod or wherever else you have, back on your handheld rig and keep getting your shots. What I think is a game changer about the Ronin S is it fits so well within the independent low to medium budget cinematic workflow. And it's really seamless in getting your camera onto it and then offer it off it again. It's a great way to put a higher level of production on your shows without having to deal with a whole nother operator. So that's my look at mounting the Canon C200B digital cinema camera onto the Ronin S. It's a really great tool for speeding up your day, getting shots you normally wouldn't get in a way that doesn't require a heap of gear, different operator or a lot of money. You know, this thing is only $700. It doesn't need special training to use. It doesn't even need to be. You don't even need to be particularly strong to use it. If you think out your shots beforehand, you can get really amazing. You can add really amazing technique to whatever you're doing. Thanks very much for watching. No doubt you'll see more footage from this turn up in my other videos, but leave your questions in the comments and I will see you next time.