Just days after the US Army ceased all use of DJI drones due to their potential “cyber vulnerabilities”, the Chinese company announced a new offline mode, called local data, for their line of drones. Photograph credit: Goh Rhy Yan | unsplash.com Two weeks ago, a memo by the US Army surfaced which gave the order to cease all use of DJI drones immediately (read our original post on that matter here). Although it’s unclear what these “cyber vulnerabilities” were, it didn’t take long for DJI to react. Just 12 days later, on the 14th of August, DJI announced the so-called local data offline mode for their line of drones and apps, which will be rolling out over the coming weeks. Local Data – An Offline Mode for DJI Drones Once the offline mode is activated, all communication between the mandatory DJI Go 4 app and the company servers will be muted. Although the company claims that this feature has been made available due to constant customer request, there might be more to it. To me, the short time between the security concerns raised by the US Army and the release of this offline mode seems like more than just a coincidence. But maybe it’s just that: coincidental. Who am I to judge here? Here’s what Brendan Schulman, DJI Vice President of Policy and Legal Affairs has to say about this new local data mode: We are creating local data mode to address the needs of our enterprise customers, including public and private organizations that are using DJI technology to perform sensitive operations around the world. DJI is committed to protecting the privacy of its customers’ photos, videos and flight logs. Local data mode will provide added assurances for customers with heightened data security needs. This may make you wonder exactly just what is being transferred between your phone/tablet and the DJI servers when not in local data mode. Brendan Schulman again: DJI recognizes the importance of data privacy to its customers. DJI does not collect or have access to user flight logs, photos or videos unless the user chooses to share those by syncing flight logs with DJI servers, uploading photos or videos to DJI’s SkyPixel website, or physically delivering the drone to DJI for service. So, what kind of data does the app pull from the server, you might ask? The data connection is mostly used to pull the latest maps and geofences. In the upstream direction it will send flight data, including telemetry but – as mentioned above – this is only the case if the user chooses to sync this data with the app. As standard the sync is set to ‘on’, though. You can read the full official statement by DJI on that matter here. Opportunities and Risks While the implementation of an offline mode seems like an advantage that gives you, the user, more control over your drone – you won’t be restricted to use your drone in certain no-fly zones, for example – it might get pretty dangerous pretty quickly. Remember that being able to fly wherever you want won’t excuse you from being liable for any damage your drone might cause. Photograph credit: Matthew Brodeur | unsplash.com Also, once in that local data offline mode, you won’t get any updates on maps, geofences, flight restrictions or other updates whatsoever. Please keep this in mind when engaging that mode! Links: DJI Press release | DJI Statement on Customer Data and Privacy What are your thoughts about this move by DJI? Is it a long-overdue update or just a panicky response to that US Army memo which might result in more customers? Let us know in the comments below!

Meet the all-new AiRScouter WD-300 series of head-mounted displays. This futuristic-looking unit might be the key for better and safer drone shots, or even focus-critical gimbal moves. Sound good? Let’s dive in! Japanese company Brother Industries is mainly known for manufacturing printers and personal computers, but they also produce a whole range of other electronics – like head-mounted displays, for example. The freshly-developed AirScouter WD-300 series is a successor to the existing WD-200, but it is this new line of AiRScouter displays that may have the potential of stepping up your gimbal and drone game. Brother AiRScouter WD-300 series The device comes in two pieces: the head-mounted display itself and a controller unit. In contrast to its predecessor, the AiRScouter WD-300 series uses a 1.5x larger 720p LCD display for the viewfinder unit and, since it does away with the mirror, it will act just like a normal viewfinder. The obvious difference is that this viewfinder will always be right in front of your eye, no matter how you turn your head. A tiny display over a mirror (WD-200 series) vs. a ‘real’ viewfinder (WD-300 series). There are three different controller units available, hence the WD-300 series. The smallest is the AiRScouter WD-350B, an HDMI-only unit that requires an external power bank via micro USB. Next is the WD-360B, which sports an internal Li-Ion battery but is still HDMI only. If you want to connect an HD-SDI source you’ll need the WD-370B, which is exactly the same as the 360B but with an SDI connector instead of HDMI. Since SDI is more commonly used in pro video applications, an eyecup for the display unit is provided if you chose the AiRScouter 370B flagship model. Drone and Gimbal Applications The AirScouter WD-370B in particular seems to be very capable of improving your workflow when handling drones or gimbals. Several benefits include: You never have to switch your attention between the LCD screen and the real-life environment since both are visible at the same time. This means you won’t have to search the sky for your drone after checking telemetric data on your screen. The LCD screen of the camera is often obstructed by the gimbal. With the AiRScouter, you can see the live feed from your camera while running around with a gimbal and still being able to keep an eye on obstacles ahead of you. With the eyecup attached, the display seems decent enough to judge critical focus while still concentrating on framing – plus keeping an eye on the world around you. This is often a hard thing to do while running around with a gimbal. Watch the video below to get a better idea of how this device can be used in a filmmaking context. Specifications The Brother AiRScouter WB-300 series complies to the IP54 protection class, which means it is relatively safe from dust and rainy weather. It’s not meant to be used for scuba diving, though. The display unit with the provided 2m (79 inches) flexible cable weighs about 155g (5,47 ounces). The controller unit weights about 170g (6 ounces) and is 125 x 84 x 29 mm (4.9 x  3.3 x 1.1 inches) in size. The internal Li-Ion battery (WD-360B and WD-370B) is good for about 3 hours of operation. You can adjust the brightness of the LCD screen via the control box. Also, there’s a 2x zoom function (center crop) for checking focus, and you can rotate the displayed image if desired. The actual LCD screen is 720p (1280 x 720 px) with 24-bit colour. Once mounted in front of your eye, Brother claims that looking at the display is just like watching a 19″ screen from a distance of 1m. According to Brother, the AirScouter WD-300 series should be available soon. The predecessor, AiRScouter WD-200B is available now, at a special price in the US for $799 right now. Unfortunately, there’s no word on pricing for the AirScouter WD-300 yet. Links: Brother.de | PDF brochure (both links are in German) What do you think of this device? Do you think it is capable of equally improving workflow and safety? Share your thoughts in the comments below!

In comes another product by Edelkrone! The company seems to be on a fast-paced and never-ending quest for the most innovative device to add engaging motion to otherwise dull and static shots. Let’s see what the self-sliding, programmable SurfaceONE is capable of! Sliding moves are cool. Or wait, are they? Maybe you want to check out Nino and Li-Lian’s latest episode of cinema5D Essentials on that topic. However, adding motion to your shots is almost always a good idea. But what if you are on location and that bulky camera slider with all its tripods and extra stuff is still in the back of your car? Maybe something more compact could be the right solution. Edelkrone SurfaceONE The SurfaceOne is a relatively small device that’s equipped with two wheels underneath it and a 3/8”-16 screw for mounting accessories on top. You can mount a camera on it and program it with any iOS (9.0 and above) or Android (5.0 or above) device to perform and even repeat a variety of moves – it’s that simple. However, there’s more to it as you can see in the introduction video below. The whole unit is powered by a standard Canon LP-E6-style battery (not provided) that can keep the unit running for about 4 hours at full speed or 48 hours’ worth of time lapsing. All you need is the SurfaceONE itself, a decent phone and – due to the absence of dedicated tracks – a super-smooth surface for the slider to, well, slide on. You will also need some kind of mount for your camera. Edelkrone has been using its own FlexFit Head 2 on all their marketing images and videos, so that will add $159.99 to the already somewhat pricey SurfaceONE, which goes for $689.99. Shooting Modes The SurfaceONE offers a number of different shooting modes, such as Targeted Slide, Free Slide or Auto Pan Mode. And then there’s time lapse, of course. In target mode, a built-in laser pointer determines the correct settings in order to keep your subject dead center while moving. In Free Slide mode the SurfaceONE will slide as far as you want as long as the surface stays smooth. The third mode, called Auto Pan Mode, enables you to create perfectly controlled pans. All these modes are available for time-lapse shooting, too. There are two types of speed adjustment provided: angular speed or percentile speed. With angular speed adjustment you can maintain the same slide feel while varying the distance to your target. The SurfaceONE’s Maximum speed is 8.66″ (220mm) per second, with a minimum speed of about 0.007″ (0.2mm) per second. Watch the video below to get a brief idea of the sound levels of the SurfaceONE. That’s important if you’re planning on using this device to shoot interviews in quiet environments. Pricing and Availability At $689.99, the SurfaceONE is not exactly cheap. On the other hand, it does seem like quite a capable and versatile device, so maybe its price tag is quite reasonable. You have to keep in mind that you’ll need some kind of camera mount or tripod head unless you want to screw your camera directly onto the 3/8”-16 screw, which I wouldn’t recommend. The SurfaceOne will be available around mid September. You can pre-order it directly from Edelkrone.com. Links: Edelkrone.com | FlexTilt Head 2 Do you have any Edelkrone products in your gear bag? What do think of this new device? Let’s hear your thoughts in the comments below!

Meet the Elgato Stream Deck, a programmable keyboard designed specifically for the needs of gamers. Wait, what? Well, rest assured: there’s more to it because this little device has the potential of simplifying and speeding up your post-production workflow just as much as it steps up the pro gamers’ game. The Elgato Stream Deck isn’t a pro video device. It’s designed for hardcore gamers who stream their gameplay using Twitch and other platforms. They make extensive use of shortcuts for all sorts of things: chatting with other gamers, capturing screenshots and performing complex combinations of different actions of their virtual heroes. The Stream Deck helps them to do all this at peak performance and speed by providing a set of 15 buttons which can be programmed to your liking. The Elgato Stream Deck Everybody loves keyboard shortcuts as they eliminate the need for a mouse for a specific command. The downside is that you have to memorize all these shortcuts for all these different applications. Grab a still in DaVinci Resolve? ⌘⌥G. Toggle an image to black & white in Photoshop? ⌥⇧⌘B. Did you know that one by heart? Really? If you’re sitting in front of your computer 24/7 this shouldn’t be an issue, but if you (like me) find yourself clicking around the menus on the hunt for that command that you just can’t remember the shortcut for anymore, then Stream Deck could be a big time saver. Although somewhat reminiscent of an external number pad, each of the buttons on the Stream Deck doubles as an LCD screen. This allows you to know exactly what kind of command you’re about to trigger when hitting that button. The list of preset actions is limited to a range of gaming-related set of commands for now, but there’s one section of interest for post-production workflows. In the System section there is one particular item which is the focus of this whole article: Hotkey. Configuring the Stream Deck In order to program the Stream Deck you’ll need to install the accompanying software. With it you can just drag and drop functions like the above-mentioned hotkey to each of the 15 LCD buttons. Each button can also act as a “folder”, giving you a total of 225 buttons: 15 folders with 14 assignable buttons in each plus one “go to top” button that is created automatically. I’ve set up folders for DaVinci Resolve, Premiere Pro and Photoshop. You can also assign an app launcher to a button. In my setup, I have given folders application icons, and inside each folder is a launcher for that app plus several hotkey functions I use frequently. Shorctus for DaVinci Resolve. The rocket will launch the app. In my example, I quickly created a bunch of icons for things like JKL control, previous and next clip, adding different nodes and one shortcut for grabbing stills. It’s not super advanced, but I find it very convenient to not have to reach out for the keyboard for every basic task. Your setup can be completely different, of course – therein lies the beauty of this device! Once you’re done programming the Stream Deck you can export your setup to a file. That way you can import several sets of configurations if needed. Build Quality The Stream Deck is a very compact and streamlined device. It’s about 12cm x 8.5cm x 2cm (4.6” x 3.3” x 0.8″) and weighs only 190 g. It comes with a hardwired USB 2.0 cable of about 1m (40″) in length and an adjustable stand which allows for different viewing angles. The top plate is made of metal so the device doesn’t feel plasticky at all. The buttons stick out quite a bit, so if you’re used to the butterfly keys of the new Macbook Pro you will have to press harder than usual in order to activate the buttons. It’s not bad, it’s just a but unfamiliar, at least to me. The pressure point feels a little soft but with a good bounce, so these buttons seem to be built for some serious hitting! The stand is basic but functional. You can adjust it to several angles and then just slide the Stream Deck into place. A certain angle seems to be necessary since the actual LCD screens sit a bit below the button surface and therefore the displayed icons are much clearer when viewed straight on. Features of the Future Since the Stream Deck was originally designed for gamers, it’s not perfect for postproduction workflows. But that’s OK. Since having the device here for testing, several updates have been released already. Elgato seem to have an open ear for their community and they will expand the set of features over time. Some things that would be really nice to see for our line of post production work: Presets for different pro video apps such as Premiere Pro or DaVinci Resolve. An auto app switcher. For now the Stream Deck is not aware of which application you’re working in at the moment. It would be nice if it would switch accordingly. Integration of keyboard mapper preference panes. That way you could assign the LCD buttons right from Premiere’s keyboard mapper for example. All this is possible I assume. But again, the Stream Deck wasn’t designed for post production workflows. So nobody’s to blame here, really. It’s just that since all of this seems actually possible, it would be nice to see these features sometime in the future, right? Alternatives There are alternatives out there, obviously. For DaVinci Resolve you can choose from a range of pro control surfaces, ranging from $1,000 – $30,000. The Stream Deck is $150, making the comparison a bit apples and oranges. The Blackmagic Design control surfaces are far more advanced and complex, but on the other hand they only work with one single application. Then there are the X-Keys keyboards which are more in the same league with the Stream Deck. The X-Keys XK-24 USB keypad offers the same functionality for the same price, but lacks the LCD screens, so you have to add your own little paper icons. I think the Stream Deck, although mostly aimed for gamers, is the better and more flexible device. The Stream Deck is available for $149.95. Read all about it here. What do you think? Which hotkeys would you use with this device? Or is a pro control surface the way to go? Share your thoughts in the comments below!

The USB 3.0 Promoter Group has just announced the specifications for the upcoming USB 3.2 standard. Good news ahead: transfer speeds will double (up to 20Gbit/s) and there’s no need for new cables. With USB 3.2 it’s 10GBit/s per lane = 20GBit/s. Faster! Faster! Faster! Fimmakers on the go are always in desperate need for fast and reliable storage solutions in order to backup and/or edit their precious footage. While Thunderbolt 3 might be a good solution with its transfer speeds of up to 40 Gbit/s, the few available devices are still quite pricey, as are the necessary cables. USB 3.2 – 20Gbit/s USB 3.1 – or, to be accurate, USB 3.1 Gen 2 Superspeed+ – sports up to 10Gbit/s. This is made possible by combining two individual 5Gbit/s lanes. USB 3.2 will now double these two lanes to 10Gbit/s each, resulting in a whooping 20GBit/s transfer speed. So far so, well, easy. Things can get quite confusing when we bring USB Type C into the discussion. This is NOT the name for a transport protocol, such as USB 3.0 or USB 3.2, but merely a name for a relatively new kind of USB connector. USB 3.2 and USB Type C are not the same thing: USB 3.2 works with USB Type C connectors, and so does USB 3.1 and Thunderbolt 3. That’s why you can keep your existing USB Type C cables for this new version of the USB protocol. However, there’s still one thing worth mentioning: not every USB Type C cable is capable of transferring these 2 lanes of 10Gbit/s, so even though different USB Type C cables might look the same, it doesn’t necessarily mean that they are the same. In order for it to support these new transfer speeds, the cable needs to be Superspeed+ certified. Different USB Type C connectors. OK, so after having cleared this out, let’s move on, as there is still more to this topic, unfortunately. As our very own Tim Fok stated in his recent article about portable drives: a fast portable drive is much more than just a fast connection. So, before rushing to the next computer store for a drive with that fancy (not so fancy, actually) USB 3.2 logo, you might want to check if your hardware can handle the advertised 20Gbit/s in the first place. USB vs. Thunderbolt Thunderbolt always wins by a nose when it comes to plain speed. That’s a clear 1:0 for Thunderbolt. On the other hand, USB is a comprehensive standard. Almost every modern electronic device is equipped with some sort of USB I/O. A draw, then. Thunderbolt doubles as a display connection, USB does not. 2:1, maybe? Since Thunderbolt uses the same USB Type C connector, it is limited to 4 lanes (2 in each direction). Therefore, the crazy 40Gbit/s of Thunderbolt 3 are only possible because it uses 20Gbit/s per lane. That’s why active (and expensive) plugs are necessary. USB 3.2 (20Gbit/s) is still missing in this graphic. I think we enter the world of different needs and wants at this point. If you really need top speeds for your workflow and money isn’t an issue, go for Thunderbolt 3, but keep in mind that all the devices, ports and internals along your chain must support it. If you want to be able to plug your drive in a wider range of computers, USB 3.1 or the upcoming USB 3.2 should be the way to go. In any way, the transfer speeds that are available today are quite impressive for sure! 4K workflows or even higher resolutions at high frame rates are not really an impossible task to do on a high end laptop any more. The first USB 3.2 products can be expected by the end of the year. Link: USB 3.0 Promoter Group PDF Do you think USB 3.2 is the future? Or is Thunderbolt the way to go when it comes to high resolution, high frame-rate workflows? Let us know in the comments below!

The Sony PXW-FS7 and FS7 II cine cameras can be quite confusing devices, especially when it comes to shooting modes. That’s why Alister Chapman of xdcam-user.com has written up an official and complete FS7 guide for these cameras (free to download). Let’s dive straight in! Notebook photograph credit: @Jeshoots | unsplash.com The first lesson you have to learn when dealing with the Sony FS7 or FS7 II is that these cameras are basically two-in-one devices. You can set them to old-fashioned Custom Mode and you’ll get a traditional camcorder. Alternatively, you can set them to the so-called Custom EI mode, which basically turns them into completely different beasts. It is also here where things get interesting. A lot of menu items are suddenly greyed out, the sensitivity is set to 2000 ISO, the gain stages read EI and what you see on the screen is no longer exactly what gets recorded. Sounds confusing? Well, that’s why you should read that FS7 guide. Alister Chapman’s Sony FS7 Guide You can find the free FS7 guide here and the accompanying article here. According to Mr. Chapman, reading the FS7 guide shouldn’t be an excuse to skip giving the user manual a proper read, though. This guide does not replace the user manual. It is intended to be used in conjunction with the user manual and it is recommended that you read both this guide and the user manual to get the very best from the camera. As you might have experienced for yourself, a user manual usually doesn’t provide you with the answers to your pressing questions. This FS7 guide, on the other hand, might provide you with exactly that! A brief round-up of covered topics include: Saving custom camera setups to ALL FILES for convenient switching between them Different shooting modes (custom vs Cine EI) Detailed guide to the Cine EI mode (this one is gold!) Error messages and common problems The Sony FS7 and FS7 II cameras tend to demand quite a lot of technical understanding from its operator. Sometimes a specific setting is greyed out due to a dependency somewhere else in the menu but it won’t tell you why. For example, you have to know that HDMI Target has to be set to Monitor in order to apply a monitor LUT to the HDMI output. That’s one of the cases in which this guide comes in very handy. Common Problems Personally, I struggled quite a bit with the High/Low Key function when shooting in Cine EI mode. This is really such a great tool but without guidance it’s a bit tricky to understand. After attending a workshop, I finally got my head around the whole concept. Page 58 of the guide will teach you just how to use it – and save you having to attend a workshop. I think this FS7 guide should be kept handy whenever you’re on a shoot with these cameras for quick and clutter-free reference. Highly recommended! Links: xdcam-user.com | Sony PDF Guide Share your thoughts about the camera(s) and this guide in the comments below!

Lesspain Software have announced yet another update to their take on a complete software solution for easy footage review, organisation, transcoding and labelling. You might have heard the name before, so let’s dive right into Kyno 1.3. If you’re new to Kyno you might want to brush up your knowledge of it before diving into the new features of Kyno 1.3. Check out this article about the initial release and this one about new features in version 1.2 of Kyno. Also watch the follwing introduction clip as a quick summery of what Kyno is capable of (the video is not yet updated to ver 1.3): I really think this piece of software has a lot of potential but let’s check out the new features in Kyno 1.3 before judging it. Kyno 1.3 – Features According to Lesspain Software the Kyno 1.3 release focuses on a wide range of improvements, most of which are based on their community’s feedback and requests. Here is a list of things the team has worked on: The Premiere Pro integration has become much more flexible as it now allows you the option to use Kyno subclips as markers in Premiere in addition to the option of using them as Premiere subclips. A lot of new keyboard shortcuts have been added, among them send to FCP | send to Premiere | export to Excel | zoom in/out |toggle drilldown | switch keyboard focus (between different detail view areas) | set ratings Selecting the most recently used conversion presets is now faster. Kyno’s naming engine has lots of new metadata variables for experts to use as well as an improved UI. Batch tagging has become more efficient and the Excel export more flexible. New filters have been added so you can now filter your material based on scene, shot, take and more descriptive metadata fields. For the whole list of features please check the Kyno Website. All in all the team behind Kyno 1.3 have tried to polish the existing set of features rather than throw in tons of new ones. It is very much a release that focusses on tweaking productivity in many workflows even more. A personal licence for Kyno 1.3 is $159 and it’s available here. There’s also a free trial available for download. Development in Progress I think this is the way to go. Not only for Kyno but for all software manufacturers. It’s always better to refine and poilish an existing set of features until it’s rock solid and proven by the user base before moving on to completely new features. Evolution vs. revolution. Also, always having an open ear for the needs of users is a good habit for any software (and hardware) manufacturer, of course. Last but not least, there’s one feature which is new, indeed but it’s at the same time a much needed one: Support for Microsoft Windows! It’s still in its beta state but you can register for the Kyno 1.3 beta program here. You can get Kyno 1.3 with a 25% discount for the next two weeks. Links: Lesspain Software Are you using Kyno in your workflow? Shore your experiences in the comments below!

Are you about to pull the trigger on a new camera? How about a shiny RED Raven? Well, wave good-bye to modularity because from now on you will have to buy the so-called RED Raven Camera Kit and – wait for it – you’ll have to hop over to Apple.com. Ahhh, buying decisions. If you, like me, are on the hunt for a new camera package, then you know the feeling. “Which model should I get?”, “Isn’t that one outdated already?”, “I really can’t get any decent footage from my current camera!”, “What if there’s an upgraded version available in 3 months?”. This state of mind is called Next Camera Disorder (source: Maschwikipedia | Prolost.com). The available choices has just grown larger with the introduction of the RED Raven Camera Kit, which will sell exclusively through Apple.com. The downside is that you have to get the whole package. You can’t get just the RED Raven Brain any more except for a few remaining stocked units from retailers. The RED Raven Camera Kit This is part of a new partnership between RED and Apple – you may have noticed that if you hit shop now while browsing RED’s webpages, you’ll be redirected to Apple.com. If you do choose to buy this Kit, here’s what you’ll get for your $14,999.95 investment: RED RAVEN 4.5K camera BRAIN RED DSMC2 Touch LCD 4.7” Monitor RED DSMC2 Outrigger handle RED V-Lock I/O expander RED MINI-MAG 120GB Two IDX DUO C-95 batteries with charger G-Technology ev Series MINI-MAG reader Sigma 18-35mm F1.8 DC lens NANUK heavy-duty camera case Final Cut Pro X foolcontrol iOS app for RAVEN Camera Kit RED Raven vs RED Raven Camera Kit So the big question is: Is this package really worth $15,000? Let’s get out a calculator and do the math! The RED Raven brain with an EF mount and the media bay sells for $8,950 (via AbelCine.com, backordered). In order to see anything, you’ll need the DSMC2 Touch LCD 4.7” Monitor for another $1.450. Also, being able to hold your new camera package would be nice. How about the DSMC2 Outrigger handle for $550? Alright, so far so good. Next we need some power supply for this thing. Throw in two IDX DUO C-95 batteries and a charger ($645), and while we’re at it maybe also a V-Lock I/O expander for convenient I/O (and another convenient $1,900). Roger that, moving on. We need some recording media! A 120 GB Mini-Mag ($850) will do it for now. And a G-Tech Mini-Mag reader, of course ($199.95). Alright, almost there. The final thing we need is a lens. This RED Raven Camera Kit forces us to buy the Sigma 18-35mm F1.8 DC lens, which would add another $799 to our virtual shopping bag. A NANUK case clocks in at around $320. In order to edit the footage on that Mini-Mag we’ll get Final Cut Pro X for another $299.99. Lastly, the foolcontrol iOS app would be nice to have. Let’s put it in our bag for, actually, $0. The RED Raven edition comes for free! All that gear adds up to a whooping $15,963.94, but you can get the whole package through Apple for $14,999.95. Since the discount obviously isn’t that great, the question is: do you really need all this? Do you really need that Sigma lens or those IDX batteries? Most of our readers already own a certain amount of gear so it may not be the right fit for everyone. Also, modularity is out of the question as you are limited to buying that exact kit as is. If you want to get a complete turnkey package, though, this might be the way to go. You are also more than welcome to buy extra modules, though. These are still available at RED.com, as the collaboration between Apple and RED is limited to this RED Raven Camera Kit only. Reactions and Comments What are the reasons for this collaboration you might ask. Let’s hear it from RED’s Mr Jarred Land himself: You can read the whole discussion here. Now that’s interesting. Hopefully Apple will meet the (huge) expectations once the new Mac Pro platform is announced. Another nice benefit of this collaboration is the fact that the RED Raven Camera Kit seems to be in stock for immediate dispatch. same Facebook discussion. (link) Many RED customers are used to deal with long waiting lists, backordered cameras and accessories. This seems to be over now, at least for the RED Raven. Links: RED.com | Apple.com What do you think? Is this camera kit something you would buy? Share your thoughts in the comments below!