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Everyone is Now a Steadicam Operator with MōVi, a Gyro-Stabilized Handheld Camera Gimbal

Speaking of gyro-stabilizers, it’s very rare that I look at a demo video of new gear with my jaw all the way on the floor, but after watching one for the new handheld stabilizing system called the MōVi, I simply couldn’t help myself. Designed by Freefly Systems, based in Seattle, the MōVi utilizes gyro stabilization and accelerometer technology that, when seen in action, seems less like a mechanism and more like magic. Think of it this way: it’s basically like your handheld rig is now a Steadicam, and pretty much anyone can learn to use it in minutes and get footage that normally would have required years of experience. Sound scary and wonderful? Read on for more.

Vincent Laforet, who was instrumental in the DSLR revolution, had been teasing this device early in the week, and now we’ve got the details. The term revolutionary gets thrown out a lot, but here it applies more to the usage rather than the tool (since the tech itself isn’t really new, just smaller). The MōVi is a “digital 3-axis gyro-stabilized handheld camera gimbal.” This thing weighs less than 3.5 pounds and is completely silent. No apparatus is required to operate it, but an additional gimbal operator with a joystick is available if you wish to capture certain camera effects. The MōVi allows you to run, jump, slide, skip, and probably double backflip without the fear of an unsteady camera or shaky image.

Just to hit the implication home: it is lightweight, silent, and versatile enough to capture shots that usually require a dolly, tripod, or other heavy and burdensome stabilizers that requires herculean strength to operate (score one for me). Here’s a video demonstrating how the MōVi works. Come on back after you put your jaws back in place:

Check out these BTS videos giving you a sense of just how freely the operator can move and still get smooth footage:

Of course, while affordable for some people means something totally different for others, it’s still going to be a higher end piece of gear for the time being. Straight from Vincent on pricing and model information:

Another big factor:  It will be affordable – the initial mid-level (in terms of weight support) MōVI M10 will sell for approx $15K and is already under production.   The second, smaller version, the M5 that will be on sale at some point in the near future (once the production capacity is in full swing) will be sold for a price point under $7,500.    If you consider how much we spend on handheld rigs, sliders, jibs (let alone Glidecams/Steadicams etc.) – the price of this device quickly becomes a no-brainer…

The first unit that is being released – the M10 – supports a camera up 10 pounds with accessories.  That equates to a DSLR with a lot of accessories or a bare Epic and prime lens.  We’ve been using the Epic and the Canon primes and Zeiss CP.2 lenses all week on a commercial without a hitch.   A future version the M20 is slated to support an Alexa or Epic package w/ zoom, price and date TBD.   The guys behind this work with Epics and Alexas on a regular basis and are cinema guys.

Many of you may only be renting this kind of gear for some time, but there is no question this is going to be the next big thing. Quiet gyro-stabilizers that can handle all sorts of cameras and configurations means being able to pull off shots that would have normally taken a huge team of professionals. Of course, if you’re using a large sensor camera, you still have the issue of focus, but things are moving fast in that regard, and wireless follow focus and wireless monitoring are both coming down in price all the time. These sorts of developments can help push the industry forward, and I guarantee we’ll be seeing movies shot in a way that we’ve never seen before.

Vincent also posted this video showing their stabilizer on an RC copter:

What do you guys think? Is the future of the full-time Steadicam operator in jeopardy thanks to rigs like this?



We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 237 COMMENTS

  • I could do all the shots in the video with my 180$ flycam, so why spend 7,500$?

    • If you can hold a horizon like that while running and dodging then your skill is worth that much per day!

      Put this on a steadicam and never lay dolly track again.

      • Here’s 2.5 year old footage of the $500 Skyler Minicam running with parkour folk.

        Maybe 10% less steady than the Movi for 8% of the price. A well balanced $180 flycam will probably do just as well for 3% of the Movi price. Fair trade-off for indie filmmakers.

        The Movi is way overpriced for only being able to handle <10lb payload.

    • I highly doubt it. But if you are that awesome…then congrats…

  • Different people, different definitions of ‘affordable’ o_0

    • Yeah….and the 17k version cant even handle a rigged cinema cam. So spend 17k just to fly a dslr? The ‘Segway-revolution’ (Steve Jobs) never happened partly because they were simply too expensive.

  • This is almost too good in a sense that it makes handheld look perfect, and personally I like to see some movement or bouncing. Still a nice invention and definitely can be helpful in a lot of situations.

    • Joe Marine on 04.5.13 @ 8:37AM

      Right, but it’s replicating a Steadicam look, which it does almost perfectly for many of the shots. It looks perfectly smooth when they aren’t running, plus there is the possibility of stabilizing the footage even more in post.

    • The website claims it has “user adjustable shaky cam”. That could mean it keeps varying degrees of the handheld jitters.

    • Terence Kearns on 04.5.13 @ 11:21AM

      I hate bouncy – especially when it is contrived. Total bounce annihilation is a good thing. Bring it.

    • Hey Guys,

      Timur Civan here. I was the DP on this shoot. Freefly was telling me about some of their upcoming tech thats already incorporated into the MOVI. You can program it to include a bit of bob and weave, and to dampen, but not completely remove hand held motion. Its all user selectable.

      • So honestly, if there’s a rigged Epic, or even an Alexa hanging on that thing – how much fun is it holding it in eye-hight in front of you?
        I see it being the right direction but it doesn’t seem very usable for serious cinema cameras without some sort of carrying support.

        • I can’t imagine this would replace the cinema steadicam operator for the sheer acknowledgment that a rigged-out camera on set could weigh 50-70 pounds depending on the camera, lens, and accessories. However, it compliments the steadicam in the nature of running through tighter / smaller environments and can supplement a stripped down camera. Nonetheless, I find it to be very exciting

  • The BTS really got me. Incredible stuff! I can only imagine what comes next when this gets some further development!

  • That is some seriously amazing tech. I’m not a huge fan of steadicam in terms of look and limitations, but if I needed a flying/floating type of shot, this tool would be a no brainier in my eyes.

  • This is so fucking cool. You can save so much time shooting with this thing, and time is money. Give it a year and there will be 3-5 competitors, it will end up costing around 2.500$ a year from now (or two). This will help to establish SLR and RED even more. No way to use this with a normal film camera. And in a way, it’s genius, because the shaking and wobbling of the SLR’s was the real big problem often – with this it’s gone.
    You can get a Red + this + gear all together for like 50.000$ and shoot a movie looking like a big budget production… Unbelievable…

    • Doesn’t look so simple..looks like you need 3 people to coordinate it.
      Just like for crane work. The thing is impressive but it’s not magic.
      Otherwise we could just throw out all of the tripods and heads.

    • Two things: I agree that we’ll see cheap versions sooner rather than later. And I didn’t realize that the only difference between big and small productions was a Steadicam shot.
      Personally I loathe Steadicams – only use that floating feel on commercials or where I’m forced to. Prefer real, well operated, non-stabilized handheld.

  • I think this is just the beginning for the technology. This early adopter stuff will finance the bigger rigs.

    I can see this being really effective tech on mobile rigs like trucks and cars. Imagine a GOPRO sized version of this you could hang off a helmet or handlebars, or a boom version on a duneybuggy shooting the Dakar races.

    I do wonder how reliable the tech is. I can take my glidecams into salt water marine environments and not work about wrecking a $15K piece of gear. Mud etc would also seem ot be an issue with all the exposed wire. I am really curious to see how it handles not so pleasant weather and air conditions.

  • Fresno Bob on 04.5.13 @ 9:04AM

    Wow. That is incredible.

    I can only hope we get some cheaper imitations up to the same quality – $15k seems incredibly steep

  • I can’t believe some of the negative comments here. No, it’s not $500 and it’s not perfect for everything… but like the positive comments here point out, this is a really great step forward, and I’m interested where this tech goes in the next few years.

    • Casey Orion on 04.5.13 @ 9:32AM

      Totally agree, this is incredible, especially that size! I think the most impressive shot was going through the hoop hanging from the ceiling.

  • If you travel a lot with gear, this is the ideal companion that replaces the need to bring a slider, monopod and glidecam…

    Would the M5 version be capable of handling a C100 or C300?

  • Amazing stuff. really high-end cinematography possible with this gear. too expensive for dlsr shooters…

  • Impressed by the lack of wobble in camera motion when running around those corners. Excited by this gear for sure.

  • I`m a Steadicam fanatic since I first saw it when I was 12 y o – but the obscene weight and bulkiness always was a big issue – now this thing is totally different, it`s actually the “magical” device Garrett Brown, the Steadicam inventor was speaking about that is going to affect the role of the Steadicam. I don`t think it`s a “threat”, but kind of an extension – just dreaming what happens when this thing get`s coupled with a steadicam arm+vest or hanging from an easyrig…

    • Start doing your bicep curls. Running around handholding an Epic rig won’t be light with this either.

      • - that`s why I said steadicam arm/easyrig plus this thingy, you can`t hold it very long, even with a dslr the total weight will add to about 10 pounds easily

  • This an incredible piece of gear, no question about it. I however feel a little mislead when vincent called it a “game changer” (sort of like the MKII was). I however cannot see that, this cost more than any of the gear that i own it cost more than any of my lenses or my mk 3. The whole thing with the mark 2 was that it was affordable meaning that ANYONE could save up for a year or two and buy the camera. With Movi i fail to see that its just NOT affordable and if any of you find it affordable please buy me one because 7k is not something a lot of us can afford for one piece of gear.

    • It’s a game changer – because other companies will copy it and it will get cheaper. 5 years ago I would have paid a Steadicam operator (with a 20k + rig) a bucketload day rate for shots that someone on this rig could do better, quicker & cheaper.

      • I mean…you’ll have to pay the op/rig owner, focus puller, and whoever is pointing the camera remotely instead…

        • Essentially you have one arm free – so I’m sure a system will be developed to pan and tilt as you go. And focusing will be the same as for solo steadi operators – shut the iris down or keep your subject within a focus range. Will be totally useable for a 1 man crew.

    • It’s a game-changer because its an entirely new category of product. Like the MK2 the tech will get smaller and better and eventually into the hands of anybody.

  • This is the best / most exciting piece of equipment that I have seen in a long long time. Can’t wait to shoot on it!

  • Chris larsen on 04.5.13 @ 9:58AM

    One advantage is its smaller than a pro rig so there are possibilities to work in tighter areas where it could be difficult/impossible to operate a steadicam. I’m curios about set-up and balance.

  • I don’t think this will replace steadicam, but it will be a great rig to have for tight spaces. I love the spiral staircase shot.

  • Raoni Franco on 04.5.13 @ 10:13AM

    Let the competition start and when the price can fit into my pocket I shall add this baby to my one’man’band scheme.

  • With this system, the gimbal operator needs to be trained in body control. Similar to dance jazz running and such. Such an amazing invention!

  • That rollerblade shot was straight up Ballsy.

  • Andrey Valentsov on 04.5.13 @ 10:26AM

    Well, I’m really exited.

    This is thing looks like a copter gimbal, which was invented not today and not yesterday. With a small DIY you can transform any helicopter gimbal to simular project and it will cost you less that 1000 USD.

    This thing will not replace dolly or slider or crane, it’s much closer to steadycam system. Dolly and crane let your actors rehearse without changing your movement. Dolly and crane give you very mechanic movement, while this system and steadycam let you improvise. This are very different movements and they not always are able to replace each other.

    The main problem with this system is that you need someone to pan/tilt your camera (without control gimbal aways keeps a camera pointed at fixed direction) while with steadycam you can stabilize and direct your camera yourself. Hope it will be possible to remove this limitation with future software.

  • so i was watching the videos and was like hmm this kinda looks familiar so when i saw the behind the scenes i definitely what was going on because i have used a similar setup…on our hexacopter i was actually planing on mounting the gyro head on my stedicam arm but now im jus gonna mount it on a dslr rig and save myself $10k ;)

  • I don’t know what all of these comments about needing a second op to pan + tilt are about. If you drive your car with your knee, I’m sure you could manage something :p

  • Has no one here operated a Steadicam before? One of the main reasons for the arm & vest is to redistribute the weight of the payload onto your hips/legs and off your arms, so that you can actually use your arms to focus on operating. The Movi will work fine for smaller payloads, but rig an Alexa with wireless FF, rods, matte-box, batteries & and cinema lens and you’re looking at 20+ pounds. The weight of the MV15 will probably be 8+ lbs, so you’re telling me that you’re going to hold out 28 pounds in front of you with two arms for a 10 hour shoot? Not going to be a fun day. Maybe pair this up with an Easy Rig or something along those lines, but then you’ve possibly lost a bit of the mobility/slimness of the whole thing.

    It’s a cool piece of gear, but priced way too high at the moment. Most people I know shooting <10lb payloads aren't making the kind of money to justify a $15k piece of support gear. Either the price has to come down or they have to come up for a support solution to the 10+ pound payload.

    And the rollerblade shot was… risky. It's great that he pulled off the shot but he was carrying $30k worth of gear on rollerblades. If your insurance is cool with that, go for it.

    • For a good skater street skates are so low to the ground that it’s as safe as running.

      And couple the MoVi with an Easyrig or similar and it will put the weight back onto your hips.

    • I think it’s priced right. It’s straight up a pro piece of gear. I think it’d be a good piece to have for a normal steadicam op for intricate moves in tight spaces. I don’t think it is a game changer, but a great tool for those who already do steadicam work.

  • Call me cheap,

    but im going to wait for the indian or chinese knockoff to even consider buying it.
    in the meantime, Rental Rental Rental

  • I’m also trying to understand the difference between this and a copter gimbal. Maybe it’s a solution to allow the operator to easily control the direction the camera is pointing in? Here’s an example of a copter gimbal being used handheld:

    • ach you’re way ahead of me sir! It seems like this is basically a copter with its wings clipped right?! If so it should be cheaper that a copter right?! If this video had been posted on the first of April I would have thought the 15k price tag is a joke.

    • That is cool!

    • Christian Anderson on 04.5.13 @ 11:30AM

      Who said there was a difference? I’m sure it’s based on the same technology but with an additional control for pan and tilt.

  • 1. Amazing!

    2. Copters(for flying dslrs etc) that have been in the market for quite a while now utilize gyros for the smooth motion and I think it’s ok to say there’s a similarity in the way those gyros in the copters do their stabilization compared to the movi. If this is so then I’m inclined to believe that this or another device that can immitate it will definitely be waaaay cheaper in the not so distant future.

  • I’d change the post title to “Everyone (who has 15k and wants to spend them in a steadycam) is now…”

  • It’s a cool device but I can’t believe these guys don’t have a strap connected to either the camera or rig in case they drop the system. Not smart.

  • Just want to share with people here that this is NOT REVOLUTIONARY at all. As many has pointed out, it is almost like using the Zenmuse 15 but mounted on a rig. The shot/take can’t be done with big cameras anyway.

    And in case no one have seen this type or similar technology (but with higher precision and cost way, way, way more), please check out this link:

    Check And do click on the “River Island William Tempest Fashion Film” to get a better idea what a REAL REVOLUTIONARY means. Here is the vimeo link:

  • Terence Kearns on 04.5.13 @ 11:24AM

    Still picking my jaw up off the floor.

    We are gonna see a lot of incredible stuff soon…

    • jd holloway on 04.5.13 @ 12:01PM

      I have to call my banker…

    • I thought the same thing. This thing + easyrig could really make some interesting results.

    • Why do so many assume that all equipment is priced to be owned and not rented? The only things that I personally try to own are the BARE essentials – well-rounded camera, sticks, cards, batteries, etc. This thing is a rental dream, if it performs like we see here – for specific shots, not every time you go out and shoot for fun.

    • Just the thing for my MarZpac … !

  • This reaffirms my belief that the margin between amateur and professional technology is becoming that much more narrow, while the level and appreciation for professional skills still remain the same. Specifically you have people complaining this costs too much, can’t be operated by yourself without an AC, etc. Holy hell, people, you need a 1st AC, you need to know how to move with a camera. I find it shocking that people on this website expect professional tools to cost bargain bin prices. Even systems like RED, and the ALEXA are what I’d call bargain bin, as compared to 10 years ago when crappy 480P systems like the Varicam were well past the 100K mark in cost. There’s an expectation that your 2500 dollar Mk3 is comparable to an Alexa or RED, when it’s just not. And in this case a system like this should be a do-it-all product that’s affordable to someone who thinks a DSLR constitutes a professional film camera. It’s just not. What it is however is an amazing compliment to a true steadicam. Something you can pack into a pelican case, throw an Epic on, not have to spend half an hour balancing on a stand, and then kit up in a complete vest. I hate to use the phrase, but this is by very definition a disruptive technology. And at 15K, it’s a bargain for those of us who make a living this way.

    • I think the ‘problem’ is that Laforet advertised this device as a ‘gamechanger just like the 5DmkII was’.
      The 5D was a gamechanger because it was accessable and affordable to most people while this thing really isn’t.

      • for a rental, it’s a godsend – that is, if they can sell them to rental houses.

        • 15K for a pure handheld system is too much IMO. Holding 10lbs like this extended in front of the operator by their forearms is going to lead to massive shoulder and lower back fatigue. Sentiments regarding this as a good deal based on the cost of gear from 5 years ago are meaningless. We are in the now, and the production market is changing at near breakneck speeds. I suspect if priced at 5K, demand would outstrip production supply. 7 to 8k may be the most profitable point. Unfortunately, both for would-be-buyers and freefly, an annual ROI rate of 35-50% was most likely determined when the production/sales/etc budgets were made and thus the sale price will be inflated in an attempt to get a higher return on investment then what the market can bare. The market will of course correct for that, and w/in 2 years I suspect we will see devices like these ranging from $500 low precision models that are still great for sub 1K DSLR/small camera work, to 5k high precision professional models suitable for RED, Arri, Sony, etc productions. Thanks

        • vinceGortho on 04.5.13 @ 4:28PM

          For a rental you can get anything though

      • Most master primes and other high end lenses are unaffordable to anyone but rental houses. That’s why we rent. No one is saying you have to buy this. Steadicam a aren’t cheap as well, why are people bitching about this cost when a steadicam rig isn’t exactly budget.

    • I agree with Alex. I also agree it’s not necessarily a “game changer” as it’s still pretty pricer for the no budget type. That’s because this is highly advanced technology and having this filmmaking tool is a great advantage. I think it’s simply amazing for a shoot that fits it into its own situation. Like any filmmaking tool. If you are looking to do a long tracking shot in a tight space or a complicated tracking shot that goes through small areas, price aside, this would be preferable over a steadicam. Otherwise, you’d get your trusted steadicam operator and crank the shots out perfectly smooth. If price is a factor, now we have an alternate that will get us the opportunity to crank the shots out pretty darn smooth.

  • mike_tee_vee on 04.5.13 @ 11:58AM

    Cool device. I recall that the people behind the Blackbird Stabilizer are working on similar technology.

  • That taxi shot was awesome.

  • $15K and $7.5K is too expensive. A stabilizer shouldn’t be the cost of a camera.

    • You obviously haven’t looked at lenses or dollies. This is a bargain.

      • You’re absolutely right. I may not see the value in a stabilizer for $15K. To me this is overpriced and I’d rather buy a lens with that, which won’t devalue the way a stabilizer might.

        • Heres the thing, yes, its a handheld device… But it does the job of a Dolley, Stedicam (for most things and alot that a stedi cant do), hand held rig….. its not replacing a hand held rig, its replacing a few things. Once you see how easy it is to work with, your imagination runs wild…

    • That’s a knee slapper!

  • I was going to say that this is going to shake things up, but then realized that it’s going to do the exact opposite. This looks like an incredible leap forward, especially if they create a vest so you can self direct the camera with ease (that’s the real power of current steadicam)

  • Amazing technology. This can bring some fantastic shots to fruition.

  • Holy Crap! I want!

  • Awesome now I just have to learn how to build one of my own!

  • jd holloway on 04.5.13 @ 4:07PM

    Human becomes the meat-dolly.

  • Shut up and take my money!

  • sebastian roland on 04.5.13 @ 4:30PM

    this is the same tecnology used in quadcoper camera gimbals you can put together one of this for less than one thousand usd if you make it yourself!

  • marky mark on 04.5.13 @ 4:50PM

    As always we get into an upside down argument about price. On one hand hand we have folks saying it cost too much and on the other hand you have people saying it’s a bargain when you look at the cost of primes and dollies. LOL…thats the problem….just cause a dolly or a prime cost twice as much as the camera doesn’t make it right. We all know that anything in this field is completely way over priced. Case in point:

    I can buy a lawn mower for that much that is self propelled and has all kinds of intricate parts. It’s a joke what companies price this stuff at!!!

    It’s like paying $50 for a T shirt….it’s lol ignorant!

    • Sorry, but it sounds like you’re the one ignorant…of supply and demand. And also R&D. Way more people buy lawn mowers than camera rigs. Costs such as R&D can be covered by a lower unit price if enough units are shipped. If not, then the unit needs to be priced higher.

      • You’re right to a certain degree… but filmmaking gear is still way over priced generally. I really don’t think much R&D went into the Cinevate example he gave as well… my dog could have designed that.

        Also for this product the tech already existed… basically they’re just adding handles so an existing production.

        Gimbals have been used in other industries for years and years, just because it’s new tech to the film industry dosen’t mean it suddenly costs way more to make.

  • marky mark on 04.5.13 @ 4:56PM

    I can’t resist…this what you can get for the cost of that steadicam

    Please explain how on earth they can justify the price vs all the technology that went into building a PATHFINDER….seriously…back that up..I’m begging you!!!

    • I’m no economist, but it probably has something to do with the fact that Nissan will probably sell more Pathfinders in California and Texas than Freefly will sell Movi’s period. Also, that’s a used Pathfinder and was probably $30K when it was new.

      Q: Who buys an 18K HMI?
      A: The people you rent it from.

      • marky mark on 04.5.13 @ 5:44PM

        You can still buy a brand new car for that much…..and no the demand for a $15,000 handheld stabilizer won’t be there. If Canon priced the T2i that much….there would not have been a waiting list for it either. The T2i did a hell of alot more than just stop jiggle.

        • I’m not saying it SHOULD cost $15K. I’m just saying your arguments for why it shouldn’t are unbelievably flawed.

          • marky mark on 04.5.13 @ 6:27PM

            Okay…my examples are probably bad analogies….I’ll give you that. The main thing is we agree this is overpriced or SHOULDN’T cost this much. Don’t think for a minute FREEFLY SYSTEMS arent reading the feedback here. If they saw people loved and wanted this product but the price point was way out of line….they would consider coming down on it. The demand for this is huge..the price point isn’t. Rental houses aren’t gonna buy 50 of these at a time. How many rental houses vs filmmakers who would want to own this? Come in at a price point that makes it a must have. Kinda like Philip Bloom said about the BLACK MAGIC….there are tons of quirks or cons about it but you get a camera that shoots RAW for $3k….thats why people are so excited and ready to buy. It’s offering something that is in high demand at price people can afford.

          • Wait a minute. I never said it shouldn’t cost $15K, either. Alls I’m sayin’ is it costs what it costs and you can either afford it or you can’t. Will there be less expensive versions? Probably. However, how many inexpensive Steadicam-like rigs are out there that will support a camera that weighs as much as an Epic w/lens and accessories, let alone an Alexa? If all you have to do is make a cheap version and people will come-a-runnin’, where are all the $500 Steadicam knockoffs? Would you really trust $60K worth of gear on one of these? There are numerous reasons for why some gear costs an arm and leg and build quality, performance, service and longevity are just a few.

          • marky mark on 04.5.13 @ 8:22PM

            So one minute your saying “I’m not saying it SHOULD cost $15K.” then the next post your saying…”I’m not saying it shouldn’t.” You sound like you work for them. Either way……it’s my opinion this is way over priced and I backed it up with a nich market example with the BLACK MAGIC . They can make that for $3K then they can make this for the same price.

          • What I’m saying is don’t put words in my mouth. I was clarifying that I wasn’t defending the price nor was I condemning it. They charged as they saw fit. I don’t care one way or another. You sound like someone who wants one so badly you can taste it but it’s out of your price range so you’re lashing out. The ironic part is you said you couldn’t afford it even if it was $3K so I don’t know where the outrage is coming from.

            It’s simple. Buy, build or rent the stuff you can afford. Use your ingenuity for the rest. If you’re truly beside yourself and want to lead a crusade, start a company that builds high-end film equipment that even high school kids with summer jobs can afford and let us know how that turns out. Otherwise, prepare to be disappointed at every turn.

          • marky mark on 04.5.13 @ 9:18PM

            The outrage is the continued absurd price range companies charge for the gear. Thats all. I am sure I am not the only one that feels this way.

    • Film makers are idiots. They will pay $499 for something that outside of film making would only cost $69. The manufacturers know this.

  • marky mark on 04.5.13 @ 5:08PM

    We are in a time when a ringtone for a song cost twice as much as the actual song. You can’t help but laugh!!!

  • Looks like a smilar concept to the Cineron

  • needless to say this is amazing.

  • marky mark on 04.5.13 @ 5:27PM

    Backing up the price by saying it is taking the place of a dolly and a hand held rig and a steadicam is like saying DISNEY WORLD should charge triple because of what it cost to run the place.

    BTW…CHANGING THE GAME is what Canon did with the DSLR. The best thing about it is….they didn’t rape us in the process!!!!!!

    • I’m assuming someone has a gun to your head? Otherwise, don’t buy it.

      Also, your logic is faulty. You keep comparing a low demand item to a high demand item. More people will visit Disney World in one day than will buy the Movi.

      • marky mark on 04.5.13 @ 6:04PM

        THANK YOU!!!!! Thats my point……if you make this stuff at prices people can afford more people will get into it!
        Just like the Canon T2i. My dad bought one just to make home movies with. He loved what he could do with it. But 2 years before that he wouldn’t have touched a camera with the same video image that cost 3 times as much. Someone will come along within the next 8 to 9 months and make something for half as much. I’ll wait!

        • Ummm…not my point at all. You seem to be missing the basics. Yes, lowering the price and making it up on volume is a sound business practice and works well when you’re selling shampoo or 2 liter bottles of Pepsi. However, there’s no indication that everyone who owns a DSLR will want or have a need for a Movi, or will buy it in enough enough quantities to justify a bargain basement price. It’s a niche product for a niche segment of a largely consumer dominated space.

          You emphatically say you’ll wait like it’s a revelation or brave declaration, as if we all expected you to run out and by one (INSTEAD OF RENTING).

          Things cost what the market will bear. Tell us this. How much should the Movi cost and on what do you base the number?

          • marky mark on 04.5.13 @ 6:38PM

            This thing should be no more than $3K. If they can make the BLACK MAGIC at that price then they can damn sure make this for that much. Same market niche as you stated. No way did more R&D ,materials and design or development go into this steadicam than the BLACK MAGIC That is what I would base that number off of.

          • marky mark on 04.5.13 @ 6:44PM

            I’m not basing my argument on my own personal finances. I’m a broke filmmaker who couldn’t afford this even if it cost $3K. I’m basing everything off of how silly the cost of any of this stuff is just cause it has to with FILM MAKING. We all know this. I’m just vocalizing it. You mean to tell me if this was $3K they wouldn’t have a huge demand????? Look at the BLACK MAGIC…….I dont want one but there are plenty of people who drool over it and signed up to preorder it. If it was $15K…the BLACK MAGIC would be a flop!!!

        • Also, they have no competitors, once they do prices will come down, and i’m sure in the next couple of years you will be able to get similar items for 3k. Also scaling production would be hard from the get go, needing a large capital investment, so selling fewer at a high price point makes sense at least to begin with.

  • marky mark on 04.5.13 @ 5:38PM

    More than ever people are buying camera rigs…why because it is now being taught in schools than ever before. You have 15 year old kids making amazing movies on their lap tops. The demand is huge for this gear. Canon couldn’t make the T2i fast enough…I remember being on a waiting list at bhphoto. I know way more people who have DSLR gear than those that own PATHFINDERS. To justify $15,000 for this is silly at best.

  • This is just insane…I’m blown away! People complaining about the price…no idea what crack laced cool aid you are all drinking. This is an amazing price at 7.5k

    Sign me up, I’ll take 2!

    • I don’t think many people are saying it’s not worth the money, that is if you have the money. Most people won’t have the money, and that’s why they’re complaining. But I’m guessing it’ll rent for around $300… so thats good.

      Also the 7.5k Im sure will only hold the smallest cameras, with SLR primes. Still good i think, but important to make the distinction between two models where one is twice the price.

    • It’s neat, sure. But it’s still just another toy for the big boys to play with. The 5dmk2 was something anyone could OWN. This simply isn’t. At least not till the Chinese get around to making knockoffs.

  • Cool beans.

  • I’m just realising there is also no logical reason why these couldn’t be used on jib arms, or on sticks as a remote head. So even MORE flexible.

  • marky mark on 04.5.13 @ 7:04PM

    This statement “If you consider how much we spend on handheld rigs, sliders, jibs (let alone Glidecams/Steadicams etc.) – the price of this device quickly becomes a no-brainer.” is abusrd. This does not take the place of a 9 or 12 ft jib or larger. Even if it did and you bought all of the above at a generous $3K price point that is still only $12K not $15K. So it does require a brain when lookin at that price point.

  • I think this device is overpriced, here is a much cheaper device that does exactly the same thing, it does not have the same aesthetics, but can be developer further, the necessary technology is here.

  • I think something needs to be clarified to us (the ones unhappy with the price). The article mentions that the wirelessly operated pan tilt thingy is an add on; does the 15k price include it or is it a paid extra for add on? I think Tabb and his team are not idiots to price 2 axis cinestar gimbals @ 1k and then ask people to pay an extra 14000 just for the brushless parts. If the 15k price includes the wireless operator extras: a) it makes abit more sense – not 14k worth of sense mind you. b) Is there an option for single operators to buy the damn thing without the fancy extras for much much cheaper?

    Meanwhile here’s a little demo of a similar and ofcourse cheaper gimbal that works just fine

  • David Brooks on 04.5.13 @ 9:47PM

    Yup. My jaw definitely dropped. This is incredible.

  • Here’s my take on how to build a cheap gyro stabilized rig because I can’t afford to even rent a $7500 rig:

    I understand the limitations! Really! I do! I would totally use a MoVI if I could afford it.

  • Film genius on 04.5.13 @ 11:16PM

    We can say bye to Zacuto, letus and even Kessler.

  • I’m just hoping someone makes a cheaper version…

  • there are so many advantages to this, i don’t see why so many need to pick on the relatively few deficits (price, weight capacity). if you can’t afford to buy, then rent. if your camera is too heavy, you’re either using a high end set up and can afford a legit crane/dolly/steadicam operator plus the set up time and costs incurred with them, or you’re not thinking hard enough about light weight options for capturing these shots. if you don’t want to rent, or don’t like the steadicam look – then move on and don’t waste time telling everyone you hate the steadicam look. if you’re hung up on how correct the term “game changer” is, then it’s just a case of pedantic semantics, and again, it’s time to move on.

    • I think most of the anger is from everyone slowly realizing this company is charging way more then they have to or should. There has actually been a lot of activity in this technology for camera stabilizing lately, many claiming they could be built for around $1000, in fact Freefly themselves were selling one before with servo motors for about $2600. Now they’ve put one together with brushless motors (which are cheaper) that supports 10lb and since they were first, decided to establish a much higher price point. Why do they need so much? Well they will likely use the money to squash all the uprising competition with legal action, the MoVI may be the worst thing to happen for this technology (think LitePanels vs LED lighting). But hopefully it’s not and they’ll just use all that money on cocine and hookers :)

    • People are nitpicking because Laforet hyped it to be the second coming, when it’s simply not. It is not, nor will it ever be as influential or significant as the 5dmk2. It’s essentially an upgraded steadicam; which, while neat, is not a “game changer”. It’s not changing the game, it’s just making it a fraction easier for a small group of people.

    • I don’t think Steadicam Operators are in “Jeopardy”, but this is very likely to eat into their world. I think it adds to the palette of available options for camera movement. Cranes have a very specific feel to how they move. Dolly moves feel like Dolly moves and Steadicam feels like Steadicam. This unit is similar to the Steadicam, but adds the more options for tighter spaces and vertical movement. It has it’s place, but I don’t think for a minute that it will push anyone else out of the boat.

    • I think this is a “game-changer”. As soon as I saw it I thought: “Damn, I could sell all of my dollies, sliders, etc. and buy this”, but then I saw the price…

  • I get that this is great but I think it’s still a bit early for Vincent LaForet to be calling the “MoVI” a 5D2 kinda game changer; this is at best a game changer for studio productions with tens of thousands of dollars lying around but means next to nothing for the DSLR Indie crowd that has followed him since Reverie. It’s like the difference from the RED ONE and the 5D Mark II, the real game changer there broke down barriers for EVERY filmmaker. I thank him for bringing this new and cool technology to our attention but I can’t wait until you get to report on the real game changer, which is when the chinese start cranking out decent ones at $3000 a pop for every filmmaker to enjoy :-D but in the end if you don’t need helicopter shots or to literally jump through hoops it still looks an awful lot like $500 glidecam footage.

    • Just ignore the phrase “game changer”. And Vincent LaForets’ use of it. He seems like a great dude but his insights are to be taken with a large grain of salt.

  • This was at Nab 2012. Skip to 4:30 for the main event. Can’t find pricing for it yet though.

  • Really amazing stuff can’t get over how fluid that Taxi footage looks. I want one!

    Director’s and Dop’s that practice and get good might operate themselves on shots that otherwise a Steadicam rig would be used for, especially on smaller budgeted productions.

    The first first folks that jump into this will be the Steadicam operators. They are the choice group already primed for this. Others will of course but just like dslrs this rig potentially goes places Steadicam will/can not. Can they live harmoniously or will Steadicam operators abandon their rigs for this…I’m guessing not but we shall see in time.

    • Steadicam would be far more financially viable option over this.

      • How can you say that when they have not put a price down on it yet?
        And with this option you could add attachments to the top like lighting where you could not easily do that with a steadicam. And also this was originally made for attachements to the bottom of remote controlled helicopter’s so there is also that option later on that you again can’t use for steadicam’s.
        I’m not disrespecting steadicam’s or SC operators as I am one, but this has great potential when you later on factor in remote controle camera turning,

  • I take anything I hear from Vincent Laforet with a grain of salt…

  • I’m not convinced that this even looks very good.
    Also, it requires two operators. And what about focusing? Three operators, now. It seems like a lot of empty flash, as the result of there being two ops. Steadicam footage looks better. Though, the stairwell shot was impressive, if only logistically so.

  • Pretty cool and amazing. Such an advance!
    Once they made the step, others will copy it and make it cheaper and affordable for more people.

    Maybe it’s worth the price for certain circles (right now, because it’s something new), but in general, camera gear is way overpriced, and this is no exception.

  • Jeez, people really are moronic. If you can’t see how incredible this is then you need to spend a bit more time on sets and understand how idiotically restrictive they are. This is like a mobile cineflex, the don of helicam setups, and the results are incredible. Vince probably got all excited he went up in a helicopter again, no not the second coming, but awesome nonetheless. How can anyone get shitty about the price, just rent the thing. It boggles the mind why everyone seems to think you have to own everything and that the price is hideously restrictive. Don’t. Buy. Anything. Just rent it, let budgets pay for your gear and if you have no budget find someone who does have the gear and work with them. It’s just idiotic, you can buy selectively and rent as you need. Oh, what’s that, rental company won’t rent you anything because you’re not a limited company? Oh well… Time to get serious!

    • Yeah I feel like we should start posting game-changing (yeah, I said it) production tools like this without a pricetag since people focus on that so much re: what they have in their wallet. This is not an item 99% of people would ever buy unless you are a rental house, steadicam operator, chopper/drone pilot, sports vid production house, or some other form of specialist. What is important is A) does it allow you to get shots that serve your production that you wouldn’t be able to get otherwise? B) does it allow you to get shots more quickly/cheaply than you would otherwise? and C) what does it rent for a day? If you spent several hundred bucks on a rental item and that saves you hours and makes possible shots that serve your production creatively, it pays for itself and then some on a set where time is money. Which is true even on a guerilla/DIY/indie set. For all intents and purposes, the pricetag is really only relevant to it being a rental item.

      • Well 7,500 $ doesn’t sound extremely pricey, I can imagine using this a lot.
        Unlike a steadicam that is always a hassle to set up, this thing could be useful for tv work as well that needs to be done rather quickly.

        Although I thought the pans with this device are still a bit rough, that can be worked out I hope (some cheaper crane heads also have this same problem, so I hope they can fix it without rising the price too much.

        I can also imagine having some kind of joystick for this, so you could use it without a second operator (just like some steadicam operators do have a zoom and focus control who can actually operate their steadicam without the help of other people)

      • Ryan, are you considering this as an option for MANCHILD? Since you talked about using AR style steadicam to go from extremely low to high while staying leveled? It would give more freedom space wise vs that kind of steadicam setup and getting closer to the action.

        • Hell yes. Excited about this for the basketball scenes, as the story calls for a maneuverable camera in the middle of the action.

          • c.d.embrey on 04.7.13 @ 6:07PM

            We’ve been doing this for years. Sports-action is nothing new. It’s all about choreography between the camera and the actors. I was the Gaffer for “Goldie and the Boxer” (CBS MOW 1979). Dick Edesa (camera operator) was in the ring with a 35BL on his shoulder. Sometime I was in the ring with him holding a light.

            Now with this new toy you’ll have a dolly-grip (on skates) on court with the camera and a camera-operator on the sidelines actually operating the camera (pan, tilt, etc). Not much has changed! The most important thing is still the cheoreography. Bad cheoreography = bad scene.

      • So much energy spent on bitching and moaning! I think priceless reporting would be excellent… Until all your readers desert you for not providing the facts! Oh well, technology seems to be the great debate stoker -I just see an innovative product that could free me up to do some interesting things for action sequences. Maybe a music video (most Likely) but certainly the creative possibilities it offers up a very exciting. Knowledge is power after all…

    • Moronic has nothing to do with it and even though you lot have a point regarding the rent vs buy, you’re not making a very good argument. The issue here is not people wanting to own the damn thing but rather questioning what we don’t consider fair pricing. Why do we bother? Because:

      1. If this item was cheaper then the rental houses would get it for cheaper and rent it out at a considerably lower rate. If an f55 cost half of what it cost right now, I wouldn’t buy it, but it would be cheaper to rent it then that it is at its current price point.

      2. Imagine if canon had released the 5dmkii and charged 8k for it just coz it could do video? You would have a similar scenario where hoards of filmmakers and photographers would complain that they are charging much more for a camera that is very very similar to all the others in the market just coz it does video. I bet you a few people like yourselves with a very ‘conforming to the state of industry’ way of looking at things would then emerge and say “hey morons, stop complaining and rent the damn thing”!

      3. Dear fellow filmmakers. There’s nothing wrong with asking questions – good questions – everyone else is allowed to so why not filmmakers!?

      And lastly, Rental houses don’t have bottomless pockets do they?

  • c.d.embrey on 04.7.13 @ 5:46PM

    The thing people seem to be missing is that this is a TWO MAN operation, sortal like a Techno Crane.

    Think of this as a floating camera dolly. The First man is the one with the camera (dolly grip) and the Second is the man with his hands on the wheels (camera operator). You can’t do as shot without both people being skilled operators. This is no different that a pilot flying a helicopter and an operator operating the camera. Or a Techno Crane with a grip operating the arm and a camera operator opertaing the camera.

    • Not necessarily. There’s a one-person mode that measures the displacement of the rig and translates that into smooth panning. Then, you can attach a thumb-driven focus pull to the handle (redrockmicro remote). It won’t be ideal but, but it’s a single user option.

      Slowly people are welcoming the idea that ENG style can work for movie making.

      • Robert Ruffo on 04.11.13 @ 2:05AM

        No ENG does not work for movie making. Audiences have expectations. If you want proof that audiences are not interested in fiction features that look like documentaries, look at Canadian films, which make about 6c on the dollar.

      • There’s this awesome Swedish steadicam operator Johan Sandklef who has a zoom remote on his rig, and as far as I understand it he can even set up a focus control on it so he can fly the steadicam all alone with no focus puller.

        Unfortunately there’s only one or two clips of him left on Youtube, there were some more where he pulled off the craziest vertigo-zooms perfectly in a live show – with a focus puller but still zooming in and out himself with a zoom remote.

        In this clip you can still see he changes focal lengths during the shot:
        I think you can call that very cinematic in eng style!

  • So this is geared at low budget film makers that use DSLRs but it costs as much as a Red Scarlet X? Makes sense.

  • ok, guys the truth is this wat does this gear translate into dollar and cent. (how much)

  • This is technology that has existed for a while. Servo-controlled gimbals where originally designed for aerial photography; MOVI designs these devices and now has a handheld rig that uses DC Brushless motors (which are quiet) and is 3-axis. This tech is popular especially with the RC crowd and those mini-helicopters.

    MOVI is doing what any company would do and overpricing a product they already make for aerial photography. The price of the rig in parts is really less that $1000:

    How to do a DIY MōVI? 2-axis digital stabilized camera gimbal from $100

    If you’re a DIYselfer, you can build this.

  • Gary Simmons on 04.8.13 @ 8:41PM

    Color me impressed. Especially with how quick the camera man moved the camera around even sharp jerky movements were smoothed out so much the only way I knew because of the direction and speed change in the camera movements you would swear a robot was moving it around.

  • Jeremy Ratzlaff on 04.9.13 @ 10:46AM

    Honestly, this is anxiety-inducing. It’s terrifying to imagine what will be accessible with mere pocket change five years from now. While the young and reckless side of me has a boner for the ‘DSLR revolution’, the rest of me cringes in the face of compromised opportunities and degraded artistic value. Perhaps I’m just too much of a snob, but it kills me inside to think of walking down the street and seeing kids pull off a production that would have been previously accessible only to those with rare talent and unceasing motivation, using only equipment they probably received for their birthdays.

    This.. this is awesome. I can’t wait to get one of these for myself. What scares me, however, is the future that it appears to suggest.

    • If the dslr revolution has shown us one thing, it is that you still can’t make great movies if you don’t have a lot of talent and skills.
      There are a few more people now able to shoot great stuff because the gear is inexpensive, but the majority still just shoots somewhere between mediocre and crappy. A 35mm sensor won’t make your movies great, and neither will a cheap stabilizing rig.

  • Yeah this is going to be huge for you on Manchild. Gives you so much freedom to work with those scenes that take place on the court. Can’t wait to see what you are able to put together with a rig like this.

  • Amazing rig and, compared to our Varizoom rig, and the other stuff we own just to move the camera smoothly, all totaled, the price is reasonable. This would be a lot easier for a 59-year old DP such as myself to use. Can’t wait to see more.

  • The clip of moving into and away from the taxi does not match the behind the scenes footage. Anyone else find this a bit misleading?

  • Way over priced . I will perfect the steadicam before I spend 7500 on a device .

  • The example video with the guy hunting is so smooth and impressive it almost looks like it’s CGI. Surely impressive! It only makes sense that since DSLR’s can stabilize a full frame sensor using electronic’s (Sony DSLR’s) and at such precision, why couldn’t they extrapolate that large scale and just stabilize the entire setup?

    It’s only a matter of time until some competition comes in and makes it cheaper to the similar price of the Steadicam merlin (Sub $1k).

    I’m excited though!

    - Travis

  • Being that I am a person with shaky hands. These types of ‘Stabilizers’ don’t work well for me.

  • $15,000 is not affordable for a beginning filmmaker, whether young or old. People have made movies on less money.

  • Jonathon Sendall on 04.10.13 @ 7:00PM

    This can develop in a very interesting way. Imagine on the rig some kind of system similar to the Kinect that locks in to a transmitter (something very small that can be dressed in the actors hair or hat) Constant data being fed back to an on board tiny computer that calculates exactly where the transmitter/actors head is in relationship to the camera and adjusts tilt and pan accordingly, suddenly you have a one man band operation. Even focus could be programmed in to lock in on the actors head even when the actor walks away and the camera stays still.

  • The gyro may weigh very little, but if you’re wielding an Epic or even a tricked out DSLR with extended arms and no other point of contact, it’s going to burn pretty quickly if you’ve got no ‘guns’.

    With steadicam the weight of the camera is removed from your arms and placed onto your torso, so it just feels like you weigh a bit more, way easier than having all that weight placed onto your arms. This system will be fine for short takes with light cameras, but can they really be touting this system for Alexa soon? Maybe Alexa-M, if you’ve got a dude rocking the body unit in backpack, but otherwise, unless they integrate an arm and vest, this will not seem like a steadicam alternative. You start adding a matte box, LCS, a monitor for the operator and focus puller, maybe a Wevi for the Directors monitor and V-locks, this thing is going to get heavy.

    It looks good and they’ve got some brilliant results there, but there seems to be no weight distribution (yet) it’s all on the arms to hold it.

    • Daniel Mimura on 04.10.13 @ 9:10PM

      And don’t forget your back. Steadicam is easier on your back b/c the arm is doing the lifting.

      I had to do a commercial where they didn’t want to rent my full sized rig and used the director’s steadicam pilot (which has no power for follow focus, so I had to add a v-mount up on top, making it even further above the weight limit.). I was about 5lbs over the weight limit and my back was screaming after this shoot, whereas I go all day doing steadicam normally without problems. Just holding a five pound weight in the positions you use for steadicam isn’t easy (like when it’s on your shoulder for normal handheld operating.). My operating sucked on that commercial and I vowed I’m not gonna shoot on their crappy rig anymore and if they want to hire me again, they’ll pay for a full rig. I don’t think this thing will not be good for any long term operators, but the appeal to low budget shooters is obvious.

  • When I saw the video for the Movi a couple of days ago I thought ‘wow, that would save me a lot of trouble on indi film shoots’ – and it would. However at the moment as an independent filmmaker I have to cut my cloth accordingly and this at the moment isn’t within my budget. However, the one thing that I don’t think has been mentioned on this board is that the Movi is currently moving from prototype to retail and, as such, it has the R+D costs in the initial price.

    I remember a few years back these wonderful flat panel television screens hit the market and cost well over 3000 dollars/pounds to buy, but those wonderful people known as early adopters hit the shops with gusto and bought them to show off to their poor neighbours. Over the space of the next year when the screens went mass market the price dropped. Do you not think that the same will happen with the Movi?

    As I mentioned earlier, I’m just an indy filmmaker and don’t get paid to do what I do (unfortunately), but I know for a fact that I could pick a Movi up on a Saturday morning and by Sunday night I could have a film made and I wouldn’t have had to spend out the money on a Steadicam operator of practice for three years to become proficient. Also, the shot in the Behind The Scenes video with the hand off through the gymnasium hoop was just something you couldn’t do with a Steadicam without the help of other people.

    Maybe you could say that I’ve been caught up in the Vincent Laforet hype machine but I respect his work and his opinion because he knows a hell of a lot more than I do on film-making; but he also has the opinion, having worked with the developers of the Movi, that after the R+D costs begin to bear fruit the price will drop and make it more accessible to those on low to no budget projects. Plus he also says if you’re a commercial user the amount of time you will save, plus the need for fewer crew members, will show a return on investment sooner than you think.

    Anyway, that’s my ten penneth worth.

  • Should be able to build something similar for under $100, easily, using something like a KK2 control board from HobbyKing and some heavy duty servos. I use a similar gimbal system on my quadcopter (controlled by a KK2 board). The board itself with all accellerometers on board is something like $25! LOL.

  • Why do people keep complaining about the price of this? $15K for something like this is basically free. Our friends in the far east will sooner or later make a cheaper, amateur version. Don’t people know how much a Chapman dolly costs or a single 8k HMI for that matter.

    I find it funny that thousands of amateurs have started calling themselves DPs or Cinematographers just because they’ve bought themselves a Scarlet, an consumer grade tripod and a $500 slider then they complain about how much professional cinematography equipment costs. Things have never been cheaper…by a country mile! I remember spending $1500+ on a baseplate.

    Nowadays its great that almost anyone can not only afford to rent buy buy stuff like this; great for young people trying to get access but it’s no wonder that there’s no money left in the business. The greater expenses and overheads we had in the past, ironically meant we could have decent quality of life unlike today…

    Sad, grumpy, old cinematographer

  • What the hek, no matter how you cut it, stack it or dry it..That is Cool !

  • In Spain someone are working in same Project but, more cheaper and need one person to work with this thing… some advance? … Joystick… Soon…

  • I think this looks like a really useful tool.
    The fact that you can hand camera off easily mid-shot in addition to its form factor make it a way for achieving some shots that could not have been achieved before. Assuming you have a very light camera.

    With that said its just a tool for moving the camera, like a steadicam, slider, handheld or dolly.
    All of those tools have a “look” and they always will. I love the look of a dolly and i also love shooting handheld. So lets not get carried away here people.

    On Vincent’s blog, he mentions how the next test is going to be “standard coverage”. Achieving normal coverage, but “3-5 times faster”. To me this is such an ignorant comment.

    This tool will not be any faster than handheld, and if theres one mistake i hear producers make, its that ‘because were shooting handheld we can shoot it all faster’. What about our lighting people?
    Quite frankly, if you want to be free and run around on set with “no restrictions” well then stick to your 1×1 lite panels.

    Lets be honest, doesn’t this guys work looks a bit mediocre? The shots are fine, but he has no sense of light. and watching these BTS videos i can see that its because he doesn’t really do any lighting. He has a couple guys running around with LED panels. He shoots like a wedding videographer.

    Price point seems fine to me. Its a complex piece of equipment for a very specific clientele… what do you expect it to cost?

    To sum it up… great technology, NOT a game changer, but beautifully increases our tool set. Go Movi! I cant wait to get one on my set.

  • we are looking for a 3 axis brushless gimbal to lift a 10kg camera that we have. Does anybody know where I can find such a gimbal?

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  • Alex Brambilla on 09.17.13 @ 1:57PM

    What do you mean ‘is the future of Steadicam operators in jeopardy THANKS to rigs like this?’
    May be you have some personal problems with Steadicam operators?
    Let me understand. Here you talk of some thousand honest professionals around the world that you are glad to think will be jobless THANKS to this technology…..
    I have been a Steadicam operator for 24 years, I work in cinema with heavy (more and more often digital) cameras and very heavy anamorphic lenses and I think I will go on this way in the future.
    The Steadicam did not replace the dolly as this truly wonderful device will find its place in the market and will not replace the Steadicam. Your just being unfair

  • Everything is very open with a very clear explanation of the
    challenges. It was definitely informative. Your site is
    extremely helpful. Thank you for sharing!

  • this piece of equipment is quite mind blowing. i have a question, what is the wireless joystick control pad being used in the bts video ? would really appreciate a response

  • check it out:
    the same payload and quality with Movi M10 but diference price :)
    Gstabi H14 is their newest product.

  • For me movi 5 is the solution. Cheaper and will hold my 5ds.

  • Are there any alternatives at a lower price?

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