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:
Video is no longer available: vimeo.com/freeflycinema/freeflyroam
What do you guys think? Is the future of the full-time Steadicam operator in jeopardy thanks to rigs like this?
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.
April 5, 2013 at 2:38PM, Edited September 4, 8:21AM
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!
April 5, 2013 at 2:56PM, Edited September 4, 8:21AM
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.
April 5, 2013 at 3:39PM, Edited September 4, 8:21AM
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.
April 5, 2013 at 6:38PM, Edited September 4, 8:21AM
April 5, 2013 at 3:21PM, Edited September 4, 8:21AM
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.
April 5, 2013 at 3:47PM, Edited September 4, 8:21AM
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.
April 5, 2013 at 4:04PM, Edited September 4, 8:21AM
This looks pretty cool but it is seriously overpriced. Is this not exactly the same as this
or am I missing something?
April 5, 2013 at 7:24PM, Edited September 4, 8:21AM
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.
April 5, 2013 at 4:36PM, Edited September 4, 8:21AM
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
April 5, 2013 at 5:01PM, Edited September 4, 8:21AM
Yup. My jaw definitely dropped. This is incredible.
April 5, 2013 at 6:47PM, Edited September 4, 8:21AM
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.
April 5, 2013 at 8:10PM, Edited September 4, 8:21AM
We can say bye to Zacuto, letus and even Kessler.
April 5, 2013 at 8:16PM, Edited September 4, 8:21AM
I'm just hoping someone makes a cheaper version...
April 5, 2013 at 8:24PM, Edited September 4, 8:21AM
This device over on Kick Starter is also interesting, with a downscale (non gyro) type of build but, seems to advance the concept for the carry it all in a two bag travel set up. It addresses the yaw, tilt and roll.
Is doesn't look to cost more than a few hundred or so.
April 9, 2013 at 9:43AM, Edited September 4, 8:21AM
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.
April 5, 2013 at 9:57PM, Edited September 4, 8:21AM
Well said Ben!
April 5, 2013 at 10:12PM, Edited September 4, 8:21AM
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 :)
April 6, 2013 at 12:48AM, Edited September 4, 8:21AM
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.
April 6, 2013 at 12:17PM, Edited September 4, 8:21AM
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.
April 7, 2013 at 10:30AM, Edited September 4, 8:21AM
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...
April 8, 2013 at 5:57PM, Edited September 4, 8:21AM
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.
April 6, 2013 at 12:17AM, Edited September 4, 8:21AM
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.
April 6, 2013 at 8:11AM, Edited September 4, 8:21AM
This was at Nab 2012. Skip to 4:30 for the main event. Can't find pricing for it yet though.
April 6, 2013 at 3:30AM, Edited September 4, 8:21AM
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.
April 6, 2013 at 6:06AM, Edited September 4, 8:21AM
Steadicam would be far more financially viable option over this.
April 6, 2013 at 12:38PM, Edited September 4, 8:21AM
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,
April 8, 2013 at 3:37AM, Edited September 4, 8:21AM
Yeah, you can't put a light on a Steadicam but you can on the MoVi
How about a light AND a teleprompter:
The fact is that the MoVi will never replace the Steadicam for the simple reason that the Steadicam can hold more weight. For all the lightweight camera rigs out there there will always be heavy ones.
April 9, 2013 at 7:54PM, Edited September 4, 8:21AM
I take anything I hear from Vincent Laforet with a grain of salt...
April 6, 2013 at 7:51AM, Edited September 4, 8:21AM
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.
April 6, 2013 at 10:51AM, Edited September 4, 8:21AM
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.
April 6, 2013 at 11:25AM, Edited September 4, 8:21AM
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!
April 6, 2013 at 12:59PM, Edited September 4, 8:21AM
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.
April 6, 2013 at 2:30PM, Edited September 4, 8:21AM
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)
April 6, 2013 at 3:25PM, Edited September 4, 8:21AM
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.
April 6, 2013 at 3:51PM, Edited September 4, 8:21AM
Hell yes. Excited about this for the basketball scenes, as the story calls for a maneuverable camera in the middle of the action.
April 7, 2013 at 2:14AM, Edited September 4, 8:21AM
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.
April 7, 2013 at 3:07PM, Edited September 4, 8:21AM
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...
April 6, 2013 at 11:12PM, Edited September 4, 8:21AM
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?
April 8, 2013 at 12:54AM, Edited September 4, 8:21AM
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.
April 7, 2013 at 2:46PM, Edited September 4, 8:21AM
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.
April 7, 2013 at 3:39PM, Edited September 4, 8:21AM
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.
April 10, 2013 at 11:05PM, Edited September 4, 8:21AM
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: http://www.youtube.com/watch?v=uoStalEg4-4
I think you can call that very cinematic in eng style!
April 11, 2013 at 12:33PM, Edited September 4, 8:21AM
So this is geared at low budget film makers that use DSLRs but it costs as much as a Red Scarlet X? Makes sense.
April 7, 2013 at 9:29PM, Edited September 4, 8:21AM
ok, guys the truth is this wat does this gear translate into dollar and cent. (how much)
April 8, 2013 at 4:34AM, Edited September 4, 8:21AM
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.
April 8, 2013 at 8:15AM, Edited September 4, 8:21AM
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.
April 8, 2013 at 5:41PM, Edited September 4, 8:21AM
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.
April 9, 2013 at 7:46AM, Edited September 4, 8:21AM
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.
April 11, 2013 at 12:46PM, Edited September 4, 8:21AM
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.
April 9, 2013 at 8:18AM, Edited September 4, 8:21AM
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.
April 9, 2013 at 9:16AM, Edited September 4, 8:21AM
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?
April 9, 2013 at 10:00AM, Edited September 4, 8:21AM
Way over priced . I will perfect the steadicam before I spend 7500 on a device .
April 9, 2013 at 10:05AM, Edited September 4, 8:21AM
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!
April 9, 2013 at 10:56AM, Edited September 4, 8:21AM
Being that I am a person with shaky hands. These types of 'Stabilizers' don't work well for me.
April 9, 2013 at 11:58AM, Edited September 4, 8:21AM
$15,000 is not affordable for a beginning filmmaker, whether young or old. People have made movies on less money.
April 9, 2013 at 2:07PM, Edited September 4, 8:21AM
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.
April 10, 2013 at 4:00PM, Edited September 4, 8:21AM
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.
April 10, 2013 at 5:14PM, Edited September 4, 8:21AM
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.
April 10, 2013 at 6:10PM, Edited September 4, 8:21AM
Typpo in the last sentence. I think you can tell what I meant.
April 10, 2013 at 6:13PM, Edited September 4, 8:21AM
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.
April 11, 2013 at 4:12AM, Edited September 4, 8:21AM
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.
April 12, 2013 at 3:05AM, Edited September 4, 8:21AM
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
April 19, 2013 at 1:12PM, Edited September 4, 8:21AM
What the hek, no matter how you cut it, stack it or dry it..That is Cool !
April 20, 2013 at 4:35PM, Edited September 4, 8:21AM
In Spain someone are working in same Project but, more cheaper and need one person to work with this thing... some advance? ... Joystick... Soon...
May 21, 2013 at 9:28AM, Edited September 4, 8:21AM
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 1x1 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.
May 23, 2013 at 8:59AM, Edited September 4, 8:21AM
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?
June 19, 2013 at 6:07AM, Edited September 4, 8:21AM
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July 25, 2013 at 1:58AM, Edited September 4, 8:21AM
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
September 17, 2013 at 10:57AM, Edited September 4, 8:21AM
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!
January 22, 2014 at 10:38PM, Edited September 4, 8:45AM
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
February 13, 2014 at 9:14PM, Edited September 4, 8:45AM
check it out: www.gremsy.com
the same payload and quality with Movi M10 but diference price :)
Gstabi H14 is their newest product.
March 24, 2014 at 8:18AM, Edited September 4, 8:56AM
For me movi 5 is the solution. Cheaper and will hold my 5ds.
May 31, 2014 at 1:53PM, Edited September 4, 8:56AM
Are there any alternatives at a lower price?
May 31, 2014 at 1:57PM, Edited September 4, 8:56AM
As it has been said, I was super stoked on this product after reading the article and watching the videos. I read the line that said that said it's going to be affordable and I started getting giddy. I then read that it was going to cost more than I paid for my 2007 Honda Civic and that record screech sound brought me back to reality. I am obviously not the target market for this product. I think the thing is amazing but if I had that much money lying around I wouldn't have found this article after searching "cheap alternatives to Steadicam." Great writing, great innovating but dang... talk about a huge let down.
August 21, 2015 at 12:32AM, Edited August 21, 12:32AM