Interesting new rig

[Michael Maga]

Shawn, please do post some of your footage using a movi on a steadicam. You make a lot of claims what a movi on a steadicam will do... now back it up with your footage.

Also post some pictures of a movi mounted on a steadicam... With all the talk of mounting a movi on a steadicam, I still dont think I have seen it...

 

A movi on a steadicam really wont allow the dp to control how the shot is framed... it will still be up to the operator to have the sled in the correct position and the correct height... it doesnt matter what is mounted, the steadi op still controlls where it is... controlling the tilt and pan is not framing. Maybe you need to take a film school class.

[Charles Papert]

I'm at a loss to figure out what the benefit would be of putting a gimbal on top of a Steadicam sled anyway. From the gimbal perspective, all you need is the ability to transfer the weight of the system out of the operator's hands to reduce fatigue plus provide vertical isolation, which could be achieved by plonking the gimbal onto the end of the armpost, eliminating the sled entirely. So yes to arm and vest, but no to sled.

 

From the Steadicam perspective, the gimbal could provide additional stabilization where helpful (roll axis being the primary benefit), but you give up the control of pan and tilt which is a huge tradeoff.

[Shawn Sutherland]

Personality, experience, what senior operators think a Steadicam Operator "should" be doing, it's not gonna matter. Hell I don't even care if you think a Movi on a Steadicam is "training wheels" for bad operators. Won't make any difference.

There's a reason "control freak" DOP's are always grabbing the gimbal, jumping onto the dolly, or controlling the techno. They want the shot, pure and simple. They'll get it with the Movi/Steadicam combo.

Now in case the advantages aren't obvious, I'll list them again:

Roll axis correction, tilt axis correction, extremely fine tuned remote pan and tilt control for the DOP, and best of all, high mode to low mode just like the Alien Revolution.

As a side note, I never said I owned a Movi. I'm simply telling you what's about to happen when less experienced operators start using them on their rigs. Whether you like it or not, whether you agree with the practice or not, it's gonna happen and they're not gonna give a rats ass what you think bout it.

[Eric Fletcher S.O.C.]

Personality, experience, what senior operators think a Steadicam Operator "should" be doing, it's not gonna matter. Hell I don't even care if you think a Movi on a Steadicam is "training wheels" for bad operators. Won't make any difference.

 

There's a reason "control freak" DOP's are always grabbing the gimbal, jumping onto the dolly, or controlling the techno. They want the shot, pure and simple. They'll get it with the Movi/Steadicam combo.

 

Now in case the advantages aren't obvious, I'll list them again:

 

Roll axis correction, tilt axis correction, extremely fine tuned remote pan and tilt control for the DOP, and best of all, high mode to low mode just like the Alien Revolution.

 

As a side note, I never said I owned a Movi. I'm simply telling you what's about to happen when less experienced operators start using them on their rigs. Whether you like it or not, whether you agree with the practice or not, it's gonna happen and they're not gonna give a rats ass what you think bout it.

 

 

Shawn,

 

Can you please link us to your website showing your work? a credit list or something that shows some experience? I've checked IMDB and I get nothing back for you.

 

Seems you misunderstood Ron's dry (Rye?) wit, he was saying that your claim of the DP wanting to do the shot doesn't happen. Well it does happen when you suck, and since you say that all the DP's you've met/worked with did that, well it means you suck. Do you suck?

 

I've never really had a roll axis issue, can say the same for the tilt axis. I have pretty fine control of pan and tilt (Click the video in my sig and see for yourself) as for the high to low, I've never really had an issue with needing that shot on a day to day basis

[Shawn Sutherland]

Gotta love the way you framed that. You're suggesting that the only reason a DOP would want to control the Movi on my Steadicam is because "I suck". Good one. Nice shaming tactic. Theres only one problem with it. I don't care what you think of me or my work, and I'm not seeking your approval. I'm just telling you what's coming down the pike.

You've already seen one of my shots. Here's some more for you to shit all over:

https://www.youtube.com/watch?v=35Kwvu0G4q0

https://www.youtube.com/watch?v=tJuFxmN2yFE

https://www.youtube.com/watch?v=o_5eknRAeLo

So you never had a roll or tilt axis issue. Must be nice. I guess that's why you like demeaning people with less skill. Good for you. Go ahead and tell me how much my footage sucks. Have fun with that. Just remember that if you want to say "my footage sucks", or that "I suck", just because it's not as good as yours, you're saying the same thing to a lot more people than just me. I've with many of them and they're sick and tired of hearing this from senior operators.

When Movi-like gimbals are used with Steadicams on a regular basis, you won't be the better operator for long.

[Eric Fletcher S.O.C.]

Shawn, you miss what it is to be an operator. Until you understand or realize what it is that an operator does, you might want to stop telling us what you think we do and how our jobs (Based on your non-existiant experience) will change.

[Shawn Sutherland]

You throw shaming tactics like a monkey throws poop, but I'm not falling for it. I may not have the same amount of experience as you, but I can still get a reasonably good shot. My customers will gladly verify that in a heartbeat. Just not you because the last thing you want to do is qualify me any more than you have to.

I also have a pretty good idea of what you think it means to be an operator, or at least the part that matters most: You think you're better at it than just about everybody else.

I'm here to tell you that's about to change.

[Eric Fletcher S.O.C.]

ANNNNNNDDDDDDD you still don't get it.

 

You seriously have no idea what an operator does

[Alan Rencher]

Shawn, I'm going to regret replying to this argument, but saying that a Movi will make you a better Steadicam operator is like saying DaVinci Resolve will make you a better DP.

 

I'm not trying to say anything about you as an operator. I'm just saying that statement doesn't make sense.

[Michael Maga]

Shawn... I'm sorry, but you are clueless about this... You should take your sales pitch to some other site where they may believe it...

You gave your opinion about what you think.. good for you...

How do you think that you are going to all of a sudden be a good operator because you now have a movi onboard?

You are basically saying that you are going to be as good or better than many of the veteran, skilled operators here because of the movi..

and I am sure that is insulting to many...

 

but the facts remain:

A good op will not need roll or tilt correction and has "extremely fine tuned pan and tilt control"

which really makes the movi pretty useless on a steadicam.

 

 

 

A cheap production that cant afford a good op surely wont want to pay rental on a movi....

 

and a production with a good op wont need one.

[Shawn Sutherland]

"I have no idea what an operator does, I suck, I'm clueless"

Yeah whatever.

Apparently denial is NOT just a river in Africa!

You can shoot the messenger all you like, but it still won't make any difference. This is coming whether you like it or not.

 

It's just a matter of time.

[RonBaldwin]

Shawn...here's a tactic for you -- go to a set (a real set) and hang out for a day. You obviously don't get it -- which is not a slam, just a fact...we were all there when we started. Where are you located? I am sure you can visit a set and observe. If you are in the NYC area come hang with me.

 

I don't think anyone here denies that the movi is a really cool thing...but like everything else it is a tool in a toolbox not the messianic second coming to cure all camera-movement ills. Sure you could put it on a steadicam with someone else controlling pan/tilt but to do really intricate and repeatable shots in a timely manner there would have to be serious coordination/communication/rehearsals between the steadi/dolly grip and the dp/op. There is a reason the lenses are so wide in all the videos...it's not a precision instrument, room is needed for slop. Of course that may improve with time but then the handheld nature of the movi (when, of course, not mounted on a steadicam) will be most apparent.

 

none of what I have said is new...except my invite to come hang out and see first hand what is usually expected from an operator and dp and who does what and the communication and sarcasm needed to accomplish a day's work and get home safely with the lead actress.

[Shawn Sutherland]

Thanks for the invite, but as of right now I live in Windsor Ontario. New York City is a little off the beaten trail. If you happen to know any operators living in Detroit, tell me and I'll go over and see them. It's just across the river and I go there often.

In the mean time, here's how I predict the Steadicam will work with the Movi:

Instead of placing the monitor on the sled, mount it to the Steadicam arm with one of these:

http://www.bhphotovideo.com/c/product/648157-REG/Ikan_MA210_MA210_10_Articulating_Arm.htmlYou can still leave the monitor on the sled if you want to, but it won't be necessary. I recommend filling the empty space with wireless video transmitter and a battery. Don't forget to mount a wireless video receiver to the arm and plug it into the monitor.

Put the Movi on top of the Sled, balance it up nice and neat, and make sure it passes the spin test. After the sled is in dynamic balance, get rid of the 2-3 second drop time. There won't be any need for it because the sled won't have to stay upright. That's what the Movi is for. Also by balancing the sled to neutral gravity, you won't have to fight with it in low mode. The sled will stay wherever you put it.

Now let's take it for a ride.

With the Movi/Steadicam combo, You won't have to watch the sled's horizon anymore. The Movi will take care of this for you. Re-locating the monitor on the Steadicam arm puts it directly where you need to look. This is particularly useful with Don Juan shots. No more craning your neck to get a better look while hoping you don't trip on something. Just a forward looking view with the ground in your line of sight at all times. This also works for high to low mode shots as your rig just became a jib.

First thing you'll notice is that the camera to pans and tilts all by itself. That's the DOP doing his thing. You will instinctively follow what he does by panning and tilting with him. There won't be any learning curve on this one. It's a positive feedback loop. Everything else is handled by 2 way voice communication. With a blue tooth in your ear, you'll receive real time directions from the DOP: Move In, Move Out, Move Left, Move Right, Boom Up, Boom Down.

[Eric Fletcher S.O.C.]

Thanks for the invite, but as of right now I live in Windsor Ontario. New York City is a little off the beaten trail. If you happen to know any operators living in Detroit, tell me and I'll go over and see them. It's just across the river and I go there often.

 

In the mean time, here's how I predict the Steadicam will work with the Movi:

 

Instead of placing the monitor on the sled, mount it to the Steadicam arm with one of these:

 

http://www.bhphotovideo.com/c/product/648157-REG/Ikan_MA210_MA210_10_Articulating_Arm.htmlYou can still leave the monitor on the sled if you want to, but it won't be necessary. I recommend filling the empty space with wireless video transmitter and a battery. Don't forget to mount a wireless video receiver to the arm and plug it into the monitor.

 

Put the Movi on top of the Sled, balance it up nice and neat, and make sure it passes the spin test. After the sled is in dynamic balance, get rid of the 2-3 second drop time. There won't be any need for it because the sled won't have to stay upright. That's what the Movi is for. Also by balancing the sled to neutral gravity, you won't have to fight with it in low mode. The sled will stay wherever you put it.

 

Now let's take it for a ride.

 

With the Movi/Steadicam combo, You won't have to watch the sled's horizon anymore. The Movi will take care of this for you. Re-locating the monitor on the Steadicam arm puts it directly where you need to look. This is particularly useful with Don Juan shots. No more craning your neck to get a better look while hoping you don't trip on something. Just a forward looking view with the ground in your line of sight at all times. This also works for high to low mode shots as your rig just became a jib.

 

First thing you'll notice is that the camera to pans and tilts all by itself. That's the DOP doing his thing. You will instinctively follow what he does by panning and tilting with him. There won't be any learning curve on this one. It's a positive feedback loop. Everything else is handled by 2 way voice communication. With a blue tooth in your ear, you'll receive real time directions from the DOP: Move In, Move Out, Move Left, Move Right, Boom Up, Boom Down.

 

 

Good luck with that.

 

again, until you understand what the operator does on set you will never understand why you are wrong. DP's I work with appreciate the fact that I not only run the set and handle the actors (directors also appreciate that) but during the actual takes they can leave the set and start working on "Prep" for the next episode or the next scene or the next setup. They want to not have to babysit the set. That's why we are there TO GET THE SHOT

 

What you suggest might work on the shows you do (remind us again what you do) but it won't work on 99.9999% of the professional level shows done

[Charles Papert]

Put the Movi on top of the Sled, balance it up nice and neat, and make sure it passes the spin test.

 

OK, so why do you need perfect balance both static and dynamic if the Movi compensates for you? You aren't panning on the rig any more, so why do you care if it spins flat? Is there ANY purpose to having all of weight of the rig onboard except for flipping it over into low mode during a shot? Because guess what, you aren't going to need a Steadicam rig and a classic three axis gimbal for that purpose, that's a single axis pivot at best.

 

And by the way, speaking as a DP, I have no interest in having to operate a remote head when I already have operators on the payroll, especially tying up my time having to have a continuous running dialogue telling them when to pan and tilt and walk and stop. As far as what the future brings, it's safe to say it's going to continue to be about smaller crews with everyone doing more work--the last thing I need is to fill up a valuable crew slot with an operator if I'm having to do half of their work for them. It's not efficient and it's not an improvement. The future of these rigs is, I strongly believe, NOT going to be a two-man operation.

 

You seem to relish in telling the entire professional Steadicam community what's coming but from where I'm sitting, you aren't looking far enough forward yourself. Remember: the internet is forever, so choose your words carefully.