Discussion with a Producer about the MOVI

[Thomas English]

Fair point Joe and to Janice is right that we should be completely up to date on the subject.

[Lars Erik]

I've been doing Steadicam for almost 10 years now (in the industry for 15 years). And in all those years, one thing that the DP's were worried about, was the limits of a rig. Can we use this camera, do you have problem using heavy lenses, filter change, what about FF and wireless video? What's your set-up time etc.

 

In short, they want a set to move fast and have as little limits as possible. To me, the MOVI is just the opposite. Shitload of limits. Until they find a way to remove these limits, the MOVI will be a niche product and totally uninteresting to me. So let them fiddle about, and maybe in a few years time when they've sorted all this out, it could be interesting.

[Paul Watt]

 

Well, I totally agree it's not going to replace a steadicam on it's own, ever. The weight restrictions and ergonomics make it a very different beast. But I've put together a Movi Epic system that works pretty well. Antons power AKS (Heden/Bartech/Paralinx+) and the camera, and I've got an easyrig 9" extension for long, slow or lockoff style shots. It takes lots of practice, just like a steadicam, and the shots it produces look different than a steadicam. I've got balancing down pretty good now too, between 5 and 10 minutes at the most.

 

We've had it out the heli door at 100mm, and out of an open vehicle doing 100kmh, and it held the shots well both times. So it's got it's purposes. It's much harder to accurately hold a frame so far, since it lacks the direct contact control you have on a steadicam. Pretty cool thing tho.

 

What camera and lens combinations are you putting on there? Epic?

 

It was Epic with Zeiss 100 zf2 Duclos conversion, also used 24-70 Canon, and 16-35 Canon. All light lenses.

[Brian Nordheim]

Ok Let me chime in here. First off the MoVie will destroy your back if you let the Production use you like a steadicam. It is not a balanced system to your body. Try hard mounting one to an ATV and drive over rock roads and look at the results. You cannot do precise quick moves on anything longer than a 40mm, the lag time in majestic mode is not responsive enough. You will be shooting up at the DP's lights all day long and pissing off actors because your shooting up their chins and noses. You cannot get the camera high enough. Grips will be building you Ramps and 2-3' Platforms all day long. Guys this is not going to replace the steadicam! It is a tool to add to our tool box to get certain shots done. It works well for designed shots just like the AR. By the time production pays $600 to $750 per day for the system without a camera, remote focus, onboard monitor and HDSDI wireless transmitter, BINGO your at the price of renting a Steadicam. Reality CK.

[Brian Nordheim]

Oh P/S : If your getting calls to Operate a show with the MoVi and not the steadicam you better charge them your steadicam rate!

PROTECT YOURSELF!

[Thomas English]

What Brian said

 

Let the technology mature. Once dynamic easy rigs like BaerBells one come into production and beefier controls so the operater can control the camera and it all works. The movi system will come to us rather than we come to it. Sure a $20,000 additional investment but no one here is afraid of that.

 

Build a solid operating repuation. Let all these other people pioneer the Movi. 4 years down the line think about buying one. In the mean time just think about other stuff.