I looked in the Stabilsers/Steadicam section but did not see this MoVI BTS mentioned yet. More info is coming in all the time and no doubt we'll see them on demo at NAB - or at least those of you going will.

Looks REALLY amazing, incredible potential. Two different versions available - not cheap though! Vincent is a well respected guy and this looks like it'll take off like a storm.

MōVI on Vimeo

MōVI in Action (Quick Video) on Vimeo

MōVI BTS on Vimeo

That is totally bad a**!

The price of $15k will make it a challenge to acquire for most.

Yes, I think for $15,000 (a smaller $7,500 one is coming later apparently) it will not become a widely used tool or one that many of us would own - I certainly can't afford that right now. Could do well in the rental market until the pricing becomes more accessible.

I hope for their sake the design team have good patents in place. Clones/knock offs will no doubt appear quickly and at much more accessible price points if they have not - and maybe even if they have in some countries. The BTS film has some terrific shots in it that we all know would be difficult or outright impossible with current steadicam set-ups (a Canon C100 on a Steadicam Merlin is my current rig - still working on perfecting my technique for that).

Also, this MoVI looks (and I stress looks) like it would be fairly straightforward to operate without in-depth training/skill development. However, we've seen experts make things look really easy before - many times, especially in the steadicam arena - so I'll reserve final judgement on that.

It looks an amazing product in terms of the shot flexibility it brings to our craft. $15K will prevent it from being game changing for most of us though. But if you've got the budget...well you'll definitely be wanting one - won't you!!!!

I could see where it won't fit everyone's budget. I have more invested in steadicam gear than the estimated price of $15k so affordability is indeed relative.

Many of the shots I do with a steadicam could be done with this. The only issue I see for my uses is weight capacity. I can carry a lot more weight on the steadicam for longer but there are places like that spiral staircase where using a full sized steadicam is challenging.

I'm looking forward to seeing how this develops.

Thanks a bunch for posting this Andy. I meant to do it myself but there's just too much going on at my desk right now -- plus getting ready to leave for the show. This thing looks really cool and we might have to add a new sub-category for it under camera supports... I don't know what existing classification it would fit under anyway. It's more than a stabilizer.

Many of the shots I do with a steadicam could be done with this. The only issue I see for my uses is weight capacity. I can carry a lot more weight on the steadicam for longer but there are places like that spiral staircase where using a full sized steadicam is challenging.


This was my reaction too. Some of those low to high shots they have in the BTS are going to do a number on your wrist & arm. 2-3 takes will be nothing. 30 takes & you'll need some ice & pain reliever.

I kind of think the Steadicam system is like a shoulder mounted camera (Betacam) & the Movi is like a handheld palm camera (EX1). Each have their advantages & disadvantages. But you can hold more weight for longer if you're using more of your body instead of just your arm.

I would be curious if you could mount a Movi onto a Steadicam arm.

---

I think the most amazing thing about this is the ease of use. If it really doesn't take much practice to fly, then that is a major advantage over a Steadicam system for your average shooter (but bad news for dedicated Steadicam ops looking for work).

Just combining it with an Easy Rig sort of thing would probably do the trick. They're not too expensive, depending on who you ask. (although not much cheaper than the lighter Steadicam vests).

I like how they started the short with a helicopter shot as it seems to be a smaller scale version of those mounts.

And you know the Chinese knock off version is only 3 to 6 months away! LOL! Very good job by the developer of this device. Much needed for so many applications! Bravo!!!

I think it really depends on the camera you plan to use. I could see running around with a dSLR for a bit but to try and fly my F3 would require some kind of a vest and arm setup.

On the plus side the rig would allow the person holding the camera itself to concentrate on camera position and less on framing. That could improve personnel safety for sure.

It would allow for simpler support setups to be used. This still won't be a low budget indie cheap option.

It is very exciting to see and with any luck if the market is large enough we could see the costs drop down to a more broadly affordable level.

You need two operators for the moves and a 3rd for focus, so this won't be a low-budget, solo shooter solution. That said, it looks really easy to operate, compared to a Steadicam. And that makes it a really nice rental piece...

Unless you're skilled, you need to "rent" an operator with your Steadicam. The MoVI looks like it could be operated by most anybody who can use a tripod and a rig.

That said, the moves didn't look quite as fluid as often delivered from a Steadicam. (Watch the background, not the subject.) But the moves looked "good enough" and much better than one can do handheld.

Can't wait to see it at NAB!

Yeah, matching pan and tilt with movement is probably going to be a bit tricky in more complicated shots/reframes. I wager that's where some twitch is going to come from. With a Steadicam you get that with a single person and there's not that disconnect.

There's probably people who are good with remote camera systems who mightn't have much trouble, but I can imagine it tripping up some people (me).

it's still just a large, hand held, stabilized rc heli gimbal, that needs dedicated op if you want pan or tilt;
DSLR version - maybe $4K, but 7,5 or 15?
no, i'll probably wait for chinese version, it'll be for sure cheaper and lately i even noticed that sometimes their knock offs better and improved originals.

How loud are the servos? Dialog possible? Anyone seen the VOD extras?

the guy from the demo video says it's silent, you can only hear FF motor

Wow this looks amazing but as already said well out of my price range.

It takes multiple people now, but imagine integrating something like this with in-camera face and scene/composition detection. You could then walk through a shot ahead of time and set keyframes that would execute the appropriate focus and framing automatically while you operated the rig.

It takes multiple people now, but imagine integrating something like this with in-camera face and scene/composition detection. You could then walk through a shot ahead of time and set keyframes that would execute the appropriate focus and framing automatically while you operated the rig.

I'd really rather not imagine a future like that. Both focus and framing benefit immeasurably from the artistic sensibility of the person behind each aspect. For a simple shot, arguably there are situations where all that is desired is to keep a particular subject in focus, and perhaps then an automatic focus and framing scenario would be acceptable and desirable. Say for example, a spokesperson doing a simple walk and talk delivered to camera. Given shallow enough focus however, where there is a choice between one and the other eye, there's still some human thought to be applied, and any scenario with a rack focus needs to be reactive to the particulars of a given take in terms of timing, speed and variation in distance as is always the case with live subjects and a moving camera. The future of focus pulling is sure to become more automated, and nearly every AC I work with now incorporates a monitor as part of their process, but there's still a tremendous amount of skill involved to deliver flawlessly sharp shots across a S35 frame.

Regarding framing: again, if one is shooting a simple subject and the goal is a mechanical result such as "glue them to the crosshairs" or "glue them x amount to the left of the crosshairs", possibly this would work. Even still, what is "proper" headroom for every variation of distance to the subject? I constantly ask my operators to make minute adjustments to headroom to fit my aesthetic (after having spent a good number of years having that inflicted on me). It's a little bit like asking a computer to make a painting. Every nuance of framing, especially with a moving camera, is very much a part of the operator's skill, artistry and even personal expression, if I may use such a flowery term. Watch this exquisite shot (http://steadishots.org/shots_detail.cfm?shotID=121) from the legendary Steadicam operator Larry McConkey, and pay very close attention to where he places Pacino in the 2:40 frame at any given moment. It's like a masterclass in framing. None of it is left up to chance, every moment is a choice made in advance and executed flawlessly, reacting to the nuance of performance with the speed of light. No piece of software is going to duplicate that.

I can't begin to compare myself to Larry but he was my greatest influence as an operator and I certainly bore his lessons in mind when I designed this little number (http://steadishots.org/shots_detail.cfm?shotID=289) (that link includes breakdown of the shot design, but the video quality is pretty awful--this (http://charlespapert.com/DP/SteadicamReelelah.html) is marginally better).

As far as the Movi itself as a possible Steadicam replacement--it's an evolutionary step, and not unexpected. We are sure to see this technology merge with Steadicam (I well expect to see it mounted to a Steadicam arm soon enough, which will aid with both the weight management and vertical stability) and make its way into many other scenarios other than a handheld stabilizer. I personally expect to see axial stabilization happen on in-camera within a few years, making external apparati like these unnecessary. But this is a step along the way.

I think it has some very interesting possibilities.
Will we see longer, freemoving shots show up more now in corporate videos, indiefilms and commercials?

Fwiw...

It's a great item. However..
I saw 2 other s just like (granted lighter and unfinished) that will be around $2k.

Id expect within 18 months there will be multiple options under $3k for DSLR cameras.

Will have pics wheni get out of this Tijuana jail and back to the USA. Dvinfo bail posting is slow.

None of it is left up to chance, every moment is a choice made in advance and executed flawlessly, reacting to the nuance of performance with the speed of light. No piece of software is going to duplicate that.

I think you misunderstood what I was suggesting. I'm not talking about software that figures out things like focus or composition for you (i.e. autofocus or autocomposition), I'm talking about something that lets you plan everything in advance - and simply leverages these technologies to help you execute it. I'm thinking in terms of planning your camera movement, composition and focus along the same lines that someone working in the 3D animation world does now, but then having the operator guide and tweak the execution of that plan in real time. So the operator's job becomes one of focusing on and reacting primarily to the nuances of the performance, rather than trying to juggle that with the broader mechanics of a given move or sequence.

Here's the quick video we did yesterday at the show......
NAB Show 2013: FreeFly Systems MoVI - Filmtools.tv - YouTube
Quite impressive in your hands...

Jim Martin
Filmtools.com

Evan:

Not quite sure I understand the distinction you are making, but it's cool, the future will bring what it brings.

Focus is a better fit for an automated process than framing, in any event. A large percentage of the job of focus pulling is keeping a specific subject sharp, with a small percentage devoted to making choices on what that actually means and transition focus to other subjects. So, that could more likely be automated via face recognition. I've imagined for a few years now a tablet setup where an AC would tap on the desired subject, swipe to the next subject to do a rack etc.

The best use of framing assist is to eliminate backpanning due to rotation of the chassis, such as transitioning out of a curve into a straight section, or panning a jib while attempting to maintain a straight-ahead orientation. Stabilized heads do this by nature and it makes it easier for the operator not to have to dial in a pan to keep the lens looking the same direction.

I'm a little perplexed by some of the suggestions that are being bandied around that you don't need much "skill" on the side of the chap carrying the Movi, that a PA can be just tossed the rig and away you go. Placing a camera into space is very much part of the process of making a moving shot successful. There are a significant number of decisions to make at any time: what height should the lens be, what speed and acceleration of movement in the three lateral axes is ideal. I had many experiences operating remotely while relying on others for the placement in space of the camera (Skycam, dolly, Technocrane) and it can be either exhilarating when you have that innate communication, or eminently frustrating when you don't (you find yourself straining at the controls muttering "come on! move!"). One of the things that makes Steadicam so satisfying is that you can regulate all axes of movement yourself, which allow for incredible subtlety and the ability to react at the drop of a dime. Very much trickier with a two-man band.

Charles,

For the last 9 years we have been operating cameras remotely on RC helicopters and I have the same thoughts as you. I have been working with the same camera op all that time and we have found that when we are allowed to "do our own thing" really good things often result. We have gotten pretty good at anticipating one another. This didn't happen over night. Even now we occasionally get out of sync at times. When we get micro-managed and/or thrown off of our normal flow, usually by outside influences, it gets frustrating very quickly for everyone. I am looking forward to getting this thing to see for myself. I don't think it is going to make any of what I mentioned any easier, but the final result will be far more stable.

Id expect within 18 months there will be multiple options under $3k for DSLR cameras.

18 months :)
Making of handheld camera stabilisation system on Vimeo

Hello,

we plan to offer our handheld brushless stabilizers soon. There will be a version for cameras around 2 kg, one for cameras up to 5 kg, like the Red Epic and we also build a stabilized head for cameras up to 10 kg, to be used on a steadicam arm or easyrig. The mid sized version is the most advanced in the moment. This is a test with 5 kg weight including camera and brass weights: Brushless Gimbal for Epic - 5 kg test - YouTube

We have first prototypes to test and improve step by step and plan to add small joysticks to the handles for better control of pan and tilt in single operator mode. For more information, upgrades and new videos you might visit our website www.portahead.de (http://www.portahead.de) from time to time.

Andreas Kielb

When I said months... I really meant WEEKS. :)

18 months :)
Making of handheld camera stabilisation system on Vimeo (https://vimeo.com/63919540)

Here's a new one called a DEFY in three versions, they said would be $1800.00, but now I see you can order the 2 lb one for $2,300.

DEFY PRODUCTS by RELENTLESS, INC. (http://defygimbal.com/#up)

Cheers,

Vaughan

Within a year I imagine there will be as many as a dozen gimbals on the market (i.e. actually shipping), all doing roughly the same thing. And probably 18 months later, half of them will be out of business as they deal with supply and demand issues, component availability, fierce competition etc. Keep that in mind when you make your purchase, peeps. Early adopters face the the very real possibility of an unsupported purchase.

I dread this scenario. If something fails either due to design or component quality, routine wear and tear or simply operator error, these rigs can be costly paper weights.

Better to wait till next year for this category to mature a bit.

Early adopters face the the very real possibility of an unsupported purchase.

Better to wait till next year for this category to mature a bit.

OTOH If you're the only guy in town with one of these I'll bet you could recover your costs very quickly before the manufacturer went to the wall!

"OTOH If you're the only guy in town with one of these I'll bet you could recover your costs very quickly before the manufacturer went to the wall"

Yes Mark, now that's the way I think too! (Justification for new toy!!!).

Cheers,

Vaughan

So I've been watching a lot of footage shot with these systems. take Passion for Motion - Behind the Scenes on Vimeo for example. is it just me or does anyone else notice like, small movements.. jittering in the camera movement? Like it just doesn't feel organic like a steadicam. Am I losing it? check 2:26-2:32 in that video.

man, this is going fast:) (http://www.ebay.com/itm/3-Axis-DSLR-Brushless-Gimbal-Carbon-Fiber-Handle-Camera-Mount-w-Motors-Movie-/151092078920?pt=Radio_Control_Parts_Accessories&hash=item232dca2948)

I got to try one of these out at Alex Buono's Visual Storyteller seminar last month. Definitely a cool piece of gear. One thing though - it is a complex piece of equipment that does require skill to setup and use (at least in it's present form).

Art

man, this is going fast:) (http://www.ebay.com/itm/3-Axis-DSLR-Brushless-Gimbal-Carbon-Fiber-Handle-Camera-Mount-w-Motors-Movie-/151092078920?pt=Radio_Control_Parts_Accessories&hash=item232dca2948)

That's a crazy find. No footage from that thing though.

Also, no data provided on how the rig is controlled, whether it has a single-operator mode or not...who knows how well it works.

The vendor is a big supplier of RC parts, probably can purchase parts at the lowest price possible.

Also, no data provided on how the rig is controlled, whether it has a single-operator mode or not...who knows how well it works.

The vendor replied "you need one gimbal controller card, then adjust it, to make it work."

Edit: They sent a PDF explaining assembly details, email me if you want a copy.