The Movi // Revolutionary camera stabilizer

True, but part of the beauty of the Movi is that you don't have to worry about framing while you are fucking with it.

Imagine using the Movi to shoot TRUE follow cams (off jump) on, say, the JOI jump. Or better yet a full jump line where you'd want the gimbal in a different angle each hit. I would not want to be driving the camera as I'm driving my skis.
 
Thought I'd address some of the talk about this rig in here.

The reason this thing is so innovative and set at a high price-point is because it is a serious professional-grade piece of equipment. To get the best results out of this thing, you need a team of highly skilled people.

The reason this rig is so innovative at the price point of $15,000 (which is cheap in the world of professional filmmaking) is that it is essentially replacing the Steadicam. And here's how...

When you have a Steadicam operator on a film set, (and no i'm not talking about the Glidecams everyone on this site ha,. I'm talking a real professional grade steadicam with a proper gyro and gimble.) you end up with a lot of challenges.

First off, a professional grade Steadicam Package can cost anywhere between $30-80,000. The Movi is half of that on the low end. Secondly, A steadicam rig is very stressful on the operator and when running, sort of forces the operator to run sideways awkwardly, while still having to maintain framing. Here's where the Movi wins. Because of it's 3-axis system, you can have your operator running free, not having to worry about framing, because the system allows you to do it remotely, which is huge.

I've seen some people on here be like "maybe i shouldn't buy a glidecam and get a Movi". Even if you can afford a Movi, you're going to need a Focus Puller, an Operator, as well as a Wireless FF for your Focus Puller, and a Wireless Transmission system. In paying the day rates of you Operator and Focus Puller and the cost of rentals for a wireless FF and a Wireless Transmission kit, you're looking at an extra $5000 on the low end.

Just wanted to make that clear to anyone who thinks that this Rig is "Ready to Shoot" at $15,000.
 
I'm just quoting Tabb from that video. Or at least that's not what it was intended to be.I'll re-watch it and see if I'm mistaken later.

Let me rephrase my previous post: "Its not meant to be a steadycam replacement"

But I do agree it replaces the job of a steadycam in MANY applications.
 
a good operator would produce the same shot as a movi, the movi is just easier to use. A huge steadycam setup is still way cheaper too and holds cameras bigger than a 7d.
 
This is probably HUGE for larger production films. If they're selling it for $15k its going to be hard to find people shooting on 5D's with that budget.
 
Really? Please elaborate... I'd love to know how you could get a Movi close to the ground easier than a Steadicam in Low-mode and still have it be a comfortable task for your operator.
 
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And apparently the grips are all modular and configurable.
 
You kind of just proved my point with this picture. The Camera is at his knees. If he wanted to have the camera almost scrap the ground he'd have to be hunched over, and the if he ran it'd be a mess. A Steadicam in Low-Mode, and i'm talking about a professional Steadicam, can get the camera super low while allowing the operator to maintain his posture.
 
I can run at almost full-speed hunched over. Don't see the issue here, only with long shots or tv-shows does a steadicam have the major advantage due to posture.
 
That's all good for a DSLR, But put a Full Arri Alexa Package on the Movi when they can support it and You'll wish you had a Steadicam to take some of that weight off. Not sure what you mean by Long Shots or TV shows giving Steadicam an advantage. When you say Long Shots, I think Long Lens, and Typically you wouldn't put a Long Lens on a Steadicam or even want to on a Movi. You'll have to further explain the generalization of "TV Shows" for me.
 
I'm willing to bet you can't hold a full-on camera rig while running hunched over. A DSLR perhaps, but an actual camera + external battery + monitor + FF + matte box + etc - no way in hell.
 
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As far as long shots, I meant long in terms of duration an about tv-shows: I have a friend who operates a steadicam for several Dutch tv-shows, he films for an hour continuously, which would be hard with the Movi.
 
You know why this won't really work in Cinema industry ? It's just way to small.I am currently in a cinematography school and (don't wanna sound cocky) that's what we use nearly daily for a single shot.

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The body is about 5kg (pretty light) and the lenses are never
 
My point is that just because you're able to run laps around your living room hunched over with an SLR doesn't mean you can do it with a cinema rig under working conditions.
 
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