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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Burton's upcoming [SNOWBOARD] series shot on MōVI and EPIC

T

Tabb Firchau

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Wanted to share what the team at Burton created with an EPIC and a MōVI. The team had very limited time with the MōVI before the shoot and designed a killer shot!

 
That opening shot is money! I predict in a years time, this will be the big trend in most productions but for now... so awesome to look at.
 
Thanks Everyone for checking out our video we created for the teaser and Opening of our new Web Series for Burton Snowboards. This was our first time using the MOVI back in June. Check back tommorow for the behind the scenes look at how we accomplished all these shots. All I can say is that the MOVI is incredible and I can't wait to receive mine later this month. Since this video was created I have shot several other commercials, videos and live events with the MOVI team and I am blown away each time. Big Thanks to Tabb, Hugh, Sam and the entire FreeFly team for working with us on this. If anyone has any questions about the MOVI from an outside shooters prospective pleaes hit me up.
 
Hi Corey,

Terrific video. Thanks for sharing.

I have a MOVI on pre-order, so will gratefully take you up on your offer of hitting you up with some questions if you have the time.

How do you find the weight with a long one shot like the factory scene?
Have you tried it with an easy rig or on an arm?
What monitor and cable set up were you guys using with your Epic?
How "tricky/fiddly" do you think it is to have on set?
I've been hearing a few people say it's niche will be for "specialty" shots, whereas some are clearly looking/hoping it to be a bit more of a one stop grip shop, love your thoughts on this?
Someone posted that they thought it would not work well for slow/gradual shots. What has your experience been?
What do you make of majestic mode - and what is your preferred set up operator wise? One op, one remote control, one on focus?
Finally, how robust do you think it is to the general rigours and wear and tear of shooting?

I know it's a lot of questions. So thanks very much for your time mate. Really looking forward to seeing your BTS.

Best Wishes

Lliam
 
Hey Liam, Stoked to meet another Future Movi Operator. So far I have personally been on 4 completely different shoots with the MOVI and the boys at the office have been in the field for the last 3 months consitently shooting with the MOVI. The M10 has come a long ways since NAB. It is has gotten very easy to balance and set up and I am sure you will be blown away with what you can accomplish. I will try to answer qusestions as best as I can.

The weight is definately a slight issue but not bad. Fully rigged out with an Epic, SideHandle, redvolts, MOvi, CP2 glass and monitors and Teradek w were running around 15lbs. The first shot was about 2.5 minutes long and was holding it 2 minutes of that with all the passoffs we did. Basically get yourself to a gym. Steadycam guys take care of themselves and being in slightly good shape you will be fine.

I actually just used the MOVI for some 15min interviews with the Easy Rig. Works amazing! If you aren't doing huge moves I would say an EASY Rig is an easy choice to have in your arsenal.

For Monitoring we had a Small HD DP 4 onboard for reference via HDMI. Then we used the Teradek Bolt to broadcast via SD-HDMI to our controler as well as an AC with a third monitor to pull Focus. My personal setup consists of an Atomos Blade on board for monitoring and the ability to capture Pro-Res. My monitor for the controler panel is a DP-7 Pro and my third and Fourth monitors for my AC and Director are also both AC-7 from Small HD with Teradek Bolt HD-SDI receivers

The intial setup for you shoot take roughly an hour to get all geared up and balanced. Once you have your M10 all configured on set the MOVI becomes basically hassle free. I usually just use a C-Stand to let the MOVI live in on when not in use.

I basically use the MOVI for as much as possible when I am looking for Movement. You could easily shoot an entire commercial or Movie on the MOVI if you want to. It really depends on the look you are going for. All I can say is don't let other influence you. Once you get this thing in your hands you will quickly realize its amazing range and potential. There is no doubt in mind it will change the way you approach shots and will save massive amounts of time on set or in the commercial world

I have not had a huge amount of time on Majestic mode but it is a powerful asset. I am heading to CHile in a few weeks to shoot a bunch of Skiing and Snowboarding with the MOVI. The few times I have used Majestic it has worked beautifully and you can make ajustments to how the MOVI reacts to your movements in Majestic mode via the FreeFly GUI.

The MOVI M10 is very robust. I mean you can't drop it off a building or anything but all in all I have had no problems with its realiability. Last week we were in New Mexico shooting BMX for Red Bull. We were running around all day in the Sand and Dirt, transporting it in cars, hanging out of Helicopters and using Razors to get high speed tracking. The M10 worked magically.

Hope that helps. feel free to email me at cmkoniniec@gmail.com for more info. For super tech questions though you should hit up the team at FreeFly. I can only give you so much info based on how it performed for me. I leave the tech wizardry to them!
 
Corey Koniniec said:
...The intial setup for you shoot take roughly an hour to get all geared up and balanced. Once you have your M10 all configured on set the MOVI becomes basically hassle free. I usually just use a C-Stand to let the MOVI live in on when not in use.

I basically use the MOVI for as much as possible when I am looking for Movement. You could easily shoot an entire commercial or Movie on the MOVI if you want to. It really depends on the look you are going for. All I can say is don't let other influence you. Once you get this thing in your hands you will quickly realize its amazing range and potential. There is no doubt in mind it will change the way you approach shots and will save massive amounts of time on set or in the commercial world.....
Click to expand...

Very impressive shot Corey...you are like the Orson Welles of snowboarding world..hehe...but how long did it take to just set-up and coordinate that shot with
all the people + AC's etc ?...

..I mean I am not sure how this thing is going to save time on set..if it takes an hour to set it up equipment alone...seems like no matter what
things always take longer that you think they will and you are always pressed for time on set.
 
Haha Thanks Steve!

Here is something to consider. Here are the numbers and facts

Most of the time it takes someone roughly an hour to lay dolly track, set up Jib, Prepare Steadicam or prep a camera. There is a one time setup that takes roughly an hour or so maybe less once you get good. We basically shot the entire indoor scene in just a few hours. Took us about 3 times to get good and about 10-12 tries to get perfectly orchestrated. There was only three of us operating including AC. We set a goal of 8 hours including prepping the riders. You have to remember these are pro snowboarders and not actors. We basically just shot off the hip and improved the shot as we went. All in all we ending up finsihing 3 hours early and had time to catch a nice dinner with the crew.

MOvi prep 1 hours
LIghting guys about 2.5 hours
45 mins of walkthrough with the team and talent
shot for about 3 hours.

We basically had no idea we were going to be able to make the indoor scene a single shot until we got our hands on the MOVI. I don't think there would have been another way to get this type of shot without days or weeks of prep. We basically just came up with these moves on the fly. Just wait till you try it for the first time. I am sure you can always find cons in every peice of equipment but the Pros of the MOVI heavily outweigh any constraints.
 
Hey Corey, thanks so much for your time and excellent feedback mate. Really valuable and greatly appreciated. And I'm way more excited than ever now :))

It's the creative freedom / ability to create more readily off the hip that you talked of, which has been my greatest hope and is what really excites me. I don't mind some set up time if it means I'm then able to use that to launch off into so many possibilities from there. That said, if you change lenses and the weight is still pretty close but not the same, how long would you expect to re balance again?

Also have you used your RED touch either on the cam or on the MOVI rig? If so how long was the cable? As I imagine it would need some decent play not to interfere?

Once again thanks a lot mate. I really appreciate your real world feed back (The tech wizardry would be lost on me:)) And I can tell from your post it's going to be a hell of a lot of fun to shoot with and open up some great creative possibilities for me.

(I posted again here instead of emailing - just in case anyone else would benefit form reading too - but thanks a lot)

Best Wishes

Lliam
 
The opening was great but a tad too long. I lost interest after 1 minute. lol
 
Hey Everyone,

The FreeFly Crew released our BTS on the Burton Intro Shoot today on Vimeo. Here is a link to Video. Hope you all enjoy and I hope this inspires you all around the world to get your wheels turning on all the new ways you will be able to use the MOVI.

https://vimeo.com/68897397
 
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