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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 :)

The best MoVI footage I've seen...

sergio arguello said:
the overcrank cleans up any flaws in the movement...
Click to expand...

Sure, and most of the shots are pretty short. ...but the framing is also good, they use longer lenses and the shots have a shallow depth of field.
 
Serge Tsipis said:
I enjoyed :) Nice. What lenses were used?
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Here are the lenses...

DSCF3145.JPG


Not sure what they are though. Anyone know?

I found more details here: http://wildcombination.com/blog/2014/3/11/dreamin-behind-the-scenes-pt-2
 
I believe Joe Victorine shot this, he's on these boards. I think that's his Movi. He has Leica R's + Red Epic, yes. Lemme see if I can get him to chime in! He's an insanely talented dude.
 
Nick Morrison said:
I believe Joe Victorine shot this, he's on these boards. I think that's his Movi. He has Leica R's + Red Epic, yes. Lemme see if I can get him to chime in! He's an insanely talented dude.
Click to expand...

Awesome!
 
Thanks for tipping me off to this post Nick. I was the MoVI operator on the video along with Soren Nielsen who was the lead cinematographer on the project. For starters, we shot mostly with my Canon mount Leica R, Duclos modified zooms. The still from the directors blog post is misleading. The original plan was to shoot on Nikkors but we swapped to Leica at the last minute. I think we shot on my Leica primes here and there but the 21-35 F3.5 and the 35-70 F4 were our workhorses. Aside from being fantastic glass they're great for Movi work because they have very similar weights. The 21-35 is 1lb 2.8oz and the 35-70 is 1lb 4.4oz. Limiting ourselves to 2 lenses gave us great focal length range in a very small and light package where extreme lens speed wasn't needed or even desired, and we could work quickly and efficiently in the snow with a small crew. We shot at 72fps and crisped up the shutter to 90d and even 45d in the snow at times. I know you guys are gonna talk about how anything looks smooth at 72 fps. Sure it butters things up but not to extent that a digital stabilized gimbal does. I can't stress enough how important it is to properly tune the motors on a MoVI, even down to the specific focal length you are using. I've shot plenty of 24fps MoVI footage at this point and you're dead in the water with a badly balanced and tuned rig, even at 72fps. The Motion Mount was also a hero piece of kit for us. Once you go internal, adjustable ND you don't go back. I notice way less IR contamination when using the MM as well. I'm a huge Motion Mount fan! The only time I pull the mount at this point is if I'm out of light. We used ND only since we had not tested the soft or square settings yet. I'm really glad folks are enjoying the video. It was insanely fun to work on with a fantastic group of people.
 
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If it's not already patently obvious, Joe is one of the most talented and cool people using a RED. So glad he dropped in on this thread!

Joe I hope directors and producers start lining up to give you even more insane shit than you already get.

Awesome job!!!
 
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Joseph Victorine said:
Thanks for tipping me off to this post Nick. I was the MoVI operator on the video along with Soren Nielsen who was the lead cinematographer on the project. For starters, we shot mostly with my Canon mount Leica R, Duclos modified zooms. The still from the directors blog post is misleading. The original plan was to shoot on Nikkors but we swapped to Leica at the last minute. I think we shot on my Leica primes here and there but the 21-35 F3.5 and the 35-70 F4 were our workhorses. Aside from being fantastic glass they're great for Movi work because they have very similar weights. The 21-35 is 1lb 2.8oz and the 35-70 is 1lb 4.4oz. Limiting ourselves to 2 lenses gave us great focal length range in a very small and light package where extreme lens speed wasn't needed or even desired, and we could work quickly and efficiently in the snow with a small crew. We shot at 72fps and crisped up the shutter to 90d and even 45d in the snow at times. I know you guys are gonna talk about how anything looks smooth at 72 fps. Sure it butters things up but not to extent that a digital stabilized gimbal does. I can't stress enough how important it is to properly tune the motors on a MoVI, even down to the specific focal length you are using. I've shot plenty of 24fps MoVI footage at this point and you're dead in the water with a badly balanced and tuned rig, even at 72fps. The Motion Mount was also a hero piece of kit for us. Once you go internal, adjustable ND you don't go back. I notice way less IR contamination when using the MM as well. I'm a huge Motion Mount fan! The only time I pull the mount at this point is if I'm out of light. We used ND only since we had not tested the soft or square settings yet. I'm really glad folks are enjoying the video. It was insanely fun to work on with a fantastic group of people.
Click to expand...

Thanks for the report Joe, great work!
 
Awesome work!
 
I'm currently giving a Movi rig and absolute flogging.

So far it's stopped me putting down miles of dolly track.
Dolly gone ! Never thought id ever say that.

Is it worth owning one. Not really (unless your a renter) Renting it with a very fast tech dude attached is certainly the way to go.
 
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