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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...

Nice piece of art. But it's not the MōVI that shines here. It's the subject, the shot choices, use of slo mo and DOF. Most MōVI videos are shot in deep focus so it's nice to see someone actually pulling focus. But the dancer and the slo mo were the stars here for sure. The MōVI could have been used in more creative ways but maybe that wasn't their intention - to make it obviously shot with a MōVI. It's use was very subtle and could easily be mistaken for dolly and steadicam stuff. Which is good. You want to be able to mimic the look of a dolly or steadicam, but also have the freedom to move around that only a gimbal can provide. Excellent work.
 
Great work........................I salute, the people behind the shots............



Sunil Prem
 
not really impressed (except for the dancing;-). Shooting slowmo, you could have done a great deal of this handheld and wouldn't see much a difference. You could have done all of it hand held and with post stabilization and it would have been better framing wise..... So, if this is the best it get's with movi, then I'm happy I don't have one;-)
 
Would LOVE to see this in 4k.
 
Carey Lee Coffey said:
Nice piece of art. But it's not the MōVI that shines here. It's the subject, the shot choices, use of slo mo and DOF. Most MōVI videos are shot in deep focus so it's nice to see someone actually pulling focus. But the dancer and the slo mo were the stars here for sure. The MōVI could have been used in more creative ways but maybe that wasn't their intention - to make it obviously shot with a MōVI. It's use was very subtle and could easily be mistaken for dolly and steadicam stuff. Which is good. You want to be able to mimic the look of a dolly or steadicam, but also have the freedom to move around that only a gimbal can provide. Excellent work.
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Still trying to figure exactly why I love the footage shot in the city so much but for the most part I will 1+ Carey.

For those saying "where is the MōVI?": yes they could have gotten similar / same shots with dolly etc. but it doesn't sound like they were blocking the streets and filling it with extras. I think the MōVI may have given them the flexibility to get these shots (e. g. the one where they had stopped taxis / shot in front of a cop car from the middle of the street) that would have been impossible or attracted to much attention with a dolly or other gear and ruined the "stealthy" feeling of the dancing that they wanted. Everyone would have been watching with bigger gear. (It's also possible that I don't understand NY and no one would have cared anyway.)
 
That color grade is f-ing FANTASTIC, love it
 
Great footage. I agree Movi framing in general isnt always the best but nothing in that regard stood out to spoil this piece.

Well done.
 
Top notch work for sure. I like how the Movi work isn't the show and drawing a lot of attention to its self. Like going through windows for no reason. Also, i can't believe how good those Leica lenses look on the Epic . The 35 -70 mm is dirt cheap and was the kit lens .
To me, it looks like it was shot on Panavision glass.
 
Greg Myracle said:
Still trying to figure exactly why I love the footage shot in the city so much but for the most part I will 1+ Carey.

For those saying "where is the MōVI?": yes they could have gotten similar / same shots with dolly etc. but it doesn't sound like they were blocking the streets and filling it with extras. I think the MōVI may have given them the flexibility to get these shots (e. g. the one where they had stopped taxis / shot in front of a cop car from the middle of the street) that would have been impossible or attracted to much attention with a dolly or other gear and ruined the "stealthy" feeling of the dancing that they wanted. Everyone would have been watching with bigger gear. (It's also possible that I don't understand NY and no one would have cared anyway.)
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This guy gets it.
 
Greg Myracle said:
For those saying "where is the MōVI?": yes they could have gotten similar / same shots with dolly etc. but it doesn't sound like they were blocking the streets and filling it with extras. I think the MōVI may have given them the flexibility to get these shots (e. g. the one where they had stopped taxis / shot in front of a cop car from the middle of the street) that would have been impossible or attracted to much attention with a dolly or other gear and ruined the "stealthy" feeling of the dancing that they wanted.
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The facial expressions of passers by and the taxi drivers definitely conveyed the sense that they were stealing these shots in moving traffic .

What I particularly enjoyed was how the slo-mo accentuated the weightless feeling of the dancer's movements. It was obviously a great choice for this subject, executed extremely well.

I've seen a number of 100% HFR videos that could not sustain my interest for three minutes. This one is different, it managed five.

Kudos
 
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Scott Crawley said:
I've seen a number of 100% HFR videos that could not sustain my interest for three minutes. This one is different, it managed five
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Exactly. It may not be obvious why this piece is special (great work often looks effortless), but if you look carefully you can see the technique, the tech, and the artists all working at a very, very high clip. This piece is good or a REASON, and the MOVI is certainly an important ingredient. But so is the team - the operators, the director, the dancer, and the song.

I've worked with Joe, and can tell you, point blank, he's one of the best. It's not random this piece is awesome. The team behind it rocks, and they are using tech to their advantage (as they should).
 
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Nick Morrison said:
Exactly. It may not be obvious why this piece is special (great work often looks effortless), but if you look carefully you can see the technique, the tech, and the artists all working with at a very, very high clip. This piece is good or a REASON, and the MOVI is certainly an important ingredient. But so is the team - the operators, the director, the dancer, and the song.
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Exactly. All the elements come together in perfect synergy. The sum greater than the parts. Prior to this, virtually everything I've seen shot on a gyro stabilizer has been nothing more than a product demo. "Wow, look what I can do." This is true in a general as well. A shot should always serve and never dominate the narrative... (in my opinion)
 
One wonders if there was no mention of the Movi whether anyone would have picked up on its use here. I suspect not. Perhaps if someone was to post footage talking of their Epic on tracks, there would be similar criticism of how it wasn't perfect, how you could see the joins in the pieces of track etc..

Ok, so this has nothing to do with Red or Movi, but I can't resist posting some Marquese Scott in response to the video. No camera tricks here:

https://www.youtube.com/watch?v=LXO-jKksQkM
 
The dancer seems to have rubber bones. :)

I think MoVI and other gimbal makers should show this to tell people that a gimbal doesn't give you the defacto license to run, run and only run. With MoVI the team seems to have a small footprint and able to shoot in busy streets with the minimum of fuss. It was surprised to see that this was more than 5 mins and I watched till the end. Very well done!
 
Sabyasachi Patra said:
The dancer seems to have rubber bones. :)

I think MoVI and other gimbal makers should show this to tell people that a gimbal doesn't give you the defacto license to run, run and only run. With MoVI the team seems to have a small footprint and able to shoot in busy streets with the minimum of fuss. It was surprised to see that this was more than 5 mins and I watched till the end. Very well done!
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Yes, MoVI = agile production.
 
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