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They wouldn’t let us bring a technocrane into the field, so we had to do it with this method. CLOUD MOUNT MOVI PRO MOVIEI did a shot on my last movie where we had to do it in a sunflower field. CLOUD MOUNT MOVI PRO PROThe MōVI Pro is able to convert from low mode to high mode or vice versa instantaneously. We put the Toad in the Hole on the combo, pop the MōVI on it, and send it up. It’s not living in the grip truck always in the way. We’re not using a ladder pod with two grips anymore. It was done so fast and we moved on to the next. This was a simple setup done very quickly with awesome impact. MōVI Op Chris Herr running in front of a car with the MōVI It was a run like crazy, it was a controlled pull back into a 50/50, and then it was a dolly shot in the bathroom. This sequence was a combination of a few things. CLOUD MOUNT MOVI PRO HOW TOShe can’t be loved and she doesn’t know how to love. Our campus push-in shot in Fathers and Daughters What I love is that you can break this whole system down to just bare bones and run with it. It’s our job as storytellers to give them all the different options. They don’t want to see any wobbles or footsteps or anything like that. It’s a wonderful partnership of mechanical and digital stabilization that helps me get the perfect shot that I need.Ī lot of times directors want that Stanley Kubrick push-in. I’m shooting all my movies with this post workflow. You’ve got the MōVI and the Black Arm on top of my post stabilization. In under a minute, you can get the arm onto a dolly and attach the MōVI. What’s even better is that it’s a swift change to and from the system. I would make sure to hit every bump and crack I could manage. When I did a test with it, I attached it to a high roller stand and walked it down the sidewalk. You could see shaking in the image when the dolly ran over the cable FlowCine Black Arm They feel like they can interact with each other better. They tell me they feel like they’re back on stage. We did our whole coverage at the same time. I cannot stress enough how those one shots are one thing, but the biggest shift in this business is exactly what you started to see there. We did that 3 or 4 times and we were done. That whole 2.5 – 3 page scene was all done with 3 cameras, all in that room. The three MōVI dance from Fathers and Daughtersĭo you see that subtle push-in? When Amanda gets up, the dolly pushes back into the closet and we fly out of the room. These MōVIs were moving all around but it also became very personal during this move. We mounted this on the dolly for this awesome push-in in on Amanda Seyfried in Fathers and Daughters. I had to have a device that could be 900 things. Live demo of the MōVI on the dolly MōVI on Fathers and Daughtersįathers and Daughters was not a big-budget project. It’s not as shaky as handheld or using a MōVI suspension system. What it does is dampen vibrations and movement even more. It also adds greater stability to the whole system. You can scrape the floor and be nice and low. The power of mounting it to a dolly is that you have the ability to boom up and down. Here in part 2, I will get down and dirty with different ways I use the MōVI on set. There are probably 900 ways to use this device, but I’m only going to break down a few.
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