MōVI Pro mounted with camera in its Jason case. Travelling with the camera attached to the gimbal inside the case is achievable and allows you to balance the camera on the gimbal before your shoot. It’s huge, and it’s heavy, but we can now rock up on set and have our gimbal ready to shoot in less than two minutes. We invested in the MōVI Pro case from Jason Cases. We recently invested in the smaller and lighter Atomos Ninja V shortly to fine tune our gimbal set up.īuilding a gimbal whilst on set is never fun and we were keen to ensure that we had minimal set up time when using the MōVI Pro. This works well, but the Ninja Assassin was quite heavy. We had been using the Atomos Ninja Assassin external recorder as a monitor when shooting with the MōVI Pro. Slow motion, cinematic, 4K gimbal shots with a shallow depth of field are a reality with this set up. We now shoot everything on the gimbal in 4K 50p and our clients are delighted. The MōVI Pro just works.Ĭombining the MōVI Pro with the dual pixel CMOS autofocus capabilities of the Canon 1DX Mark 2 allows us to create shots that we could only dream about a few years ago. We achieved exceptional results with the MōVI Pro the very first time we used it – results that we had tried (but largely failed) to perfect over three years of using the DJI Ronin M.
Straight out of the bat, this gimbal is smooth and steady. This also makes changing lens and rebalancing a breeze. Once balanced, with a tap of a button, it’s ready to go. This gimbal has upped our game substantially.īalancing the Canon 1DX Mark 2 on the MōVI Pro was comparatively easy. But for what we need it to do, it does it flawlessly. We haven’t looked back.Īs single operators of the MōVI Pro, we are barely scratching the surface of what this gimbal can do. Recently, we took the plunge and made the investment in the MōVI Pro. Filmmaker Philip Bloom has long been an advocate of Freefly’s MōVI gimbals and the extensive features of the MōVI Pro looked very tempting.
It was clear that we needed to upgrade our gimbal. Thirdly, as time passed and our productions became more elaborate, we wanted to use bigger and heavier cameras – cameras with interchangeable lenses – in particular the Canon 1 DX mark 2.
Secondly, travelling with the gimbal was a huge pain and valuable time on set would be spent assembling the gimbal from scratch. Firstly, not being able to put the gimbal down without carrying the tuning stand became tiresome very quickly.
There were however three main issues with the Ronin M. This allowed us to shoot 4K footage in Canon log and for a while this suited our needs just fine. We had an effective set up for single operators using the Ronin M with the versatile Canon XC10 camera. The size of DJI Ronin M lends itself well to smaller cameras. With the aid of and the gimbal ‘ninja walk’, ultimately we were pleased with footage we got from it. It took us quite a while to fine tune the Ronin M to get the desired results, but we slowly got the hang of things. Our first port of call was the DJI Ronin M. However, we only started shooting with a gimbal three years ago. Three axis gimbals are now as ubiquitous as large sensor cameras.