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.
#JASON CASES MOVI PRO UPGRADE#
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. Simple, but effective.Three axis gimbals are now as ubiquitous as large sensor cameras. The film at its core is really about the way our past can have consequences not just for us but for others, and the way it can also shape other people in ways you wouldn't expect. This may seem like a problem for many ("i totally saw that coming") but for storytelling, it's what works best in retrospect. Every turn you sort of have an inkling, and you see all of the clues planted early. I think what's also really impressive about the film is that nothing comes out of nowhere. Rebecca Hall is such a great screen presence so her I'm not surprised about at all. Who knew the lead from Arrested Development (although in retrospect his character never really stayed in caricature mode really) had this in him? He has some really dramatic scenes that blew me away. Edgerton is perfect, and Bateman also really surprising. There are a few implausibilities (like someone else said, not sure if I can buy that she would be unaware of how he was for such a long time) but there are enough answers to such questions that are satisfactory and don't damage the film as a whole. Just when the film seems like it's going to go down the rabbit hole and not come back, he reveals another aspect of the story that puts it al in perspective.
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What's most impressive is that this really is such a B-plot in many ways, but Edgerton goes further and really develops a thoughtful morality tale. Edgerton really has such a confident control of the pacing and the tone he wants the film to have, and when it switched direction, he's still able to keep the audience in their toes.
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As a very straight- forward thriller (the first half of the film) it works marvelously.
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I mean, the story reminds me of many others (most noticeably, Gone Girl and Side Effects) in that it's able to turn its story in more ways than one.