While this is definitely an interesting way of using a Movi here are some thoughts:
What are the real-world advantages of Larry's setup vs. understandable, but rather pointless excitement over technology and rigs that look
like Darth Vader personally made them in his garage.
- We do not need to carry the Movi rig by hand. Anybody who has ever tried to get eye-level shots with a Movi and who isn't some
Schwarzenegger offspring knows what I am talking about.
- The spring arm of the steadicam will take out the steps
- The rig will have pretty much all the extended qualities of an AR rig.
- There will be some very cool choreographed shots with Movi handovers, most probably in the 10th installment of the 'Bourne Identity'.
- While more pedestrian operators like myself might profit from a gyro stabilized horizon I don't see this a real benefit for somebody of Larry McConkey's skill.
- This will only work with an Epic or smaller camera. Maybe Alexa-M with added cable salad. Can't wait to carry that backpack. Forget about 35mm cameras.
- Yes - we now can boom from walking feet into a portrait. Dramatically the film world has lived pretty well without an abundance of these shots so far.
- Double calibration / setup time: We now not only have to calibrate the steadicam rig, but also the Movi and make sure everything works well together.
Although I am sure there is a learning curve - this still smells like a significant increase in setup / re-rig time. And that is very crucial on set when the AD is crushing
your mojo by yelling at you to speed things up.
- We as steadicam operators are loosing the immediate access / feedback we get from the rick.
- Ideally (or not so ideally for the operator community) there will be somebody else operating the Movi remotely while steadicam operators become Movi mules.
- The latter setup will require an additional person. Not a problem on a Luc Besson film I suppose - but definitely a problem in many other settings.
- Operating / coordination will be more difficult. Experienced steadicam operators initiate a move in which all the elements from walking, booming, panning, tilting etc. go seamlessly together.
Simply because the operator knows what kind of move he is going to do and experience / muscle memory will do the rest. How do you do this with a second camera operator ?
Unless you have plenty of rehearsal time and a camera operator you work with all the time this feels quite challenging.