The Freefly MōVI M10: Embrace Dependent Filmmaking

A new kind of camera gimbal called the MōVI was introduced last week by a company called Freefly, and the basic idea is that it’s a handheld version of an external camera mount for a helicopter. Like a Steadicam system, the MōVI (pronounced Moe-Vee) makes it possible to create shots that glide fluidly, as if the camera was floating through the surroundings with a dreamlike flow.

While a Steadicam system is really awkward looking in person (a nerd version of Robocop wearing a goofy vest), the Freefly MōVI is majestic, hypnotic, with an almost impossibly futuristic mechanical grace:

Like multi-rotor unmanned aerial vehicles that utilize GPS to maintain a level hover and automatically “fly home” if connection is lost with the remote control (like the Phantom Quadcopter), the MōVI uses similar technology to maintain a steady and level shot, no matter how jostled the operator may become in their movements. Stabilization is achieved with fine-tuned “brushless” motors that not only keep the image level, but also help you create creamy-smooth pans. For example, the person operating the MōVI may quickly turn the rig 90 degrees to the right, but the quiet, brushless motors will take their time to gracefully sweep the camera to the right, all while maintaining a level shot.

Software that controls the parameters of the MōVI’s automated pans and movements can be adjusted on a laptop or tablet. Changes made in the software are sent to the MōVI wirelessly via Bluetooth, so the operator doesn’t have to put the rig down and needlessly disrupt their workflow.

Wireless controls and multiple crew member support teams are a big part of the MōVI system. Yes, you can do it all yourself, but the real power in this system is realized with a crew.

In addition to the automated features of the brushless motors, shots can be framed by hand, by utilizing wireless remote control of robotic pan and tilt. This supplies you with the whole enchilada, the Holy Grail of filmmaking, the flowing movement of a Steadicam, with the manual control of a talented director of photography.

These wireless controls can be positioned on the rig itself, so the person holding the MōVI can also frame shots, but with the aid of a wireless video feed to an external monitor, this duty can be offloaded to a dedicated crew member. This way, one person can concentrate on maneuvering the $15,000.00 MōVI rig, and the other person can focus on focusing and framing.

Yes, that’s one painful price tag. A full-blown Freefly MōVI rig likely won’t be in my arsenal of gear anytime soon. If I want those graceful shots in my productions, the Steadicam Merlin 2 is likely still the best bet, coming in at a digestible $650.

All hope is not lost, however. Representatives from Freefly have gone on record claiming that they’re working on a version of the MōVI for the prosumer market that will be considerably less expensive. Perhaps there will be brushless motors and wireless robotic camera framing for all.