- Before we start this week's video,
I have an important question to ask everybody.
Are you a Nintendo person, a PlayStation person,
or an Xbox person?
I think growing up, everyone had their select devices.
Now I used to gravitate towards Nintendo,
but for awhile I was definitely a PlayStation kid,
but I was never an Xbox kid.
And everyone always be like,
"Hey, man, you playin' Halo?"
And I was like, "I don't know what Halo is."
And I'd go over to friends' places,
and they'd be like, (imitating gun noises)
and then I would die every single time.
What's going on everybody?
My name is Chris Hau, and in this week's episode,
we're doing something completely different than video games.
We're gonna be talking about handheld movement
versus gimbal movement
versus motorized slider movements
and paring them down
in the ultimate showdown of competition.
It's not actually a competition.
But the reality is that all these pieces
of gear and movements have a time and a place.
But I thought it'd be fun to have them
compete against each other in this little video here.
So number one, let's do the most basic movement of all time.
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- [Announcer] The pan
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and the tilt.
- How come to clients, when you're on set,
every shot is a pan movement?
"Can we get a pan of that car?"
"You mind if you get your gimbal and do a quick little pan?"
"Let's get a pan."
"Let's get some pan shots."
"Let's get a quick shot of that pan
"doing a pan shot of the pan
"because this is a pan commercial
"about pan putting Pam on pans."
Interesting.
Here's a little filmmaking 101 education session.
This is actually what a pan shot is.
Take notes, clients.
You have a single pivot point,
and you're gonna start pivoting your camera
from left to right
or from right to left.
The next shot will be a tilt shot
where you have that single pivot point,
and you go from top to bottom or from bottom to top.
Simple, are you following along?
Good job, client.
So now that you guys know what those shots are,
let's set the benchmark for handheld, gimbal,
and a motorized slider.
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Battle number one? (beep)
Showdown number one? (beep)
Shot number one.
We're gonna be doing handheld.
For the settings for this today
are gonna be 4K 24 frames a second,
so that we can really get the highest quality.
I am going to put a strap on
(electronic beeping)
this camera so that we can make it a little bit smoother,
so that we can push against it,
and then we're gonna also breathe in
like a sniper, like (inhales deeply),
and try to get the shot.
So let's see if we can do the benchmark test
of a pan and tilt. (inhales deeply)
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Oh man, I haven't done
one of those in a while.
That didn't look that good.
Let's try a couple more. (inhales deeply)
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That's so much harder than it looks, dang.
Even in my head, I was like, "I'm gonna crush this."
But no.
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Wow, that was the worst one out of 'em all.
Geez Louise.
Who's Louise?
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(lips sputtering)
Tilting time.
Foot forward, let's try to create
as much stabilization within the body.
Obviously try to use gravity in this situation
because it's easier.
Instead of going against gravity,
using gravity to come down.
If you need to, you can always reverse that shot,
if you need to go from bottom to top.
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Not great, not terrible.
Chernobyl.
It's not great, but it's not terrible.
3.14 on the Roentgen meter.
Okay, sorry.
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So I just switched to 120 frames a second,
but now that my shutter is 1/250,
because we're shooting at 1080 120 frames a second,
my ISO is 3200, which means we're gonna be introducing
a lot more noise into this shot.
Luckily the sensors on these Sony cameras are pretty decent.
But that's the compromise.
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So final verdict for that,
handheld for panning and tilting, ew.
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I've switched this back to 4K from handheld
because I'm confident that this will be
a really stable pan and tilt shot.
I'm using the joystick,
which means that I can actually choose the exact position
of where the shot will be.
And let's get a nice little movement going there.
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Yeah, that's nice.
So now we're gonna do a tilt.
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Easy.
Did it in two shots, done.
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(static crackling)
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It's time for the slider,
which, as you can see, is really big.
You also are probably wondering with the tilt
as well as the pan, why are we doing this with a slider
because it typically shouldn't have that movement in there.
At least with the Rhino Arc II,
it has this little movement where you can tilt
and you can also pan.
Typically a slider does not do this,
but with the one that we are using
and the one we have access to,
this one can do it, so we're gonna do it.
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Right away I can tell that this is the best
because you don't have any up and down movement.
It feels the smoothest.
Even just with my hand touching this,
I can feel that it's perfectly smooth, at the right time.
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You can also set key frames,
which is a super nice feature
if you just wanna be able to be like, set it and forget it.
(intense music)
(static crackling)
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The next movement that we'll be doing is a dolly movement.
This is also known as a push in or pull out.
Now I just want to clarify that when we are pushing in,
we are physically pushing that camera closer to the subject
or the object that you're shooting, not zooming.
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I wanna slide, but I'm noticing that my skin
is catching a little bit on the wood here,
so I'm deciding between two different things
to use to put the camera on to help slide up.
This one is a little quicker.
This one gives me a bit more resistance,
which means I could do a slower shot.
So we'll do both and see which one looks better.
We're doing 4K and... (inhales deeply)
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It's cool 'cause you can get really close to the wood,
and it adds far more dramatic movement.
(intense music)
(upbeat rock music)
Gimbal time.
This will be a little bit more challenging
'cause I can't get as low to the wood on this table,
so that we can get that dramatic movement
that we got with the handheld.
It's gonna be a lot harder to hold it
because all the weight of the camera's gonna be out here,
so we're gonna do our best with some sort of grip like this
where we can stronghold it, and then we can slide forward.
The table is kind of getting in our way here,
so it's gonna stop the shot a little bit earlier.
So we'll see if we can get nice and close on it.
We're gonna try our best.
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Not bad.
That last one was decent, key word decent.
Not great, decent.
(intense music)
What are my feelings after using the gimbal?
One, I'm tired.
A lot more movement.
So both the handheld had a lot of movement.
This had a lot of movement.
Let's see how the slider does.
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So we got the slider set up here.
We got the short slider.
I think this is the 24 inch.
Instantly, I've noticed we have limitations.
The camera has to be this high
because we need room for the slider,
and we need room for this head.
Why don't we add the extra little movement in there,
where we can tilt down
and try to make it a touch more interesting
and just see how that shot looks.
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Shorter distance,
but it looked perfect.
Compromise, though, is it is higher,
so we had to add the extra movement of it going down.
Also, we didn't get the same distance.
So to compensate for the height
for this second attempt at this slider shot,
we just raised the camera up on an Apple box,
which actually gives us a bit more distance.
Let's see what that looks like.
(intense music)
(static crackling) (upbeat rock music)
And the last movement, the arc movement,
which is basically a trucking movement,
where the camera's moving from left to right,
which is different than a pan,
where it's fixated on one point.
What you're actually doing is physically moving your camera
from here to here or from here to here,
but we're gonna add one more thing on top of that,
where we're gonna actually add a pan
to that trucking movement,
which ultimately creates the arc.
Trucking plus pan...
Pan.
Pan?
Pan equals arc.
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So this definitely has to be slow-mo
because I just did a quick test at 4K 24 frames a second.
That's not gonna work.
There's too many axises I'm moving along here
that will introduce shake,
so I definitely need to minimize that as much as possible.
So we're gonna go slow motion 120 frames a second for this.
It's cool 'cause you can be so nimble with this,
and there's such great parallax in the background.
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That actually looks really sweet when you get nice and low.
Also this surface worked really well.
There was no friction on this bamboo Foley desk.
(bell dings) Link's below.
Just something that I noticed.
Originally I was holding the camera like this with my hand,
which creates a little bit more shake,
but if I just put this flat on the ground
with this plate on top, it looks a lot better.
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So we have the gimbal set up.
I can't get super close to the ground,
and I'm gonna knock into this little rippet that we have,
this power station here.
So I'm gonna have to go further back
and then make our shot a bit more compressed.
So I'm at 35 mil right now.
I can already sense that there's a lot of this movement.
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It looks more dramatic, obviously, with the parallax
when the shot is zoomed in more.
I'm gonna have to do the ninja move
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(groans) (beeping)
(beeping) Little foot shuffle.
(beeping)
(intense music)
So the gimbal shot, not bad.
The longer lens made for a more dramatic parallax
in the background.
Parallax is basically when you just have
the background moving really quickly
as you're orbiting around a subject or an object.
So parallax looked good because it was a longer lens,
but again, I'm gassed out, a little tired
'cause I have to hold it at a weird angle.
I can't get too close to the object
'cause again the desk is in the way.
So far, I'm actually happier with the handheld shots
than the gimbal shot.
(upbeat rock music)
Just set up the slider.
I'm gonna switch from 120 frames a second
down to 24 frames a second
and then bring that up to 4K
'cause I do not need to rely
on slow motion to make this shot steadier.
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That looks great.
Maybe we'll bring these risers down a little bit.
Let's start this move
now that we've got it down at the eye level.
That looks good!
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We brought the slider a little bit lower.
It looked way more cinematic.
Some of the things that I noticed, though,
is that it was a little sticky in the center,
as well as the object and the subject
that we were focusing on, which was this Nikon camera,
it would go off-center a little bit,
so you might have to fix that with key framing in post.
Those are some of the things
that I've noticed with the slider,
but that was 24 frames a second 4K,
and that looked pretty dang good.
(intense music)
Let's bring all these shots
from all the different movements that we did
and compare them now in post.
Welcome to our edit bay.
We have put all our shots back to back.
Our handheld versus our gimbal versus our motorized slider.
Let's see how they all shape up in our showdown.
(upbeat techno music)
Not the best, but passable.
Up next we got the gimbal. (key clicking)
Totes would use that.
Also I will never say totes again.
And we got our slider.
Gimbal and slider basically look the same
Next movement, tilt.
Tilt from the gimbal.
This is nice if you wanted
to hold on the shot a little longer.
Let's say you're using some sort of cinematic movement.
Up next, our dolly movement, coming in on that camera,
that old vintage Nikon.
Ew.
Up next, the gimbal.
(sputtering)
That was so quick
and so bad.
Yeah, there it is.
That's the shot.
Up next, the arc shot,
starting off with the handheld in slow motion.
Yo, that's actually pretty legit.
Up next we have the gimbal shot.
I think that's fine.
(key clicking)
That's it.
It's fine.
And up next we have the slider with the arc movement.
Classic.
Looks good. (key clicking)
The shot's nice.
Probably spend a bit more time on it,
but honestly, I think in that situation,
that handheld shot looks pretty sweet.
You guys have reached the end of this video.
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"No!
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"Bye!"
I don't know why I made the algorithm so sassy.
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Peace out.
(beeping)
Whoop, (laughs) I ripped my Bounty.
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