This film is about a young woman
who is targeted by two assassins.
We've been tasked with wanting
to utilize DJI's cutting-edge technology
for image-stabilization.
An action film is very risky
in the sense that you have
a lot of different components
that are happening at once.
You wanna try to have as many cameras,
as many angles.
Jeremy and I, we discussed the scene,
and I'll figure out how to realize
that shot in the best way.
The benefit of using a drone
for those car-chasing scenes was that we could have
a car coming in to frame, below the drone.
That wouldn't have been possible with a regular camera.
We have a very small aerial team here, in fact.
Basically, the gimbal operator Bennett,
and me as a pilot, we're super-flexible.
So, on location, we can instantly change the movement
without moving dolly track you can just lie there
and use a different movement.
And the entire time, we never wanted
to compromise the creatives.
We wanted to find a way to include
all of this action, all of these shots into it.
And the only way that we were able to achieve this
was with using DJI's gear.
So, at the beginning of the film, we see the swordsman.
He is our Japanese assassin, in his meditative space.
He's got this lair with all these
beautiful lanterns hanging down.
And it was a bit of a complex shot.
The way we did it: we had a dolly track,
we had an offset arm, a jib,
and it needed to be very precisely done.
But with the combination of the Ronin 2
and the Master Wheels, we were able to dial in these moves.
And Amir was able to have this real complex shot
that we were able to repeat and get very specific.
Dolly's good, you guys go that way.
Amir Mokri, he has a standard.
And he's basically pushed this whole production
to work at that level, including the gear.
Ronin has been very helpful.
And since Jeremy has used it in the past,
he relies on it.
Most of the time, we'll wind up using
smaller equipment, like the DJI Ronin,
that would sub out for a dolly.
It definitely helped with speeding the process up,
getting more shots at the faster pace.
Very quickly, it can do certain moves.
You can use Steadicam, but now you use Ronin.
It's just as effective.
Right now we are supposedly in Germany,
outside of a prison where our German prisoner is escaping,
and has somehow gotten a hold of a guard uniform
and made his way outside.
Now the way we're doing this is we've mounted
the Ronin 2 on the end of a jib arm,
which is, in turn, on a dolly.
So we're gonna start looking at a clean image
of the prisoner, walking away from the prison,
dolly back, through the passenger window of a car,
tilt down, see the envelope on the seat.
Keep pulling back: out the driver's side of the car,
he gets in, closes the door, and he's on his way.
We are prepping for a car stunt.
We're only gonna be able to do this stunt once.
We're gonna be filming it from several different angles.
We're gonna be having Osmo’s inside the car,
we're gonna have an X7 on the ground,
and we're gonna be shooting it with drones.
We strapped the Osmo to inside of a car
that's gonna do a stunt, so we kinda
used it as a crash camera.
It's kinda like we're experimenting with this stuff,
so, you got some interesting stuff out of it.
Here we are,we're on our big alley set.
This is a replica of the market
that we were shooting at earlier
and we're gonna capture this with three different cameras.
We're gonna have a wide lens on a lock-off,
and we're gonna have two tighter lenses
that are controlled by the Master Wheels for one,
and then the DJI Force for the others.
The reason why we have the Force on the longer lenses
is because the movement is so fast for the wheels,
and so the DJI Force is able to keep up with that.
This thing is great.
What honestly surprised me the most about this:
there's no delay.
I can whip this thing around
and the motors are strong enough
to keep up with my movements
and the transmission time is so fast.
Three! Two! One! Action!
It's always good to embrace the new technology
and play around with this stuff.
I hope that filmmakers are inspired
by some of the creative ways in which
we used this equipment.
Given the creative possibilities
that DJI gear affords filmmakers
of all stripes and levels,
I'm really looking forward to seeing
what they come up with next.