See ya!
Bye, I love you.
Hi, I’m Michael FitzMaurice,
I’m a director of photography
I’ve been working in the film industry
for forty years now specializing in
a lot of high speed car chase scenes
aerial sequences and many many car commercials.
Today we’re out here shooting a
chase scene action sequence all shot
on the Insta360 ONE RS 1-Inch 360 Edition.
Today we’re not just shooting an
action sequence with this camera.
We've set up a very small little scene of
an interaction of two people, minimal dialogue
but a blocking of the scene like you would
a traditional film scene.
It’s easy to think that you would
just shoot action sequences with a camera like this
but to stop and shoot something that’s
a little more straightforward,
you have that ability as well.
I initially thought that the lenses
wouldn’t impress me as much as they have.
To have a camera that’s so small,
that fits in my hand and has
two 1-inch sensors is really impressive.
The benefits of having a high quality camera
in such a small form factor is
the places we can put it.
You don’t have to have a fisheye look.
The Insta360 software could bring it
into a linear traditional framing,
and now I can choose exactly where
I want that framing to be in post-production.
WIth a camera the size of the ONE RS 1-Inch 360,
we’re able to mount it on a very small rod
off the side of the helmet and be looking
at the rider’s face and then pan over
to see the car coming by. It’s really impressive.
In the past, I’ve done helmet rigs where
you put a camera on the side of this helmet
and now you have to put a counterweight over here.
It affects the performance.
Features like stabilization and horizon leveling
is really impressive, it actually surprised me.
The first time I saw it I had assumed that
that was something that was going to happen
in post production.
I knew that there was a capability of
having the level horizon,
and to see it just in the preview on the phone
was really amazing.
The Invisible Selfie Stick is obviously voodoo.
There’s a stick attached to the camera,
you clearly see it.
You stick the camera out away from you,
and you look at the image and
the stick doesn’t exist, it’s been erased.
I immediately think of interesting things,
such as a shot where you wanna be
underneath a car looking at the car’s suspension.
We can rig other types of cameras in there,
but we’re very limited to like where it can point,
how it can look at that.
With this camera, you just need to physically
get it shoved in there where you want it,
and you’re gonna get the shot you want.
People think of a neat idea that
they want to shoot and they’re instantly limited
by the type of equipment they have,
have access to, know how to use.
A camera like this opens those horizons up
for anybody trying to shoot a project
with all sorts of fascinating ideas
of where they wanna put the camera,
they wanna shove it you know through a window
and pull it back out, put it on a pole,
lift it way high in the sky.
With a camera with this size
and form factor and capability,
it takes limits off of your creativity.
I’m really excited about the types of shots
we were able to create today,
and I’m more excited about how other filmmakers
are gonna take this technology and keep going.