- All right today, we got a really cool video.
We're checking out some super cool toys
like this brand new super spacious port-a-potty
come in with me.
Look at how much space there is optional accessory.
You can get as a disco ball up here, I mean, it's great.
Now let's get to the boring stuff.
So this is the antigravitycam
and we have Jorel here showing us, huh?
- Let's do it one more time.
- Have I been saying it wrong this whole time?
- [Jorel] Jorel, Jorel.
- Jorel, seriously for like the last three days
I've been calling him Jorell nonstop.
So for those of you who haven't seen this thing in action,
here's what it looks like.
(upbeat music)
- Yeah, what's up?
- [Host] You did that on your own, with your thumb stick.
- Just my thumb stick.
- That's a lot of stuff to think about,
especially when you're standing at a cliff.
On the bird, the bird, we got the bird.
- We brought the bird in.
It's a union bird.
- Yeah union bird.
Let's take a look at this real quick.
Just look at this right here.
What crazy person designed this?
Oh, hey Adam.
Adam is the creator of this contraption.
The antigravitycam.
- Will still photos don't do this justice.
All it does is pop up questions.
Like sometimes the first thing they'll say is,
"Oh, you'll never get down through a doorway,"
because they see the arms up
but we do those shots all the time.
- All right, so here it is kind of in the collapsed mode,
but then you said you could break this down further
in case you're trying to travel with it, right?
- Yeah, yeah 15 minute tear down 15 minutes set up.
- I think this is the part that just seems insane,
but this is essentially creating a huge suspension system
in a backpack.
- This is like having the elastic court
hanging off a bridge, but you can walk anywhere.
So the camera just floats in front of you.
This is a fidelity commercial you shot right?
It trips me out because there's so many things
where I was like, Oh, that log must've been CG.
'Cause he went straight through it.
And then you showed me the behind the scenes
you actually just.
- Everything's in camera, the frog, the log.
- Wait, this frog is not CG?
- No, its real.
You can actually see the camera lift over it
'cause I didn't want to step on him.
We had a frog handler just to the left of a frame
going don't step on the frog.
And I had to lift the camera up,
so you can actually see the camera go up a little bit.
- It's one of those times when it looks too perfectly placed
where you're like, Oh that's fake.
Obviously that's fake, what?
That frog is, my mind is blown.
Under the couch, so in that case you go pull
and then three huge monster looking guys go,
pulls it out that fast?
- It was actually on wheels so like it's, you know,
it's like one of those stage couches
that weighs like, you know, 15, 20 pounds or something.
- Wow, wait, so if you sat on that stage couch
you're just following through
it's not made out of cardboard?
- Set up time honestly, wasn't so bad, right?
But once you get it done
this really fixes three major problems.
One, with gimbals you can generally see steps.
You could stabilize a shop in post,
but you can't get rid of Caroline's
that becomes a whole lot more difficult.
This does a great job getting rid of that
with all the different forms of suspension it has on here,
including a set of suspension here and here,
as he steps in walks
notice that all of this does translate up to here even
but since there's multiple sets of suspension,
by the time it actually gets to the camera like that
it's like perfectly get still.
As I jumped on an 85 millimeter I'm jumping,
I mean the camera obviously is moving a little bit,
but it's very difficult to make it move.
So it really isolates that step
that's problem number one,
that it fixes problem number two gimbals are fricking heavy
especially as you bring it up to here, right?
Now I know it looks like, Oh man poor Jarell.
He's probably in so much pain right now,
holding the camera up there,
but really the way it's designed
and because of this mathematical science stuff
that I have no idea what's going on here because of that,
it actually doesn't get heavier as you bring it up
which is kinda crazy.
'Cause all the systems that are kinda like this,
as you bring it up, it becomes heavier and heavier, right?
But this, he just hold it up there all day
it doesn't really get heavier as you bring it up.
When I first put it on
and I actually brought the camera up,
that was where I was kinda shocked.
All you gimbal operators know what I'm talking about
try holding a gimbal up here, takes so much strength.
- Look through that.
- Sam, I need you to Photoshop out this rig
and just show me operating like this.
It's hard to describe how nice this feels,
how even it is just all the way up and down.
And the third big thing
is that you can now put this thing anywhere.
- You think that it's big,
but as soon as I make an adjustment,
check out the boom box I'm gonna articulate them down.
- When you made that adjustment here,
that makes you lower profile
It limits your range a little bit.
- But I can put longer rods here
and the whole gimbal inverts.
Now, instead of the lens being here
in relationship to these bearings, it's up here.
So that means we can easily hold eye-level shots
in a low doorframe.
- The Ronin two also offers a couple of different ways
to control the camera.
- So many, which is great to have wheels
the Master Wheels are remarkable.
I think that's truly one of the most professional ways
to operate.
- [Host] Yeah, actually the Master Wheels we have here.
- [Adam] We just did a shot with them.
- What do you think about DJI stuff, huh?
- I love it, I have a Ronin-S.
- That's a good answer 'cause DJIS is standing right there
making sure you say the right thing here.
So don't let Stuart hear you okay?
Yeah, Stuart from DGI was showing us some goodies.
- These are master wheels
top tier way to control the gimbal.
Most traditional cinematographers can walk up to this
and they already know how it works, right?
Like they already know how it's going to control the camera.
Even looking at the controls of it.
Like, there's only a few dials
which they're already familiar with on you know,
on larger systems that are not gimbals.
- And I'm assuming the wheels
is kind of the ideal way for getting
that intricate control, huh?
- Yeah exactly, and then the fine tuning.
Just the very tight, you know, like there's such a small
difference I feel like between good content
and great content, right?
The content that we all love,
it's really in those minor things.
- You usually use the wheel slot right?
- Yeah, I do use master wheels.
- I have my own gear head I have a mini wheel.
It becomes like a bicycle, you know which way you're going.
Because you don't even think about which way is which,
and you just watch and you react.
It becomes very Zen.
- You know, I kinda like this, I kinda want one.
How much is this?
- It's about 10 grands.
- And then there's the Forest pro,
which I actually is my personal favorite
just because how intuitive it is.
- Like there's an example of this on our Ronin-S
with the force mobile, we can use your phone.
This is gonna be a bit better than that
'cause it was made for this express function.
I'm also, you know, as all of our products range, you know
is really good, right?
So you can get like a mile out with these, you know,
it's just, it's pretty incredible.
You could make a little rig here
with like a monitor transmitter and operator like this.
You can put it on a tripod, right?
So like some will do that say if it was on like a crane.
- You can also adjust how directly
your movements translates to the gimbal right?
So if you want that handheld look,
you make it really sensitive, jerk it around a little bit
or you could damp in it, so it's nice and soft.
Even if you're a little bit shaky out here.
- Exactly. (upbeat music)
- The way the rollers are configured, you go in and out.
So this is for mid shot handoffs.
It's a very smooth, seamless handoff.
And you can go through a window
you can connect it to a drone, a crane,
you do anything you want.
- You guys have a permit with California State Parks?
- We just got shut down.
Sheriff threatening me with $500.
- We have like 10 minutes to get out of here.
So we're gonna see how this does
and just a running gun situation.
Can you turn the camera around so that he's vlogging?
- The most expensive selfie stick ever created.
- Do you want to walk with it?
Watch your head.
All right, we're just gotta go for a jog.
How you doing?
- Good, can you keep up?
- It kinda looks pretty stable.
Oh, are we going this way?
Okay, we're shooting like this now.
All right, watch out for a log.
Yep, I just swear you have like extra eyes somewhere man.
What surprised me was how minimal your crew
can be when you're even you're doing this.
If you need it to, do you think you
and just a first AC could go out to remote location
and get some shots with this whole setup?
- I mean, I hate to say yes, but sadly I do it often.
- Obviously nice to have the full support team,
but if you need it to just go and steal a few shots
you kinda could.
- 1000%, my first AC, Joe Gunawan, who's one of the best
in the business.
He set up a tilt handle grip for me in a number of times
with focus on it.
So I can control focus and zoom from a handle.
- Let me just take a look at this stand though,
look at this.
- I usually have a bigger screen at 1303.
But because we're in the beach, we're walking around.
This is kinda my lightweight and if I want to,
I can take this off and I can go home.
And a lot of times I would be following him on the terrain.
That way I could keep track and I don't have to lose
video signal and make sure he's in focus.
- But man, we didn't get enough shots of the car.
You're planning on shooting it with this
but I mean, we just gotta get it a little mini tour.
- What you're looking at here
is a 1923 Ford model-T Roadster.
- 1920 what?
- Three, 1923 Chevrolet small block 350 keys
again at 300 horsepower with a turbo 350 transmission
out to a 48 inch rear end.
This is Southern California at its best.
- There's a problem with this, there's no door.
- No roof.
- How do you get in this thing?
- You climb in. (engine roaring)
- How cool is that thing, huh?
- Why we originally designed this was
for really tiny crews could climb a mountain
could go have accessibility to these great shots
without even a full crew.
But what's turned out also in addition to that
is some of the huge budget films
that have big techno cranes
that use all these great shots
Will use this like a smaller paint brush.
And they go in and do all these nice moves where it just,
it keeps the pace of the set moving.
They can get all the precision that they want
there and the actors aren't waiting.
So there's some real benefits
for the bigger budgets as well.
- The third set of bite that was pretty cool
was the handheld version, right?
But it's kinda like handheld
'cause you still get their handheld feel and look.
But at the same time,
if you ever try to run with a tight lens in handheld,
it gets crazy.
But that felt like a, almost a stable version of handheld.
- Well, it's a hybrid, it's actually our handheld bracket
it's a direct hold of a camera without a gimbal.
And you get all of the spatial stabilization,
all the footstep isolation.
We add a little bit of counterweight with the batteries,
either above or below.
And what this enables you to have some inertia
but it's extremely reactive.
- How would you say Hollywood's kinda reacting to it?
- We're slowly picking up converts, Maddie Liberty,
who does amazing.
He's one of the biggest DPS out there right now,
very, very innovative in his approach to the storytelling.
And he gets a lot of use out of it.
It was extensively used in Venom, Star Is Born.
I know we used it on Native Song, parts of Birds Of Prey.
So, a lot of movies that he does.
Gimbals had a rough start.
They took a lot of knowledge
and how to balance them perfectly.
Frankly, there was a lot of hardware problems.
So they were moody, they worked when they wanted to,
people had computers out having the re-flash the firmware
and the last thing people wanted to see on a film set.
Then they really improve the technology
for good example of course this one
we just worked with the Ronin-2.
Really, they put out a lot of the fires
they had the early designs.
So they are really pretty dependable now
and they do open up a new freedom.
But the thing that was missing
was the spatial stabilization
'cause a gimbal will give you perfect angular,
like roll pitch yaw.
That'll do that perfectly, but what it can't do is,
take your footsteps out.
Chris Harris, who is an amazing operator,
what he first said when he started
with the anti-gravity canvas,
I lost my fear of the foreground.
Meaning that you don't see that spacial change.
- [Host] Right, and you noticed that in all gimbals
even a small thing or a big thing,
like there's foreground you're gonna kinda see this.
- And this is why this is like the other half of the gimbal.
- We have some questions from the Instagram fans.
So we see what they have to say?
- Filmmaker's world says, "Heyyy."
It's not really a question, but what's up filmmaker world?
- [All] Hey.
- My buddy Lee says, is that a Spiderman villain?
Yeah, I knew that was gonna come off.
- We've been getting Doc Ops since the very, very beginning.
Sometimes you want to get a great shot.
You gotta look a little bit like Doc Ops.
- The question I remember hearing coming up,
was kinda go through doorways.
You said you went through three doorways
for them music videos?
- Yes, there's a music video with Dumbfounded
and unfortunately it didn't make the final cut,
but I pulled a character through the bar
a large doorway, a normal doorway, third doorway
into a bathroom.
And then technically a fourth doorway
If you consider a bathroom stall a doorway.
I didn't put it in the cut.
- Don't do the hate it when you put that much effort
into the shot and it's like yeah.
How long can you wear that rig before the back pain sets in?
- I'm feeling pretty great.
- You were in it for a solid four to five hours.
Something like that with barely did you put it down.
- I mean I put it down once, for about five minutes.
- There's a shot here and I'm just eating lunch
with the camera on area Lexa Ridge, just sitting right here.
Just, just the chicken wings.
What is all this for, looks overkill.
Yeah, that's exactly what I think everybody's
first impression is when-
- What's your first impression?
- And it folds up pretty small.
I mean, once you fold it up, it's just like R2 D2
it sits on your passenger seat.
Anybody can pick it up and carry it.
It has like an illusion, but we've had some very small
humans not wanting to take it off.
They're having so much fun with it.
- Daniel says, "How are you?"
Doing all right, how are you?
- Feeling great, yeah I do, I just had a great.
- How are you Adam?
- I'm doing good, we had a lot of fun today.
- Thanks for asking.
Is it actually better than a regular gimbal?
Yeah, I mean the big part really is that the gimbal
aims the camera in the right direction.
And this thing kinda stabilizes it
and allows you bring it up, wear inside wherever.
- It adds to the gimbal, so the gimbal creates
all the angular stabilization, the horizon, the role
and what we create is a spatial stabilization
and the spatial moves.
- Where is Sam, huh?
- Where is Sam?
- I'm right here.
- What the (beeb) is that and where can I buy one?
- So you go to cinemadevices.com.
Now all the information's there.
I'm Adam it's Adam, it's adam@cinemadevices.com
and I always get back to people right away.
We're starting to work with more steady cam ops
who you know, seasoned operators
that are just expanding their kits and their abilities
and interests, independent filmmakers.
Our whole thing is to make sure
everybody's trained out on it,
that you're getting the best shots possible.
So we want to see it all the way through.
But yeah, reach out to me, I love talking to filmmakers.
Do you occasionally feel like venom?
Well then they use this tissue venom?
- Yeah I think they use the pro on that one.
I would have loved to see the behind the scenes on that,
but like there's venom and then like the guy that looks
like Venom filming.
All right, one final question.
Who's where's the best, huh?
This is the most important question really.
Should I go and just order a coffee?
- You should.
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