(Dubstep Music)
- Hey guys, what's going on?
Welcome to Travel Feels.
Sorry, old habits die hard.
My name's Matti and welcome to another tutorial.
Now we've talked about gimbals
and how to use them properly
and all that kind of stuff.
But let's talk about specific gimbal moves
that I really like to do
and some tips on how to pull them off.
If you're interested,
the gimbal I'm using here is a Zhiyun Crane II,
which is a really good gimbal.
Probably one of the best, if not the best,
smaller gimbal for heavier bigger cameras
because of the big cradle.
Because of the big cradle
you can fit really big cameras.
Now I also did order,
you can order a bigger arm here
so I can put my 1DX on here.
I'm gonna try it out, give this another shot.
Maybe it'll be the contender
to finally retire the Glidecam 2000.
Let's see.
We'll give it another shot.
If you're interested in this gimbal,
I'll link it down below.
Oh, and if you haven't,
check out the merch,
TRAVELFEELS.COM,
it's all on there.
All right let's get started with one of my favorite shots.
You guys see me do this all the time,
and it's the low to the ground follow shot.
Now I found that the lower you go the better.
The ground just whizzes by
when you get really nice and close to the ground.
And for me, I like to use a pretty wide lens for this shot,
because it just makes it a lot more dynamic,
the movement of the legs and the ground whizzing by.
It just looks really cool on a wide angle lens.
A couple tips here is to actually
flip the gimbal upside down.
That's gonna be the easiest way to do these shots
where you're really low to the ground.
Now in this case,
because of the lens and the setup was pretty big,
I couldn't actually just flip it around.
So I was just tilting it down.
Now you gotta be careful with this
because it does introduce some shake really easily
because the gimbal just doesn't perform the best
when it's like that.
At least that's what I've found.
So be careful about how hard you're walking.
Try to do a bit of a ninja walk
and it's gonna really smooth it out for you.
This is the one shot that I find introduces
a little bit of shake a lot of times on gimbal,
so be careful with this one.
But it is a really cool look.
Next we have the very typical follow shot,
which is basically just having your character walk
and you're following behind them,
kind of at a shoulder height,
but you can go a little bit lower,
a little bit higher,
but you're basically just following your character.
And I shot some examples of a wide, medium, and a tight shot
just to show you the different things
that you can do with this one shot.
I find that the wide shots are really good
for introducing the environment,
showing the location, whereas the medium and tights shots
are better at kind of going
in the perspective of the character,
really making a more subjective experience for the viewer,
kind of like you're experiencing
what the character is experiencing.
I also find it's a little bit more mysterious.
Everything's kind of blurred out.
You don't know what's going on if you use the tighter shots.
Overall this one's really simple.
Just get your character to walk straight
and just follow them.
This one's pretty easy.
Next we had the lateral follow shot,
which was really similar,
but we're walking beside the character now
instead of behind them.
Again, this is a pretty straight forward shot,
but it's a really cool shot
because you start seeing more of the character's face.
So it's a nice way to kind of introduce the character,
give the audience a little bit more information
about who this is.
And for this one,
you wanna make sure you're planning out
the shot a little bit more,
where you're walking.
You can't just kind of tell the character
to walk and follow them
because you can't really see where you're walking.
You don't want to trip into something.
So plan it out so you're not bumping into anything.
But other than that, it's a pretty simple shot.
Next is the leading shot,
where I'm literally just in front of the character,
walking backwards,
and the character is walking along with me.
Again, a super-cool shot
because you see a lot of the character.
And for this I like to stick to
kind of medium and tight shots
because this shot is all about the character,
who it is, what's going on on their face.
And the big key here is how the person walks.
You don't want the person to be looking into the camera,
so you need to kind of instruct them
to kind of look around, act natural,
look past the camera and not look into the camera.
Unless you're going for that kind of look,
but most of the time you're not going to be going for that.
And this shot is really tricky
because you're walking backwards
and you can't see at all what's going on behind you
or where you're walking to.
You gotta be kind of looking at the character.
So what really helps here
is to have another person that's gonna lead you backwards.
And for this it's really easy.
Just have the other person grab your shirt
and guide you backwards,
leading you to wherever it's safe to walk to
so you're not crashing into anything
or falling into the water or anything like that.
Next we have what I would call a circling shot.
So we're just gonna circle, or rotate around,
your main character.
Now you can do this in a really small,
slow, kind of tight way,
or you can go a little bit wider
and move faster around the character if you want.
There's a lot of different ways of going about this shot.
I really like to use this shot for closeups.
I think it's a really cool way
of just getting a nice closeup
and getting a little bit of movement in there
instead of just having this static shot.
Plus it just brings a lot of attention to your subject
because the subject is kinda staying still.
It's rotating a little bit,
but then the background is really
kind of moving and changing a lot.
So it really draws the viewer's attention to your subject.
Really cool shot,
but make sure to do it nice and slow.
Don't go crazy with it.
But you can also go for something like a Michael Bay effect
where you're sticking on a zoom lens,
which I don't do very often 'cause it's
really tricky with a gimbal.
But then you're gonna get this kinda crazy effect
where the world is just whizzing around your character.
It's a really cool look.
I just don't do it too often.
And then lastly what I like to do
is a dolly forwards or dolly backwards.
And this is just basically
having your subject stand still,
and you're gonna move the gimbal
closer and closer to the person.
It's a really cool move.
I really like this one because it
just draws the viewer's attention straight to that subject
because you're getting closer and closer to it.
But you need to make sure that you have
really good auto focus for this shot,
otherwise it's not gonna work out at all.
And this is one of the big reasons
why I like the Canon 1DX2
because the auto focus is just so good
I can rely on it every time.
Plus 120 frames per second.
It's just a really cool look.
If you don't have good auto focus,
you can actually move to the end of your shot
where you end off,
make sure it's in focus,
and then move back and then move into that focus.
That's gonna be a bit of a different look,
but it's still kind of doing the same thing.
Okay, so those are some of my favorite gimbal moves,
but we're not done yet.
The best moves actually come
when you combine the different kinds of moves.
For example, maybe you're doing a follow
and a circle around your character
or you're doing a lateral shot and then dollying closer.
You can mix and match these movements
in any way you like, pretty much.
Now they are really tough to do
and they take a little bit more coordinating,
but that's when the really good stuff starts to happen.
Or you can do a few of these different moves in succession,
so one after another.
This is what we call a oner.
It's a long one-take shot
with a whole bunch of different stuff going on.
So for example,
here I started with a low follow shot with the feet,
and then I go up to a normal follow.
Then we move into a lateral follow,
and then we kind of dolly into the truck.
(upbeat music)
Then we have this shot going on for a little while
while we're in the truck.
(upbeat music)
And then the truck stops
and then we circle around,
and then we go to a leading shot.
So we basically combined all of these different shots
into one long, really cool shot,
and guess how many takes it took to get this shot.
Just one.
This is where gimbals really shine.
This is something that I could never do on a steady cam.
It would take me so many tries
and I probably would never get it very good.
But with a gimbal all it took was one try.
Gimbals are really good for these kinds of shots
where you're just trying all sorts of crazy stuff,
and it's gonna stay stable.
And that is the biggest reason why
I'm still looking for the perfect gimbal
to replace my Glidecam,
where I can use the gimbal and have it work really well
and not have any issues with it
or have it slow down my workflow.
I really wanna replace my Glidecam.
PS, I think it was really funny
that some of you actually thought
I was sponsored by Glidecam
because I was talking bad about gimbals.
You do realize that I use a 6-year-old Glidecam
that I bought four years ago, used.
Anyways, thanks so much for watching guys.
I hope you enjoyed these gimbal moves.
If you did hit that like button.
All right, that's it for me.
See you in the next one.
(upbeat music)