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Yeah I'm wondering has anyone here tried either of these cameras on the movi pro and if so, whether it was successful or not. I know you can put a 416 on a movi pro, hell, I know you can put a 235 on a movi pro, but what I'm truly interested in is whether you can put any sync sound 35mm motion picture film camera on there. I know the Aaton Penelope is already 1-2 pounds overweight when setup, but I want to know if anyone's made it work with either this or an arricam lt in a configuration completely unknown to me, so let me know.

Freefly MoVI Pro Gimbal In Excellent Condition Also Included: MoVI Pro Ring 2x MoVI Pro Batteries 2x MoVI Pro Battery Chargers 2x Carbon Fiber Rods with Mounting Adapter 2x Ignite Digi Solution Extension Arms... Allowing it to Mount Longer Lens. MoVI Hot Shoe Mount (Canon 1DX Camera and Canon 24 - 70mm Lens sold separately.) Priced at: $4500 Please Text if interested: 760-505-7011 Thank you.

Selling used Movi Pro Handheld Package + Extras: $6000 total. Will ship at purchaser's expense, local to Boston. Ideally sold as full package. Paid ~$8000 new 1x MoVI Pro Gimbal 1x MoVI Ring Pro 1x MIMIC 4x MoVI Pro Battery Pack 1.8Ah 2x MoVI Pro Battery Charger 1x COM to MoVI Controller Receiver Cable 1x Movi Pro Jason Case 1x Movi Pro Handheld Case 1x MoVI Rod Mount Adapter 2x Bolt 3/8 -16” 2x Bolt 1⁄4 -20 x 1⁄2” 2x Bolt 1⁄4 -20” 1x Cage Top Clamp 1x 2.00mm Hex Driver 1x 2.50mm Hex Driver 2x Dualshock controller 1x Movi Pro Pop n’ lock 2x Carbon Fiber 12” Rods 1x Carbon Fiber 3” Rod 1x Cinemilld PRO Baseplate 3x Cinemilld Counterweight 2” 3x Cinemilld Counterweight 1”

New/Unused. Never taken out of box only opened box to take pics. Excellent opportunity to save money on a superb system. Ive collected various recording equipment over the years. Recently added this to my arsenal, was offered a position in another industry, wife became pregnant, and I barely have the time to use the bathroom now, let alone ue this equipment. Please mssg me with question and offers. My email is markturner@email.arizona.edu

A client approached me a while back with an ambitious brief: All slo-mo, all trucking, early magic hour whenever possible, subject: triathletes training on the National Mall in Washington DC USA, a notoriously over-policed location. And there was pretty much no budget. Meaning no permits, no pro hands but me, very limited prep. Part of the brief included flying a drone over the DC Potomac. We spent money on that, couldn't get the waiver. To be continued. The intent was to shoot all 120FPS with a cinema camera, ProRes 4444, top glass, and all shots incorporating camera movement with the subjects being swimmers, cyclists and runners. Fairly tough on pretty much no budget. After a ton of looking, including talking to a guy with ASC after his name, I concluded Arri Alexa Mini was the only way to go.Then came the mount and stabilization problems. The rig I came up with consisted of a Cloud Mount, MOVI Pro, Alexa Mini, Zeiss Ultra Primes, everything remote controlled from the bed of a pickup truck, or the deck of a boat. I originally intended to use the Cloud Mount using its magnets, but between the truck’s body curves and thin steel, it was wiser to go with suction cups. Made me nervous, but worked fine. I did have to up-rate some of the cables on the Cloud Mount as I was pushing the envelope on weight. We tried our utmost to shoot the magic hour, so close attention to ISO and shutter angle were essential to protect DOF. For the earliest shots, I used 356 degrees, thereby gaining about a stop and a half in exposure latitude to use as I liked. I opted to stop down as we needed all the help we could get with focus. Originally I intended to have the producer/director operate the camera while I ran exposure and focus, but MOVI’s Mimic turned out to be a unique challenge in hand-eye coordination and technical management. Moving targets from a moving platform with an unfamiliar and touchy controller. Good times. Mimic was balky, requiring frequent fiddling and resets. We lost a day when the rental house couldn’t make Mimic work at all. The whole thing was extra-tricky as I was the only professional on the gig and had my hands full managing everything from BNC's to LP-E6's. And it was HOT. Danger hot. So I handed off focus and exposure, and drove the rig. Mixed results there, mainly on focus, but it couldn’t be helped. Out of pocket for rented gear, excluding the borrowed truck and boat? $3K USD. Shot the stills too, Pentax 645Z, RAW, three big old Metz's with a distinctly 1970's vibe. Go ahead. Be brutal. The green cast DID NOT happen in-camera. Client. Here goes: http://hugo-creative.com/work/district-multisport/ Cheers. JS