Best Gimbals to Shoot the Best Dynamic Footage

Shaky shots don’t help the outcome of dynamic footage. No matter how stable your hands or any other equipment you own may be, you will always be confronted with a scene that has stabilization problems.

Of course, there is equipment that has built-in image stabilization, and you could also use a monopod or tripod. However, a gimbal stabilizer will leave you with nothing to worry about.

Therefore, if you want to have the best dynamic footage ever, we have compiled for you of the best gimbals out there – so be sure to check it out and find the one that fits all your needs.

Letus Helix Jr. 3-Axis Gimbal

This gimbal is compatible with a DLSR type of camera. Because of its flat bottom design, it can be easily placed on flat surfaces, ensuring you that the next shot you are filming will be blur-free.

Moreover, this gimbal has its camera placed on the optical center – this offers not only a balanced design, but also an easier way to have optimum image stabilization with the help of the nodal point rolls.

It is also equipped with a joystick and intuitive tilt motion – shooting your best dynamic footage is made simple and easy with this gimbal.

Moza Lite 2

This one is compatible with a DSLR camera, as well as with mirrorless cameras. Coming equipped with some Advanced FOC Algorithms, this gimbal can achieve maximum balance – the result consists of precise and smooth camera movements.

Besides the two aforementioned compatible devices, this gimbal can also be used with compact cinema cameras as well. Because of its modular design, you’ll assemble it very fast, without wasting any precious time while on set. Its assembly requires no tools and can be done in only three steps.

Different shooting situations can be handled accordingly with the help of the operation modes this gimbal has built-in, namely, the Underslung, the Upright, and the Briefcase.

DJI Ronin-M 3-Axis Gimbal

This gimbal is compatible with DSLR and Sony DSLR cameras, a variety of small camcorders, and with the GH3 and GH4 from Panasonic. It can support up to 8 lbs. of equipment, and it also comes equipped with Auto-Tune Stability, which automatically adjusts the stability without you having to interfere.

Packing and unpacking, as well as the adaptability to different shooting configurations, are made possible with the help of the detachable top handlebars.

Moreover, this gimbal also comes equipped with the three operation modes we have mentioned on our previous product – the plus is that this one can quickly switch between them so that you get a shot that’s just amazing.

Pilotfly H2 3-Axis Gimbal

Compatible with DSLRs and mirrorless cameras, this gimbal comes equipped with three MCUs (motor control units), as well as two IMU sensors. When it comes to tilting and panning, you will be able to get every shot you want.

It is capable of 100 degrees of down tilt, 220 degrees of up tilt, 240 degrees of right roll, 10 degrees of left roll, as well as up to 0.04 degrees of control precision.

Moreover, on the handle, you can find almost everything you need when using a gimbal – a LED indicator that shows the levels of power and battery, a mode button so that you can switch between its modes fast and easy, and a four-way joystick.

You can also easily attach other equipment to it, such as a microphone or secondary display – as it comes equipped with screw holes of ¼ inches that are located on the bottom and on the sides of the gimbal.

This also means that you can attach this gimbal to your favorite tripods, jibs, sliders, and extension poles – so that you can shoot from every position you want.

Worth mentioning in the case of this piece of equipment is its battery life – it can stay up and running for about 26 hours.

Of course, you might not find your perfect pick here. If that’s the case, here is a list you have to consider before buying a gimbal. These will help you determine which one will offer you the possibility to shoot the best dynamic footage.

  • Weight
  • Balance
  • Batteries
  • Versatility
  • Price

Finding the best gimbal and also one that will provide you with quality shots is not an easy task, as you will have to go through many products before finding the one. However, if you want that extra stabilization in your shots, it is better if you are properly informed before deciding to buy one.

Even though you didn’t find the one you need here, we hope that our article has at least provided you with some guidelines – guidelines that will help you continue your search and eventually find the best gimbal out there.

How to Make a Good Call Sheet

You can’t start filming without a call sheet – first of all, because no one will know when and where to show up.  By definition, a call sheet is a form of document that has written on it all the information that the cast and crew have to know regarding a certain shoot day.

Making a good call sheet is difficult, as you have to put in there all the information the team has to know. If something happens and the call sheet does not contain information on that specific thing, filming could stop out of a sudden until the problem has been fixed.

Therefore, in the following paragraphs, we will show you everything you have to take into account in order to make a good call sheet for the cast and crew responsible for your film.

The Basic Principles of a Good Call Sheet

Before mentioning everything a call sheet should contain, we should go over some basics, so that you would know what tone of writing and such you should approach. Of course, the information it contains is vital, but the way it’s being expressed is also important.

  • On Point – the call sheet is going to be used by every member of your team, so it is best if you keep the information written on it shortly and on point. If someone in the crew needs some information on a certain topic, he or she should be able to find it in a blink of an eye.
  • Accuracy – you should double-check all of the important information that’s on the call sheet, such as phone numbers, addresses, and call times. Also, be always ready to make changes to it if, for example, some of the crew members or times change.
  • Confidentiality – naturally, most call sheets should be marked as confidential, as they include the contact details of all the members of the crew. Moreover, something you should never do is to include the phone numbers of the talent in your call sheet – never!
  • Clarity, Structure, and Layout – the call sheet should have a layout that’s easy to read through; also, all the information displayed on it should be clear and easy to understand – you don’t want your crew to spend more than two or so minutes finding the piece of information they need.

Now that we’ve gone through the basics, it’s time to move on to the actual information a good call sheet should contain.

Call Sheet Information

In the following paragraphs, you will be presented with all of the things a call sheet should contain – you must also remember to place these properly on its pages, as they have to follow a certain placement pattern, so that your crew is able to find what they are looking for only by looking in the place that piece of information usually is.

  • Date – it should be one of the first things to appear on a call sheet; it must also be clear.
  • Call Time – you really don’t want people missing the call time; that’s why it should be placed in the center of the call sheet, in a big and bold font, so that it is very easy to see and read.
  • Title – you may think that there is no need for a title, but keep in mind that certain crew members might have multiple call sheets in a week; therefore, you should at the title of the production, preferably at the top of the sheet.
  • Lunch Time – naturally, all people must eat, and you should plan the lunch times accordingly; it is recommended that the lunchtime is set six hours into the shoot day and that it can be easily found on the call sheet.
  • Shuttle Information – it is likely that not every crew member will be able to get on set; that’s why you should set up some shuttles, as well as a central meet-up location. Timing is also required in this case so that nobody misses their shuttle.
  • Weather – you don’t want members dressed in shorts and T-shirts on a rainy day, right? To avoid this, you should get informed on the weather on the shoot day and mention it on the call sheet.
  • Nearest Hospital – in case of any unfortunate events, you should have a list of the closest hospitals on your call sheet; all of the information regarding this aspect, such as phone numbers and addresses should be placed close to the top of the sheet.
  • Address and Phone Number of the Production Office
  • Location of the First Aid Kit and of the Fire Extinguisher
  • Scenes to be Shot – here you should mention the scene number, heading, description, as well as the cast, location number, and pages.
  • Crew Positions and Names – this section will be split into departments that will contain all of the essential information of your crew, namely, the crew position and names.
  • Cast Roles and Actors
  • Background Actors and Extras
  • Numbers and Timing of the Craft and Catering
  • Requirements Specific for Certain Departments
  • Transport Information
  • Location and Maps
  • An Advanced Schedule – this should contain a smaller version of the schedule for the next days of filming so that everyone knows what to expect.
  • Contact Info of the Key Production Staff
  • Walkie-Talkie Channels – this will let every member of your crew know which channel they should be using to communicate with members of the department they’re in.
  • Other Essential Information – as requirements may differ, it is best that you include in your call sheet anything that might be of importance to a great part of your crew for the day.

So, this is the secret recipe to a good call sheet. It contains a lot of information, but if placed properly, you will get no questions from your crew – and this is very important as you don’t want production to stop just because you have failed to mention something important in your call sheet. This is must be hard to maintain a good and quality footage light for scene and this can be frustrating so maybe this essay about movie will help you somehow.

The Cinematic Techniques of the Movie “Wizard of Oz”

Introduction

The movie “Wizard of Oz” was released on 25th August 1939. It was produced by Metro-Goldwyn-Mayer and distributed by Loew’s, Inc. with a running time of 101 minutes. Victor Fleming and George Cukor directed the movie. Its stars include Judy Garland, Frank Morgan, and Ray Bolger. The three stars play the allocated roles to enhance the major themes in the movie such as family, fantasy, and adventure. However, the movie would not communicate the major themes to the audience with employing cinematic techniques. The paper discusses the cinematic techniques used in the movie and design elements. Besides, it includes the contribution of both cinematic techniques and design elements in developing its themes. The paper gives an opinion regarding the mice and the scene.

Cinematic Techniques

The movie “Wizard of Oz” was the most remarkable production in 1939. Besides, the movie marked the first color movie to appear on the national TV. Also, its directors Victor Fleming and George Cukor and cinematographer Harold Rosson demonstrated extraordinary creativity (Richard, 2014). That is, the special effects techniques used had created the film in future times. Therefore, the sequence of Dorothy leaving Kansas and arriving in Oz in the clip of the Wizard of Oz has been chosen to illustrate three cinematic techniques used in the film.

The three cinematic techniques employed in the chosen sequence include lighting, color and, focus. The characters of OZ in Kansas are a good example of three-point lighting. First, the movie utilizes lighting as the primary cinematic strategy in this sequence. In the first place, the front camera provides the source of light on the right elevated the right hand of the character. As a result, the character’s right-hand casts a shadow on the shirt of Aunty M shirt. Besides, the hat of the left character casts a shadow on his face’s right side. However, the left front of camera light source allows for the illumination of the character’s left side. As a result, the left side appears in a lower position than the right side. Besides, the rear light is in a lower position to be able to highlight the building located behind the characters.  Moreover, the scene uses the deep and sharp focus of lens which continues until the tornado arrives. Henceforth, then the focus on the characters become shallow although its focus on the tornado.

Furthermore, there is Tornado scene which has Special effects. There are high winds outside the house which blows off the door of the house. Besides, making use of smoke which is whirling around the head brings out a special effect. That is, it communicates to the audience she is about to go into a dream state. During this incidence, the low-light key used to focus its light on Dorothy’s forehead. The light appears above her at a particular angle. This technique helps to capture the smoke whirling in the air. Besides, it ensures the light is focused on her forehead to be able to set up her dreaming plot.

The second cinematic technique employed in the movie is the focus. The strategy is evident in the incidence when the neighbor is riding a bicycle and later becomes a witch riding a broom. At this juncture, the neighbor’s double exposure is responsible for the transformation into a witch. The focus on the neighbor is sharp before the conversion. However, during the transition the focus is withdrawn which is taken back when the neighbor is already a witch.

The movie makes use of color as the third cinematic technique. For instance, when Dorothy opens the door to see outside for the first time she notices the yellow brick road. Besides, the first overlay of the film color is black and white around 1939. The cinematographer demonstrated remarkable creativity by taking photos with black color at backdrop and Dorothy in front of a white house. Besides, in the sequence, the movie utilizes design elements which are in the costumes used in the movie. The designation of the costumes made them fit the dressing code of the period when the movie was produced (Victor, 2014). For instance, Dorothy dresses in a long dress to fit in that era. In addition to period, both cinematic techniques and design elements utilized in the movie have contributed toward its theme. For instance, Dorothy costumes were designed to be long for her to show respect to her elders. Similarly, the focus enhances another cinematic technique in the movie. During the transition of the neighbor into a witch, the focus was withdrawn to show the respect accorded to all groups of people in the society. Therefore, both cinematography and design elements contribute towards the theme.

The movie incorporates both mise en scenes. In my opinion, mise en scenes have added to the dramatic impact. The two work together to bring up a difference of a particular issue. For instance, mise en scene presents Dorothy differently when she is in Kansas and while in Oz. However, if the movie used other techniques, they would not be effective since they would not contribute towards the theme.

Conclusion

The movie “Wizard of Oz” was produced in 1939 to entertain and educate audience at that time. However, the popularity of the movie has been increasing every day to date. This is as a result of extraordinary creativity employed by its directors and cinematographer while producing it. Besides, the movie utilized cinematic techniques and design element which has contributed towards its themes. Besides, the incorporation of both mise en scene has played a substantial role in bringing out dramatic effect in the movie.

Million Dollar Baby Film Analysis

Million Dollar Baby is a movie masterpiece that was directed by Clint Eastwood. The film won critical acclaim and beat major categories in various awards. This movie tells the story of Maggie who is (played by Hillary Swank) a young working lady who has ambitions of one day dominating the female boxing world. After a lot of convincing, the wizened Frankie (played by Clint Eastwood) gives in to Maggie’s proposal of training her. With Frankie as her trainer Maggie gets on the road to become a professional female boxer. With rigorous training and Frankie giving her pointers on how to knockout her opponents, Maggie conquers the boxing world until a spinal injury brings a devastating halt to her blooming career. She becomes a quadriplegic and is very depressed. As a result of pressure ulcers her leg is amputated and Maggie can’t bear it anymore and convinces Frankie to euthanize her.

This movie portrays the image of a working class woman who is of the opinion that class is something that should be overcome. Maggie grew up being poor and lacks critical class consciousness. She is of the perception that the world despises her by the general virtue that she comes from poverty. She despises her hillbilly roots. In the movie she comes off as being sensible because she has her own class mythology. She understands the limitations that comes with her class, even when she is in the boxing ring she fights to transcend these limits. The determination to succeed in the boxing world even though she is perceived as being too old for the sport at 32 years of age is for the love of the sport (Toole 35). From another perspective she wants to conquer the boxing world to avoid the working class life as well as a working class body.

Maggie explains in her own words that without boxing she can expect a world of “Oreos and a deep fryer”. Therefore in order to escape her roots and to move up the social class she has to employ her body as the vehicle. The body is something that Maggie is appears to run from. The movie is linked to denial or making unconscious of the body. Maggie denies her girl-ness and prefers to work with Frankie even after he turned her down twice. Frankie bluntly told her that he was not interested in training a girl. After he reconsidered and accepted to train her, he constantly reminded her not to behave like one. The theme of Maggie denying her body is also portrayed through the sport itself because in this cinematic conception it is the most Cartesian of all sports (Toole 60). Frankie helps her deny her body because when she gets bloody and injured it is his job to patch it up. The patching part addresses the leakiness of the feminine.

Eddie Scrap-Iron Dupris played by Morgan Freeman is Frankie’s best friend and has been working at the gym for a long time. He is Frankie’s partner in conversations that have coiled down through time. Scrap is Frankie’s only friend and he knows that his boss and friend, has many burdens. Among these burdens is Frankie’s daily attendance at mass. Frankie has been an ardent attendee to mass for decades at St. Marks Church. In one of the scenes in the movie, he asks Fr. Horvak played by Brian O’Byrne to disseminate and clarify the doctrine of the Trinity. Fr. Horvak brushes aside Frankie’s question sensing that it was some sort of dodge from what Frankie really wanted and he was right because Frankie wanted to make peace with God and not catechism classes.

The conclusion of the film sees Frankie faced with a dilemma that the priest says could lead him to damnation. The way the film has been scripted makes the wrong choice seem right but it leaves room open for debate whether the choice made will lead to redemption or rather damnation. Million Dollar Baby portrays the aspect that maybe the most loving and right thing to do for someone else may result to one’s own damnation. This film is more thoughtful and less complacent compared to some of its detractors allege. A refined script, superlative performances and canny direction are some of the qualities that make this movie very compelling.

Depth and conflict is added into the story through the characters who have personal unresolved conflicts from their past. As much as Frankie is considered a brilliant coach, he is an overly cautious manager. He is haunted by injuries that occurred to boxers he has trained in the past and is chary of allowing the fighters he has trained from getting in the boxing ring with serious contenders. Maggie is troubled by her hillbilly roots and the fact that her family stay in the trailer park. Scrap is the least conflicted but he is quietly disappointed with how his career came to an abrupt end due to an eye injury. The supporting characters like Danger played by Jay Baruchel, is an inept wanna-be boxer and is always lingering around the gym but unfortunately does not have the drive, ambition and talent that Maggie has. He is practically a comic-relief caricature. “The Blue Bear” which is Billie’s nickname, played by Lucia Rijker is an opponent to be feared. She is a former prostitute and fights dirty.

Frankie has a troublesome relationship with his daughter whom she sends letters to and she sends them back unopened. At some point in the movie Maggie asks him about his personal life and he passes her on to another trainer but luckily takes her back and promises not to leave her again. The relationship with Maggie brings out the affectionate side and vulnerability in him. The voice over narration by Morgan Freeman speaks to the audience and lovers of the sport by telling details all round of what goes on in and out of the ring.

Maggie’s mother falls under the foreseeable and offensive class archetypes. She is an unsurprising burlesque of the welfare cheat. Her character does not challenge the audience but substantiates a regressive and definitely familiar narrative. She is the embodiment of a dominant cultural mythology of how poverty is perceived. The fact that she is lazy limits her from improving in life or getting ahead. It is her individual flaw rather than injustice from the system that brings her poverty. Even her family members are considered to be tacky. When Maggie is bedridden it is disturbing how the family focuses on her money and is not in any sense compassionate to her condition. Through her family’s one dimensional portrayal and her mother’s obese body, Maggie is depicted as an Angel in the film.

Through Maggie’s eyes, class is an issue to be conquered and something that she can prevail over. However disability is something that she cannot overcome. In the film it is depicted as a personal and corporeal defeat. The difference between what she can conquer and what she cannot overcome lies in individuality. Maggie triumphed over socio-economics through her own individual determination and diligence. As much as she was relying on Frankie to impart skills and train her, she always pulled her own weight and never took her trainer for granted. The transgressions of her family on the other hand show how they leech on her, and cheat to get welfare money. The spinal cord injury turned everything around and now Maggie has to rely on help and this is something she cannot stand. She has to rely on the machines, medicine and health care practitioners for assistance. Frankie has to pick Maggie up and put her in the wheelchair. Albeit the movie might seem like one of the many boxing films clichés it comprises of a whole lot more than boxing. It has a very deep setting and touches on a variety of themes.

All You Should Know About Lighting Technicians’ Hand Signals

One of the biggest problems that filmmakers encounter on the set of a movie is the sounds – be them background sounds or random sounds that the teams behind the camera make.

Moreover, it’s much easier to make a two-sequence hand signal than scream what you want to say to a guy that’s on the other hand on the set. First, because what you might want to tell him will take much longer when said in words rather than in hand signals, and second, because you will make a lot of noise – which is not recommended.

Therefore, if you want to get acquainted with some of the hand signals that light technicians use on a set, then stick with us as we present to you all you should know about them.

Signs for Aiming the Light

On many occasions, a certain light on the set will have to be aimed up, down, left, and right. To do so, a lighting technician will rely on a set of basic hand signals.

The procedure is very easy – all you must do is stretch out your index finger and point upwards if you want the light to be tilted up, downwards if you want it tilted down, leftwards if you want the light to be panned left, and rightwards if you want it panned right.

Raising or Lowering the Light

For example, one of the lights on the set might have to be raised or lowered. This is when we’re getting into more complex hand signals – as you won’t probably see them being done in other jobs.

If you want the crew member that’s handling the light you want to be modified, you will show him what to do with the stem of the light – namely, the pole that the light is attached to.

By simply pretending to grab the stem of the light, having your fists one above the other – and close to each other – and then acting like pulling up the pole, you will sign to the crew that you want the stem up, raised.

If you want to lower a light, the process mentioned above is repeated backward – just like you would pull the pole down, in a lowered position.

Moving Back or Bringing in a Light

This is yet another very simple hand gesture.

When it comes to lights, having it tilted properly and set at the required height is not enough – lighting must be perfect in a scene of a movie. That’s why you might also be required to move one back or bring it in.

To do so, you’ll rely on two basic hand signals. If you want it moved back, you can just pretend that you are pushing away an invisible item that’s in your face or signaling a person to step back.

If you want it brought in, just pretend you are signaling a person to come closer to you – easy, right?

Light – Spot, Flood, Full Flood

When it comes to light spotting, we go once again in the territory of more complex hand signals – as there are three very different ones that you should know, depending on how you want the light spotted.

Light Spot

For example, if you want to signal a crew member to spot the light, you can show him to do so by asking – with your hands, of course – for just a pinch of salt. We are sure that you know what we mean. Just pinch your thumb and your index finger together and show them to whoever needs to see the hand signal.

Light Flood Out

Now, if you want someone to flood out a light, you can just give him the signal you would give out to someone you want to call you later. It’s easy – thumb and pinky finger out while the others clenched in the palm of your hand, and then do a small rocking movement.

Light Full Flood

In case you want the light to go on full flood, you’ll have to remember the times when you made shadows on a wall with your hand. If you wanted to make the mouth of a certain character, you’d have all your fingers but the thumb pointing straight out, while the thumb touches the index.

Now, if you want that mouth to open – well you know the drill, create wide distance between the thumb and the rest of the fingers while maintaining the same positioning. This is what you must do if you want the light on a full flood.

Light – Scrims

When it comes to scrims, you may have single or double scrims. In this case, you can ask the crew member for a single or a double down. To do so, you show the number of scrims with your fingers, and then point down.

Moreover, if you want the scrims pulled, you will ask for a single or a double out. Again, you will show him the number of scrims, after which you will point backward with your thumb – just like you would point at something behind you without turning around.

Light All Set

When the light is set just the way you want it, you can show that everything is ok – you know how – or clench your fist to signal that you want it held that way.

On the other hand, when you want a light killed, you will have all your fingers straight out, and so a slicing gesture towards your neck – obviously, right?

If you want to go on a restroom break, signal a person to cover you by placing your hand on your hand or pretending to squeeze a towel in your hands – fists clenched, and you know the rest.

Counting

Counting on the set is a bit different, as you need only one hand to show all the numbers from one to then. When counting from one to five, your fingers will be pointing up. On the other hand, when you count from six to ten, you will have them pointing left or right, as you would continue the counting with them.

Well, these were the most important signals a light technician should know on set. Make sure to learn the well so that you don’t mix things up and ask for a light to be positioned in a different way.