Tabb Firchau thinks a lot about the future of cinema. He’s the president of Freefly Systems, a company that makes high-end camera gear like $20,000 gimbals and $17,000 drones for Hollywood movies and shows. The company’s creations help professional filmmakers get sweeping aerial footage they can’t capture with a standard camera rig, but those high prices make the equipment—and the shots—inaccessible to non-pros.
Like any good entrepreneur, Firchau wants to democratize the market. Freefly is doing just that with the Movi, a $299 stabilizing gimbal for the iPhone (and only the iPhone) that’ll launch during the first half of next year.
Like any gimbal, it holds your camera still while you’re filming and mitigates bumps and shakes. A pair of motors inside the hand-held unit work to keep the phone from bouncing around while recording, and some nifty software keeps the whole system in sync.
Earlier this week, I met with Firchau to get an early look at the new Movi gimbal. He brought with him a couple of the five 3D-printed prototypes and plopped one of them down on the table outside a local coffee shop. The Movi is about seven or eight inches wide, and a little taller than an iPhone 8 Plus. The mount for your iPhone connects to one side of a flat base; the other side has a grip with a slew of buttons and triggers. You clip your iPhone into the mount, pair it to the Movi using Bluetooth, then open the Movi app to start shooting.
There are a few different capture modes. The first, which Firchau says he expects beginners to use, is called Majestic Mode. It’s the basic stabilizing mode—it keeps the shot steady no matter fiercely you jiggle the rig, and you can use the app to fine-tune the speed with which the lens catches up to your movements. The only hiccup, Firchau points out, is that the iPhone’s own optical image stabilization system can clash with Movi’s, so if you jerk the grip around too quickly, you can end up with some jittery artifacts.
For there, the Movi’s modes get more complex. There’s A-B mode—Firchau says it’ll be called Echo Mode by the time the Movi ships—which lets you set an A and B point in your shooting environment with a little trigger on the grip, and then it’ll record footage panning from the first point to the second. You can tweak the speed of the pan, too.
Then there’s Orbit Mode, which lets you circle around a subject while remaining perfectly still. Right now you have to trust yourself to move around the subject, which can be tricky for budding cinematographers. Firchau hopes that, in the future, Freefly will be able to use Apple’s AR Kit to select a subject and have the Movi intelligently track it. His team has gotten AR Kit’s tracking to work, but he says getting it to record has been a hassle.
Finally, you can record slowly panning time-lapses with the Movi by setting it down on a flat surface, setting the exposure, and telling it how long to record. The gimbal moves the camera slightly between each shot, and you won’t notice it moving while it records. But the final shots are about as crisp and attractive as anything you’d expect in a professional production.
Run and Gun
After the demo, Firchau asked if I knew of any places in San Francisco where he could grab some good time-lapse shots. I suggested the Ferry Building, a bustling indoor-outdoor marketplace, and brashly invited myself to tag along.
Along the narrow sidewalks of the city, Firchau told me he’s excited to see people bring Movis into places where bigger, more professional rigs wouldn’t work. “I was able to do three-axis, motion-controlled time-lapses in an airport,” he says, “You can’t do that with a full rig without crazy permissions.”
At the Ferry Building, we loaded up our Movis and started shooting. First, we planned to walk from one end of the market to the other, each recording a time-lapse of our walk. After shooting a few time-lapses (his all turned out way better), Firchau showed me one last trick: Roll Mode. It rotates the camera on a horizontal axis to give anywhere from a 180 to a 360 degree view of the scene.
Traditional high-end video rigs usually require two operators for more complex shots. “The two-person thing is really difficult because the two people have to be really synced up or the shots turn out terribly,” Firchau says, “We tried to bundle all of that into the Movi to do a perfect move between two points, which is tough to do by hand.”
“Taking a photo and putting a filter on it is one thing. But creating a short film, and then sharing it with people and have them like it is really tough,” he says.
The Movi ships during the second quarter of 2018, but pre-orders (and plenty of sample videos) are available on the product’s website today.
This is What It’s Like to Race a Drone at Full-Throttle
If you’re not crashing, you’re not flying. At least that’s the idea behind the Drone Racing League—a relatively new organization where drone pilots compete by racing high-performance aircrafts through tight and intricate courses. Find out what it’s like to fly one of the technically advanced drones from the pilots who are paving the way.
“Every now and then, TV manufacturers start a new trend to keep the hype for their products going. If you bought a TV in the last year, a salesman probably told you that some iteration of HDR is a must-have. Your current TV likely supports 3D — and I bet you haven’t used that feature in ages.
The hot new thing at this year’s IFA, Berlin’s trade show which gathers the largest consumer electronics manufacturers, was 8K TVs. I’ve seen those TVs, and I can tell you, they all had an absolutely stunning picture.
I can also tell you that you absolutely don’t need one.
TVs with 8K resolution — that’s (typically) 7,680×4,320 pixels — have been around for a while, in the form of concept devices and prototypes. But the difference this year is that you’ll actually be able to buy one.
At IFA, Samsung unveiled its first-ever QLED 8K TV, the 85-inch Q900FN. It’s got all the bells and whistles you’d expect from a top-of-the-line Samsung TV, including crazy-good contrast, brightness and HDR10+ support. I’ve seen it, and it’s gorgeous. It displayed a short video showing owls and bridges and a lady walking over a meadow and I could clearly see every blade of grass, every feather.
LG, Toshiba, and other manufacturers also had 8K TVs on display at the show, their picture equally beautiful to my eyes.
It’s tempting to think that this is the next big thing in TVs — after all, Full HD TVs were so much better than the HD Ready ones, and 4K TVs are so much better than Full HD TVs. It’s just natural that the resolution keeps increasing, right?
While it’s possible to tell the difference between 4K and 8K picture, the difference is nowhere near as stunning as the difference between 4K and 1080p a.k.a. Full HD resolution. Your eyes are the limiting factor here, and while the actual numbers get a little complicated, the simple test of actually going to a store and looking at a 4K vs. 8K TV will show you that the difference is not dramatic………………………”
“The number of U.S. households watching streaming TV services – those that deliver cable TV-like programming over the internet – has grown a remarkable 58% over last year, according to new data from comScore. However, these services still account for a small portion of the overall market, as only 5 percent (4.9 million) of U.S. households with Wi-Fi streamed TV over one of these services in April 2018.
In citing that number, comScore was specifically looking at what it called “pure-play” vMVPDs (virtual multichannel video programming distributors) – a variation on a fancy industry term that refers to live TV services like Sling TV. These services stream multiple channels over the internet without supplying infrastructure like coax cable to do so, and don’t offer other content like original programming or user videos.
Today’s lineup of these “vMVPDs” includes: Sling TV, DirecTV Now, Playstation Vue, fuboTV, Philo, YouTube TV, and Hulu with Live TV. These “pure-play vMVPDs,” as comScore referred to them, are basically that same list, excluding Hulu Live and YouTube TV, as those also include access to non-linear, digital-only content like original programming.
The firm found that consumer adoption of these “pure-play” live TV services is growing significantly, as more people cut the cord with traditional pay TV………………”
Amazon could be looking to buying a chain of cinemas.
Image: Getty Images/iStockphoto
“Amazon has already established brick-and-mortar stores selling its products and groceries, and now it apparently wants a slice of the cinema business.
As reported by Bloomberg, Amazon is looking to acquire Landmark Theatres, which claims to be the largest cinema chain dedicated to independent and foreign films, with 52 theatres in 27 markets.
The e-commerce giant is reportedly working with other suitors to buy the chain from Mark Cuban and Todd Wagner-backed Wagner/Cuban Cos. There have been no decisions made, and with talks still to come, it’s not set in stone that a deal will go ahead.
But Amazon’s potential entry into physical cinemas could help further sure up the profile of its Amazon Studios films, such as Manchester by the Sea, an Amazon Original which was nominated for an Academy Award for Best Picture in 2017.
Despite the accolades, there is general tension between newfangled streaming services and the film industry. These concerns are primarily directed to the biggest disrupter of them all, Netflix, which is aggressive in its stance to only show its own films on its service.
Steven Spielberg said earlier this year that Netflix films which either don’t show in cinemas, or only for a short time to satisfy movie awards criteria, shouldn’t get accolades like an Oscar.
“Once you commit to a television format, you’re a TV movie. If it’s a good show, deserve an Emmy, but not an Oscar,” Spielberg told ITV News.
“I don’t believe films that are just given token qualifications in a couple of theaters for less than a week should qualify for the Academy Award nomination.”
Although Amazon is also a disruptor, it sticks to convention when it comes to distribution. It runs movies in cinemas for months before they sit on Prime Video, and is public about ensuring its films screen in theaters.”