What does a camera movement specialist do?

We have the tools and skills to move a camera smoothly and precisely on all three axes: X – left and right, Y – up and down, and Z – forwards and backwards.

In the age of advancing technology and expanding creativity, the role of a camera movement specialist has become more essential on set. It’s finally possible to achieve fluid moves without the need of costly, time-consuming, and constricting equipment like dollies, jibs, or steadicams.  Instead, we use a tool called a gimbal which allows our operator to maneuver the camera rig on any combination of axes needed to complete the shot.

Tools in Our Arsenal

MoVI M5 – The Freefly Systems M5 gimbal allows us to mount smaller camera packages ranging anywhere from 2 to 5 lbs.  The MoVI is the top-of-the-line industry standard three-axis gimbal, and its performance will prove why it’s trusted. The M5 can be carried, mounted, and rigged in a number of ways, including inverted mode on our drone systems, giving you the rare perspective of flying the camera above the drone.

MoVi M15 – The Freefly Systems M15 gimbal is the big brother of the M5 & M10; all the power and precision in a larger package. This allows us to mount heavy cinema cameras from 5 to 15 lbs.  The specs of the M15 also allow increased customization, making it easier than ever to mount the exact lenses and accessories you want. As with all our gimbals, the M15 can be mounted on our drone systems to make your creative shot a reality.

Connex HD Wireless System – Whether we’re in the air or on the ground, we’ve been able to complete every shot with the Connex HD downlinking systems giving us a full 1080p HD wireless video signal.  We have both the Connex and Connex Mini systems, giving you the option of unprecedented range or completely silent transmission. We also provide two receivers, allowing for separate wireless feeds for both the director and the 1st AC.

Follow Focus System – We supply our CineGears follow focus with both our ground and air gimbal systems.  The motor module with built-in receiver keeps the rig lightweight and clutter-free so that you can keep your shots in focus on the ground or in the air.

ReadyRig – Our ReadyRig is definitely the game changer when carrying the MoVI on the ground.  With this system, we’re able to transfer the weight of the gimbal from our operator’s arms to his hips.  The body’s core carries the bulk of the weight, allowing our gimbal operator to repeat precise shots again and again until the director is satisfied with everyone’s performance.

The ReadyRig also allows us to run the MoVI gimbal system inverted.  The camera can be held higher, at eye level, making “walk & talk” shots feel more natural.  We know versatility is a necessity on set, and we strive to make every shot work.

Drones – We’ve been flying heavy lifters for over 4 years now. This includes our custom built Skyjib 8 Octocopters and FreeFly’s latest Alta Aerial Systems.

Capturing aerial cinematography is our favorite job on set, and our clients are always pleased with the aerial imagery we’re able to produce. With the amazing proximity coverage our drones provide, we’re able to fly both outside and inside.

Sometimes you just need to get high with a drone!

Camera Truck – All these great tools live in our “VidMuze-Mobile!”  Our ProMaster 2500 Series EcoDiesel is the optimized camera truck; With a cargo space of 406 cubic feet and a ceiling height of 6′ 4,” everything, including our crew, fits comfortably.

Whenever we pull up on set, our clients are always impressed with the ProMaster!

ready rig
ready rig
ready rig
ready rig

Camera Package

RED Scarlet – Weapon:  We’ve always enjoyed shooting with RED cameras.  Our newest camera, the RED Scarlet-Weapon, packs a nice punch with a max resolution of 5K at up to 60fps.  The Scarlet-W can also achieve up to 300 fps at 2K resolution and has a dynamic range of 16.5 stops.  Whether we’re shooting in the air or on the ground, image quality is always delivered.

Our standard lens kit is a set of Rokinon Cinema Primes.  The focal lengths include: 16mm, 24mm, 35mm, 50mm & 85mm.

We also have the option to mount PL lenses if needed.  We’ll customize our camera gear to fit your production needs.

Features & Series

Clients

Our Team

Mike Gentilini, Jr.

Gimbal/Camera Operator & Drone Pilot

Mike has been flying RC helicopters and RC fixed wing planes since he was a teenager. He also began his journey into the film industry at an early age.  Camera operating is Mike’s largest passion, and he started combining cameras and flight over three years ago.  With Mike’s filmmaking experience and his eye for cinematography, he and his team think on the same wavelength, allowing them to capture the best cinematic shots.

James Suttles

Cinematographer & Gimbal Controller

A producer, director, and cinematographer who constantly strives to explore and contribute to the art of storytelling through motion pictures with an emphasis on strong visual content and unique story structure. Some of his recent projects include the feature films “Shifting Gears” and “Alone Yet Not Alone” with recent clients including Harley Davidson, Simon and Schuster, Readers Digest, and Time, Inc.

Ryan Atkins

1st AC, Gimbal Controller & Right Hand Man

Ryan has been on the VidMuze team for several years now. From his experience working on camera teams in the filmmaking world, running gimbal is second nature to him. When Ryan is not controlling gimbal or pulling focus, he keeps our team and bystanders safe during our drone flights. Having another set of professional and safety conscious eyes is vital to ensuring the safety of the crew and aerial equipment.

Greg Hudgins

Cinematographer & Gimbal Controller

A cinematographer and gaffer by trade, Greg has been in the film industry for over 15 years. He also enjoys the creativity of being a gimbal controller.  He’s worked on many features, including “The Disappointments Room” and “Seven Days ‘Till Midnight” and continues to advance his creative abilities.

Does a gimbal replace a techno-crane or dolly?

There’s certainly a time and place for a technocrane or dolly, but there are also many instances when a gimbal can replace these other tools.  It all depends on what the shot calls for.

Often, directors are more inclined to use a gimbal for more fast-paced or “action packed” segments of production. However, with the use of our ReadyRig system, we are also able to provide repeatable precision, take after take.  One major setback many gimbal operators face is struggling to hand-support the gimbal and camera rig.  With rigs weighing up to 20 lbs., most operators’ arms will tire within minutes.  This becomes a major issue on set since shots need to be repeated several times to capture the proper combination of acting performance and technical coordination.

This is why we use a real game changer: the ReadyRig.  It not only supports 98% of the weight of the gimbal rig, but it also provides an additional level of cinematic stabilization.  With less weight to tire the gimbal operator, the director is free to repeat shots until completely satisfied.

How does the cost of gimbal compare to other film tools?

Compared to the expense of a technocrane or dolly, a gimbal is significantly cheaper to operate.  Remember, the cost isn’t just about renting the tool itself; it’s about the time and crew required to set up these tools.

For example, setting up a 40-foot-long dolly track in a timely fashion can require several trained grips with extra equipment like apple boxes and wedges.  Plus, if the track needs to be moved because the director doesn’t quite like the angle, the lack of flexibility can require the track to be completely reset.

The same issues apply to a technocrane.  It can take hours to set up a technocrane for a single shot, and then it will need to be completely reset for a different setup

A gimbal can save you time and money while offering the flexibility to adjust or create new shots as quickly as you can come up with them.  This means setup times are minimal and the director gets exactly what he or she wants.

Cost Ratio Comparison

Techno-Crane: 98%
Dolly with Crew: 81%
Gimbal with Operator: 44%

Contact Us

Call Us

Studio: 828.338.9797

We’re located in Asheville, North Carolina.  Land of the beautiful Blue Ridge Mountains.

We’re able to pack our gear and travel anywhere in world.

Providing endless creative possibilities is our main goal.

Fully Insured

VidMuze Aerial Cinema, LLC is covered by an industry leading insurance policy that offers $2 million liability involving our gear and property on location.

VidMuze Aerial Cinema, LLC keeps safety a top priority. With over 15 years of experience and thousands of flights, we have maintained a clean “no crashes” record.