#video gimbal stabilizer

[grandstores]

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[roo-bastmoon]

IMPORTANT INFO: issues around Jimin’s album

I have an ARMY friend (who shall remain safely anonymous) who works in film production for the music and entertainment industry here in the US. They offered me some valuable insights today into production limitations and possible issues related to Jimin’s solo album.

Below the cut is a transcript of their messages to me. I share this in the hopes it better informs our discussions around fair treatment of BTS members’ releases. It is by no means a definitive account of Jimin’s situation—simply an insider’s ideas on what likely happened around a few things.

I understand there are very big feelings about this topic, especially with the apparent differences around JK’s single, and I appreciate everyone’s viewpoints. However, if you choose to interact with this post, you will be respectful to others (including members) or you will be blocked. You are always welcome to DM me privately if you need to vent—we are all human and we all need a bit of grace, so you’ll always have that with me.

Sending you guys so much love, Roo

Anonymous Insider

Some “light reading” while you’re resting up and recovering, lol. This is all just based on what I’ve been watching and seen. Of course, I don’t have access to their production budget sheet and Korea works very differently than the US when it comes to production, but this what I’ve been seeing when it comes to their videos and particularly the promotions for FACE.

(I’m sending in sections, lol)

Alrighty - I’m still like deep in edit-land (still am two days later 😭) but I started typing this on the train between meetings, ha ha. (And am still on the train doing this, lol.) Also this rambles a bit I’m sorry! So the first thing I did was go back to the interview where Jimin talked about the music videos — it was a Japanese TV show and he’s talking with a host in Korean.

He’s talking about “wanting to do it all,” laughs and says, “I wanted all the music videos” and that “they” (the company assuming) said “무리다” which has its roots in the word 무리 which means a herd, a party, a group — basically “it’s too much,” “it’s unreasonable,” and “it’s impossible” are decent translations as it refers to something or an idea being “too much” — then the host and Jimin burst out laughing and the host goes “서리와 무리다” which I read as “sorry (in konglish) but we can’t” and they continue to laugh. So based on that —it sounds very understandable.

We can imagine Jimin sitting down with his team and planning out SMFP2 and LC videos, with the 30 dancers and all the party scene extras, and then Jimin saying he wants to do the music shows with 6 different sets in rented locations so they could have total control. And if Jimin in that process went “what if we made official music videos for all of them?” the team would understandably go “that’s just not reasonable!” 1) because it would give Jimin a budget no other member had gotten and 2) there aren’t that many production houses in Korea. It’s a very small scene — it may just logistically not been possible. There aren’t enough DPs and crew and editors. Sometimes, as a producer, you have to tell your creative talent “I’m sorry, but no.” — I say it every week!

So what about the music videos? Well, here’s what I know from meticulously watching all the behind the scenes for BTS videos over the years. They work with a small team. They likely own a good deal of the gear — they shoot mainly on RED cameras and heavy expensive Cooke lenses (which you can’t get this stuff easily in Korea. I lost a lens cap for a Canon CINÉ Lens in Seoul and it was like this whole big deal because getting gear there is an import challenge but anyways) they use MOVI and Ronin gimbal stabilizers and Jimmy Rigs a lot.

Recently they’ve been using technocranes but I wonder how many technocranes there are in Seoul. As I said, they likely own a lot of this gear which can help with costs. But we’ve also been told — and I’ve heard through my industry friends — that Hybe PAYS. And in Korea there’s no unions in the entertainment world, and often the rates are shit (hence Netflix investing so much there - blerg) their standard work week is also already 12 hours longer than the US. It’s a whole thing. and they spend so much money on sets. It’s incredible.

They rent these huge spaces outside Seoul and BUILD — I mean the build out for SMFP2 was astounding. They easily dropped 1million on that video. The rigging, the build-out, the custom set and the custom camera rigs to achieve the 360 shots - the drone shots. They’re astounding videos. No US label is spending that money on videos these day. Absolutely none of them are — my friend recently produced a video for John Legend. They were trying to pull the whole thing off for $100K which is ridiculous. It’s really almost impossible.  

But on the Big videos they spend a lot of money, but they also produce a lot of other stuff too (and these are often looked at as Performance Videos vs all-caps MUSIC VIDEOS) -— like RM’s video shoot at DIA Beacon… that was a much smaller, fairly single camera shoot — all shot on drones or a MOVI handheld rig. No set, they also didn’t like pay for the set because DIA: Beacon is an art museum — and similar a little bit to Letter for Jimin, which was much smaller set and easy in-house gear.

(And it was also released on Bangtan TV channel vs Hybe Labels Channel, which is a good indicator of how they categorize these shoots.) But the big videos, they go for broke. I mean they spend so much money and again they may own a lot of the equipment but there’s still so much people-power and labor involved. Take the dancers’ rehearsals. You have to pay people for all that — you have to pay them for the weeks of rehearsal, you have to pay them to be in a video. It is so expensive — like, I would not be able to budget that video for under 1 million, that’s how much it costs.  

So then Jimin wanted to do music shows —- and so because he’s Jimin and it’s BTS, Hybe rented larger venues and locations for all of the shoots. None of them use the actual Broadcast spaces or were provided by the broadcast studios. The smaller companies do though — remember when BTS first started out they went to SBS to film on the day? — but they don’t do that anymore. They rent huge facilities so that they could be a mini concerts for ARMYs to visit with Jimin and see him.

They also have to do this kind of outside of the city and they built huge sets because they’re going to want to show off if they’re gonna be on TV but that is so expensive. (I don’t think you were an ARMY then, but when ON was released, at the time it was the “biggest broadcast performance ever” and they keep upping that ante for sure!) It’s possible the broadcast companies spend some money but what BTS is doing is so outside the usual budget and given the tension with the broadcasters and HYBE — they (Hybe) wants control of their products, and so I think they pay for that control.

I can’t imagine they got out of any of those days for under $500K; I mean, there were two different sets, all the crew; they’re paying for all of it. We add it up and they probably spent close to $3-5 million between Jimin’s music videos and his music show performances, and I would be understandably like: “That’s it!” Like, that’s the budget for an EP, you know.

I don’t think Jimin could have it all because that wasn’t the case for the other members. RM got to lead videos and J Hope had pyrotechnics, which definitely costs money and safety and insurance. You know he had visual effects his first video (a lotta visual effects) and again a lot of challenging technocrane work, but I haven’t really seen them build something on the scale of what they built for SMFP2 in a very long time (or ever?).

We heard from the Art Dept that Jimin did not want to shoot on blue screen, so they built the set for him. This cannot be the same label that is shafting him — that allows him to spend that amount of money just because the artist said “I want to shoot in a real space!” because I’m gonna be completely honest— he could’ve done that on a blue screen — I’m glad they built a real world because BTS almost always shoots on Blue/Green Screen. They build him a huge set like that. It’s absolutely incredible.

I was also reminded this morning that people are talking about radio for Like Crazy and not supporting the song — and I just keep thinking that they did exact rollout for Butter, Dynamite, and Permission to Dance. They released Like Crazy. It had both a Korean version and English version. (Obviously that wasn’t the case for the English BTS songs.) They released two additional remixes. Then they kept releasing, like, alternate cover versions — alternate covers of the main remix, alternate cover the other remix. They were trying to maximize the direct-to-consumer store and exact same way they had tried to maximize it with Dynamite and Butter and Permission to Dance.

The way you were buying Like Crazy was the same process I took on Dynamite. They did the exact same playbook. So the fact that they were unable to get the kind of radio play they wanted or maybe they weren’t prioritizing radio because they knew that they were gonna have a better chance at direct to consumer sales... Maybe they didn’t want to fight radio. Maybe Geffen was like “We don’t have the right ‘Ins’ yet!” — I’m not sure, but the fact that they got completely screwed over by Billboard doesn’t mean that they weren’t actually rolling it out in that way, because as soon as they started doing the whole alternate cover thing, I was like: “Well, they clearly want us to try to go for number one!” You know, “They clearly think that they are going to be able to get number one on the hot 100 and we’re gonna use these sales to do that!” And clearly that’s all changed now.

They keep changing the rules on us, so — with JK, they’re obviously trying to, you know, use whatever tools they have available to them at this point.

Finally, when it comes to restocking the digital single CD. There are still albums available in the store. So why would they manufacture and ship more (likely thrown away) plastic that’s just for one song, when those CD singles only serve to raise sales for the charts? All of the other member’s CD singles are out of stock except The Astronaut, which they treated more like a proper album a bit (kinda like the Butter CD releases). Because they still have both versions of his full albums in stock, so if I were Hybe, I’d be like “No,you need to buy the album, we still have albums, we’re not going to sell you a single song when you can buy the album!” That makes more sense to me. The albums cost more.

TL:DR, haha — so I feel like this narrative around Jimin’s release has been ramped up because, from my professional opinion, he’s had the most expensive release so far (by far) and if we want to compare him to, say, Beyoncé — well she owns her own production company (Parkwood Entertainment), so she can funnel her own money into a Visual Album, I don’t know if Jimin has considered that at this point in his career, but in the future, he might!

((Not including costs for Suga’s tour because that’s a whole other thing, and the tour probably made money I would expect to balance out the cost of the tour itself))

Anonymous Insider

This isn’t to say that the other things, the part where he didn’t get the cake celebration, or the posts, the issues with the linking and this general feeling that Jimin was short-changed in these things isn’t valid and understandable. I think Hybe relied too much on D2C sales and I don’t think they leveraged their might as much as could have for JM. They could have risked more for him.

{This is an end of Anonymous Insider’s messages to me. They noted that they are an intermediate non-native Korean speaker so please excuse any translation errors. They translated things themselves using Naver tools that aligned with the video subtitles.}

So, listen, I still don’t think Like Crazy was sent/promoted to radio (which was a mistake and still is a mistake) and I am furious at the shady articles and lack of celebration for Jimin…

But after reading the way the members approach their work in the Beyond the Story book and now hearing from someone who produces these works for a living, I have to wonder if the company was doing everything they knew how to do for Jimin, but the second it didn’t work out because of the western music industry culling streams and sales, they pulled back all their resources and pivoted for Yoongi and JK. (I also wonder if leadership shut up about it all due to liability issues, or not to cause bad blood with the music industry for future releases.)

Again, I’ll never forgive the lack of celebration and the split streams (not without a great explanation), but at least now I think there’s a good chance no one was actively trying to sabotage Jimin on purpose. They seemed to have wanted that #1 and then it all went to shit because Billboard and radio want to get paid. Maybe leadership decided not to put any more resources into Face but instead pivot for all the future music coming out (including PJM2.)

Perhaps I'm a cockeyed optimist. I’m just hoping like hell they never engage in payola. I want all our boys to win, but I want us to win fairly. And even if everyone cannot have the same investment every time on every project, I hope when they come back together in 2025 that everyone feels good about their solo works and each other. This is my prayer. Love, Roo

[annezstore]

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[janith819]

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[prey4bokeh]

So this Christmas my girlfriend got me this cool adapter that lets me adapt Canon FD lenses to my Canon EOS R. So basically I can use vintage film lenses on my mirrorless. Honestly I’m in love with vintage glass, I have only a hand full of them, but I never spent more than $50 on any lens and the images that come out are amazing. I had a couple of my photography buddies completely blown away that I’m using vintage lenses. Here are two of my favorites, my 50mm f1.8 and my 135mm f2.5. Both super clean, take amazing photos, the bokeh is butter and you can’t tell if this is a modern lens or a vintage lens. My 50mm is a perfect for not only portraits, but great for street photography. My 135mm is perfect for nature and wildlife photography. Not something I do a lot of, but would definitely love to do more of it, but mainly because I own a 135mm for it. I hope to get a 300mm one day as well. Now there is some cons and pros for using vintage lenses. Pros are, not as expensive as modern lenses, like I said I never spent more than $50 on a lens. There are some great ebay deals out there, there are some very expensive FD lenses, that run in the $1,000’s, but those were for making movies. You’re not buying cheap plastic, all these lenses are well made and made of metal. You don’t have to use Canon name brand lenses, as long as it has the FD mount, there are other brands out there that are nice in price and still have the same image quality. Now for the Cons, all the lenses will have to be manual focus, now that is pretty obvious to a lot of photographers, but this is something a lot of photographers will not like and will miss autofocus. Taking videos, there is no auto stabilization, so you will need a gimbal and you will have to manually focus as recording. It can be done and I’m sure that will not bother others, you can buy an adapter with built in autofocus, but that’s $300 for that. Another thing is shopping for the right lens, now I normally recommend ebay, just make sure you read the description. Since these lenses are old, they can develop dust in the glass and fungus. Also I have read where some actually have mold in them, but message the seller if they’re description is vague on the lens. Another con is these will make your weather sealed or weather proof camera not weather sealed or proof. I definitely learned that the hard way one photoshoot. I got a little moisture on my sensor one day when it was raining, thinking I would he good because I’ve shot before in the rain with my RF lens and was completely fine. Now for the last con, some of these lenses are heavy! My 135mm is super heavy, because they are made a of metal and not the cheap plastic you spend $1,000’s of dollars on. So trying hold focus on hold the lens is a sometimes a struggle. I linked the adapter up top of this post and they sell other adapters for other cameras as well.

[chiveburger]

I think ever since I’ve bought my new camera I’ve relit that joy of vlogging because the quality has become so much better. It makes me excited about any upcoming trips that I have and I’m even considering buying a gimbal to stabilize my footage. I think a big reason of why I stopped editing for the last year or so was because even if I had the content I didn’t like the actual quality of it... and I’d put it through the video editor but have no drive to actually make it into anything. granted, I also wasn’t doing a lot and I probably didn’t like how I looked. It was a concoction of so many things that ultimately made me stop enjoying the process of curating a video but with my hong kong footage, and most footage I have on my sony camera now, I like it. I like looking at it and making something out of it. In general it does kind of suck that to feel that fire for things that you USED to like, you might have to invest in new material or upgrade to new technology but damn...I guess that’s just life.

[lovedarter]

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Surgical Support Gimbal robots in the medical profession help ensure accuracy during sensitive surgical procedures. These robots support surgeons during microsurgeries and other intricate procedures by stabilizing hands and minimizing hand tremors. They reduce surgical risks and improve patient recovery rates by stabilizing equipment to enable minimally invasive treatments. The use of gimbal robotics in surgery is growing and is improving healthcare results all around the United States.

Industrial Inspection and Maintenance Gimbal robots are used for maintenance, inspection, and monitoring in the industrial sector. They can be used in dangerous settings, such as nuclear power plants, oil refineries, and construction sites, where they provide steady, accurate imagery and data collection even under extreme conditions. Outfitted with cameras and sensors, these robots can identify problems such as corrosion, cracks, or leaks, guaranteeing efficiency and safety in high-stakes industrial settings.

In the USA, gimbal robots have solidified their position as indispensable instruments, promoting efficiency and innovation in a variety of sectors. They have revolutionized not only the film and drone industries but also vital domains like industrial inspection and healthcare by providing unmatched steadiness and accuracy. Gimbal robots have the potential to become increasingly more essential to the American economy and technology environment as the need for flexible, accurate, and dependable robotic solutions increases.

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[typesofdrones]

Types of Mini drones guide

Mini drones have rapidly gained popularity for their versatility, ease of use, and accessibility, attracting everyone from hobbyists to professional photographers. These drones, smaller and often more affordable than their larger counterparts, cater to various applications, from recreational flying to capturing stunning aerial photography. Here’s an overview of the different types of mini drones available today, highlighting their features, uses, and what makes them unique.

1. Toy Drones

Toy drones are entry-level mini drones designed primarily for recreational flying. Lightweight and affordable, these drones are often favored by beginners due to their simple controls and durable build. They come equipped with basic features, such as altitude hold and headless mode, allowing new users to easily control the drone without needing to worry about orientation. Though they lack advanced camera capabilities, toy drones provide an excellent way to practice flying skills before upgrading to more sophisticated models.

Typical toy drones include models like the Holy Stone HS210 or the EACHINE E010. These small drones are well-suited for indoor flying and are especially popular with kids and families. However, due to their lightweight build, they can be affected by outdoor wind conditions, so they’re best suited for calm days or indoor use.

2. Camera Drones

Camera drones like DJI Mini 2 SE are a step up from toy drones, often equipped with HD or 4K cameras to capture high-quality images and videos. These drones, such as the DJI Mini 3 Pro and DJI Mini SE, are often favored by hobbyist photographers and travelers who want to capture unique aerial perspectives. Camera drones are typically lightweight, falling under the 250-gram limit, which in many regions exempts them from strict drone regulations.

With features like gimbal stabilization, GPS, and intelligent flight modes like Follow Me or Point of Interest, camera drones offer excellent control and stability for smooth, cinematic shots. Many camera drones also have longer battery life, allowing users to capture footage for 20-30 minutes on a single charge. For those who value portability and high-quality imagery, camera drones are a solid investment.

3. Racing Drones

Racing drones are designed for speed and agility, catering to enthusiasts interested in First-Person View (FPV) racing. Unlike toy and camera drones, racing drones prioritize performance, with high-speed motors, streamlined frames, and low-latency video transmission for real-time FPV flying. These drones are often custom-built or modified, allowing users to fine-tune components for optimal performance.

Examples of popular racing drones include the EMAX Tinyhawk and the BetaFPV Cetus Pro. Racing drones are typically flown using FPV goggles, providing an immersive experience as pilots maneuver through challenging obstacle courses at high speeds. For those drawn to competitive flying, FPV racing drones offer an exhilarating experience, though they require practice and skill to master.

4. Mini FPV Drones

Mini FPV drones combine elements of racing drones and recreational mini drones, offering an accessible entry point for FPV flying. Compact and lightweight, these drones are equipped with small cameras and often compatible with FPV goggles. While they may not reach the high speeds of dedicated racing drones, mini FPV drones still deliver an immersive flying experience suitable for exploring tight indoor spaces or small outdoor areas.

One notable example is the DJI Avata, a mini FPV drone with a built-in camera and impressive stabilization. With obstacle avoidance features and easy-to-use controls, mini FPV drones appeal to both novice and intermediate pilots interested in FPV flying without the complexity of racing models. These drones are ideal for indoor FPV enthusiasts or those who want to experiment with FPV flying without diving into high-speed racing.

5. Mini GPS Drones

Mini GPS drones incorporate GPS functionality, allowing for improved stability, precise location tracking, and advanced features like Return to Home. By utilizing GPS, these drones can maintain position even in windy conditions, providing more control and safety. They’re particularly helpful for beginners who may struggle with manual navigation, as GPS-enabled drones often include a feature that allows them to automatically return to their takeoff point if they lose signal or run low on battery.

The DJI Mini series offers models like the Mini 2 and Mini 3 Pro, which are equipped with GPS and other intelligent flight modes. GPS-equipped mini drones are perfect for beginners or casual photographers who want stable flight for capturing high-quality aerial shots without the worry of losing control or navigating manually.

6. Selfie Drones

Selfie drones are small, portable drones designed specifically for personal photography and social media sharing. Compact enough to fit in a pocket, these drones typically have cameras and are easy to operate, often through smartphone apps. With features like gesture control and facial recognition, selfie drones make it easy to capture spontaneous photos and videos from unique angles.

Popular models in this category include the DJI Ryze Tello and the Zerotech Dobby. These drones are often favored by travelers and social media enthusiasts who want high-quality aerial selfies without carrying bulkier equipment. Selfie drones offer convenience and portability, making them ideal for those on the go.

Conclusion

Each type of mini drone serves a unique purpose, whether it's for casual fun, photography, racing, or FPV exploration. For beginners, toy drones offer a low-cost introduction to the hobby, while camera drones and GPS-enabled models cater to photographers and travelers. Racing and FPV drones provide adrenaline-fueled excitement for competitive pilots, and selfie drones offer a convenient way to capture personal moments. By considering your interests and needs, you can find a mini drone that perfectly aligns with your goals and opens up new perspectives.

[videoeditingandcreator]

Drones Videography: 2025

Drone videography 2025 refers to aerial drones outfitted with cameras that obtain exceptional quality and unique video content from various altitudes and angles. It is gaining importance due to its visual aesthetic and ability to film large or inaccessible areas.

The technology behind drone videography

Many advanced components and software tools facilitate drone videography. Here’s an outline of the basic technologies:

High-Resolution Cameras: Cameras on most cameras drones shoot in HD, 4K, or even 8K with larger sensors and/or better lenses making image capturing rich and clear.

Gimbal Stabilization: A 3-axis gimbal is an apparatus that supports the camera to make its movements smooth. While compensating for any movement or shaking of the drone during the filming.

GPS and Navigation Systems: GPS systems in drones help to stabilize a fixed position, allow them to come back to specific locations, and facilitate autonomous movements. For taking pictures at specific angles.

Obstacle Detection and Collision Avoidance: Sensors such as ultrasonic, infrared, and LiDAR. Allow the drones to sense and stay away from obstacles for safer and assured traveling.

FPV and Real-Time Monitoring: FPV allows in-flight video via the controller or mobile for appropriate shot angles in mid-air without interruptions.

AI and Automated Flight Modes: Included in many drones include intelligent flight modes – follow-me, orbit, and waypoint which are AI-enabled shots that do not require any human control.

Software Integration and Post-Processing: Drones use functional applications that offer live editing capabilities and even connect to cloud storage for faster and easier user’ editing for sharing purposes.

These technologies have made drone videography quite flexible and easy to grasp. Hence making video production of high standards within almost all sectors possible

[jcmarchi]

Videoguys Quick Hits: What Camera is the Right Fit for Your Production - Videoguys

New Post has been published on https://thedigitalinsider.com/videoguys-quick-hits-what-camera-is-the-right-fit-for-your-production-videoguys/

Videoguys Quick Hits: What Camera is the Right Fit for Your Production - Videoguys

On this week’s Videoguys Live, James is going through 4 camera options that can help elevate your video production! He is discussing the Pixellot Air NXT, Canon XF605, AIR One Robotic Camera, and the RED KOMODO.

Pixellot Air NXT Camera

Stream Sports Like Never Before

A breakthrough when it comes to value and performance

Next generation of Pixellot Air multi-sports portable camera

Offers livestreaming, better video, improved audio, faster charging, bigger storage

Superior Video Quality​: The dual 12MP camera array captures every moment in stunning detail

Enhanced Stereo Audio: Immersive digital stereo audio brings the rich atmosphere of the match directly to you.

Newly Rebuilt AI Technology​: Supporting multiple sports types, including Basketball, Soccer, Football, Ice Hockey, Field Hockey, Lacrosse and Volleyball.

Streamlined Live Broadcasting​: Stream footage easily over Wi-Fi or 4/5G and share the thrill of the game.​

Rapid Charging Capability​: 33% Faster-charging to minimize downtime, as well as supporting external power banks.​

Expansive Storage Solutions​: Up to 512GB of storage, (32 hours of video – for enterprise users) lets you record more games, and practices, worry-free.​

Canon XF605 Camcorder

Canon XF605​ The XF605 Professional Camcorder is the next-generation XF-series camera providing excellent mobility, connectivity, and superb 4K UHD HDR image quality. $4,299.00 reg.​$3,999.00 with Instant Rebate​Expires 11/30/24​

1.0-inch 4K UHD CMOS Sensor​

12G-SDI, HDMI, & USB (UVC Support)​

On-Screen Display (OSD) Time Stamp Recording​

15x Optical 4K UHD L Zoom Lens with 5-Axis Optical Image Stabilization​

5-Axis Optical Image Stabilization​

9-blade Iris​

Independent 3-Density ND Filter​

4K UHD 59.94P 4:2:2 10-bit Recording​

Latest Firmware Update adds: SRT protocol support, H.264 FHD 25Mbps format, support for the Canon Multi-Camera Control app, improved vectorscope, enhanced Clear Scan shutter mode, Canon 709 and CMT 709 Custom Picture Profiles and more​

Advanced Image Robotics AIR One® Robotic Camera Kit and REMI Production Bundle

  AIR One – Capture in 4K​

AIR App – Control From Anywhere​

AIRcloud – Simplify Your Workflow​

AIR One gimbal-stabilized robotic head ​

Z Cam E2-M4 4K camera module​​

Panasonic 14-140mm lens ​​

Zoom motor and mount​​

Apple iPad (10th gen) 64GB WiFi ​​

AIR App​​

Quick release plate​​

Power supply​​

PoE dongle for iPad ​​

Custom-fit high-impact carry case​

AIRcloud 3-month subscription

RED KOMODO and KOMODO-X

PRODUCT​

OLD PRICE​

CHANGE​

NEW PRICE​

KOMODO® 6K​

$5,995.00​

-$1,000​

$4,995.00​

KOMODO® Starter Pack​

$7,500.00​

-$1,000​

$6,500.00​

KOMODO® Production Pack​

$8,500.00​

-$1,000​

$7,500.00​

KOMODO-X™​

$9,995.00​

-$3,000​

$6,995.00​

KOMODO-X™ Starter Pack​

$11,995.00​

-$3,000​

$8,995.00​

KOMODO-X™ Production Pack (V-Lock)​

$14,995.00​

-$3,000​

$11,995.00​

KOMODO-X™ Production Pack (Gold Mount)​

$14,995.00​

-$3,000​

$11,995.00​

Interested in the RED KOMODO or other RED products?

We will help you find a local dealer!

We have a network of dealers nationwide!

Call us for a referral (800)-323-2325

[bysumex]

How to use the vortex moode in a gimbal? 👉 https://bysumex.com/how-to-use-the-vortex-moode-in-a-gimbal/

The "Vortex Mode" is an exciting feature on many gimbals, allowing you to create dynamic, spinning shots. The camera rotates 360° on its axis, producing a vortex-like effect that can enhance the energy and style of your footage. This is perfect for cinematic projects, music videos, or any content where you want a surreal or disorienting twist.

Here’s how to access and optimize this mode: 1. Activate Vortex Mode

Power on the Gimbal: Make sure your camera is securely mounted and balanced on the gimbal to avoid any unwanted shakes or jerks. Enter Vortex Mode: To switch to vortex mode, press the dedicated mode button (usually found on the gimbal handle) three times. Check your gimbal’s manual if it’s different, as brands vary slightly. Confirm the Mode: Some gimbals will display a small icon or notification on their screen or app to confirm you’re in vortex mode.

2. Adjust Camera Position and Angle

Point the Camera Upward: Depending on your gimbal, vortex mode often works best with the camera angled slightly upward. This angle provides a broader field of view and emphasizes the swirling effect. Tilt for Perspective: Experiment with slight upward or downward tilts, creating unique vortex effects based on the perspective. For example, a slight downward tilt can make it feel like you’re spiraling toward the ground, while an upward tilt gives a sense of ascension.

3. Start Rotation and Control Speed

Use the Joystick for Spin Control: Once in vortex mode, use the joystick on your gimbal to control the camera’s rotation. You can typically adjust: Rotation Speed: Some gimbals allow you to fine-tune the speed through their app, while others have default settings. Test different speeds to find what best suits your vision. Direction: Switch the joystick direction for clockwise or counterclockwise spinning. Experiment with Speed Changes: Slowly increase or decrease the speed during the shot to create a gradual transition. This adds a professional touch and avoids a repetitive, mechanical feel.

4. Add Movement for Depth

Walk or Move the Gimbal: Moving the gimbal while the camera rotates can add depth and amplify the vortex effect. Try: Forward Movement: Walk forward as the camera spins to create a tunnel effect. Sideways Movement: A side-to-side motion adds a surreal twist, making the rotation feel more dynamic. Practice Fluid Movements: The smoother your movements, the more polished the effect will appear. Start with small steps until you feel comfortable controlling both the rotation and movement.

5. Fine-Tune for Different Environments

Indoor Settings: Tight spaces or hallways work well, as surrounding objects enhance the vortex effect. Make sure to adjust speed to avoid overwhelming the frame. Outdoor Settings: If using vortex mode outdoors, open spaces allow for more freedom of movement. Be mindful of your surroundings and plan movements to keep the focus on the intended subject. Adjust for Lighting: Ensure good lighting since vortex mode often requires slower shutter speeds for smoothness. Lower light can cause motion blur, affecting clarity.

6. Experiment with Different Subjects

People or Faces: Use vortex mode to focus on a person, adding a dramatic and energetic look to portraits. Landscapes: A unique way to capture cityscapes or natural settings by rotating around a key landmark. Objects in Motion: Capturing spinning or moving objects can enhance the vortex effect.

7. Post-Production Enhancements

Stabilize and Smooth: After capturing, use editing software to enhance stabilization, ensuring your vortex effect feels seamless. Color Grading: Vortex footage often benefits from vivid color grading, which can accentuate the dreamy or disorienting effect. Speed Ramp: Use speed ramping to slow down or speed up portions of the clip, adding an extra level of drama to your footage.

Pro Tips for Using Vortex Mode

Practice First: Before using vortex mode in a live shoot, practice to get a feel for the controls and speed adjustments. Battery Check: Vortex mode can drain the gimbal battery faster due to continuous movement, so ensure you start with a full charge or carry a spare. Combine with Other Effects: Vortex mode can be combined with zoom effects or transitions in editing to add complexity to your final video.

Conclusion

Using the Vortex Mode in a gimbal opens up a world of creative possibilities, enabling unique shots that add depth, motion, and flair to your footage. By mastering the gimbal’s controls and practicing movements, you’ll be able to create professional, eye-catching scenes that stand out.

#vortex #gimbal #tutorial #filmmaker

[atplblog]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Product Description *Compatibility Camera Brand & Model List* WARM REMINDER FeiyuTech has achieved most control functions. But some of the control functions might be blocked by the camera brand due to not all the camera protocol is open source. SONY RX100 Ⅲ (RX100M3) / RX100 Ⅳ (RX100M4) / RX100M5A / RX100 Ⅵ (RX100M6) / RX100 Ⅶ (RX100M7) / ZV-1 / DSC-WX500 / DSC-HX90 / DSC-RX10 Ⅲ / DSC-RX10 Ⅳ / ZV-E10 / a6100 / a6300 / a6400 / a6500 / a6600 / Α7S / A7S II / A7R / A7R II / A7R III / A7R IV / a7R M4A / a7 Ⅱ (A7M2) / a7 Ⅲ (A7M3) / a9 / a9 II / A7C / a1 / a7S III / FX3 / a7 Ⅳ（A7M4）/ A7RM 4 / FDR-AX60 / FDR-AX700 Nikon Z7 / Z7 II / Z6 / Z6 Ⅱ / Z5 / Z50 / Z30 / D7500 / D850 / Z fc Panasonic GH5S / GH5 / GH4 / G9 / S5 / GH6 Fujifilm X-T20 / X-T30 / X-A5 / X-A7 / X-T100 / X-H1 / X-T3 / X-T4 / X-E3 / X-S10 (Type-C to TRS3.5) / X-T200 (Type-C to TRS3.5) / X-T30 II / X100V / GFX 100S / X-H2S Canon EOS M50 / EOS M50 Mark II / EOS M6 Mark II / Powershot G7 X Mark III / EOS 200D II (250D) / EOS 850D / EOS 80D (Tpye-c to mini) / EOS 90D / EOS 6D (Tpye-c to mini) / EOS 6D Mark II (Tpye-c to mini) / EOS 5D Mark III (Tpye-c to mini) / EOS 5D Mark IV / EOS 5DS R / EOS RP / EOS R / EOS R5 / EOS R6 / EOS R5C / EOS R7 / EOS R10 Sigma FP ( Only use the Start/ Stop Recording Video ) INNOVATIVE DESIGN,MAKES FILMING MORE COMFORTABLE Tilted handle holding Extremely comfortable to hold thanks to beveled edges, smooth rounded ergonomics to perfectly fit your hand. Integrated gimbal handle arm Whether shooting upright or underslung, get complete control of the lens from whichever angle you are filming. Set it down anywhere No tripod required, the gimbal is complete with an integral folding aileron bracket. Caution: Gimbal Stabilizer Compatibility here has 2 senses: (1). Camera can be well balanced in the gimbal stabilizer to prevent unwanted movements like camera shaky. In this dimension, ensure the camera with lens size and weight is within gimbal balance standard. If camera is balanced, you can realize the stabilization features like different working mode, inception mode, selfie mode, portrait mode, timelapse, etc; (2). Control some camera features from gimbal stabilizer like snapshot, record video, zoom, follow focus and camera parameters via cable. You can refer to the details below. Unlock the motor: SCORP C has a three-axis lock. Before installing the camera, you can unfold each axis and lock the motor lock to assist in installing the camera. After the installation is complete, the three-axis motor lock must be unlocked and the center of gravity must be leveled, and then turn on the machine.

(3). SCORP C main body is Aluminum Alloys and Plastic. Arca Quick Release Plate Arca-Swiss quick release plate- slide the plate without having to worry about mounting or dismounting anythingThe clamp can be fully opened, allowing the plate to be dropped in and securedOr can be partially opened to allow the plate to be slid into the position Upgraded Battery Capacity 2500mah Efficient Battery10-13 Hour maximum runtime (Official-tested data, it also related to different factors, like the weight of camera&lens; the camera well-balanced or not )USB-C port, support all the normal charger and quick charger which charging power≤18W An Integrated handle grip gimbal. *Please do not use it for balance mounting camera*Extremely comfortable smooth rounded ergonomics to perfectly fit your handWhether shooting upright or underslung, get complete control of the lens from whichever angle you are filmingAn integral folding aileron bracket for temporarily setting down the gimbal (no tripod-use scene) Add to Cart Add to Cart Customer Reviews 4.2 out of 5 stars 279 3.8 out of 5 stars 90 Price ₹19,990.00₹19,990.00 ₹18,990.00₹18,990.00 Supported Devices

DSLR & Mirrorless Camera Mirrorless Camera & Pocket Camera & Smartphone & Action Camera Weight / Payload 2.65 lb / 5.51 lb 1.735 lb / 2.65 lb Quick release/Balancing structure Quick release plate compatible with ARCA quick release system and Memory Slider dot Quick release plate compatible with ARCA quick release system Interactive interface 1.All physical button designed, quickly operate 2.Only part of parameter setting can be completed, which requires the cooperation of App 1. 1.3-inch color OLED touch screen 2. All parameters can be set without App A-B point memory button A-B point memory, one button to achieve movements your set or automatic focus Not support Difference Between SCORP C and AK2000C (AK series gimbal stabilizer) Feiyutech SCORP C is the Simple Version for Amateur, which focuses more on the people who love shooting simply with a DSLR Mirrorless Camera.Compared to AK2000C, SCORP C did not removed the Magic Knob Button, it can control the camera/gimbal on different shooting scenesAK2000C's Underslung handle grip is an optional accessory, but SCORP series camera gimbal is an Integrated handle grip gimbal.Another most different feature is that the SCORP series conforms to ergonomic design and its exterior looks like a scorpion. Batteries ‏ : ‎ 1 Lithium Polymer batteries required. (included) Product Dimensions ‏ : ‎ 28 x 27 x 7 cm; 1.2 kg Date First Available ‏ : ‎ 9 April 2022 Manufacturer ‏ : ‎ Guilin FeiYu Technology Incorporated Company ASIN ‏ : ‎ B09TVKH9CV Item model number ‏ : ‎ Feiyu-F2C Country of Origin ‏ : ‎ China Manufacturer ‏ : ‎ Guilin FeiYu Technology Incorporated Company, Guilin, 541004, China. Packer ‏ : ‎ HKD E RETAIL PRIVATE LIMITED, support@hkderetail.com, +91 7021527506 Importer ‏ :

‎ HKD E RETAIL PRIVATE LIMITED, support@hkderetail.com, +91 7021527506 Item Weight ‏ : ‎ 1 kg 200 g Item Dimensions LxWxH ‏ : ‎ 28 x 27 x 7 Centimeters Net Quantity ‏ : ‎ 1 Piece Included Components ‏ : ‎ MAIN BODY, TYPE-C TO TYPE-C, TYPE-C TO TRS2.5, TYPE-C TO 2.5MM PANASONIC SHUTTER CABLE, TYPE-C TO MICRO(A03), TYPE-C TO MULTI SONY SHUTTER CABLE, USB 2.0 TO TYPE-C, TRIPOD, QUICK RELEASE PLATE, LENS HOLDER SCREW, LENS HOLDER, CAMERA BACKING BASE, CAMERA FIXED SCREW*3, Generic Name ‏ : ‎ Camera Stabilizer 【Feiyu SCORP-C】Compatible with mainstream mirrorless and DSLR camera & lens combos . New upgraded version instead of AK2000C (AK series gimbal stabilizer) 【MAGIC KNOB RING】Control camera focus and gimbal axis on different shooting scenes 【INTEGRATED HANDLE GRIP】 Canceled Underslung handle grip AS an optional accessory, ALL SCORP series camera gimbal is an Integrated handle grip gimbal. 【UPGRADED PAYLOAD】For compatible more cameras, max payload from 4.85 lbs(AK2000C) upgraded to 5.51 lbs. [ad_2]