MOST CINEMATIC GIMBAL MOVES + TIPS


(Dubstep Music) – Hey guys, what’s going on? Welcome to Travel Feels. Sorry, old habits die hard. My name’s Matti and welcome
to another tutorial. Now we’ve talked about gimbals and how to use them properly and all that kind of stuff. But let’s talk about specific gimbal moves that I really like to do and some tips on how to pull them off. If you’re interested, the gimbal I’m using here
is a Zhiyun Crane II, which is a really good gimbal. Probably one of the best, if not the best, smaller gimbal for heavier bigger cameras because of the big cradle. Because of the big cradle you can fit really big cameras. Now I also did order, you can order a bigger arm here so I can put my 1DX on here. I’m gonna try it out,
give this another shot. Maybe it’ll be the contender to finally retire the Glidecam 2000. Let’s see. We’ll give it another shot. If you’re interested in this gimbal, I’ll link it down below. Oh, and if you haven’t, check out the merch, TRAVELFEELS.COM, it’s all on there. All right let’s get started
with one of my favorite shots. You guys see me do this all the time, and it’s the low to
the ground follow shot. Now I found that the
lower you go the better. The ground just whizzes by when you get really nice
and close to the ground. And for me, I like to use a
pretty wide lens for this shot, because it just makes
it a lot more dynamic, the movement of the legs
and the ground whizzing by. It just looks really cool
on a wide angle lens. A couple tips here is to actually flip the gimbal upside down. That’s gonna be the easiest
way to do these shots where you’re really low to the ground. Now in this case, because of the lens and
the setup was pretty big, I couldn’t actually just flip it around. So I was just tilting it down. Now you gotta be careful with this because it does introduce
some shake really easily because the gimbal just
doesn’t perform the best when it’s like that. At least that’s what I’ve found. So be careful about how
hard you’re walking. Try to do a bit of a ninja walk and it’s gonna really
smooth it out for you. This is the one shot
that I find introduces a little bit of shake a
lot of times on gimbal, so be careful with this one. But it is a really cool look. Next we have the very typical follow shot, which is basically just
having your character walk and you’re following behind them, kind of at a shoulder height, but you can go a little bit lower, a little bit higher, but you’re basically just
following your character. And I shot some examples of a
wide, medium, and a tight shot just to show you the different things that you can do with this one shot. I find that the wide shots are really good for introducing the environment, showing the location, whereas
the medium and tights shots are better at kind of going in the perspective of the character, really making a more subjective
experience for the viewer, kind of like you’re experiencing what the character is experiencing. I also find it’s a little
bit more mysterious. Everything’s kind of blurred out. You don’t know what’s going on
if you use the tighter shots. Overall this one’s really simple. Just get your character to walk straight and just follow them. This one’s pretty easy. Next we had the lateral follow shot, which was really similar, but we’re walking beside the character now instead of behind them. Again, this is a pretty
straight forward shot, but it’s a really cool shot because you start seeing
more of the character’s face. So it’s a nice way to kind
of introduce the character, give the audience a little
bit more information about who this is. And for this one, you wanna make sure you’re planning out the shot a little bit more, where you’re walking. You can’t just kind of tell the character to walk and follow them because you can’t really
see where you’re walking. You don’t want to trip into something. So plan it out so you’re
not bumping into anything. But other than that, it’s
a pretty simple shot. Next is the leading shot, where I’m literally just
in front of the character, walking backwards, and the character is
walking along with me. Again, a super-cool shot because you see a lot of the character. And for this I like to stick to kind of medium and tight shots because this shot is
all about the character, who it is, what’s going on on their face. And the big key here is
how the person walks. You don’t want the person to
be looking into the camera, so you need to kind of instruct them to kind of look around, act natural, look past the camera and
not look into the camera. Unless you’re going for that kind of look, but most of the time you’re
not going to be going for that. And this shot is really tricky because you’re walking backwards and you can’t see at all
what’s going on behind you or where you’re walking to. You gotta be kind of
looking at the character. So what really helps here is to have another person
that’s gonna lead you backwards. And for this it’s really easy. Just have the other person grab your shirt and guide you backwards, leading you to wherever
it’s safe to walk to so you’re not crashing into anything or falling into the water
or anything like that. Next we have what I would
call a circling shot. So we’re just gonna
circle, or rotate around, your main character. Now you can do this in a really small, slow, kind of tight way, or you can go a little bit wider and move faster around
the character if you want. There’s a lot of different
ways of going about this shot. I really like to use
this shot for closeups. I think it’s a really cool way of just getting a nice closeup and getting a little
bit of movement in there instead of just having this static shot. Plus it just brings a lot
of attention to your subject because the subject is
kinda staying still. It’s rotating a little bit, but then the background is really kind of moving and changing a lot. So it really draws the viewer’s
attention to your subject. Really cool shot, but make sure to do it nice and slow. Don’t go crazy with it. But you can also go for something
like a Michael Bay effect where you’re sticking on a zoom lens, which I don’t do very often ’cause it’s really tricky with a gimbal. But then you’re gonna get
this kinda crazy effect where the world is just
whizzing around your character. It’s a really cool look. I just don’t do it too often. And then lastly what I like to do is a dolly forwards or dolly backwards. And this is just basically having your subject stand still, and you’re gonna move the gimbal closer and closer to the person. It’s a really cool move. I really like this one because it just draws the viewer’s attention
straight to that subject because you’re getting
closer and closer to it. But you need to make sure that you have really good auto focus for this shot, otherwise it’s not gonna work out at all. And this is one of the big reasons why I like the Canon 1DX2 because the auto focus is just so good I can rely on it every time. Plus 120 frames per second. It’s just a really cool look. If you don’t have good auto focus, you can actually move
to the end of your shot where you end off, make sure it’s in focus, and then move back and
then move into that focus. That’s gonna be a bit of a different look, but it’s still kind of
doing the same thing. Okay, so those are some of
my favorite gimbal moves, but we’re not done yet. The best moves actually come when you combine the
different kinds of moves. For example, maybe you’re doing a follow and a circle around your character or you’re doing a lateral
shot and then dollying closer. You can mix and match these movements in any way you like, pretty much. Now they are really tough to do and they take a little
bit more coordinating, but that’s when the really
good stuff starts to happen. Or you can do a few of these
different moves in succession, so one after another. This is what we call a oner. It’s a long one-take shot with a whole bunch of
different stuff going on. So for example, here I started with a low
follow shot with the feet, and then I go up to a normal follow. Then we move into a lateral follow, and then we kind of dolly into the truck. (upbeat music) Then we have this shot
going on for a little while while we’re in the truck. (upbeat music) And then the truck stops and then we circle around, and then we go to a leading shot. So we basically combined
all of these different shots into one long, really cool shot, and guess how many takes
it took to get this shot. Just one. This is where gimbals really shine. This is something that I could
never do on a steady cam. It would take me so many tries and I probably would
never get it very good. But with a gimbal all it took was one try. Gimbals are really good
for these kinds of shots where you’re just trying
all sorts of crazy stuff, and it’s gonna stay stable. And that is the biggest reason why I’m still looking for the perfect gimbal to replace my Glidecam, where I can use the gimbal
and have it work really well and not have any issues with it or have it slow down my workflow. I really wanna replace my Glidecam. PS, I think it was really funny that some of you actually thought I was sponsored by Glidecam because I was talking bad about gimbals. You do realize that I
use a 6-year-old Glidecam that I bought four years ago, used. Anyways, thanks so much for watching guys. I hope you enjoyed these gimbal moves. If you did hit that like button. All right, that’s it for me. See you in the next one. (upbeat music)

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