Every once in a while I find a new piece of gear that I really want. The Supraflux Video Camera Stabilizer is one of them. When I saw this on Kickstarter this morning I immediately saw the advantage this stabilization system has.
The thing that really makes this work is the patent pending brake system that allows you to control camera movement with one hand while stabilizing your shot. The Brake gives you complete control of turns by locking one axis of the stabilizer at the touch of a button. The other 2 axes remain free-floating continuing to stabilize the camera. Pretty ingenious if you ask me.
Below is the Kickstarter pitch video and a demo video of footage shot with the system.
Every time I turn around these days I am seeing more and more video shot on the canon 5D that just blows me away. If someone had told me 3 years ago that you would be able to get this kind of quality out of a DSLR I would have laughed.
This 13 minute short video was shot in 24p with the camera in full auto mode on a Canon 5D Mark II with a variety of lenses and a tripod with a Zacudo fluid mount. And yes it was in the very skilled hands of accomplished film maker Stephen Bové.There is no color correction on any of the footage. The whole thing was shot and compressed natively to H264 and edited direct with H264 master files.
One of the things that is so astounding about this is, even with all the gear, he packed into the Burning Man Festival to shoot with, it was still cheaper and easier than using traditional film or video equipment, and the finished look is just amazing. For more detailed information on the shoot read the details of the project here on Vimeo.
“Once you get the hang of shooting video with this cam its pretty amazing. Compared to shooting 35mm film by yourself (which is nearly impossible even with an Arri 235 or Aaton 353 – I’ve tried), this is a breeze – and the marginal cost from start to finish is ZERO per minute…compared to at least $100 per minute for 35mm film (raw stock, development, transfer to video). The marginal cost is a modest factor compared to the GIANT benefit of not having to schlep 800 tons of cam, batteries, film mags, etc. around – and changing a film mag every 4 minutes of run-time (1000 foot mags would have pulled the camera over in the wind!) on the playa in a dust storm would have required being tailed by a camera van – un-mounting whole cam, moving into van, dusting exterior, carefully swapping mags so as not to let dust get inside the body etc. = lots of crew and expense.
Bottom line: 35mm SLR movie making is a whole new amazing world of creative freedom just starting to be explored.”Stephen Bové