The main reason we fly the MōVI Pro is we're almost unlimited to the cameras that we can carry. Providing you (our clients) the ability to fly the camera you want provides you the image quality your productions require. To match all of your footage, it's best to use the same camera in the air that you used on the ground to shoot the rest of your production.

If not more important than having the proper camera sensor, is using the proper lens.  Each lens is designed different, therefore they each have their own "look."  Flying in the air with the same lenses on the camera as you would on the ground is creatively important.  It's vital to your production to have your footage match.  This will be effected by the lenses you use in the air.

Providing nature and methodical camera moves is our third priority for our clients.  We provide very natural and smooth camera moves that continues to captivate your audience. Using technology like our MōVI Controller helps us achieve these required camera moves.  In addition we have "Mimic Mode," which will "mimic" our camera move behavior, providing an even more realistic and natural looking camera movement.

We aren't like most drone pilots that like to fly high and wide.  We feel right at home a few feet off the ground, while flying long focal length lenses which creates the parallax effect.  This effect is when the background and foreground materials are moving in two different directions, resulting in a cinematic effect.  It's rare to see this effect on drones because its challenging to do.  Our team has trained for countless hours, aiming to perfect our ability with flying long lenses.  Anything from a 50mm to a 300mm, we feel right at home.

Another cinematic element is creating shallow depth of field.  This is when your subject is in focus and the background and foreground elements are out of focus (blurry).  You'll typically find shallow DOF on longer lenses.  This effect is difficult to execute on a drone since the field of the field of focus is constantly changing since the drone is moving.  This takes a lot of coordination and flying in sync for our team.  We've trained for countless hours, making these type of shots second nature, enabling us to give you cinematic freedoms.

When we shoot with shallow depth of field, we need to have a way to change our field of focus.  This is when we would "rack focus."  We have access to three channels we can adjust remotely.  It's called FIZ (Focus, Iris, Zoom).  For us to be able to adjust these channels, live, during the shot, provides you incredible creativity to your production.  We can even create the "vertigo" effect with a zoom lens, also known as the "Alfred Hitchcock" effect.