3-axis gimbal by Freefly Systems for electronic camera stabilization. Operates with 32-bit ARM processors at 1000 Hz, supports payloads up to 15 kg (MōVI Pro).
The MōVI Pro features three 32-bit ARM processors and operates at a data rate of 1000 Hz. The brushless motors generate a maximum torque of 4.5 Nm with a power consumption of 6-8 amperes. The Mimic system allows for wireless remote control over a range of 1.6 km using a 2.4 GHz radio link. Variants include the compact MōVI Carbon (up to 6.8 kg payload), the MōVI Pro (up to 15 kg), and the ultra-lightweight MōVI Cinema Robot for automated studio applications. The latency between motion input and gimbal response is under 10 milliseconds.
Freefly Systems developed the first MōVI in 2013 in Seattle after founders Tad Carlson and his partners realized that traditional Steadicam systems were oversized for small DSLR cameras. The system debuted at NAB shows in 2013 and immediately revolutionized handheld cinematography. In 2014, the MōVI M15 followed for larger cinema cameras, and in 2016, the MōVI Pro with an improved battery life of up to 8 hours. In 2019, Freefly integrated AI-based object tracking and expanded the system with automated camera movements.
The MōVI was first used in major productions in "The Avengers: Age of Ultron" (2015), where it enabled dynamic tracking shots through buildings that would have been impossible with traditional dollies. In "1917" (2019), DoP Roger Deakins used MōVI systems for the seemingly continuous trench sequences. The workflow typically requires a gimbal operator and a separate camera operator, with the Mimic system enabling precise pans and tilts from a distance. Disadvantages include limited battery life and the need to calibrate the system before each take.
Unlike mechanical Steadicam systems, the MōVI operates electronically and does not require complex weight distribution. Modern alternatives such as the DJI Ronin or RED DSMC2 Stabilizer offer similar functionality but do not achieve the precision of the MōVI with heavy cinema cameras. For smaller productions with DSLR cameras, more affordable 3-axis gimbals suffice, while for large studio productions, the MōVI Pro or specialized systems like the Shotover F1 for helicopter shots are preferred.
Ich nutze das MōVI hauptsächlich für Fahrten in engen Räumen, wo ein Dolly nicht hinpasst – die 0,02°-Präzision ist entscheidend für saubere Frames. Das Mimic-System erlaubt mir, während der Fahrt präzise Reframes zu machen, ohne dass der Gimbal-Operator meine Bildkomposition kennen muss. Kritisch ist die Kalibrierung vor jeder Einstellung, besonders bei Objektivwechseln.
Mit dem MōVI kann ich flüssige Subjektiv-Einstellungen kreieren, die dem Zuschauer das Gefühl geben, selbst durch die Szene zu laufen – wie bei Verfolgungsjagden oder emotionalen Momenten. Die Bewegung unterstützt die Dramaturgie direkt, ohne dass technische Grenzen meine Vision einschränken. Besonders bei Dialogen ermöglicht es subtile Kreisbewegungen um die Charaktere.
Ein MōVI Pro kostet 15.000 Euro, spart aber täglich 2-3 Stunden gegenüber Dolly-Aufbauten und reduziert das Grip-Team um zwei Personen. Die 8-Stunden-Akkulaufzeit reicht für einen Drehtag, allerdings brauchen wir einen speziell ausgebildeten Gimbal-Operator für 450 Euro täglich. Bei internationalen Drehs ist der Transport im Pelican-Case problemlos – kein Vergleich zu Dolly-Equipment.
1. Zu welchem Department gehört „Freefly MōVI"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.