The relationship between Brett and Greig had to be considered. The MōVI can be used in dual operator or single operator (Majestic) mode. In dual operator, there are a handful of methods for framing. The camera operator frames while the gimbal operator carries the camera rig. “We did mostly dual user, but there was about 10 percent majestic in there. All of the dual user operating was done with the PLC Veracity wheels … I think the availability of the wheels was a deciding factor for Greig.”

During testing, the topic of an on-board monitor came up. Brett made the case, “If I can see the image, for me there’s a hand-eye coordination going on there but the most important part is that I can see the tendency of the operator’s framing, and that allows me to plan each step. It truly is a dual operation because your camera position always dictates how you’ll frame, and so the framing dictates where you’ll move. While I wasn’t purely a camera operator, in practice I might take on the responsibilities of a camera operator — especially when the remote operator is far away from the lens — you work with the actors and crew and make the shot function in the scene. It’s more responsibility. And that’s a really cool thing to expand on the relationship between a camera operator and a dolly grip. For me and Greig, it became pretty single minded without much discussion and I think the design of the MōVI made that fairly natural.”

About 85% of the MōVI shots were on foot, which particularly favored the style and circumstances of the shoot. “It’s important to say that not all the movement with Sunny was blocked out — there were many scenes where we just wanted to follow what he was doing and be less obtrusive… So I just glued myself to the movement. With a handheld gimbal, when [the dual operating] clicks in it’s that bit more compelling to me — if your operator’s framing is working with your walking position throughout the shot, it’s instant confirmation of where you’re going. There’s also a tactile feedback — you can feel the torque from the motors through the rig panning and tilting, which is a bit like sharing the handle with the operator — sort of like the guidance of the grip when you’re backing up.”

The MōVI allowed the team to get into small spaces. They shot using a wide variety of methods, shooting from vehicles, from a dolly, from a rickshaw, from a Steadicam sled and even pulling Brett down the aisle of an airliner on inline skates. “The aisles are so narrow that we couldn’t get the available grip equipment in — even the M15 handles had to go perpendicular, … so we had our grip pushing and pulling me along the aisles. ”