Testimonials

"Almost every shot of "Gravity" was made with robotic camera heads from Mo-Sys. We used four Mo-Sys heads attached to industrial robots and cranes. For filming in the lightbox we needed a head that reduced shadows on the actors faces. Mo-Sys came up with some clever ideas and customized two of their Lambda heads with lattice-work space frames that let the light pass through the head unimpeded. All shots were programmed in advance, but Mo-Sys robotics allowed us to change, adapt and re-program on the fly. It gave us the flexibility we needed. The Mo-Sys reliability and precision was essential for this production. I have to say, Mo-Sys ticked all the boxes."

“The support I have received from Mo-sys has actually been invaluable on multiple levels, from helping me to make my purchases, to product support and some minor repairs. Everyone has been extremely responsive and helpful in every dept, which has allowed me to meet my client needs in good time. Customer service, as everyone knows is at the heart of a companies reputation. Anyone who has ever purchased a product of any kind and has had need for customer service will share his or her experience with others. It will make or break a company in many cases. So I am happy to share my experience with Mo-sys as one I can count on and praise. With their support I have been able to overcome the hurdles I face with my business to achieve my goals and service I provide for my clients.”

“I can’t say enough about how much i and my customers, some of the most experienced Holywood cinematographers, camera operators and camera assistants in the world like the Mo-Sys Lambda head. The reasons are it’s precise responsiveness to the hand wheel controls and the ease of adjustability of the head size and balance.”

“The L40 has all the precision and ease-of-use that has made the Mo-Sys Lambda the standard for two axis heads for nearly a decade in a new lightweight package with increased rigidity, stronger and quieter motors. The L40 will set a new standard with a digital back-pan gyro option, making it an economical option for articulating and standard crane work.”

“Because of the nature of the show the L40 was an asset for me. It allowed me to perform fast and solid moves been. We used it a lot also just on a conventional dolly. Sometimes we were in very tight spaces and having a small foot print option been able to not put so many people around camera was great. The cinematographer Kevin McKnight was very animated about having this option and especially for small sets. We wanted to be wide and close to the action and so that allowed us to not interfere with the light coming from different angles. The Mo-Sys L40 is very versatile rigid and fast. It is easy to set it up and very it's strong head with lots of torque on the motors. I was impressed by the back-pan upgrade and being able to track back pan shots with very long lenses. The weight payload is very high for this kind of head size. The wheels console feels very good and responsive with almost no delay. We also did some very low almost to the ground shots. We were very happy to accomplish that without having to use a periscope. We did underslung the head and flipped the camera attaching it from the top handle. This became a must have tool on my kit and I would recommend this head to any operator.”

“We had the first [Mo-Sys head] in New York, and it was very compact and quick to set up. Marty [Scorcese] loves to look straight down, so we used it for a lot of planned shots, like the scene in which [Leonardo DiCaprio's character] gets his arm cast cracked open by a mobster. Marty wants to get that kind of shot, but Michael wants to be able to set it up, look straight down, pop it on the jib arm, and get it done in 20 minutes, and this was perfect for that. We also had some big crane shots showing the Boston police headquarters, and we had to have something small and light, and versatile enough to carry it in quickly, get the shot, and get out quickly. That’s one of Michael’s big things: If it takes too long, he doesn’t want to do it that way.”

A lot of the dramatic scenes, such as the ones in Rickey’s office, called for slow moves, so that took us to dollies and cranes”, he says. These included a small Felix crane with a Mo-Sys head, which “we could put on track and use to get literally every shot in a scene with complete freedom in every axis,” recalls camera operator Matthew Moriarity. “In Rickey’s office, it let us pass the camera over the desk and wrap it back around into a close-up of Rickey without the move ever really being noticeable. You could call this ‘a quiet crane’”

“RT Software is delighted to be working with the BBC at Wimbledon, providing the underlying graphics technology for the studio AR graphics. RT Software has long since been associated with virtual studio and AR graphics at flagship BBC coverage including elections, Eurovision and key sporting events but this is our first Wimbledon. Working with Moov and Mo-Sys is always a pleasure and we are pleased the partnership yields such great looking results.” Nev Appleton, director and co-founder of MOOV “We couldn’t be happier with the results that we have achieved using the 3d-Live render engine from RT Software, as well as the StarTracker camera tracking system from Mo-Sys. We are always looking to use the best software and hardware for Wimbledon and this year is no exception.”

“We are thrilled to be involved in this massive project with dock10 and BBC Sport, creating a new home for the 55-year-old Match of the Day football show. Reality Engine elevates real time virtual studio production to a new level of agility and realism, and in combination with Star tracker, the creative teams can freely push the boundaries of reality.”

“We’re delighted to be working with MOOV and Mo-Sys on this year’s Wimbledon coverage. Pixotope was designed for exactly these types of live ‘to air’ productions, where the customer demands photo-realistic virtual content, an ‘always live’ editing capability, and an operational interface built for speed. Pixotope is the natural result of a talented engineering team and an award-winning live events creative team coming together to produce a new type of virtual production system”

“For this year’s E!'s coverage of the Oscars I wanted to do something different and sold them on the idea of enhancing their broadcast with AR graphics during the Countdown show as well as the Post show. As this was E!'s first foray into AR graphics we needed a solid and reliable tracking system. We used 2 systems; the Mo-Sys Vinten V70 Kit and also the Mo-Sys crane encoding kit for tracking. They are both robust and travel friendly options that guarantee accurate tracking data. Next year we will hopefully be using a full Unreal set-up with AR and you can be sure we'll have a full complement of Mo-Sys encoders”.