007: Behind the Scenes with Shift Dynamics’ HYPER-Secret Weapon

Is technology a filmmaker’s best friend? Whilst there’s no doubt that tech innovations are opening up new opportunities for creative teams, there’s also a sense that it can be a ‘cheat code’, or a shortcut which circumvents craft and makes content feel cheaper. 

But there’s a sweet spot out there. Where new technology simply allows filmmakers to do more, to capture a new kind of shot without losing any of the art or viscerality that defines the most striking camerawork.

And it’s in that sweet spot that the MotoCrane HYPER resides. 

Billed by its manufacturer as “brute strength meeting intelligent design”, Shift Dynamics has picked up exclusivity for the state-of-the-art remote arm system in the states of Tennessee and Kentucky. The world-class production studio describes the HYPER as “our biggest and baddest arm system” - and with good reason. 

Above: The MotoCrane HYPER in action on a recent Shift Dynamics shoot. 

“The HYPER can carry 120lbs of payload” notes Patrick Wilson, Shift Dynamics’ in-house precision driver. “As a result, we’re no longer limited by the size of a camera package and we don’t need to make those kinds of compromises on a shot. That essentially allows us to be limitless in the creative solutions we offer”. 

On which note, the latest hardware addition is also helping the studio build out on another of its strengths: creative input. “As a team, we never like to say no”, continues Patrick. “We’ve collectively been doing this long enough that we’re always prepared to advise on the best way to get a shot. We’re always happy to help clients get a deeper understanding of how car-to-car shooting works”. 

Logically the HYPER is a great fit for projects in the automotive category, allowing for its reach of up to 20ft and a 360 degree swing at over 100 miles per hour. And it’s undoubtedly true that Shift Dynamics is already putting it to work on auto projects - but its true creative and storytelling potential stretches out much further. 

“As well as top-of-the-line auto shoots, I’m excited to put the HYPER to work for stuff like cinematic interviews”, says supervising producer Shea Jones. “Overall, it’s just about having the ability to approach each project and each challenge with the specific solution necessary”. 

In fact, the hardware has already been put to work on a music video - Kane Brown’s I Can Feel It. 

Within Shift Dynamics, there’s an overriding sense that the team want to be open-minded when it comes to the applications of the HYPER. “Having access to the HYPER in Nashville is unique - the ability to work with that kind of payload is really exciting” notes founder and EP Kirk Slawek. “It solves a lot of the limitations we’ve had with previous cranes and takes variables out of the equation, too. Oh, and safety is our number one priority.”. 

That final point is an important one - and something that Patrick is keen to stress. 

“Safety is our highest priority, especially when we’re working car-to-car”, he tells LBB. “We’re always looking to improve our craft - communication is a huge part of that so that we can make sure we’re anticipating every situation. If you’re not familiar with car-to-car shoots, you can lean into us for expertise and guidance on what your next shot should be”. 

Given the extraordinary capabilities of the MotoCrane HYPER, it’s no surprise that Shift Dynamics’ model has already earned itself a stylish nickname: 007. 

“Just before we acquired the HYPER we learned its model number was actually 007”, recalls Kirk. “Because of our sister company, Gear Seven, it felt perfect. I knew right away we had to get that model”. 

But unlike its cinematic namesake, Shift Dynamics’ 007 is no secret agent. It’s loud and proud, and it’s already helped the studio to level up its offering once again.