The key to stability


Mark Scotton TV-Bay Magazine
Read ezine online
by Mark Scotton
Issue 106 - October 2015

Moving shots dont just enhance video production, they bring it to life and allow the viewer to experience what they are watching. This isnt something new, but the options we now have available to bring productions to life are more varied and readily available than ever before. No longer do you need a Hollywood budget and a large crew of helpers to get some wonderful footage, you simply need your camera, a bit of decent equipment and some imagination.

This has opened the door to many camera operators and allowed the production quality to increase considerably. Jibs, stabilizers, sliders and shoulder mounts are now just as common as tripods and people are even using small cameras (such as GoPro) to get certain shots that were so difficult in the past. The important thing with moving shots though is creating stabilisation and which products to use can vary depending upon the shots you are looking to achieve and the budget you have available.

With such a vast array of equipment now existing I have decided to focus on the daddy of moving shots, aka the Camera Stabilizer. The camera stabilizer has been around for many years but recently the variety of systems has expanded considerably providing film makers with more variety than ever before. The key to a good stabilizer is the quality of the product, especially the gimble system used, so I would always recommend investing in equipment from a reliable source to ensure you get a stabilizer that will provide you with those true floating shots.

STABILIZERS

There are now many stabilizers on the market ranging from very cheap through to very expensive and alongside the traditional systems there are new electronically controlled gimble systems. So what do we suggest? Well a lot comes down to the weight of your camera set-up when fully loaded (camera, lens, microphone) as most stabilizers are designed to work within a certain weight range, so thats the most important thing to establish initially. Once you know this you can then ascertain which stabilizers are suitable, and the next consideration would be your budget.

If you are working with a budget of around £1000-£2000, then I would certainly have a good look at the DJI Ronin stabilizing systems which have been very popular with customers working in this price bracket. The DJI Ronin utilises an electronic gimble system and the shots you can achieve are truly fantastic. The bonus with this type of system is the electronic gimble really helps keep the camera level and with a bit of practice you will soon be creating wonderfully smooth shots.
If your budget is a bit more modest, say £100-£500, then there is still a great range of systems available on the market. You could select a traditional Steadicam type stabilizer system, and we offer a variety of these from as low as £115.00, but if you wanted something a bit different I would look at the Hague Levitator. The Levitator works in a similar way to the traditional systems with a standard gimble (not electronic) system, but it does not require additional counterbalance weights and is controlled using two hands which makes it a lighter weight system. Supporting cameras up to 3kg the Levitator covers a wide range of camera set-ups and allows you to capture very smooth shots.

Is there anything for a really low budget? Yes there really is now a stabilizer for every price bracket but the lower cost systems tend to be for the smaller handheld cameras. The exciting thing here is that there are now many brilliant cameras (the Panasonic GH4 for example) that drop in under 1kg in weight, which makes them suitable for smaller systems like the popular Hague Mini Motion Cam stabilizer.
For more information on stabilizers
please see www.cameragrip.com

Tags: iss106 | video production | camera operator | stabilizer | moving shots | floating shots | support | grip | Mark Scotton
Contributing Author Mark Scotton

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • Bebob V-Mount Batteries at NAB 2019

    Bebob V-Mount Batteries at NAB 2019

  • Hague Camera Supports at ProVideo2011

    Hague Camera Supports at ProVideo2011

  • Tiffen Steadicam at BVE 2013

    Tiffen Steadicam at BVE 2013

  • Mac Mini support from Sonnet Technologies at NAB 2019

    Mac Mini support from Sonnet Technologies at NAB 2019

  • GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

    GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

  • PHABRIX QXIP support for SMPTE 2110

    PHABRIX QXIP support for SMPTE 2110

  • PAM-IP and ST-2110 support from TSL at NAB 2018

    PAM-IP and ST-2110 support from TSL at NAB 2018

  • 7.1.2 Dolby Atmos support by Halo from Nugen Audio at NAB 2017

    7.1.2 Dolby Atmos support by Halo from Nugen Audio at NAB 2017

  • Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

    Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

  • Miller Camera Support at IBC 2016

    Miller Camera Support at IBC 2016

  • Telestream Vantage support for DPP at IBC 2014

    Telestream Vantage support for DPP at IBC 2014

  • Cineline Fluid Head from Miller Camera Support at NAB 2014

    Cineline Fluid Head from Miller Camera Support at NAB 2014

  • Polecam at BVE North 2012

    Polecam at BVE North 2012

  • Skyline 90 from Miller at NAB 2017

    Skyline 90 from Miller at NAB 2017

  • Combo Live 55 Pedestal from Miller at NAB 2017

    Combo Live 55 Pedestal from Miller at NAB 2017

  • Libec HFMP Monopod at BVE 2017

    Libec HFMP Monopod at BVE 2017

  • Miller Cineline tripods at IBC 2015

    Miller Cineline tripods at IBC 2015

  • Miller Compass tripods at IBC 2015

    Miller Compass tripods at IBC 2015

  • Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

    Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

  • CueScript EMC prompter and control surface at IBC 2014

    CueScript EMC prompter and control surface at IBC 2014

  • Studio Technologies at NAB 2014

    Studio Technologies at NAB 2014

  • Libec ALLEX slider system at NAB 2014

    Libec ALLEX slider system at NAB 2014

  • Camdec at BVE 2014

    Camdec at BVE 2014

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Vinten at NAB 2012

    Vinten at NAB 2012

  • Polecam at NAB 2012

    Polecam at NAB 2012

  • Sachtler at BVE 2012

    Sachtler at BVE 2012

  • Thear Technology Limited at BVE 2012

    Thear Technology Limited at BVE 2012

  • Sachtler at IBC2011

    Sachtler at IBC2011

  • Polecam at IBC2011

    Polecam at IBC2011

  • EGRIPMENT G-TRACK at NAB 2015

    EGRIPMENT G-TRACK at NAB 2015

  • EGRIPMENT and VENTUZ at NAB 2015

    EGRIPMENT and VENTUZ at NAB 2015

  • EGRIPMENT with VIZRT at NAB 2015

    EGRIPMENT with VIZRT at NAB 2015

  • LiveU: Smart Grip at NAB 2013

    LiveU: Smart Grip at NAB 2013

  • DoP Choice show the latest lighting solutions at NAB 2019

    DoP Choice show the latest lighting solutions at NAB 2019

  • Pinknoise at BVE North 2012

    Pinknoise at BVE North 2012

  • Ianiro at BVE 2012

    Ianiro at BVE 2012

  • Ianiro at BVE North 2011

    Ianiro at BVE North 2011


Articles
IMF Adoption
Howard Twine The Interoperable Master Format isn’t new. It’s been around for more than six years. Despite this longevity, the broad adoption since the publication of SMPTE 2067 has been pretty slow. This is perhaps more because of the age old mantra “if it ain’t broke don’t fix it,” than the ease with which many could interpret the standard. However, it is safe to say that movie producers blazed a trail in using IMF for original content delivery. Perhaps the key is that those early adopters didn’t have any significant tape based infrastructure that had been modified for file-based working when receiving content. So, many longer established content distributors have the immense resources to create the vast array of versions required to address the ‘version issue.’ This being how do you get the same content to look good on the back of an aeroplane seat headrest or an iPhone in the back of car as well as a good old TV set. Over time these resources have been diminishing and many organisations recognise that they have to adopt workflow automation to survive.
Tags: iss137 | editshare | imf | standards | smpte 2067 | Howard Twine
Contributing Author Howard Twine Click to read or download PDF
Preparing for the holiday peak
Jamie Adkin The summer holiday getaway of 2018 hit the headlines for all the wrong reasons. A UK airport's non-functional departure boards left travellers unable to find their flights. Meanwhile, an airline cancelled over 2,000 flights due to a computer glitch. One European city closed its airspace entirely.
Tags: iss137 | adder | kvm | server | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Canon EOS C300 MkII Camera Review
Andy McKenzie Canon described the EOS C300 Mark II at its launch as 'a game-changer for creative film-making'. What interested me was whether the camera's impressive feature set, compact size and very aggressive price point matched the needs of the video production market.
Tags: iss137 | finepoint | c300 review | canon c300 | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
Capturing Haute Couture
KitPlus As the fashion world returned to the French capital for the most prestigious of the 'Big Four’ fashion weeks, historical venues such as the Carrousel du Louvre and the Grand Palais played host to famous emblematic brands such as Chanel, Valentino, Louis Vuitton and Stella McCartney, showcasing their autumn/winter 2019 collections.
Tags: iss137 | blackmagic design | ursa mini | freecaster | atem | KitPlus
Contributing Author KitPlus Click to read or download PDF
Behind the Scenes of Wild rose
KitPlus Financed by BFI Film Fund, Wild Rose tells the story of a musician from Glasgow who dreams of becoming a Nashville star. The only thing in the way: her own penchant for crime and violence.
Tags: iss137 | blackmagic design | davinci | ursa mini pro | KitPlus
Contributing Author KitPlus Click to read or download PDF