My Gear: Support & Stabilization

Read My Review on this blog from a little over a year ago here.

Description (from Aerial Exposures): The Aerial Exposures Gyro Stabilized Platform is based on the use of Kenyon Laboratories Gyro Stabilizers.  Depending on the camera weight and the amount of stabilization required the system uses either two or three high powered gyro stabilizers.  Stabilization is provided in all three axes.  The use of the third gyro provides double stabilization in all three axes.  KS-8 gyros with tungsten wheels are recommended and provide the most stabilization although KS-6 gyros can also be used.  Built from high quality materials, the black anodized aluminum platform and frame are built to last.  The platform is quite compact and quickly folds for travel.  The frame is available in different sizes to accommodate a variety of cameras.

Here is an example of what an ATM Gyro does - notice how the SUV's rear gate jumps when the vehicle hits a pothole on an NYC street and the camera stays completely stable thanks to the ATM Gyro. 

ATM Gyro from Vincent Laforet on Vimeo.

IMPORTANT NOTE:  The Gyros are incredibly loud when spun up at full speed (which they need to be to do their job )- and this unit can NEVER be used in a scene with dialogue or where you need to pick up any natural sound live...   Also - this unit is meant to be mounted on a surface - on a vehicle or aircraft - you cannot handhold it effectively - it is not a substitute for a Steadicam.

VL: This is a good place to start - but the secret with a steadicam always lies in the OPERATOR.  It's a skill. Period.  Steadicam operators practice for years to become proficient.  So if you work with an inexperienced operator you may find you and your production will lose a lot of time and suffer.   I recommend using the vest and arm below to achieve significantly better results.

Description (from Glidecam): A lightweight, hand-held camcorder stabilizing system designed for compact and full size cameras weighing from 4 to 10 pounds.

VL: You gotta have it if you plan on shooting for more than 5-10 minutes with the HD-4000 on its own - or your arm will get tired - and perhaps fall off ;)  If you plan on shooting a series of scenes in a row or for an entire day - there's absolutely no debate: you need this vest.  It goes without saying that the performance of your steadicam operator will increase exponentially with this full kit.  You will notice a huge difference when you try to change directions / perform more complex moves when using this system in combination with the HD-4000 - as opposed to the HD-4000.

Description (from Glidecam): A body-mounted professional camera stabilization system for film and video cameras weighing up to 6 pounds when used with the Glidecam 2000 Pro, HD-2000, or for cameras weighing from 4 to 10 pounds when used with the Glidecam 4000 Pro and HD-4000.

VL: This  is a must have for any photographer or videographer.  Period.  I travel with one or two on EVERY shoot.   You can mount a camera to just about anything - you can also mount microphones, monitors, and LitePanels with it too...  basically when combined with a Super Clamp - you can clamp the Magic Arm pretty much anywhere.

You will see the Magic Arm being used in combination with the Suction Cups in the video below. Description:  Incorporates a large locking knob. Variable friction and locking of arm obtained by adjusting knob. Ideal for mounting a camera, light, gobo, etc, exactly at the angle you need it. 5/8" male studs on ball joints at both ends with 3/8" and 1/4-20" female thread. Works especially well with 2915 Super Clamp. Length: 20.8"

VL: If you want to mount a camera to a car or window - use two or three of these (for redundancy.)  You can get away with 1 per bare camera - but I like to have a few just to be safe!

Here is a video from the "Making of" Reverie - you can see how we used the Suction Cups in a variety of configurations throughout the shoot:

Reverie - Behind The Scenes - 2008 from Vincent Laforet on Vimeo.

Description (from Manfrotto): Suction cap for lightweight photographic and video equipment, such as 35 mm. SLR, digital cameras and lightweight video cameras. The 60mm diameter disc with a 3/8' male thread is built in the pump cup and enables you to mount most of Manfrotto's heads.

VL: This is likely one of the best tripod heads to get started with.  It's got a good friction control and at a fantastic price.  Note that it doesn't have a bowl - ergo you can't adjust your horizon quickly... you'll have to do so by adjusting your still tripod legs which can be a real loss of time... something to keep in mind.  For that reason alone my vote is for the 504HD head below.

Description (from Manfrotto): Taking its inspiration from our top professional video head models, the 501HDV features a fixed counterbalance spring set for a typical weight of camera and accessories of 2.5kg that helps ensure both smoother tilt movements and greater equipment safety even when tilt locks are inadvertently left off. The easy-to-reach on/off switch allows the counterbalance system to be disengaged or re-engaged for different filming setups. With its improved design, the 501HDV head offers more ergonomics with locks and knobs that allow a more solid grip and better fingertip control.

VL: This is THE head I would get if I was looking to start in video and was on a budget.  It's pretty rock solid - you'll do fine w/ a basic HDDSLR kit on it - but don't expect to put a full cage w/ accessories or a long lens on it as it's not meant to support that type of weight... for that I'd go straight to the 526 head below.

Description (from Manfrotto): The 504HD is Manfrotto's latest video fluid head. It is a perfect balance of design and performance. The bridge design improves the head's rigidity and its PAN friction control is fast, simple to fine-tune and protected from knocks. All structural components are made from aluminium, with the PAN axis rotation unit using ball bearings to obtain smooth, totally vibration-free controlled movements that can be directly adjusted using the head's FDS variable friction system. FDS on both the PAN and TILT axes also ensures that the head works perfectly at all temperatures, with all types of equipment and under all loads. Ergonomically improved lever and dial designs combine with the new friction index to give you complete control over the 504HD.

VL: This is the head I used for well over a year before I got turned onto the O'Connor 1030HD below.  It's pretty rock solid and will support just about anything you throw at it in terms of weight...  this is definitely a great long-term investment.  No question.  So why the O'Connor over this head?  Basically you have a much more professional build on the O'Connor (granted at a much higher price point) - the main difference is the friction control, and the ability to switch directions seamlessly with the O'Connor mid-motion.  You'll be able to do that with the 526 - but it's a bit more difficult, and the head may sometimes jerk a bit when you change pan/tilt directions RELATIVE to the O'Connor.  

When you work with an O'Connor it's hard to go back to anything else - because the head is so smooth that it makes your moves look like a veteran's moves..  This is basically the equivalent of a high end U.S. Automobile - vs a German engineered car (the O'Connor) although one is made by an Italian company and the other by a US Company - I hope the analogy works to explain the price difference...  Point is:  this is an EXCELLENT fluid head - just not as refined as the O'Connor.

Description (from Manfrotto): The 526 Professional Fluid Video Head directly addresses the heavy-duty, high-end ENG and EFP video market by offering a feature-packed fluid video head that borrows all the combined benefits of our 500 series heads with the ability to support top weight loads over 15lbs. The 526 features a replaceable and removable pan arm rosette so if any damage occurs to the side castings, only a small part needs to be replaced; large rubber padded knobs for better grip and all the controls (tilt and pan lock, tilt drag) are located on the left side so they can be easily found.

The 526 offers our most precise fluid drag system comprised of three step settings for low, medium and high drag levels (numbered 1, 2 and 3), plus the additional no-drag setting (number 0) for such occasions as snap-pans/tilts. Counterbalance is achieved through an adjustable spring for camera weights between 17.5 and 33 lbs. The built-in 4-inch half-ball adapts to a number of our tripods with a 4-inch receiver, allowing the quick leveling of the camera with the aid of the bright leveling bubble.

VL: This is an excellent set of sticks - very fast to deploy and adjust.  The advantage is that is can support a LOT of weight and has a great Max height.  It is a non-standard video set of sticks - see below.  I travel with this everywhere, as I use this both as my 2nd set of sticks w/ a fluid head - and to support sliders, JIBs and other equipment.

Description (from Manfrotto): The new 536 video tripod is incredibly high and stable, has a great load capability and great max height with an ergonomic, easy-to-use and compact design. This lightweight tripod features a new leg angle selector, developed for adjusting the leg angle in a quick, easy and precise way. In addition, a screw-in 75/100mm adapter to hold the different industry standard half-ball heads.

VL: This is the go to set of sticks for professionals who work with Manfrotto gear - reliable and versatile.  Extremely fast to get in place and adjust.

Description (from Manfrotto): Two-stage, extremely rigid, stable tripod. Able to carry loads up to 20kg (44lb). The 546B has a die cast aluminium crown with a built-in 75mm bowl. The tripod's telescopic mid-level spreader helps set leg angles accurately. Leg locks are secure and reliable, and spiked feet with rubber overshoes are provided for solid grounding on both uneven terrain and smooth floors.The tripod can be used with various dollies.

VL: Heavenly - but expensive relative to the heads above.  I won't work with any other head - as O'Connor fluid heads are the industry standard for all motion pictures (this model and the larger models for heavier cameras.)  The pan/tilt friction is unparalleled - as is the ability to perfectly balance a camera so that you can let go of it "in position" without having to lock the unit down is something to marvel at.  Once you work with this fluid head you won't want to work with anything else.  It's an investment for sure - but one piece of gear you'll use for the rest of your career.

*NOTE: this piece of gear has been replaced by the updated 1030D (listed below).

Description (from OConnor): Designed to give you the ultimate control and stability for your HD shooting. The 1030HD has the same features and controls as our 2575 fluid head, the standard for 35mm film cameras. Featuring OConnor's patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range. Add to this OConnor's stepless, ultra-smooth pan & tilt fluid drag specifically enhanced for HD applications, and you've got the best of all possible combinations.

You can see the O'Connor Head in Action in the video below at the 7:05 Mark:

2010 HDDSLR Gear Video from Vincent Laforet on Vimeo.

VL: This is the updated version of the 1030HD listed above. I first got to try one out on the set of my short film, "Mobius." The head supports rigs up to 30 lbs., which we were close to maxing out with the fully built out C300 and Canon Cinema Zoom lenses. The 1030D's superior counterbalance system came in handy with these lenses as they are much larger and heavier than the C300 body.

Description (from OConnor): An updated replacement of the popular Ultimate 1030HD and HDs, the new line offers a sporty industrial design and a slew of features that have been borrowed from the larger OConnors to let cinematographers seamlessly transition from heavier to lighter payload camera setups. These include the stepless, ultra-smooth pan and tilt fluid drag specifically enhanced to provide ultimate control and stability for digital cinematography shooting. The patented OConnor Sinusoidal Counterbalance system provides true, accurate balance at any point in the tilt range. Users will appreciate that the system Counterbalances down to zero, a handy advantage since there is a trend to lighter weight cameras. For today's versatile shooter, the transition from larger to smaller payloads has never been easier. And most importantly, the famous OConnor feel, remains the same regardless of payload.

VL: A solid set of professional sticks that will carry just about anything HDDSLR related that you throw on it.

Description (from OConnor): Lightweight Carbon Fiber, Two Stage Tripod, horizontal lever locks for quick, safe & secure leg adjustments. This lightweight tripod has a range of 15" to 66" while maintaining an extremely stable platform.

VL:  This is a pretty ingenious solution for doing quick grab shots when you don't have time to use clamps or you don't have a baseplate handy.

Description (from VBag): The VBag is made from high frequency welded, reinforced PVC-coated Polyester fibre sheets. Combining air tightness, with strength. It is developed on the basis of the manufacturers experience with the Swedish Air Force and paramedic products. By wriggling the camera into position the polystyrene pellets inside the V-Bag is forced to fit exactly around the base of the camera. When you evacuate the VBag it becomes rock hard and keeps its shape exactly unchanged. The reason for this transformation from soft to hard is the heavy force that the pressure differential between the empty inner side and the atmospheric outside act on the VBag. Also known as vacuum.

VL: This may be - the single best mounting system out there.  I'm sure there are better high end solutions for the motion picture industry of course - actually I've used them.   But I have to say that for still photography AND HDDSLR video (any video to be honest) this is the most elegant, perfectly engineered solution to quickly mount and unmount a camera to something else:  either a tripod, a steadicam or pretty much anything else.   As you'll see in the video below - it's an incredibly elegant way to quickly connect and disconnect two tripods to a slider in a second or so - with little hassle.

 Forget rotating that tripod or monopod for 15-30 seconds while you're missing the shot - these mounts clamp on SOLIDLY in a second.  I obviously cannot be more of a fan of this product than I am.   There is also a wonderful "L" bracket that allows you to go from horizontal to vertical move in seconds for still photographers.  If you need to slide a camera a little bit forward or backward (or to the left or right) in an HDDSLR rig this is also a very good solution.

Description (from Really Right Stuff): B2 LLR II is 80mm (3.15") long (lever adds add'l 5/8"), one central countersunk 3/8"-16 socket, two 1/4"-20 countersunk sockets 1.8" center-to-center, spirit level, safety stop relief grooves, and centering index marks, 5.9oz/168g

Go to the 13:02 Mark on the video below to see the Really Right Stuff clamp and mount in action:

2010 HDDSLR Gear Video from Vincent Laforet on Vimeo.