NAB Show Product Review: Camera Support

During the short-lived 3D frenzy, camera support equipment makers were retooling their wares for the additional size and weight of camera/lens pairs locked in 3D rigs. 4G production doesn't seem to need quite such high payload capabilities, and in fact the use of DSLRs has required support equipment that functions smoothly with minimal payloads.

TRIPODS

CARTONI debuted its Smart Pro fluid head for camera payloads up to 13 pounds. It features ergonomic knobs for ease-of-use, better control and a more fluid touch on drag and counterbalance. Also new is Cartoni's compact and lightweight Stabilo, a three-stage, carbon fiber tripod that folds to 25 inches and extends to 72 inches.

DAVIS & SANFORD introduced the ProElite 6100-33 100mm ENG Tripod with a head that provides up to 33 pounds of payload, a six-position pan and tilt drag, including zero position, and a selectable seven-position counterbalance system including zero position. The Steady Stick 3QR with Quick-Release Plate System goes where tripods or monopods can't be used. The Monopod with Folding Base has a 64-inch maximum height and 12 pound capacity.

David Wright with Nikon tries out the Miller Cineline 70 fluid head.

LIBEC debuted its Allex camera support system, integrating tripod, fluid head and slider into a kit with dozens of possible configurations. The Allex T tripod has special footpads and leg stoppers, providing a rigid platform. The Allex H dual fluid head supports payloads up to 9 pounds and a tilt range of +90 degrees to 80 degrees. The Allex S slider has a 30-inch sliding range and requires no adapters to mount the slider between the tripod and fluid head.

MANFROTTO introduced its 504HD Crossover tripod system, with a fluid head featuring a wide top plate and long sliding plate for extra stability and balance while using video or photo equipment. It is engineered with a unique open center section that cuts down on weight, and a four-step counterbalance system ensures quick setup and optimal performance.

MILLER CAMERA SUPPORT unveiled its Cineline 70 Fluid Head, engineered for film and digital production cinematographers. It features an ARRI-sized side-loading camera platform, and when fitted with the company's Mitchell Base Adaptor 1225, can be mounted on traditional Mitchell flat base tripods. The Cineline 70 provides seven (+ 0) positions of precision fluid drag and eight counterbalance settings, all located in one control layout for quick and easy setup.

OCONNOR featured its 60L carbon fiber tripod that proves a lightweight support option for the OConnor Ultimate 2065 and 2575D fluid heads. The tripod combines the benefits of new-age materials with precision engineering to provide a lightweight support system with torsional rigidity, fast setup, and can carry a camera configuration of up to 209 pounds.

SACHTLER expanded on its Ace tripod systems with Ace Accessories, which included the Ace Base Plate, Ace Follow Focus and Ace Matte Box, which can be bought individually or as a package. The company also debuted its Speedlevel Clamp for Sachtler's range of 100mm heads, and has redesigned its Ace L fluid head to make it compatible with all types of sliders.

John O'Keefe uses a camera on a Shotoku SX300 fluid head and new carbon fiber legs.

SHOTOKU unveiled its two-stage TTH1502C carbon-fiber tripod designed to provide a lightweight yet sturdy tripod system for EFP or documentaries. The 13-pound tripod features a 150mm bowl base, standing more than 5 feet tall at its maximum height. It is designed to be paired with Shotoku's SX300 pan and tilt head.

VINTEN introduced its Vision blueBridge accessory, which extends the payload range of the company's Vision blue pan and tilt heads. The studio and OB standby Vector 750 and 950 pan and tilt heads were shown in their standard and i versions, with an Intelligence Module and VRI box to provide precise positioning data possible from a pantographic head for virtual and augmented reality deployment.

CAMERA REMOTE CONTROL

CAMERA CORPS premiered its Q3 compact robotic head, building on the capabilities of the company's prior Q2 robotic head. Refinements include a doubling of the zoom range, a new high-performance imager with nearly double the sensitivity, ultra- smooth pan/tilt/zoom, the ability to intercut with studio cameras, and a cue light.

CARTONI unveiled its E-REM 25 remote control head for cameras up to 55 pounds. It can be operated on pedestals, tripods or under-slung from cranes and is equipped with simple modular electronics, and gear mechanics.

REDROCK MICRO premiered its One Man Crew motorized parabolic motion system, with a motorized drive that guides the camera on precision-curved track at any speed desired, while keeping the subject stationary in frame. The company also showcased its RunningMan Rig, designed for run-and-gun operation with a DSLR.

ROSS VIDEO added its Furio Panbar remote camera controller to its rail-based remote camera system. The Panbar controller looks like a pan and tilt head, and makes controlling a Furio remote camera similar to running a manual camera. The company also featured its CamBot 700 Series, a fully robotic head and pedestal capable of handling camera payloads up to 200 pounds. The CamBot remote control equipment provides virtual reality positional encoding as an option.

Rushworks' PT-Mini pan/tilt head was Instrumental in capturing a pose by Stephanie Furstahl at the Rushworks booth.

RUSHWORKS introduced its CNRL R Touch Screen PTZ Camera Control Software and PT-Mini Compact Pan/Tilt Heads as part of its automated production system. These two products can be integrated with the Blackmagic Design ATEM Television Studio and HyperDeck recorders to provide a turnkey automated production capacity.

SHOTOKU, in partnership with ncam, introduced its Camera Tracking System. It

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