GRIP EQUIPMENT GEAR
ust like supporting acts, accessories are an oft-overlooked, yet essential part of any production. Tasked with the heavy lifting, these systems support (literally) the cameras and lenses used to capture our favourite films. It’s only right they be recognised. Whether it’s grips, cranes, Steadicams or other stabilisers, we’ve outlined a few key players in the supporting role category.
PANAVISION GRIP AND REMOTE SYSTEMS
P anavision Grip and Remote Systems – under the Panavision group’s overall umbrella – offers a ‘comprehensive inventory’ of (you guessed it) camera grip and remote systems, according to the company. Whether it’s cranes, dollies and arms, heads and bases, or grip accessories
such as rigs and mounts, Panavision can meet the creative and technical demands of any production, whether big or small. With facilities in the UK, Europe and South Africa, the subdivision is both global and local, establishing a rapport with the studios in each region. Panavision Grip and Remote Systems offers customer support from pre-production through post, ensuring each project maintains its artistic vision. Plus, the company is dedicated to community relations, empowering storytellers from a diverse variety of backgrounds through funding, film festivals and educational programmes. Panavision’s collection includes a range of leading manufacturers, like Chapman/Leonard, GFM, JL Fisher, Technocrane and MovieBird, plus its own in-house tools. The products are itemised by category (rigs and mounts, jib arms, telescopic cranes and so on) and split by filter, such as manufacturer, number of head axes, crane length and dolly type. Contact Panavision Grip and Remote Systems now for product availability and other enquiries.
panavision.com/grip-remote
ARRI 360 EVO A key player in the motion picture industry, ARRI recently announced the 360 EVO, its latest stabilised remote head. Like the company’s TRINITY 2, the EVO features a 360° rotation on the roll axis, revolving around the lens’ optical centre. It also rotates on the pan axis, opening even more shot options and promising the utmost stability at loads up to 30kg. The 360 EVO shares the TRINITY 2’s software platform and accessories, allowing TRINITY 2 users to invest in the EVO without doubling on costs. Both products can be controlled by ARRI’s Digital Remote Wheels DRW-1 and Digital Encoder Head DEH-2; sharing the same interface on their touchscreen remote control panels.
Despite their similarities, the 360 EVO builds on ARRI’s SRH-360 system, offering a clear upgrade path for existing users. The EVO supports LBUS connectivity, though plans are in the works for plug- and-play control over the internet, as well as long-term Unreal Engine integration. Shipping for the 360 EVO will commence early this year. The ARRI group includes a rental division for less commitment-minded operators, providing equipment for global productions. Over the years, the company has secured 19 scientific and technical awards from the Academy of Motion Picture Arts and Sciences, as well as six Engineering Emmys.
DESPITE THEIR SIMILARITIES, THE 360 EVO BUILDS ON ARRI’S SRH- 360 system ”
arri.com
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