Definition May 2020 WEB

REMOTE HEADS | FEATURE

WORDS LEE RENWI CK / P I CTURES CAMERA REVOLUT I ON , ACS AND OPERTEC

WITH MORE AND MORE CAMERA WORK BEING DONE BY WAY OF REMOTE HEAD, WE TALK TO SOME OF THE BIGGEST PLAYERS IN THE GAME TO ASK ONE SIMPLE QUESTION: WHAT’S NEW?

B ack in the days of old, for crane shots to be achieved, the crane had to be physically ridden and the camera manually controlled by the director, DOP or operator. Really, we’re only talking about two decades ago here, but in the world of technology, that’s a lifetime. In the years since, remote heads have impacted film production in a big way. Now, they’re used to go to places, perform movements and achieve shots no human

BETTER THAN EVER BEFORE Our first port of call is OperTec – an expert in providing specialised camera support for film and television, as well as live events. The company’s list of productions includes The Martian , Riverdale and the Eurovision Song Contest. Working across such varied sets, OperTec has a range of kit to match, with a number of gyro-stabilised Active Heads in addition to its own large support cranes. There’s the original Active Head, which offers three-axis stabilisation, capacity to support all typical cameras and small to mid-sized 3D rigs, and the ability to be used with cranes, remote-controlled platforms, and helicopter and aerial

could feasibly go, perform or achieve unaided. It’s not just the world of feature film that’s getting in on the action, either. Everyone – including those involved in TV, live production and sport broadcasting – is using remote head technology to maximum effect. So, what’s new in the industry? And what does that mean for those of us on- set and, indeed, those of us sat in front of our screens?

A new combination of technology, greater possibilities and grander productions

MAY 2020 | DEF I N I T ION 13

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