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is not rooted in reality, but a dream that a dancer is in. I thought the movement where the female dancer seems to throw the camera towards the male dancer could be the transition from digital to 16mm. That’s where the title Swoosh came from.” Using the Trinity with a film camera was quite unusual, not least because this was Cawthorne’s first experience shooting 16mm for a short. “I’d done some tests, but never anything to that scale. Putting it on the Trinity was a bit of a challenge at first. You’ve got to know how to balance it correctly, because once you start rolling the film, the weight changes over and goes from one side to the other. However, once you’ve figured it out, you are guaranteed the ultimate steady shot.” MASTERING THE POST There’s a lesson to be learned with the Trinity. “Even if you’re a Steadicam operator, which I’m not, it’s still going to take some time to master. They’re two very different things. Steadicam captures body height, and while you can be high or low, you still have to change over,” he says. The Trinity, on the other hand, provides five axes of control to enable inimitably fluid, wide-ranging and precise movement, tapping into new storytelling options. This allowed Cawthorne to appear as if the camera was moving with the dancers. “Unlike on a Steadicam, the camera can be moved from high to low during a shot using the joystick-controlled, fully stabilised tilt axis. Low angles can smoothly transition into an over-the-shoulder shot,” he explains.
MOVE IT, MOVE IT The Trinity captures the flow of dance precisely, making shots look natural and engaging
used as a jib. It provides a whole different class of movement.” Cawthorne continues to shoot with the Trinity on a wide range of projects, such as music videos. It is available for hire through Gear Room, as a complete package service. And, as with all equipment on offer, Cawthorne will personally provide you with the necessary guidance before you rent.
“What I love most about it, though, is that when holding the post at 45° and twisting it left or right, the camera can even look around corners, regardless of whether you’re shooting high or low.” In Swoosh , the camera literally swooshes from the dancers’ feet up to their heads, as it whirls in time around them in semi-circular motions. Cawthorne concludes: “The Trinity enables you to achieve so much more as a creative piece. It’s great for one-takers, capturing different angles, panning incredibly fast and being
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“Once you’ve got the balance figured out, you are guaranteed the ultimate steady shot”
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