Devices of Cinema Technologies Group

By Oleg Duhan, Alexander Vdovenko, Sergey Gorodnev

Review contents:
Stability is over all 35 kg of pleasure Steadicam from fragments German steadicams from ABC Products Devices of Cinema Technologies Group DvRigPRO from DVTEC Glidecam stabilizers Sachtler Artemis camera stabilization systems: from DV up to HD The Tiffen Steadicam systems

After period of validity of Garrett Brown’s patent given on the invention of the ingenious mechanism of hand-held mechanical stabilization of TV and cinema cameras Steadicam which name became common noun all over the world, there more than hundred manufacturers trying to repeat or improve this design have been appeared.

Rapid upsurge of domestic cinema and the competition increasing in this area are forced for operators to search new decisions. For past year the Steadicam systems are became very popular in shooting.

Firm Cinema Technologies Group, having a range of original decisions and large experience in creation of various kinds of the auxiliary camera equipment, has decided to join in this race. The result is the original in many respects and perfect system of mechanical stabilization of TV and cinema cameras.

The system includes several elements and units; therefore it is necessary to consider each of them in detail.

Waistcoat (Vest)

In searches of the waistcoat construction design we put the task of operator maximum unloading and ensuring of operation comfort for him. The classical layout of light waistcoat did not give such opportunity though we have not refused from this decision for lighter cameras (up to 7 kg).

Light CTG waist	Hard CTG waist

The rigid waistcoat developed by us has a frame design and slightly reminds the armors of ancient knights. Once having adjusted elements of waistcoat on his trunk, the operator dresses it independently and quickly, fixing the waistcoat by two original locks. The design of our waistcoat provides the redistribution of the loads, so, even with cameras by weight of 24 kg, the operator can move so easily as far as his physical preparation allows. The waistcoat is made from composite materials and steel elements, with furnishing from leather. Weight is 5 kg.

The practice has shown, that the operator refuses from soft waistcoat after a single operation with our rigid waistcoat.

Spring arm

The spring arm is the basic element of system, from it depends, as far as well there are extinguishing of disturbing oscillations transmitted from operator to the camera. Global manufacturers offer many various designs of spring arms for Steadicams, and the majority of them is made by handicraft and/or selection method. Spring arms can be single-, dual- or triple-spring; single-, dual-section; with stretch, compression and torque springs.

Spring arm CTG

We came to the decision of this problem from the side of the theory of oscillations and mathematical simulation. The problem was the modulation of oscillations over 0.5 Hz. The recustomized spring arm with loading ability of 6…24 kg was made.

Spring arm CTG is dual-section, with three springs on one section; the crucial construction elements are made from titanium. Weight is in the range 4.5…6 kg.

The bottom plate

The bottom platform (Sled module)

Model CMC-3 has a monodesign of the bottom part in which all electronic stuffing is incorporated: a framework of the frame, the radiochannel of control of the lens drivers, three battery posts.

Camera platform (Camera Mounting Platform)

It is possible to say that we made the classical camera platform, which is uniting the best decisions used in global practice. It has two mobile plates for the camera balance, a switching box and arms for installation of supports.

Post

This part of the device is made from aluminum alloy and has a telescopic design. Three modifications of post are as follows:

• 400…700 mm;
• 500…900 mm;
• 700…1300 mm.

As well as any shooting equipment, the mechanical stabilization system is provided with multiple appliances and service devices, that frequently determine the opportunity of its high-end application, and which at times is determining.

First of all, it is a question of the control system of the lens drivers. On the earlier Steadicams the drive of a lens was absent in general. The operation’ work was confined since he could operate only with wide-angle lenses installed on hyperfocal distance. Meanwhile for professional operators the modern devices allow to shoot with medium-focal-length, and for skilled operators — even with long-focal-length lenses. It means that Steadicam operator can make qualitative shooting which earlier could be made only from a dolly. The economy of time for preparation of shooting began one of the reasons of drastic increase of demand for shootings with Steadicam. However it has demanded the reliable and qualitative system of remote control of the lens parameters.

The earlier systems were cable, but from the name is clear, that such systems have had too many problems. First, rather hardly, running for the operator, “to keep focus”, and second, always there is a probability to tear the cable and by that to break shooting in general. Therefore all serious companies have passed to the wireless control. In many respects due to wide experience of creation of systems of remote control for camera cranes, our company could create the remote control system for Steadicam very quickly.

Cameraman Alexander Vdovenko during shootings of “At the no-name height”

Beforehand it is necessary to consider the data transmission radio channel. There is the low-power transmitter (without registration demand) in the allowed frequency band. Frequency modulation, digital signal, two-level filters and reliable shielding provide confident communication up to 75 m in a room and up to 300 m the field conditions without additional antennas. Despite of high reliability of the transmitter-receiver complex, in the last models the additional program logic protection against external noises is entered. The protection is in that information interchange is realized by packets with a time interval which is not exceeding 10 ms. Besides control signals the control sum is synchronously transferred. The receiving information is checked on reliability by possible change size during the certain interval. When error packet is discovered their data are ignored. It allows to protect the channel against even powerful broadband noises exceeding the control signal on some orders. The channel allows to transfer up to three parameters of control of the lens drivers (diaphragm, focal length, distance) and discrete signal of switching-on of the camera.

Motor control

For CTG stabilization devices the powerful and light complete drivers were designed. They allow to process the whole lens scale during less than for 3 sec, that corresponds to the best world samples. In last models the electronic (program) compensation of backlashes in drive reducer was introduced that has enabled to have the accuracy similar to the best systems all over the world.

Control systems

In last samples of drivers so-called automatic calibration of the lens scales is introduced. It essence consists in inclusion of the whole lens scale within automatic driver mode under switching-on of the lens drive system. It is carried out at first in one direction up to the end, then, it will reach to the end in the opposite direction. At switching-on of the transmitter the drivers automatically will occupy a position in which there is a scale of the lens parameter on the transmitter. The transmitter’s scales are quick-changeable. Therefore it is enough to mark the transmitter scales for various lenses once and then to install that scale which corresponds to an installed lens. Time of adjustment in automatic mode is no more than 10 sec by a channel.

Besides automatic, the hand-held mode of calibration used for the decision of individual tasks is kept also.

Controls

In modern shootings already there is the applying of zoom lenses as a standard.

CTG system of external lens control

In some cases this lens is applied for operative change of the vision field angle, in others — for direct shooting.

As a rule, the Steadicam operator will change the focal length by himself. For this purpose the special handle-joystick was designed which allows to operate both as external motors at shootings on movie or HDTV-cameras, and by the built-in drivers of the TV-lenses. If at shooting of staging frames the “distance” scale is operated by “the operator assistant on focus”, then at shooting, for example, of concerts, sports and other events only the Steadicam operator it may carry out, as a rule. To expand his artistic opportunities, the special handle-joystick with control of scales “distance” and “focal length”, convenient both to lefthanders, and right-handed persons, and with control of any cinema and TV lenses, was designed.

The lens driver with the receiver of the radio channel is produced by the company as in external (SMS-2 and SMS-4), and in built-in (SMS-3) implementation. According to our own data, the built-in implementation of the lens driver is produced by CTG Company only. It can be explained by that some companies-manufacturers the Steadicams are produced, whereas others — electronics and auxiliary devices to it.

CTG external electronic framework of frame

Electronic framework of the frame

Both built-in and external implementations are produced. This product is intended to create on the screen of the monitor a field of the frame which is accepted in the given concrete shooting and to make its visible both in light, and in dark areas of the frame Change of a tonality of margins may be carried out as manually, and in an automatic mode.

Power supply

To ensure the full independence of Steadicam under any conditions of shootings from external power supply, it is necessary to have on it the battery supply for the monitor, lens driver system, electronic framework, transmitter of the camera TV-image, camera itself and on-camera lighting. Certainly, it is uneasy to ensure it. But if not to make it, for the operator will run, as adhered, camera mechanics or a lighting operator with the accumulator. Thus it is necessary to remember, that weight of accumulators is the major element of system balance. That is also important that if TV cameras are powered by 1…3 A current and are supplied from the source of 12.2…14.4 V then for movie cameras it is necessary the source of 12 or 24 V (and additionally it can be required the starting current up to 10 A), and on-camera light may be powered from a source of 12, 24 or 30 V and also can be required the starting current up to 10 A. In most perfect CTG system SMS-3 on the electronic unit can be installed up to three battery power units, and according to necessary weight, capacity and voltage there may be lithium accumulators by 5.6 A-h capacity, 13.2 V voltage and 700 g weight only, and also nickel-metallic-hydride Anton Bauer batteries by 8.4 A-h capacity, 14.4 V voltage and 2.6 kg. The combination of these accumulators and an opportunity of their switching allow to solve almost all tasks. However all this is true for the universal devices of stabilization intended for operation with any cameras and in any conditions. If Steadicam will buy for a TV camera then in most cases there may be enough only one accumulator, and its mark will basically depend on weight of the camera.

Steadidolly CTG

One of original facilities for Steadicam is the dolly named Steadidolly.

The features are the small dimensions that allows to pass through doorways, motion easiness and the great maneuverability due to use of eight wheels which may turn simultaneously (the blocking of four wheels is stipulated). The structure includes the console for fixing of Steadicam, carousel, column, seat for the operator, foot support. For control accuracy increasing the operating handle may turn wheels as directly, and through down reducer. The dolly considerably facilitates the operator’s work at shootings of great timing plans which demand the speedy moving or/and simultaneous close up shooting.

Though the dolly was designed for Steadicam especially, the large necessity to use it as camera dolly for shootings in interiors has subsequently appeared.

The complete set of auxiliaries for Steadicam may include more than hundreds names. As in this article it is impossible to describe all auxiliaries, therefore we shall consider the most important or rarest products only.

The monitor

Long time together with professional devices of stabilization only CRT monitors with green luminophor was used. It was defined by that recently the LCD-monitors, having incontestable advantages as low weight and low power consumption, had many disadvantages also, namely low luminance, large time of “response”, impossibility of operation under negative temperatures, small angles under which the image was possible to see, low contrast of the image. During the last two years the sharp change has happened. The luminance 300…500 cd/m² already is the standard value, and monitors with 1200 cd/m² luminance have appeared that is three times higher, than the best CRT monitors. The contrast value is 500:1; time of “response” has decreased up to 25 ms (there are monitors with 7 ms). Angles of normal vision have exceeded 150° in horizontal direction; the operating temperatures are in the range -20…+ 50°C. It results to that though leading companies still offer CRT monitors for inclusion in the complete set of the most expensive Steadicam models, objectively it is possible to be guided by them only by reasons of prestige. In the technical considerations they have no any advantages any more.

TV image transmitter

In order to control an image by the director, it is necessary to draw a video cable from the operator (with all following obstacles…) or to take advantage of a radio transmitter of the video image. It is a lot of transmitter models: from the elementary at the cost of some hundreds US dollars, up to professional broadcast models which price is some tens thousand euros. Inexpensive transmitters periodically break a picture under movement of the camera, but in many cases the director nevertheless is compelled to be reconciled with it as the professional picture costs very expensively.

Gyrostabilizators

In some cases the Steadicam operator should operate at strong impulses of wind, both natural, and created artificially. As camera and bottom part of Steadicam windage will never happens the same, it would resulted in swinging of the system. Certainly, the operator in every way tries to compensate these oscillations that demand to apply the additional forces to the shock-absorber. And it, in turn, is resulted in impairment of its operation. One of the methods of struggle against such phenomenon is the installation of gyromotors. Besides linear stabilization they allow to enter into system the angular stabilization also, thus prohibit the console swinging at wind impulses.

There are also absolutely simple auxiliaries which allow operatively to solve the problems arising on a shooting site. For example, it is required to change height of the camera (when actors have very different height) at shooting of so-called “eight”. If to carry out it without auxiliaries it is necessary to pull or to stretch the springs, on what there leaves significant time. Meanwhile, if to have “extenders of the upper point”, it is simply enough to insert the extender of required length between the shock-absorber and the console.

Lower point of shooting

It is necessary enough frequently, those cameras onto Steadicam was as low to the ground as possible. For the decision of this problem we have designed the special arm of “the lower point” which is installed on a camera platform of the stabilization device. For maintenance of balancing the lengthened telescopic console (500…900 mm) is used; the arm is also telescopic (300…500 mm) and has an own camera platform which allows to install the camera under any angle in vertical direction. The general length of the console with the camera may reach 1.7 m. It is enough for balancing of the majority of cameras so that they will appear near the ground. A line of devices for maintenance of low and upper (up to 3 m) points for various camera models is now designed.

Operation with light cameras

The calculations show that the receipt of high level of stabilization for cameras in weight of 1…4 kg is practically impossible. However many light professional cameras have appeared recently. In order to operate with these cameras on our systems, CTG company produce the transition weighted platforms in weight of 2…5 kg on which any camera (including semi-professional, which is provided with other fastenings than professional) can be installed. Such weighted platform is installed on Steadicam instead of a standard camera platform. It allows to receive a high quality of light cameras stabilization.

There we stop conversation about “iron” as it is possible to speak about it endlessly, and we shall pass to other, not less important part of Steadicam system. And this part is the operator.

Conversations on the theme that the operator of Steadicam in reality should be big and thick, are strongly exaggerated. He “only” should be strong, coordinated, hardy, comprehensively educated, understanding shooting and lighting equipment, be capable to create very complex mise en scenes, not bad to have some concepts about scenic movement and, the main thing — to be very sociable, modest in behavior and fanatically to love his occupation. Such operator really deserves both a good Steadicam, and a monument during his life.

For what target these qualities are necessary? How many the job of Steadicam operator differs from job of other specialists with the camera in their hands?

First of all proceeding from features of Steadicam operator job, the director and the operator-director are compelled to trust him. Steadicam is professionally used when free moving of the camera in space is required. But, as is known, if there are even two degrees of freedom the camera can be at particularly taken moment of time in any point, and meanwhile there is only one trajectory and one pace of the camera movement which help to make the game of actors expressive, mise en scene — organic, and composite decisions of the frame — the most exact.

What is necessary in order to take advantage of this freedom correctly?

Cameraman Alexander Vdovenko at shootings of TV serial “Office of Public Prosecutor” (top) and TV episodic “The command”

First, the job with the director — understanding of director’s idea and job on it in any situation without dependence from improvisation of actors, arbitrariness of the operator-director, intrigues of lighting operators and sound technicians.

Second, the job with the operator-director — the skill to adopt style and composite vision of that operator-director with which now there is the job. “Steadicam’ master” must have his own opinion about the composition and features of camera movement, but it always should coincide with opinion of the operator-director responsible for all film.

Thirdly, the job with the master on light: the Steadicam operator should understand, that except the light is the shadow as well, and also, that the lighting device in the frame seldom decorates the image. Professional “steadicam’ master” at a stage of installation of light may and should prompt the problem points of device installation. Certainly, in general, it is a problem of the operator-director, but everything are mistaken, and the well-timed prompting can allows to keep nerves, time and meters of useless expended film.

Fourthly, the job with actors — the skill tactfully and precisely to prompt to the actor some accents in his job or his optimum position in the frame to be the most expressive in the scene. Naturally, it is possible to make it only in the case when “steadicam’ master” is absolutely sure in it, and also in that it does not contradict to director’s plan. But always it is necessary to be ready to that the actor will make all in own way finally.

Cameraman Alexander Vdovenko with the device of CMC-3 model

Fifthly, the job with the sound technician.- it is necessary to understand, that the sound in fiction film is not less important, than the image, and that it is recorded synchronously: that the sound technician has recorded, that, as a whole, we shall hear on the screen. Therefore it is necessary to try to make everything to not make a noise ourselves (and it sometimes make additional difficulties to operator of Steadicam) and to coordinate with “mic man” his own job, to try do not create to him excessive difficulties. Thus it is necessary to be able indulgently concerns to that each sound technician considers himself the most important person on a site.

And, at last, sixthly, the job above itself — any limits of perfection are absent and it understanding will force the real “steadicam master” to work with itself always.

If you believe, that such person is near you, that is sense to buy for him everything, what he will require, and if such person is not present near you — it is no value what to buy.

Our company finds such people, or finds people, in every way aspiring to become such person. Also we try to make for them all available things. Moreover, we simply could not create any perfect system of the camera stabilization for such short time, if we could not have their help and exactingness.

Material provided by Cinema Technologies Group Company