Earlier this week, ARRI has announced an update to their Trinity and Artemis Camera Stabilizer systems, which look to be a from-the-ground-up refresh. The new modular design promises smoother camera movement, better options for camera connectivity, more efficient power management, an easier user interface, simpler balance options, and product longevity.
The Artemis 2 Camera Stabilizer can also be transformed into the Trinity 2 configuration, which relies on electronic image stabilization to smooth out the camera for a wider range of angles and options. The update of both systems has been long overdue since the Artemis system was launched more than 20 years ago, while the Trinity upgrade has been around for six.
Based on client feedback, ARRI took the opportunity to provide a refresh to both stabilizer designs, in order to give them common ground with more than 80% of modular parts being shared by both systems.
ARRI accomplished this feat by reexamining both the Trinity and Artemis systems individually, right on down to the smallest part.
The main question asked is, what do both systems share that can be done with the same pieces? The result is a modular redesign that merges the two concepts into a single ecosystem, which can be transformed into multiple configurations.
For example. The Artemis 2 now deploys three different central posts, depending on the cinematographer’s need for movement. ARRI has added a “shorty” post or an extra-long or “super” post, to go along with the standard post.
This provides the shooter the ability to raise the camera higher or lower with the extra-long post or to move more nimbly through the use of the short post. Whatever the shot requires.
ARRI has also updated the power options for the overall system, with a new modular smart design that allows the camera assistant to swap out battery mounts from B-mount, V-mount, and Gold Mount options. The new power module provides a constant 24/12V output, in a wide range of battery combinations.
The new battery system also enables the camera operator to place the battery in a variety of positions according to user preferences. This so-called free battery placement also opens up more monitor mounting and different 19mm rod options (carbon, aluminum, or steel).
ARRI has also incorporated their Stabiliser Adapter Mount (SAM) mount into their Top Stage module and is designed for easier interoperability between different cameras, tripod heads, and stabilization systems. The new Top Stage also includes 12G video I/O and power sockets.
Moreover, while the Artemis is a purely mechanical camera stabilization system, there are times when employing an electromechanical enhancement can make camera stabilization even more consistent when the camera is really moving in the shot.
The Trinity 2 enhancement adds features like a motorized roll axis, which can dampen out camera shake as the whole rig moves around. The new Trinity Head 2 module also supports 360º rolls with precise control and smart 12G video I/O connections.
PRICING and AVAILABILITY
No word on pricing or availability just yet, but when you consider that the first generation Artemis is currently priced at just under $20,000, while the Trinity 1 upgrade is still costing around $60-64,000.
Consequently, it’s a good bet the second generation will approach or even surpass that price point.
With such a massive investment, the second generation Artemis/Trinity system is either a rental for most camera operators, or a long-term investment for those shooters looking to specialize.
More information, including signing up for preorder details, can be found at ARRI.com.
Claim your copy of DAVINCI RESOLVE - SIMPLIFIED COURSE with 50% off! Get Instant Access!