In Broadcast - July/August 2011 - 42


42

Developing Camera Support
Peter Harman, Vinten Product Manager
Last year Vinten celebrated its 100th you go back to the Fulmar pedestal, anniversary as a continually successful developed in the 1960s to support the operating business, a remarkable first colour cameras which weighed achievement in an industry like ours 160kg, you will find mechanical which depends upon innovative components added to the gas elevation change. From very early on in the support to ensure that it would stay company’s history we were famous motionless at any height. for making the best camera supports: In the 1980s we developed a set so, what is the latest in technology, of equations which explained the and what is on the horizon? physics of maintaining equilibrium Bill Vinten, the youngest son of at any angle of tilt, and from this founder William Vinten and the head mathematical understanding we have of the company for developed a number of many years, is still mechanical systems. a regular visitor Some use internal “The primary aim to the factory. He mechanisms, such of a good camera recently said that as the cam systems one of the secrets to inside the new Vision support is to our success was not AS heads; some only to forecast what make it feel to the use a pantograph the customer needed construction like the operator as if the before they realised industry-standard camera is suspended Vector 750 head. it, but to have a prototype ready to At Vinten we call weightless in show them. this Perfect Balance, You might think that space.” and it is unique a camera support to our heads and is a pretty standard pedestals. Added to product, and there is not much to our infinitely variable linear drag you develop. In fact we continue to aim get the smooth and reliable feel that to invest in R&D, with a dedicated professional camera operators around innovation team looking towards the the world are familiar with and rely next big thing. I am not going to give upon. any secrets away, but I can give you How can we improve some idea of the way we are working. it? There The primary aim of a good camera support is to make it feel to the operator as if the camera is suspended weightless in space. It should remain stationery at whatever height or angle it is set, until the operator needs to move it, in which case it should respond smoothly and with a consistent resistance. Remaining motionless is the big challenge: as a camera is tilted, its centre of gravity moves, which makes it unstable. As a pedestal rises and falls, so the internal balancing forces change. The tendency in both cases is for a system to be set for one position, but for the camera to continue to move if you move from that position. At Vinten we have long been striving to achieve the “weightless” goal through unconditional stability. If are a number of ways. A few moments ago I mentioned the early colour cameras and their substantial weight. Today a studio assembly, with large viewfinder, zoom lens and prompter might be around 40kg. Camera manufacturers are creating professional Additional support challenges of 3D rigs quality camcorders which weigh little more than 2kg, and currently have to develop new ways to manage there is the trend to use featherweight these large loads and bring them back DSLRs for video acquisition. We under complete operator control. have to continue to implement Perfect There is an increasing use of Balance to meet all these payloads. virtual reality graphics in television 3D is a hot topic, with various rigs today, from over the shoulder cropping up on more and more shoots. pictures in news to immersive They cause fantasy environments in children’s challenges for the television. Sport is a particularly support, not just demanding user of virtual reality, with because you have scores on the pitch and distance to the the weight of two posts measures; player tracking and cameras and the world record marks. rig, but because Whatever the virtual reality the load is front requirement, one thing is absolutely heavy and not critical: telling the graphics balanced. So computer what the camera is we

Vinten Vector 750i


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Table of Contents for the Digital Edition of In Broadcast - July/August 2011

In Broadcast - July/August 2011
Contents
Whats New in Our Global Village
iPad The Game Changer
Outside Broadcasters Feel the Pinch
Innovative Camera Supports - Beyond the Tripod
IP-Based Remote Television Studio Control
Trilogy's Gemini - Pioneering the Use of IP in Broadcast Intercom
The Ears Have It: The Drive for Better Sounding Mobile Content
IBC Sneak Peak
Monitoring Systems For Today's Digital, Multiplatform Era
New Developments in Broadcast Test and Measurement
In Broadcast - July/August 2011 - Intro
In Broadcast - July/August 2011 - In Broadcast - July/August 2011
In Broadcast - July/August 2011 - Cover2
In Broadcast - July/August 2011 - Contents
In Broadcast - July/August 2011 - Whats New in Our Global Village
In Broadcast - July/August 2011 - 5
In Broadcast - July/August 2011 - 6
In Broadcast - July/August 2011 - 7
In Broadcast - July/August 2011 - 8
In Broadcast - July/August 2011 - 9
In Broadcast - July/August 2011 - 10
In Broadcast - July/August 2011 - 11
In Broadcast - July/August 2011 - 12
In Broadcast - July/August 2011 - 13
In Broadcast - July/August 2011 - 14
In Broadcast - July/August 2011 - 15
In Broadcast - July/August 2011 - 16
In Broadcast - July/August 2011 - 17
In Broadcast - July/August 2011 - iPad The Game Changer
In Broadcast - July/August 2011 - 19
In Broadcast - July/August 2011 - 20
In Broadcast - July/August 2011 - 21
In Broadcast - July/August 2011 - Outside Broadcasters Feel the Pinch
In Broadcast - July/August 2011 - 23
In Broadcast - July/August 2011 - 24
In Broadcast - July/August 2011 - 25
In Broadcast - July/August 2011 - 26
In Broadcast - July/August 2011 - 27
In Broadcast - July/August 2011 - 28
In Broadcast - July/August 2011 - 29
In Broadcast - July/August 2011 - 30
In Broadcast - July/August 2011 - 31
In Broadcast - July/August 2011 - Innovative Camera Supports - Beyond the Tripod
In Broadcast - July/August 2011 - 33
In Broadcast - July/August 2011 - 34
In Broadcast - July/August 2011 - 35
In Broadcast - July/August 2011 - 36
In Broadcast - July/August 2011 - 37
In Broadcast - July/August 2011 - IP-Based Remote Television Studio Control
In Broadcast - July/August 2011 - 39
In Broadcast - July/August 2011 - Trilogy's Gemini - Pioneering the Use of IP in Broadcast Intercom
In Broadcast - July/August 2011 - 41
In Broadcast - July/August 2011 - 42
In Broadcast - July/August 2011 - 43
In Broadcast - July/August 2011 - The Ears Have It: The Drive for Better Sounding Mobile Content
In Broadcast - July/August 2011 - 45
In Broadcast - July/August 2011 - IBC Sneak Peak
In Broadcast - July/August 2011 - 47
In Broadcast - July/August 2011 - 48
In Broadcast - July/August 2011 - 49
In Broadcast - July/August 2011 - 50
In Broadcast - July/August 2011 - 51
In Broadcast - July/August 2011 - 52
In Broadcast - July/August 2011 - 53
In Broadcast - July/August 2011 - 54
In Broadcast - July/August 2011 - 55
In Broadcast - July/August 2011 - Monitoring Systems For Today's Digital, Multiplatform Era
In Broadcast - July/August 2011 - 57
In Broadcast - July/August 2011 - 58
In Broadcast - July/August 2011 - 59
In Broadcast - July/August 2011 - New Developments in Broadcast Test and Measurement
In Broadcast - July/August 2011 - 61
In Broadcast - July/August 2011 - 62
In Broadcast - July/August 2011 - 63
In Broadcast - July/August 2011 - 64
In Broadcast - July/August 2011 - 65
In Broadcast - July/August 2011 - 66
In Broadcast - July/August 2011 - 67
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In Broadcast - July/August 2011 - 73
In Broadcast - July/August 2011 - 74
In Broadcast - July/August 2011 - Cover4
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