In Broadcast - July 2013 - 46


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 21 - JULY 2013

N E W S

InTECH

Keeping A Tight Grip On A Radically
Changing Industry
In an industry that has changed dramatically
over the years, what is next in the evolution
process for grip, dollies and rigs…

By Kieron Seth
Contributing Editor
The Chapman
Hydrascope

D

46

ennis Fraser has over 60 years in
the film and television industry,
and these decades have been
fruitful. His many credits include
‘Chariots of Fire,’ ‘Kelly’s Heroes,’
‘Where Eagles Dare,’ ‘Firefox’ and
‘Highlander: Endgame.’
As a key member of a camera grip
department, Fraser has seen and
experienced it all. Now supposedly in
retirement, he is driving professional
qualifications through the industry,
while also representing Chapman
cranes, dollies and grip in the UK.
“The industry has changed
dramatically,” he says. “All members
of the crew used to start as a runner
and then progress through third,
second and first assistant. By the
time they had a central role as key
grip, director, or DOP, they knew
the film making process back to
front and had learnt from highly
experienced professionals.”
With the rise of film schools and
the reduction in the cost of digital
cinematography, this is no longer
the case. “Students go straight from
college to directing or shooting a
film. As a result they don’t know
how keep to production schedules
and to stick to budgets. But most
worrying of all is they don’t work
safely. They overload jibs, overbalance cranes and don’t carry out
risk assessments. When you’ve got

The new Vocas matte box

150lbs of camera kit rigged to a car
at 70mph, or you’re working with a
three ton telescopic crane, things
can go wrong. Grips aren’t familiar
with the kit they use and camera
operators often just rely on multiple
takes to get the shot they want. In
my era, the kit was very limited – you
usually had to improvise or build rigs
yourself with wood, chains and rope.
Now there is so much equipment on
the market and it keeps on improving
year on year. But there isn’t the time
to get to know each piece of grip and
how to handle it safely.”
As a result, Fraser has worked
with Skillset in the UK to launch
national qualifications to certify grips
as capable and safe. “Now we are
seeing the craft side of the business
improving again. We need the other
disciplines to follow our lead.”
A look at recent announcements
at NAB, Cinegear and Showtech
certainly bear out Fraser’s
observation that innovation is
continuing apace in the sector, with
grip for every shot and every camera.
Firefly: One piece of kit that
seemed to sweep the boards, and
even won a coveted InBroadcast
gong, was the Firefly MoVI M10.
Firefly’s MovI stabilises shots
with micro motors that constantly
counteract every movement.
“For the MōVI M10 the typical

user will probably be everyone
from independent filmmakers
to professional filmmakers,
videographers, sports enthusiasts,
documentary filmmakers. As the
MōVI M5 comes out down the
line for smaller cameras, that will
open things up even more for lower
budget productions and aspiring
filmmakers,” says the company’s
spokesman, Hugh Bell.
Freefly was founded in 2009
and focused on filming from
remote helicopters for film, TV,
and commercials. Its rigs deliver
smooth, stable and dynamic low
altitude aerials, based on the recent
stabilised camera gimbal. Over the
years camera design has been an
important driver for the company:
“Camera technology has impacted
the designs enormously. The quality
and resolution of cameras has
increased and the size and weight of
the cameras is decreasing. Cameras
of the past would not have worked
in our systems or wouldn’t be good
enough quality to be accepted in
the entertainment industry. We can
now use cameras like the Red Epic
to shoot 5K resolution aerials
with perfect stability

The Vocas Top handle on the
Blackmagic Design camera

from our CineStar multi-rotors or
run around handheld at full speed
using the MōVI.”
The MovI M10 brings airborne
stabilising systems to ground level
with dramatic effect. Cameramen
can perform balletic manoeuvres
with the rig and still achieve smooth
shots. “At this time, I don’t think
it really competes with anything. I
think the MōVI is a new exciting
tool that can be used on a variety
of platforms to create a new style of
shot-making and add to the many
ways you can move the camera in
interesting ways,” Bell concludes.
Used to shoot Hollywood films as
well as live broadcasts, their kit is a
great example of the new generation
of grip systems.
Vocas: A more familiar name in
down-to-earth production is Vocas,
one of many companies to benefit
from the surge in popularity of
CONTINUED ON PAGE 48


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Table of Contents for the Digital Edition of In Broadcast - July 2013

In Broadcast - July 2013
Contents
InNews: Fiji TV Playout Facility Opts for Harris Broadcast Gear
InNews: Avalon Studios Goes for Xytech
InFocus: Panasonic Pro-Camera Equipment in Antartica
InSound: European Soccer Covered With Lawo Technology
InGear: Egripment Launch Universal Dolly
InTech: Abonair Part II – Wireless Video Links
InMedia: Vector 3: The Playout People
In Broadcast - July 2013 - Intro
In Broadcast - July 2013 - In Broadcast - July 2013
In Broadcast - July 2013 - Cover2
In Broadcast - July 2013 - Contents
In Broadcast - July 2013 - InNews: Fiji TV Playout Facility Opts for Harris Broadcast Gear
In Broadcast - July 2013 - 5
In Broadcast - July 2013 - InNews: Avalon Studios Goes for Xytech
In Broadcast - July 2013 - 7
In Broadcast - July 2013 - 8
In Broadcast - July 2013 - 9
In Broadcast - July 2013 - 10
In Broadcast - July 2013 - 11
In Broadcast - July 2013 - 12
In Broadcast - July 2013 - 13
In Broadcast - July 2013 - 14
In Broadcast - July 2013 - 15
In Broadcast - July 2013 - 16
In Broadcast - July 2013 - 17
In Broadcast - July 2013 - 18
In Broadcast - July 2013 - 19
In Broadcast - July 2013 - 20
In Broadcast - July 2013 - 21
In Broadcast - July 2013 - 22
In Broadcast - July 2013 - 23
In Broadcast - July 2013 - InFocus: Panasonic Pro-Camera Equipment in Antartica
In Broadcast - July 2013 - 25
In Broadcast - July 2013 - 26
In Broadcast - July 2013 - 27
In Broadcast - July 2013 - 28
In Broadcast - July 2013 - 29
In Broadcast - July 2013 - 30
In Broadcast - July 2013 - 31
In Broadcast - July 2013 - 32
In Broadcast - July 2013 - 33
In Broadcast - July 2013 - 34
In Broadcast - July 2013 - 35
In Broadcast - July 2013 - 36
In Broadcast - July 2013 - 37
In Broadcast - July 2013 - 38
In Broadcast - July 2013 - 39
In Broadcast - July 2013 - InSound: European Soccer Covered With Lawo Technology
In Broadcast - July 2013 - 41
In Broadcast - July 2013 - 42
In Broadcast - July 2013 - 43
In Broadcast - July 2013 - 44
In Broadcast - July 2013 - 45
In Broadcast - July 2013 - 46
In Broadcast - July 2013 - InGear: Egripment Launch Universal Dolly
In Broadcast - July 2013 - 48
In Broadcast - July 2013 - 49
In Broadcast - July 2013 - 50
In Broadcast - July 2013 - 51
In Broadcast - July 2013 - 52
In Broadcast - July 2013 - 53
In Broadcast - July 2013 - InTech: Abonair Part II – Wireless Video Links
In Broadcast - July 2013 - 55
In Broadcast - July 2013 - 56
In Broadcast - July 2013 - 57
In Broadcast - July 2013 - 58
In Broadcast - July 2013 - 59
In Broadcast - July 2013 - 60
In Broadcast - July 2013 - InMedia: Vector 3: The Playout People
In Broadcast - July 2013 - 62
In Broadcast - July 2013 - 63
In Broadcast - July 2013 - 64
In Broadcast - July 2013 - 65
In Broadcast - July 2013 - 66
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In Broadcast - July 2013 - 71
In Broadcast - July 2013 - 72
In Broadcast - July 2013 - 73
In Broadcast - July 2013 - Cover3
In Broadcast - July 2013 - Cover4
In Broadcast - July 2013 - S1
In Broadcast - July 2013 - S2
In Broadcast - July 2013 - S3
In Broadcast - July 2013 - S4
In Broadcast - July 2013 - S5
In Broadcast - July 2013 - S6
In Broadcast - July 2013 - S7
In Broadcast - July 2013 - S8
In Broadcast - July 2013 - S9
In Broadcast - July 2013 - S10
In Broadcast - July 2013 - S11
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