Sachtler’s Artemis camera-stabilizing system

It’s easier on production budgets to use camera-stabilizing systems such as Sachtler’s Artemis. It is a camera-stabilizing system designed as a crossover machine to suit both top-heavy film cameras and tail-heavy camcorders.
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Demands from directors for non-static images featuring unusual content are increasing. However, many production budgets are unable to satisfy these often time-consuming and expensive demands. It’s easier on budgets to use camera-stabilizing systems such as Sachtler’s Artemis. It is designed as a crossover machine to suit both top-heavy film cameras and tail-heavy camcorders.

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Artemis provides a full range of options and features that allow it to handle almost any camera.

The system meets the demands of both film and TV production. It can be configured for film and video applications when operated with film cameras. The Artemis SDI Pro is best particularly suited to the new generation of video cameras with SDI interfaces, because its special main connection cable is able to handle high-data transfer.

The camera system is an all-metric construction except for components that have internationally standardized dimensions, such as the post diameter, camera plate and arm connector. The various models that make up the camera series are adapted to the wide-ranging demands of film, HD (SDI and RGB HD), and broadcast productions.

The system offers dual-dynamic balance, which includes a third battery that can be independently adjusted. Focus remote receivers can be mounted on both sides to improve the camera’s center-of-gravity balance. Battery indicators with three rows of LED displays show the remaining power in each battery. All common battery mounts, including V-Mount Anton/Bauer and PAG, are available.

The vests and spring arms in all models are identical, so users can upgrade their systems if and when the need arises. Also, a range of spring sets allows the arm to be precisely adjusted according to the weight of the camera being used.

The company’s vest can be adjusted as desired, evenly distributing the bulk of the system’s weight onto the user’s hips. This guarantees camera operators a comfortable fit for extended periods of shooting.

The Artemis Cine/HD system features fully modular and flexible setups. It also has three video lines so operators can use HD RGB video cameras without downconverters.

The EFP Pro (SDI HD) is the rig for all kinds of video — especially SDI HD and RGB HD productions. It’s the only camera stabilizing system with an internal 1.5GHz video line, which enables operators to produce professional work with SDI HD cameras.

The EFP model offers users the functionality of the larger Artemis models. It features a “touch and go” system that ensures camera changeover between the stabilizing system and tripod — even while shooting. The model includes a color flat-panel monitor as a standard component, and is compatible with Artemis accessories and third-party systems.

The camera-stabilizing system’s modular construction enables system components to be combined in a variety of ways according to the operator’s needs. Individual modules also can be replaced or upgraded without much effort or cost.

Günter Flenner is an industry writer based in Hamburg, Germany.