Adventure between two Oceans 2009


The route of this year’s Dakar Rally went through South America, subjecting participants and equipment to very extreme conditions. Bikers and quad pilots as well as teams in cars and trucks participated in this 31st rally of its kind in South America. Cameraman Len Jansen and his team DakarPress from the Netherlands were also there. They have been accompanying the Dakar Rally (formerly the “Paris to Dakar Rally”) since 2004. The DakarPress, which started out as a one-man team, has now twelve members. Eight of them are accompanying the race on location while four members manage the text, photo and video uploads in the Netherlands.
Professional equipment for professional news reports
As the team grew, the work style became more and more professional, which also increased demands on equipment. This year Jansen and his colleagues were supported by professional equipment from Sachtler. They had the SOOM HiPod system, the 18 SL CF tripod system, FSB 6 pan and tilt head, FSB CELL power supply system, and the Reporter 8LED on-camera light in their bags. We were working daily with camera support equipment from Sachtler. The reason we chose Sachtler was that panning the camera with their FSB head is especially easy, and their tripod extremely robust, says Jansen. The equipment is of extraordinary quality and reliability.
An endurance race under adverse conditions
The team of eight people: two cameramen, five photographers and one journalist, was on the road in January in two Toyota Land Cruisers. The multifaceted countryside of Argentina and Chile ranges from wide pampas (grassy plains) to deserts like the Atacama, to mountain ranges like the Andes. “Temperatures during the rally ranged from 86 to 131°F (30 to 55°C), and there was fine dust everywhere. We had to overcome big changes in altitude, and the air pressure was so low that in the mountains our air mattresses inflated themselves, reports Dirk van der Veen of DakarPress. The equipment is subjected to extremely rough conditions during the rally. All those rocks and the fine dust were the biggest threats to our cameras and tripods,” said Jansen. The Sachtler tripods are just perfect for such jobs. After two weeks of intensive use and 10,000 bumpy kilometers in the trunk, they still functioned perfectly.
Quick set up, sturdy and reliable
The fourteen stages of the nearly 6,000 mile (9,500km) desert rally between the Pacific and the Atlantic Oceans made enormous demands on members of the press. When the drivers of the rally showed up, the camera operators had to quickly set up their equipment. It was also very risky to shoot directly from the race track, especially at the road bends: “The System Video 18 SB is a stable base for our cameras and we are excited about how easy and fast we were able to extend the tripod legs of the Speed Lock tripod,” explained van der Veen. “The FSB 6 fluid head allows smooth moves while shooting, and the practical Reporter 8LED creates perfect light conditions. We were especially pleased that with these tripods we were able to position the cameras high enough for our tallest team members, who are both over 6 foot six.” On January 18 the some 500 vehicles arrived back in Argentina’s capital, Buenos Aires, the starting point of the rally. Back in the Netherlands, 80,000 images and an endless amount of film material were waiting to be evaluated by the team of DakarPress.

Tags: dakar rally | sachtler | iss033 | cameraman | tripod | N/A
Contributing Author N/A

Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Sachtler Tripods at BVE 2015

    Sachtler Tripods at BVE 2015

  • Sachtler at BVE 2012

    Sachtler at BVE 2012

  • Sachtler at IBC2011

    Sachtler at IBC2011

  • Sachtler Bags at BVE 2015

    Sachtler Bags at BVE 2015

  • Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

    Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

  • Real Life Kit at ProVideo2011

    Real Life Kit at ProVideo2011

  • New 150mm Bowl System, Pedestal and tripod from Libec at IBC 2019

    New 150mm Bowl System, Pedestal and tripod from Libec at IBC 2019

  • Compass X Heads from Miller Tripods at NAB 2018

    Compass X Heads from Miller Tripods at NAB 2018

  • Miller Compass X Series of Tripod Heads shown at IBC 2017

    Miller Compass X Series of Tripod Heads shown at IBC 2017

  • Miller Cineline tripods at IBC 2015

    Miller Cineline tripods at IBC 2015

  • Miller Compass tripods at IBC 2015

    Miller Compass tripods at IBC 2015

  • SISLIVE Manpak tripod antennas at NAB 2015

    SISLIVE Manpak tripod antennas at NAB 2015

  • MILLER Cineline 70 Tripod System at NAB 2015

    MILLER Cineline 70 Tripod System at NAB 2015

  • Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

    Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

  • Skyline 90 from Miller at NAB 2017

    Skyline 90 from Miller at NAB 2017

  • Combo Live 55 Pedestal from Miller at NAB 2017

    Combo Live 55 Pedestal from Miller at NAB 2017

  • Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

    Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

  • Miller Camera Support at IBC 2016

    Miller Camera Support at IBC 2016

  • Miller Arrow X Series at NAB 2016

    Miller Arrow X Series at NAB 2016

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • Cineline Fluid Head from Miller Camera Support at NAB 2014

    Cineline Fluid Head from Miller Camera Support at NAB 2014

  • Libec ALLEX slider system at NAB 2014

    Libec ALLEX slider system at NAB 2014

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Ianiro at BVE 2013

    Ianiro at BVE 2013

  • Vinten at NAB 2012

    Vinten at NAB 2012

  • Polecam at NAB 2012

    Polecam at NAB 2012

  • Ianiro at BVE North 2011

    Ianiro at BVE North 2011

  • Tiffen at IBC2011

    Tiffen at IBC2011


Articles
Why MADI is Still Relevant
Stephen Brownsill While the original idea for MADI was to cater to a very narrow recording studio application, the standard remains a viable go-to multichannel audio technology. Beginning as a standard in 1991, MADI was first introduced to the world as digital production was beginning to come of age. MADI was put together in 1988 by Solid State Logic, AMS-Neve, Sony (DASH) and Mitsubishi (ProDigi) as a way to transport up to 56 channels of digital audio between large-format audio consoles of the day and digital multi-channel tape machines via 75-Ohm coaxial cables. Both tape-based machines have long since disappeared from the equipment landscape.
Tags: iss139 | madi | tsl products | aes10 | aes | dolby atmos | st-2110 | sam-q | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
The University of the Third Age
Bernard Newnham Here's a cliché - "We all get to be old one day - if we're lucky". There comes a point when things like "....mastered in Dolby Vision Domestic and SDR Rec 709....." become just a touch unimportant (and actually I never really understood that stuff in the first place). I retired for the third time last year - BBC producer, and before that cameraman, then freelance producer, trainer, do-your-own camera, sound, editor, blah blah, then 11 years university teaching. I did my bit - never a BAFTA, but certainly the first into a good few things - but it all has to come to an end sometime.
Tags: iss139 | u3a | panasonic | davinci resolve | Bernard Newnham
Contributing Author Bernard Newnham Click to read or download PDF
REVIEW Canon UJ111x8_3B UHD Lens
Andy McKenzie Shooting in ultra high definition and high dynamic range has become the preferred option for all television productions with a potentially long commercial life. The hir-ing charge and indeed the outright purchase cost of cameras of this standard are not significantly greater than those of high definition standard dynamic range models. With half the world's news reporters now able to capture UHD video on their mobile phones, why give the production crews anything less?
Tags: iss139 | canon review | uj111x8 review | lens | zoom | digisuper | uj90x9b | hdtv | ccu | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Covering Ironman Australia
KitPlus KitPlus recently chatted with Stephen Kane, production manager of IRONMAN Oceania in Australia and New Zealand. IRONMAN is one of the leading mass sports brands in the world, consisting of over 260 events across 44 countries including long (IRONMAN and IRONMAN 70.3) and short (Sprint and Olympic) distance triathlons, mountain bike stage racing, road cycling and running, both marathon and trail. One of those events is IRONMAN Australia, which takes place yearly on the Australian east coast.
Tags: iss139 | ironman | dejero | streaming | cellsat | 5g | engo | mobile transmitter | facebook live | wi-fi | cellular | satellite | KitPlus
Contributing Author KitPlus Click to read or download PDF