To view this page ensure that Adobe Flash Player version
11.1.0 or greater is installed.
Three legs good...
b e t t e r. .. b est!
W hy do exhibitions and open days still exist in the social media mad
world? Why do manufacturers and resellers maintain show rooms
when information is immediately accessible online?
Simple: no matter which ‘celebrity’ DOP endorses a particular product, there’s
no way to log on to assess how any camera balances on the shoulder, how
easy it is to operate controls on a vision mixer, or whether a carry bag gives you
quick access to your kit. The specs for the Blackmagic Design Cinema Camera
and Arri’s Alexa may be similar: both deliver above HD resolution pictures, both
deliver excellent dynamic range, both allow uncompressed recording. But they
are very different beasts in the hand.
It’s the same with tripods. Libec, like most manufacturers, develop supports
at every price level – in this case from around £150 to more than £3500. What
explains this huge gulf? To weigh up the features and functions, it’s crucial to try
them out in person, preferably with your own camera equipment. Only then will
you know whether it has that all-important X factor that makes it the right piece
of kit for you. In the meantime, here are a few things to bear in mind…
by Kieron Seth
Payload The £259 TH950DV is tailor made
for small camcorders and DSLRs. It’s
made for a maximum payload of 4KG,
ideal for a camera such as the Canon
7D with batteries, sound recorder,
F2.8 zoom lens, 8” monitor and
viewfinder. At £450, the LX7 doubles
the 950’s maximum load making it a
good partner for a system such as a
Canon XF305, complete with Atomos
Ninja recorder and on-camera LED
light. Moving up to the RS-450, a
broadcast shoulder-mount camera
with batteries and serious lenses
can be supported up-to a maximum
12kg. Finally, the brand new premium
priced RSPlus-850 is built for up-to
25 kilogrammes of 4K and 8K cinema
equipment. 62 | TV-BAY MAGAZINE