a result , all our support systems and tools now come with instruction manuals and part of our job is to educate some users on the benefits and proper application of our products .
New digital cameras are appearing every six months and a lot of these new cameras are complex pieces of different technology . Operators often devote a lot of time and effort into mastering the intricacies of these new devices , so it always surprises me when they don ’ t spend as much time learning about what goes beneath their cameras .
A quality support system is essential for capturing clean , sharp , smooth shots . It needs sturdy legs with ample torsion rigidity to eliminate unwanted motion . It also must provide perfect counterbalance and just the right amount of drag to ensure smooth , unfettered and precisely controllable movement . In an ideal support system , there is perfect synergy between pan and tilt . One of the tests we perform on new fluid heads is the diagonal shot . If the fluid head can move a camera along a diagonal line without jerking , it means the two fluid units are working in sync .
The challenge for top-end manufacturers is to design support systems that deliver professional
caliber stability , counterbalance and drag at an affordable price . It isn ’ t easy . If you are producing smartphones , you can provide your customers with complex technology at a low price because it can be mass produced . But professional camera support systems are highly engineered devices and they do not lend themselves to mass production . A modern fluid head is a precision instrument that requires a high degree of quality control , testing and finishing . Mass production would undermine its craftsmanship and durability . Camera operators all strive to capture the “ perfect shot .” Their ability to do so depends , firstly , on talent . But gear also matters . If you want to get the best possible shot , you need a good camera and a great lens . They will help you capture a pristine image . But then there is movement and that comes from the support system . You can design a beautiful shot and have a super digital camera , but if your support system fails , you won ’ t get the result you ’ re after . So , if you really want that perfect shot , you need to choose your tools — all your tools — wisely .
Elisabetta Cartoni is president and CEO of CARTONI ( S . p . A .), a Rome-based leader in professional camera support systems . The company was founded in 1935 and since 1990 , under Elisabetta ’ s guidance , the company continues to grow through a tradition of innovative design . It currently holds more than 35 patents for camera support technology and enjoys an international reputation for reliability , performance and engineering excellence .
Broadcast Beat Magazine • www . broadcastbeat . com • 75
a result, all our support systems and tools now
come with instruction manuals and part of our
job is to educate some users on the benefits and
proper application of our products.
New digital cameras are appearing every six
months and a lot of these new cameras are com-
plex pieces of different technology. Operators
often devote a lot of time and effort into mas-
tering the intricacies of these new devices, so it
always surprises me when they don’t spend as
much time learning about what goes beneath
their cameras.
A quality support system is essential for captur-
ing clean, sharp, smooth shots. It needs sturdy
legs with ample torsion rigidity to eliminate
unwanted motion. It also must provide perfect
counterbalance and just the right amount of drag
to ensure smooth, unfettered and precisely con-
trollable movement. In an ideal support system,
there is perfect synergy between pan and tilt.
One of the tests we perform on new fluid heads
is the diagonal shot. If the fluid head can move a
camera along a diagonal line without jerking, it
means the two fluid units are working in sync.
The challenge for top-end manufacturers is to
design support systems that deliver professional
caliber stability, coun-
terbalance and drag
at an affordable price.
It isn’t easy. If you
are producing smart-
phones, you can pro-
vide your customers
with complex tech-
nology at a low price
because it can be
mass produced. But
professional camera
support systems are
highly
engineered
devices and they do
not lend themselves to mass production.
A modern fluid head is a precision instrument that
requires a high degree of quality control, testing
and finishing. Mass production would undermine
its craftsmanship and durability. Camera opera-
tors all strive to capture the “perfect shot.” Their
ability to do so depends, firstly, on talent. But gear
also matters. If you want to get the best possible
shot, you need a good camera and a great lens.
They will help you capture a pristine image. But
then there is movement and that comes from the
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