When Sachtler’s artemis Camera Stabilizer System first premiered at NAB 2001, it created enormous buzz. With innovative design and detailed construction, artemis set a new benchmark in meeting the demand for top-quality high-definition applications, and still does.
The artemis was designed by Curt O. Schaller, a cameraman with extensive credits in documentaries, television and feature films, including a long-running stint at the Bavaria Film Studios in Germany. Schaller was an in-demand steadicam operator, and as the nineties drew to a close, he took his real-world experience to develop his own system, which became the artemis Camera Stabilizer System.
Schaller was motivated to design his rig because of the nature of production in Europe. “The marketplace and set-up of film crews is different in Europe, and demands extreme flexibility. One day you are shooting film, the next day video. You’re constantly moving from features to live TV and back to features. 15 years ago, there was no rig available that supported this cross over. Each rig focused on one market or style, and there were many times that we had to compromise.”
And, Schaller simply was not satisfied to make-do with the status quo. “I believe that ‘compromise’ is simply never good enough for a professional, engaged cameraman. So I ended up building my own gear. I am a bit short and rather skinny and had never fit into an American-sized vest. So, the vest was the first thing I designed. Suddenly, a lot of operators my shape wanted it, and I was in business! After the vest I made my first rigs and brackets and whatever was needed to expand the functions and finesse of the Artemis. In 2000 I merged with Sachtler, and artemis came alive.”
The German-made artemis system is always customized for its owner, and its modular design allows for upgrades when production or budgets change. “It was important to me that artemis always grows with its owner,” said Schaller. “Listening to the cameraman and understanding the way they need the rigs to be, is how we approach the business. We do not make off-the-shelf products.”
During a time of extensive change in the industry, Schaller and Sachtler are dedicated to artemis keeping pace. “The design focuses on future camera developments. It is how we have always approached the product, beginning in 2001, when we showed the first HD Camera Stabilizer System, and in 2003 with the first HD SDI system, and then the artemis EFP HD special edition with the first high capacity wiring on the market. We are now rolling out the Cine HD Pro, with a brand new battery management, Dual Video processing and of course High Capacity wiring. The new rig and components are also specially designed for shooting with 3D cameras. And of course we’re always keeping our eye on power, construction and very lightweight design and materials.”
3D is obviously a hot topic for artemis. “We showed 3D for the first time in September, 2009 at IBC,” remembers Curt. “We demonstrated that our EFP Pro HD SDI, was all you needed for 3D shooting. The artemis system offers 3 HD SDI video lines and because of the patented "dual dynamic balance,“ a perfect balance, even with such front-heavy 3D camera rigs.”
According to Schaller, a few tricky aspects of shooting 3D on a stabilizer system include:
1. The very heavy 3D camera set up, depending on the cameras used.
2. A high overall system weight - Because of the heavy camera setup, which needs a lot of counterweight to be balanced.
3. The need for a lot of power - Beside the two cameras, there are a lot of battery needs throughout the system.
4. Recording - In the worst case there are external drives needed, which might be connected with a stiff cable with the rig.
5. Fly time - Because of the high weight of a 3D system, working time of the operator will lessen, because he will tire faster than with a regular setup.
As artemis has become popular, there is a lot of footage that Schaller is proud of - his own, and other’s. “Honestly, every shoot touches me. If it tells the story, catches the momentum of the actor, is technically correct, and isn’t done to make a boring shot more attractive, I am moved!” But one of his very favorite shots is from a student. “A while ago on YouTube, I found a music video that had been made by one of my students. One year after his training, he shot a clip in one single movement, a so-called ‘one taker.’ A one-taker requires a lot of planning, preparation, rehearsal and mental strength. He did such a great job. I was really deeply impressed by his work.”
September 25-27, 2010, in NYC, the first US artemis Camera Stabilizer Workshops roll out, taught by Curt O. Schaller. “I hope this video will give prospective and registered students a good idea of what we are doing. The interesting thing about a workshop like this is not just the training, but also the students. Most of them are already experienced cameramen, who are dedicated to continuing their learning and extending their knowledge and skills. In workshops full of working cameramen, everyone brings something special to the group and we all get to share these experiences. I think that the New York workshop will be even more special, because European experience will meet US experience. I think there is great potential for ‘know-how transfer’ and a lot of fun.”
Check out this video on YouTube:
http://www.youtube.com/watch?v=pvwC5Y0jRJo&feature=youtube_gdata_player
Click here to learn more about the artemis camera stabilier workshops coming up in New York and Los Angeles.
