2008 Camera Support Reporter Lighting Fifty years by chengseng beijing

Camera Support

Reporter Lighting

2008

2008 Camera Support Reporter Lighting Fifty years of ideas in motion Innovation

Idea

www.sachtler.com

contact@sachtler.de info-cd-china@vitecgroup.com info-cd-uk@vitecgroup.com info-cd-me@vitecgroup.com info-cd-russia@vitecgroup.com info-cd-usa@vitecgroup.com info-cd-france@vitecgroup.com info-cd-singapore@vitecgroup.com info@sachtler.co.jp

Future

English

phone + 49 89 321 58 200 phone + 86 10 8528 8748 phone +44 1284 752121 phone + 965 96 32 008 phone + 7 495 744 1513 phone + 1 845 268 0100 phone + 33 1 4132 3041 phone + 65 6297 5776 phone + 81 3 5457 1381

English

Munich Beijing Bury Middle East Moscow New York Paris Singapore Tokyo

Heritage

David Lynch

Photography by Fran Collin

“Smooth, Inspiring & Secure. Sachtler.”

Spigot 28/16 A1628. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Spreader Cine 7023 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Spreader SP 100 7002. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Spreader SP 100/150 7003. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Spreader SP 150 EX 7013. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Spreader SP 75 7001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Stand L1 A1003. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Stand L1C A1004. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Stand L2 A1006. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Stand L3 A1008. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Stand L4 A1010. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Stand L5 A1012. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Stand L6 A1014. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Studio Dolly B-5275-400. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Studio set-up Video 75 Plus 7550 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Studio set-up Video 60 Plus 6050. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 System 12 SB 1260. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 12 SB ENG 2 CF 1262. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 12 SB ENG 2 MCF 1263. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 12 SB SL MCF 1265 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 15 SB C III 1570 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 15 SB ENG 2 CF 1562. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 15 SB ENG 2 D 1561. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 15 SB ENG 2 MCF 1563. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 15 SB SL MCF 1565 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 18 SB ENG 2 D 1861. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 18 SB SL CF 1864. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 18 SB SL MCF 1865. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 20 SB ENG 2 CF 2062. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 20 SB HD CF 2072 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 20 SB HD MCF 2073 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 20 SB SL HD CF 2074. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 20 SB SL HD MCF 2075. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 25 C III 2574. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 25 Combi 1-40. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 25 EFP 2 CF 2512. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 25 Studio 2594 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 30 EFP 2 MCF 3012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 60 EFP 2 CF 6012. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 60 OB 2000 6095 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 60 Studio 6094. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 6 SB 0640. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 6 SB / 2 D 0641 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 6 SB / 2 MD 0643 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 6 SB MD 0642 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 6 SB SL MCF 0650. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

System 75 Plus EFP 7512. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 75 Plus OB 2000 7595 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 75 Plus Studio 7594. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System 8/100 SB 0860. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System 8/100 SB ENG 2 CF 0862 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 System 8 SB 0840. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System 8 SB / 2 D 0841 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System 8 SB / 2 MD 0843 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System 8 SB MD 0842 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System 8 SB SL MCF 0850. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System 90 OB 8095 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System 90 Studio 8094. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 System Cine 30 3025. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System Cine 75 7525 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 System FSB 2 0270. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 2 PowerSet 0270B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 2 / 2 D 0271 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 2 / 2 D PowerSet 0271B . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 2 / 2 MD 0273. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 2 / 2 MD PowerSet 0273B . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 2 MD 0272 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 2 MD PowerSet 0272B. . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 2 SL MCF 0275 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 2 SL MCF PowerSet 0275B. . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 6 0470. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System FSB 6 PowerSet 0470B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 6 / 2 D 0471 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 6 / 2 D PowerSet 0471B . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System FSB 6 / 2 MD 0473. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 6 / 2 MD PowerSet 0473B . . . . . . . . . . . . . . . . . . . . . . . . . 97 System FSB 6 MD 0472 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 6 MD PowerSet 0472B. . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 System FSB 6 SL MCF 0475 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 System FSB 6 SL MCF PowerSet 0475B. . . . . . . . . . . . . . . . . . . . . . . . . 97 System FSB 6 T 0440 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 6 T / 2 D 0441. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 6 T / 2 MD 0443. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 6 T MD 0442. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System FSB 6 T SL MCF 0450. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System SOOM FSB 2 0280. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 System SOOM FSB 6 0480. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 pas 220 T223T, -TL, -TM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Topas 330 T333T, -TL, -TM . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Topas 440 T443T, -TL, -TM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Topas 660 T663T, -TL, -TM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Touch & Go® adapter plate 3061. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Touch & Go® plate 16 1064. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Touch & Go® plate 35 3051. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Touch & Go® plate DV 0264. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Touch & Go® plate DV 8 1464. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Touch & Go® plate S –. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Tripod CF 100 HD 5380 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 85 Tripod CF 100 L 5382 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 85 Tripod CF 100 M 5351 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 85 Tripod CF 150 L 6392 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70, 82 Tripod CF 150 ML 6381. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70, 83 Tripod Cine 150 long 6290 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68, 83 Tripod Cine 150 medium 6250. . . . . . . . . . . . . . . . . . . . . . . . . . . 68, 83 Tripod Cine 2000 K 6232. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68, 83 Tripod Cine 2000 short 6232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68, 83 Tripod Cine Mitchell long 6295 . . . . . . . . . . . . . . . . . . . . . . . . . . . 69, 83 Tripod Cine Mitchell medium 6255. . . . . . . . . . . . . . . . . . . . . . . . 69, 83 Tripod DA 100 HD 5480. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 84 Tripod DA 100 K 5122. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 84 Tripod DA 100 L 5182. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 84 Tripod DA 100 M 5151 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 84 Tripod DA 150 K 6132. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71, 83 Tripod DA 150 L 6192. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71, 83 Tripod DA 150 M 6157 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71, 83 Tripod DA 150 ML 6181 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71, 83 Tripod DA 75 L 4183. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81, 85 Tripod EFP 2 CF 6386 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70, 82 Tripod EFP 2 D 6186 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71, 82 Tripod ENG 2 CF 5386. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73, 84 Tripod ENG 2 CF HD 5390. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73, 84 Tripod ENG 2 D 5186. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74, 84 Tripod ENG 2 D HD 5490 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74, 84 Tripod ENG 75 / 2 D 4188. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81, 85 Tripod Hot Pod® CF 10 5385/10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 76, 84 Tripod Hot Pod® CF 14 5385/14 . . . . . . . . . . . . . . . . . . . . . . . . . . . 76, 84 Tripod OB 2000 6481. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67, 82 Tripod SOOM TriPod S2003-003 . . . . . . . . . . . . . . . . . . . . . . . . . . 78, 85 Tripod SOOM TriSpread S2004-0001 . . . . . . . . . . . . . . . . . . . . . . 79, 85 Tripod Speed Lock® 75 CF 4588. . . . . . . . . . . . . . . . . . . . . . . . . . . 72, 85 Tripod Speed Lock® CF 5586. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72, 84 Tripod Speed Lock® CF HD 5590. . . . . . . . . . . . . . . . . . . . . . . . . . 72, 84 brella A2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Umbrella mount A1019. . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 rio clamp A1017. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 V-plate 3080 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Um Va

Imprint Publisher

This issue’s authors (Magazine)

Graphics and Layout

Graphic material magazine: see picture

Camera Dynamics GmbH

Leo Borchard, Sergio Brighel,

Frank Übler AGD (Art Director),

credits on the respective pages

Erfurter Straße 16

Kane Christopher, Stefan Gieren,

Susanne Keuschnig, Franziska Becker

We shall not be liable for accuracy of the

85386 Eching / Germany

Sebastian Hirsch, Stefan Kluge,

Phone: +49 89 321 58 200

Richard Kruger, Elli Kuhn, Carsten Möller,

Prepress

reserved. Any reproduction and / or use of

www.sachtler.com

Curt O. Schaller, Christine Sommer,

Thiemo Wenkemann DTP

the data requires prior written approval

sent in articles and pictures. All rights

of the author.

Lisa Stocker, Steffi Weiß, Najib Yousofy Printing

Editors in charge Anita Mayer, Darina Enz

Conception, Editorial Work

Druckerei und Verlag

Please Note

and Realisation

Karl Ziegler GmbH

The accessories displayed with the

SoKo

86381 Krumbach / Germany

products described in this catalogue may be optional. Delivery is possible only

Philippine-Welser-Straße 21 86150 Augsburg / Germany

Photos / Graphics

after written confirmation of order is

Phone: +49 821 21 93 99 18

Graphic material products:

received. The availability of the products

mail@sommer-kommuniktion.de

BildManufaktur, Kay Kramme,

may vary according to sales region.

www.sommer-kommunikation.de

Andreas Pohmer, Roll Call Productions,

Specifications are subject to change

Sachtler, Kim Sachtler´s private photo

without notice.

archive, Curt O. Schaller

For half a century cameramen from all over the world have been on the move, using Sachtler equipment. In the 1950’s Wendelin Sachtler started his workshop in Schwabing, Germany. He was a creative all-round man—cameraman, actor, equipment hire operator and developer— and didn’t count on his own knowledge alone, but on an exchange of thoughts with other cameramen as well. The company remained true to its founder’s principles. Sachtler customers all over the world now rely on the technical know-how, innovative technologies and the businessoriented solutions he instilled in his company. Read more about “The American Dream in Schwabing” and the company’s 50th anniversary on page 26.

Editorial “As I Intend to Live in the Future I’m More Interested in It Than in the Past” The phrase “As I intend to live in the future I’m more interested in it than in the past”, coined by Albert Einstein (1879 – 1955) was the leitmotif for all those who contributed to the magazine part of this catalogue. As Wendelin Sachtler was driven by promising visions of the future, this seemed an appropriate topic to choose for our anniversery year. Therefore, in this issue you will not only find details about the Sachtler product range, but essays, features, interviews and photos from ten film-makers and industry experts, who present their personal views on the future. Embark on a promising journey around the globe with the magazine section (pages 6 to 25). We are exceptionally pleased that Wendelin Sachtler’s son, Kim Sachtler, has supported our project. Pages 6 and 7.

The Future Has Begun: While experts are still discussing the advantages, propagation and feasibility of Mobile TV, IPTV and Web

TV stations etc—film-makers, professionals, semi-professionals and amateurs alike— are already experimenting successfully with this new genre. These new ways of film-making and the democratisation of the circulation of filmed material are a challenge for both film-makers and producers of equipment. The key words are flexibility, low weight and easy handling. By developing SOOM we brought a multi-purpose tool onto the HDV market which is sometimes referred to as the“Swiss Army Knife” of camera support. During the early phases of development we have received enthusiastic feedback from cameramen who have tested the SOOM for us. Read more on page 77.

Roger Wilson, Managing Director, Camera Dynamics

Jürgen Sommer, Director of Brand Management

We would like to thank all partners who have contributed to this catalogue and hope you will enjoy reading our catalogue’s anniversary issue. Please visit www.sachtler.com for further articles and more information on 50 years of Sachtler.

“Every Tripod Is an Ambassador” Kim Sachtler, son of the company’s founder Wendelin Sachtler

Rowdy Village Boys and Football Dreams Stefan Gieren supports the construction of a broadcasting station for educational television in Afghanistan

“I Want To Be a Pioneer and a Veteran!” Kane Christopher, Australia, 20 years young and already an award-winning film-maker

Germany Here and Now A project on Medienwerkstatt Leipzig looking at German youth culture

The Democratisation of the Film Industry Stefan Kluge, Switzerland, operates the first Open Source film portal on the Internet

A Fighting Chance Cameraman Richard Kruger, South Africa, shooting at the Olympia Boxing Academy

“Everyone Merely Serves the Idea” For Heide Fliegner, Germany, film-making is a way of life

A 2nd Century? Film-maker Carsten Möller opts for technical minimalism for a film project in Cuba

“The Camera Should Not Be in the Forefront” Cameraman Curt O. Schaller, Germany, about magic moments and technical perfection

Evolution as a Key to the Future Sergio Brighel, Italy, sees himself as a forecaster of trends in the broadcasting market

The American Dream in Schwabing In the 1950’s Wendelin Sachtler revolutionised the film industry

“Wendelin Sachtler Lived for His Ideas Only” Leonhard Jaumann on his time with Wendelin Sachtler

The Wendelin Sachtler Academy—A Platform for the Industry The Wendelin Sachtler Academy from the viewpoint of lecturer Leo Borchard

LED

new! Reporter 8LED . . . . . . . . . . . . . 106–107

PEDESTALS STUDIO EFP/OB

Fluid Heads

Daylight

Flat Base

Video 90 FB . . . . . . . . . . . . . . . . . . . . . . Video 75 Plus Studio . . . . . . . . . . . . . Video 60 Plus Studio . . . . . . . . . . . . Video 25 Plus FB . . . . . . . . . . . . . . . . .

41 42 44 46

Studio Ped 2-75 . . . . . . . . . . . . . . . . . . Vario Ped 2-75 . . . . . . . . . . . . . . . . . . . Combi Ped 1-40 . . . . . . . . . . . . . . . . . . C III Pedestal . . . . . . . . . . . . . . . . . . . . . C I Pedestal . . . . . . . . . . . . . . . . . . . . . .

64 64 65 new! 66 66

Configuration Guide . . . . . . . . . . . . 108 Reporter 21D . . . . . . . . . . . . . . . . . . . 109 Reporter 200DI . . . . . . . . . . . . . . . . . 110 Reporter 270DI . . . . . . . . . . . . . . . . . 110 Reporter 400D . . . . . . . . . . . . . . . . . . 111

150 mm

Cine 75 HD . . . . . . . . . . . . . . . . . . . . . . . Dutch Head 35 . . . . . . . . . . . . . . . . . . . Studio 9+9 . . . . . . . . . . . . . . . . . . . . . . . Cine 30 HD . . . . . . . . . . . . . . . . . . . . . . . Video 75 Plus EFP . . . . . . . . . . . . . . . . Video 60 Plus EFP . . . . . . . . . . . . . . . . Video 25 Plus. . . . . . . . . . . . . . . . . . . .

38 38 39 40 43 45 47

100 mm

Video 20 SB . . . . . . . . . . . . . . . . . . . . . . Video 18 Dutch . . . . . . . . . . . . . . . . . . Video 18 SB . . . . . . . . . . . . . . . . . . . . . . Video 15 SB . . . . . . . . . . . . . . . . . . . . . . DV 12 SB . . . . . . . . . . . . . . . . . . . . . . . . . DV 8/100 SB . . . . . . . . . . . . . . . . . . . . . .

48 48 49 50 51 52

Tungsten

Tripods Flat Base, Mitchell, 150 mm

OB 2000 . . . . . . . . . . . . . . . . . . . . . . . . . Hand Crank Column for OB 2000 . . . . . . . . . . . . . . . . . . . Cine 150 long, Cine 150 medium . . . . . . . . . . . . . . Cine 2000 short . . . . . . . . . . . . . . . . . Cine Mitchell long, Cine Mitchell medium . . . . . . . . . EFP 2 CF . . . . . . . . . . . . . . . . . . . . . . . . . CF 150 long, CF 150 medium . . . . . EFP 2 D . . . . . . . . . . . . . . . . . . . . . . . . . . DA 150 . . . . . . . . . . . . . . . . . . . . . . . . . . .

67 67 68 68 69 70 70 71 71

n e w! n e w! n e w! n e w!

DV 8 SB . . . . . . . . . . . . . . . . . . . . . . . . . . DV 6 SB . . . . . . . . . . . . . . . . . . . . . . . . . . FSB 6 / 6 T . . . . . . . . . . . . . . . . . . . . . . . . FSB 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FSB CELL . . . . . . . . . . . . . . . . . . . . . . . . . FSB CELL Charger . . . . . . . . . . . . . . . .

52 53 54 55 56 57

Specifications Fluid Heads . . . . . . . . . . . . . . . 58–61

Speed Lock® CF HD, Speed Lock® CF . . . . . . . . . . . . . . . ENG 2 CF HD, ENG 2 CF . . . . . . . . . . . ENG 2 D HD, ENG 2 D . . . . . . . . . . . . . CF 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . DA 100 . . . . . . . . . . . . . . . . . . . . . . . . . . Hot Pod® CF 14/10 . . . . . . . . . . . . . . . Monopod 2 CF . . . . . . . . . . . . . . . . . . .

112 113 114 114 115 116 117

Specifications Reporter Lighting . . . . . . . 118–119 Accessories Reporter Lighting . . . . . . . 120–123 Lighting Sets . . . . . . . . . . . . . . . 124–127

Fluorescent Lighting

100 mm 75 mm

Configuration Guide . . . . . . . . . . . . Reporter 75H . . . . . . . . . . . . . . . . . . . Reporter 100H . . . . . . . . . . . . . . . . . . Reporter 250H . . . . . . . . . . . . . . . . . . Reporter 300H/HSM . . . . . . . . . . . . Reporter 650HS . . . . . . . . . . . . . . . . . Reporter 1000H . . . . . . . . . . . . . . . . .

Topas . . . . . . . . . . . . . . . . . . . . . . 128–129 72 73 74 75 75 76 76

75 mm

SOOM . . . . . . . . . . . . . . . . . . . . . . . 77–79 new! Speed Lock® 75 CF . . . . . . . . . . . . . . . 80 ENG 75/2 D . . . . . . . . . . . . . . . . . . . . . . 81 DA 75 L . . . . . . . . . . . . . . . . . . . . . . . . . . 81

INFORMATION Perfect Heads for Every Camera . . . . . . . . . . . . . . . . . . . 35–37 Stable in Every Position . . . . . . . . . . 63 The Wendelin Sachtler Academy— A Platform for the Industry. . . . . 31 What is Camera Stabilizing?. . . . . . 101 Lighting for Mobile Operation . . . . . . . . . . . . . . . . . . . . 105 Index. . . . . . . . . . . . . . . . . . . . . . . 131–132 Imprint. . . . . . . . . . . . . . . . . . . . . . . . . . 132

Specifications Pedestals/Tripods. . . . . . . . . . 82–85 Accessories Fluid Heads and Pedestals/Tripods . . . . . . . . . 86–93 System Packages . . . . . . . . . . . . . 94–99

Tripods

REPORTER LIGHTING

Configuration Guide. . . . . . . . . . 32–33

Accessories

Camera Support

Systems

Fifty Years of Ideas in Motion—in the Past As Well As Today . . . . 6–31

Camera Stabilizing Systems

artemis Cine/HD . . . . . . . . . . . . . . . . 102 artemis EFP/EFP Pro . . . . . . . . . . . . . 102 artemis DV Pro . . . . . . . . . . . . . . . . . . 103 artemis ACT 2 . . . . . . . . . . . . . . . . . . . 103

Reporter Lighting

FILM/HD EFP/OB ENG DV

Essays, Features anD Interviews

Fluorescent Lighting

CAMERA STABILIZING SYSTEMS

Pedestals

Fluid Heads

Contents

“Every Tripod Is an Ambassador” story by Elli Kuhn, Kim Sachtler’s private photo archive.

To remember, it often helps to look through the family album and Kim Sachtler—son of Wendelin Sachtler—can draw on a very special piece of family memorabilia. Kim Sachtler talks about his father Wendelin Sachtler.

The feature film Nicht versöhnt oder Es hilft nur Gewalt, wo Gewalt herrscht (“Not Reconciled or Force Only Helps, Where Force Prevails”). On this film his father worked as a cameraman and also appeared in front of the camera in some of the scenes together with his then five-year-old son. Attending the film preview at the Munich film museum it is easy to look back, parallels to today become visible and also future desires are revealed.

The Past as an Impetus The director Jean-Marie Straub is inseparably connected with the young German film. The critical debate about historical topics was the centre of his work. Wendelin Sachtler, who worked as a cameraman on the set of the screen adaptation of Heinrich Böll’s novel Billard um halbzehn (Billiards at Half-Past Nine), did not simply discard the time before 1945. “After the war he wanted to show the world with the use of his products that Germany could do more than just blow up bridges. It was meant to be a small contribution to improve Germany’s worldwide image”, says his son Kim Sachtler. “Therefore exporting was also always very important to him. Every tripod, which is exported, is an ambassador.”

From Art Student to Developer Born in 1923, Wendelin Sachtler grew up in Dessau, Germany. He became a soldier at a very young age and was sent to Russia. After the war, he began studying art, quoted as saying “I am going to East Berlin, the communists are interested in art.” His disillusionment and move to West Germany followed half a year later. He first worked as a photographer in the country, were he photographed ministers in front of their churches. Later he became a cameraman for moving pictures and his fee from the camera

work was invested in development work and later into the development of his camera equipment hire business. During the mid-1960’s he left filming to the younger generation and worked, from then until his death in 1979, on the development and selling of new camera equipment.

Father and Son After the separation of his parents, Kim Sachtler grew up with his father. The daily joys and concerns of his father were not hidden from him: “Often he came home and told me about his ideas. Detailed solutions also filled him with enthusiasm, for example the introduction of plastic injection moulded parts, which made the equipment lighter and production more flexible.” The difficult separation from his co-partner of many years, Heinrich Wolf, is remembered by Kim Sachtler very well. “At that time my father often came home tense. He always wanted to re-invest the profits and go to trade fairs—his partner wanted to play it safe.” Even when on holiday, his dynamic father never sought peace and quiet but would rather sail a dinghy along the Danube up to the Black Sea. “My father called this relaxation,” said Kim Sachtler, smiling.

The Birth of 24-Hour-Service German film production boomed in the mid sixties. One feature film followed the next. Through the camera equipment hire business, Wendelin Sachtler came into contact with people who worked in the industry every day. He received immediate feedback about which developments worked well and which didn’t. At the same time,

Wendelin Sachtler was a multi-faceted personality—this became apparent in his sending postcards to his employees and his commitment when working with the Berliner Filmarbeitsgruppe (Berlin filming crew).

the cameramen knew that they could call my father at 03:00 am and he would provide a replacement, as soon as possible,” remembers Kim Sachtler.

Loyalty Despite Generation Changes Kim Sachtler was 20 years old when his father died of stomach cancer in 1979. Kim became the main shareholder of a company, which, due to clever products like the Panorama head—the grandfather of the Sachtler heads—had an immense lead over its’ competitors. Even today he still stresses that he was very glad and relieved that after the death of the company’s founder, employees remained so committed to the company and “kept it rolling”. Particularly the two appointed managing directors, Fiete Deckmann and Joachim Gehrt, who continued with much enthusiasm to promote and build the company.

Into the Future with Courage and Confidence Kim Sachtler sold his shares in 1988. Since then he has observed from a distance what is happening with the brand and recognises parallels with the past. Today, as then, the brand creates positive emotions throughout the world and cameramen know that they can always rely on Sachtler equipment. So, the answer to the question, what would his father have wished for the future, is easy for Kim Sachtler. Developers should never tire of orientating themselves towards the needs of the customers and should never forget to listen to the industry. Enjoyment at work is as important as looking forward with courage and confidence.

Someone with plans for the future: this young Afghan boy wants to play in the team next year.

A little happiness in the present: the little girl is happy about the rose’s rare splendour.

Football dreams: after having been in Germany for two years, the trainer of the province’s team can only lead them to victory. They laugh when asked what the future means to them. It’s clear for the Afghan children: the future is what makes tomorrow different from today.

Rowdy Village Boys and Football Dreams story and photography by Stefan Gieren.

Stefan Gieren is a project co-ordinator, he is helping to establish the first television station to promote the education of children in Afghanistan. We asked the young media engineer, who also works for Studio-Hamburg (Germany), to research “the future” in Afghanistan. Quarabagh in north-western Afghanistan. Fifty kilometres away from the nearest paved road. The burden of the present weighs so heavily on people’s shoulders here that the future barely seems to extend into the next day. We have come to this no man’s land with four young local reporters. They want me to show them how television shows are made. Today’s schedule: sport reporting and football.

grey desert region. A girl has picked up a rose and is smelling it raptly. I try to ask her whether she wants to be a doctor, too, but her father gives the answer: she is going to get married, the sooner the better, and then she will wear a burka, and she will have a lot of children with her husband. I look at him distrustfully, but he seems like a good father, one who wants nothing but good things for his children.

First they have to move the cows from the penalty line, and then the men of the village come running onto the football field in faded Manchester Utd, Bayern Munich and Barcelona shirts. While my TV-trainees avidly follow the game from the sidelines, I sit down next to a group of teenage boys. They all giggle and only one of them dares to talk to me: “What’s your name?” He wears a worn-out European suit and looks at me, his eyes filled with curiosity. He looks like someone who has big plans, and I ask him what he wants to do later in life. He nods towards the football field. He wants to be a part of the team. Next year they will most likely be provincial champions, because of the new trainer, he says, nodding meaningfully, was in Germany for two years.

Perhaps the future in Afghanistan is defined not by possibilities but rather by probabilities. This country does not have much to offer its children. What can it offer them, if there are no really big role models for them to follow their really big dreams?

Little girl and rose blooms A few days later in the district hospital in Gulran, the reporters are making progress. They have formed an ENG crew: cameraman, interpreter and someone who hooks up the interviewees to the ten-metre-long microphone cable. The doctors in the district hospital are supposed to inform the out-patients or villagers about vaccinations, contraception and hygiene. Meanwhile I go outside and look for suitable locations to shoot. Over night, roses have opened along the walls of Gulran’s houses bringing unexpected colour to this

name Stefan Gieren occupation Media Engineer year of birth 1979 residential and business locations Hamburg, Germany who or what influences your work? The will to get things going.

Education for a better future A school opening is supposed to be an “acid test” for our junior editors, but they are keeping a low profile. The governor is there and he has brought his bodyguards along. Tough guys with assault rifles and sunglasses. They don’t look as if they want to be filmed. I mingle with the kids and they ask me what I am doing here. “Television, I think that with a better education you can have a better future. And I am trying to help with television.” They look at me sceptically and I shrug my shoulders apologetically saying: “That’s all I’m really good at.” That makes sense to everyone there, so I pluck up my courage and ask them what the future actually means to them. The teenage boys laugh out loud. They explain to me patiently, “The future is what makes tomorrow different from today. With God’s help it will get a little bit better every day”.

what are the main priorities of your work? Good stories and a working team. quote / slogan The future is the dreamers’ and fighters’ reward. (Afghan saying)

Young, purposeful and successful—at 20 years of age the Australian producer and cameraman Kane Christopher has already achieved a great deal.

“I Want To Be a Pioneer and Veteran!”

ph0tography by Kane Christopher.

name Kane Christopher occupation Director / Producer year of birth 1987 residential and business locations Sydney, Australia who or what influences your work? Tough question.

what are the main priorities of your work? Keeping positive and open minded when everything seems like it’s going wrong. Creating a comfortable set for my cast and crew to work on is a huge priority to me, making sure everyone feels important and genuinely appreciated is crucial. quote / slogan Live your future for an audience of one, God.

For the past 11 years he has undertaken film projects, video clips, documentaries, television contributions etc. — and with great success. For his work he has received several awards. In 2006 Kane Christopher, aged just 18, was also awarded youngest Steadicam operator in the world by the University of Melbourne, and received an honour in 2007 from the Australian Film Institute for his impressive services as director, producer and actor. At the New Yorker International Film Festival his short film “Useless” won the “Best Comedy” award and at the Australian Cinematographers Society one of his video clips won third place. Australian Kane Christopher has already re-written history—he is the youngest in the industry and celebrates with great

success his roles as a director, producer and cameraman. Has he reached his goals or has he higher expectations for the future? Kane Christopher regards his past successes very modestly. His desire for the future. “I want to be a pioneer and veteran in the motion picture industry, someone who represents the true meaning of film …” See and hear more in the interview with Kane Christopher go to: www.sachtler.com

Germany Here and Now —and What Happens Tomorrow? story and video stills by Filmclub at the media workshop Leipzig.

The media workshop, Leipzig, Germany located in the socio-cultural centre Die Villa is a recognised arm of the juvenile welfare service.

The Filmclub for future film producers We have made it our job, to provide children and young people with the media competence, so that they can recognise and process the effects of the daily media. We are a workshop, in which multi-media ideas are carried out and looked at. On a weekly basis in our rooms e. g. the Filmclub, we offer various photographic groups graphic and computer animation courses as well as media active offers. We also offer different workshops for beginners and for those more advanced.

At the Filmclub young people and young adults interested in film have been meeting since early 2005. The present group has operated together for over a year. The participants of the Filmclub are involved with filming aspects from A to Z; A, as in admission, to Z, as in zoom, both theoretically and practically—with the goal of producing their own films. All work procedures, from the ideas about the development of a film script up to planning and the realisation of the film, are accomplished together.

The film and the question about the future Our film is called “Germany Here and Now”. It revolves around a young adult, Paul. He is confronted with the full harshness of life. First Paul loses his job in a hardware store, then at home, finds his girlfriend has left him. Finally, it becomes clear, how superficial the friendship is with his only friend. At a party it all becomes too much. He would like to run away. Parallel to this action strand we have our protagonist Paul telling a second story—however from another perspective. This

Paul has an alter ego and feels apparently better. He and his girlfriend live in an up market apartment, both are happy at work, purchase whatever they want and enjoy the nightlife. However life is only “beautiful at first view”. Under the surface Paul’s true self shows. Two strands are interwoven with one another and should confuse the spectator, with its’ dramatic form. We move through both stories and thereby let the cinematic areas around the characters become

ever smaller, until the two leading actors Paul and Paul finally meet. With our short story we show just two of the many possible focuses for today’s youth culture. Questions arise about the future and fears of what will happen in the future. A safe job, security, family, friends— finally the question, “and what happens tomorrow?”

“Germany Here and Now”: the team of Medienwerkstatt Leipzig’s film club

produced by Medienwerkstatt Leipzig

camera operator Sebastian Hirsch

directed by Rozbeh Asmani

assistant camera Nico Leonhardt

production management Dima Tchoujii

lighting Dorian Nothaaß

assistant director Christian Wunderlich

makeup / costumes by Juliane Buchwald

2nd assistant director Matthias Hänsel

cast Christian Feist – Paul Sarah Schenke – Lara Danilo Riedl – Ronny Birgit Schünemann – Boss Judith Strodtkötter – Debby Johanna Splinter – Old Lady Eckart Herr Buchwald – Bouncer Fritz, Ralph and Max – Blutsportdisko

The Democratisation of the Film Industry As a computer scientist and film producer Stefan Kluges’ priorities lie with two topics: Internet and films. As one of the pioneers of Open Source film making, he carries us forward on a short journey through the development of the film industry and ventures a view into its future—that lies within the Internet. story by Stefan Kluge, photography by Martin Gebhardt und Gerald Menzel.

Historical: the fear of the video recorder In the 1940’s the television was the avowed enemy of the film studios, due to feared losses of cinema takings. When the television was introduced into living rooms, the audience could determine the place, the frequency of use and the programme they wished to watch, for the first time. Studios profited from the possibility of a secondary utilisation of their films on television and at the same time, a market for television productions developed. In the 70’s, film studios tried to prevent Sony, in vain, from selling the first video recorders. The devices were

described as “a billion-dollar industry, based on stealing private property” and four of the nine judges of the US Supreme Court found them illegal. With the increase in sales of video recorders over time, the consumer had the possibility of recording what they wanted, when they wanted to. The sales of video cassettes and DVDs soon became more lucrative for studios than the cinema business. Explicitly for the video market, it became possible to produce niche and low budget films. The developers were worried about their, up to then, successful business model, profit only occurred for those that gave the customer what they wanted: the ability to decide for themselves.

Departure mood: the digital age begins Today the technology is practically at the disposal of each Internet user, allowing the user to manipulate and decide the content for themselves. For many years cutting, re-mixing or splicing has taken place, for example on You Tube, the popular “Internet television station” which was sold in 2006 for $1.65 billion dollars— and the first film producers seized the chance that this medium offered them. As Thomas Bechholds and I went to publish our first film production in 2004, we had two options: licensing to a television station or an independent publication on the Internet. Production took place completely digitally, partly on consumer equipment—we had little financial pressure and therefore freedom of choice.

occupation Computer Scientist & Film producer year of birth 1977 name Stefan Kluge

residential and business locations Zurich, Swizerland

Chances of the present: first Open Source film Netlabel

In order not to see our documentary film disappearing into television archives, we finally published it on the net, under a license, which permits downloading, copying, viewing and altering the film for non-commercial purposes. As my creative roots lay in the digital culture, it made sense to me, that my work was freely accessible on the Internet. The Open Source software industry demonstrated that it is possible, to build flourishing businesses, based on free available digital content.

Within a few weeks universities began to work with our raw material, musicians re-mixed the soundtrack, 600,000 DVDs were printed by various magazines and we counted over a million downloads. Route 66 was as the first Open Source film from Germany gratefully accepted by the public and the press. Orders followed for DVDs and soundtracks, donations, sponsors, contracts and an unbelievable press review for a low budget film production. We therefore decided to create the first Open Source film Netlabel: VEB Film Leipzig. Since 2005 up to 30 people have worked on the new film project on our label, the first free HD feature of the world Die letzte Droge (“The Last Drug”) which we will be published this year under license, which permits commercial use and change of film—likewise a new breakthrough for a feature. It will be possible for professionals to develop our products, and in the long run create an increase in values within our existing community.

who or what influences your work? Films, music and texts, that are freely available on the Internet, as well as hard and software tools, which I use for productions.

what are the main priorities of your work? Movie and do cumentary film productions for primary evaluation on the Internet and the pioneer work emerging in the world of Open Source film making.

quote / slogan It is good to know that on the Internet everyone, for which your film is really important, will discover it sooner or later.

Ways into the future: new film market on the Internet Parallel to the existing film markets, in the coming years, a market will develop on the Internet for film producers. The distribution would be however, for the first time, completely digital and decentralised therefore changing the fundamental economic conditions, making of copies is practically free and distribution of the products cannot be controlled. Entrepreneurs will make use of these characteristics, for example by developing their business, not in the sales of licenses, but in offering their services or in merchandising. Due to falling costs for distribution and production, more niche products will be possible. Successful Internet films will give consideration to the viewing habits of their audiences and will increasingly use elements from computer games or present stars, which are already involved in this medium. Film producers will learn to release control of their works by permitting it to be distributed, shown and altered. This will finally mobilise the innovation potential and the self-dynamics, which are on the Internet.

A Fighting Chance Future—a word that Cape Town based cameraman and producer Richard Kruger automatically associates with his current film project—the Olympia Boxing Academy.

Fracreton, where 87–90 % of the population are unemployed and crime is on every day’s agenda.

A powerful duo, Desmond Samuels, called “Dumpie”, (left), champion of the “under 19" category and Ruwan Eddison.

edited from Craig Whitty’s, article Caught in the Crossfire, photography by Richard Kruger.

A boxing school in the centre of the poor South African district of Fracreton, where children and young people practise and, in addition to boxing, get to know a life far away from crime and drugs. By doing so Richard Kruger accompanies a project that is not only made up of mediaeffective coverage but proves to be a completely fascinating and a forward-looking topic— a report about a look into the future in South Africa. Memorabilia: pictures of former and future champions.

Ordinary heroes fighting for a better future: From the impoverished community of Fracreton on the Cape Flats come some of the best amateur boxers in South Africa. Out of a very real concern for their youth the community approaches one man, Inspector Paul Manuel, who with his passion and dedication to the sport of boxing starts the Olympia Boxing Academy.

Strengths for the future: self-awareness and self-esteem For the youths that join the academy a window of opportunity is opened. An alternative view to drugs, gangs and violence is replaced with a landscape full of self-discovery and self-worth. As in the sport of boxing there is only one loser and one winner, and it is the winner in each of these disorderly children that Manuel installs a winner. After being approached by the community of Fracreton on the Cape Flats, Manuel decided to start the boxing academy as a facility for the youngsters to keep busy and to provide an alternative to gang induction and crime.

Richard Kruger, better known as RichRed, has been sourcing extraordinary stories and pictures in South Africa for over ten years.

Financial support put on the backburner Although over the years there has been some amount of sponsorship in the form of private funding, which allowed Quite a number the boys to box in a tournaof champions on the ment on the Isle of Man hosted by the Repton Boys Boxing squad Club, an amazing experience for the boys who had never During South Africa’s 2004 travelled outside the country. Olympic games bid the name Manuel supports the Academy for the academy stuck, the site mainly out of his own pocket. on which the academy stands Government grants are slim. was one of the sites proposed “Each province gets a sum of for development. As Manuel about R 32,000 (approx. € 3,200) say’s “The club was only intendper year,” says Bernard, head of ed to last until the bid was over, South African Amateur Boxing but it became such a success Association. “Seeing as a pair that it continued to run.” Now of gloves costs around R 400, with about 30 members the that’s not a lot of gloves.” club is going strong, two of the members are national under-19 champions and 14 of them are No little angels provincial champs and one —but strong Desmond Samuels, “Dumpie”, fought in the Junior Common- personalities wealth Games in Australia.

Violence and drugs on a daily basis However these boys’ backgrounds have a shared common story of violence and poverty. Samuels doesn’t know his father and his mother was killed violently in 1996. The rest of the family have been killed or are serving time for drugrelated and violent crimes. He shares a two-bedroom council house with 10 others on the Fracreton’s notorious Gilda Crescent, across which two gangs shoot it out while children in the playground run for cover. “His front door looks like Swiss cheese from the bullets,” says Manuel.

“A lot of the kids come in shy and withdrawn,” says Manuel. “But before you blink they’ve built their own character and sense of belonging that they don’t usually get; at school they are shunned because they are from the wrong side of the tracks. Just getting to practice is 80 % of the game already won; sometimes they literally have to dodge bullets to get to the pick-up points where I collect them. Sometimes they have to dodge bullets on their way home,” says Manuel. “One boy was shot down on his way to practice, caught in the crossfire between two rival gangs. They are real characters,” he says of the boys. ”Sometimes they’re not angels—and I don’t think they should be.”

name Richard Kruger occupation Director and Lighting Camera Operator year of birth 1968 residential and business locations Cape Town, South Africa

who or what influences your work? People are the driving force of my work. It is the force which blossoms in some people to make them stand out amongst others, but humble enough to share, this interests me and influences my work.

Left behind: after his parents’ violent deaths the only family members left are his grandmother and his niece.

what are the main priorities of your work? Honesty and compassion, without these elements there is no way that you can tackle the subjects that occupy my world. quote / slogan The past makes us who we are but it is the future that can heal us, guide us and free us.

“Everyone Merely Serves the Idea” interview by Lisa Stocker, film stills and photography by Roll Call Productions.

Heide Fliegner successfully produces adverts, documentaries and feature films—regularly working on the set as a camerawoman. In addition, she directs and writes her own film scripts. At present she’s working on a feature film with the working title “Kick”, which will be released in English and German at the end of 2008. In the interview Heide Fliegner tells, what moves her today and what continues to drive her on into the future. Your work is varied, but always centering on the subject of film. Where does your fascination for this medium come from? Light and music. Light determines the photo graphy and can turn any unspectacular location into an interesting one and then add the correct sound. If you already have these two during the filming, you can form exciting synergies. One of your current films “Kick” is in post production. Viewing the raw cut, visually strong work appears. How did you create this from behind the camera? Good preparation is key, in order to bring creativity and flexibility to work on the set. It was important to be present at the rehearsals, in order to able to see their faces and their emotions and allow suitable pictures to develop. It was important to me, not only to find the correct camera point, but also to develop a visual language for the internal worlds of the protagonists. Nearly all the leading actors were layman actors, cast from the street. That was important for authenticity. Head lighting technician Michael Roosen could clarify the

narrative style in all its abstract logic by applying light design free from the restrictions of natural light. Nevertheless you worked on an entire storyboard for this film for three months with your production design team, Dennis Rohmer and Paul Hintermeier. Storyboards are homework! They are important, in order to be able to react on set spontaneously—but not lose the overall picture. You therefore feel freer. Beside your work as camerawoman and director you also work as a producer. What attracts you to this work? It’s all about visions. When producing, you can also run other projects in parallel. As director and camerawoman you must, in each case, dedicate yourself to one project completely. I love to support and accompany other creative people in the creation of their visions. As a young, active film-maker the future is open to you: Where do you see the future of the film medium? The original idea of moving pictures will not change and all styles, which we use, have already been used, nevertheless new ones are constantly created: films must grab the attention of an audience. I think that consideration of new technical possibilities, such as digital

technology will need to be used more within the cinema. There are interesting new styles, to create pictures, faster scene operational sequences, which allow a more flexible work flow on the set. In principle though nothing will change. What we have learned to film on celluloid, applies even more to the digital world—good lighting, exciting scenery, well designed screen layout and dramatics. Also if everyone even with simple means can make a film, there will be more variety—I think that’s great—but to make a good, exciting film, to tell a story with full artistic licence, will not be any easier.

What drives you personally to remain with film? To take part in the future of German and international film-making is so exciting, because film art is holistic, it requires using all your senses and it demands a basic honesty from you—towards your ideas, the possibilities of realisation and your team. Everyone must serve the vision and everyone merely serves the idea. Films can open new horizons, build intercultural bridges, serve the truth, generate emotions and entice. This is not an occupation, film making is a way of life. A life long task.

name Heide Fliegner

who or what influences your work? occupation Humans, places, Producer emotions, atmospheres, visions, residential intuitions—in and business the moment locations one experiences Munich, Germany past, present and future. Films must be created in the deepest origin of the moment. Thereby new moments are created.

what are the main priorities of your work? Camera work, lighting, writing, directing quote / slogan To shape and experience the moment consciously, honestly and meaningfully, in order to be able to pass on and leave behind new moments and worlds—that is the future.

A 2nd Century? story and film stills by Carsten Möller.

Film is appropriation—it is the skill of stealing views. We cinematographers steal without taking things away. And we leave traces behind at the scene.

A dialogue with Cubans as well as among Cubans— producing films means to glance curiously at other people’s lives. Owing to the new ways of distribution, even low-budget productions will attract the audience’s attention in the future.

The website to the film “At Second Glance” : www.socialclubbuenavista.net

Every single shot is a claim of responsibility: we record images and project mental pictures at the same time. We cast glances. The things we perceive we fill with curiosity, questions and meanings. This reciprocity is magical. Ideas and reality merge inside a picture. Is it a privilege to produce films? It was, until a few years ago. But things have changed. A fundamental transition is taking place in production and distribution of film. Now it is possible to shoot a movie with a small, handy camera. “At Second Glance— Social Club Buena Vista“ is one of those films that could not have been produced a few years ago. 180 hours of footage. Edited on a notebook. This was due to the low budget, however, using a small camera was the only possible way to shoot the film: most of the shooting was done without the Cuban authorities’ knowledge. But the main thing was that, by using this minimum technical equipment, we worked together closely with

the protagonists, enabling us to establish a dialogue with them and a reality which had seemed quite unapproachable to us.

In-between two oppositional perspectives Those of us who work in the low-budget league benefit from the technical development. It has made the democratisation of the media irreversible. It is not a question of whether the film will change in its nature and perception in the future, but rather how this change will come about. The German film critic Michael Althen is one of those voicing their expectations; “Compared to other arts, cinema is about level with cave painting” (2007). And then there are polemic voices like that of Chris Marker: “No, film will

In 1970, Carsten Möller was born in Leipzig. From 1995 to 2002 he studied media arts at the Academy of Visual Arts Leipzig (HGB). In 1994, he was represented at the International Leipzig Festival for Documentaries and Animated Film for the first time with “Nabelwelt” (film essay / Hi8 / 13 min). In 1999, he founded the media forum “Fernsehen macht schoen” (“Television makes beautiful”) with monthly film events and local media initiatives in Leipzig.

name Carsten Möller occupation Film-Maker year of birth 1970 residential and business locations Leipzig, Germany

Shooting without a lot of technical equipment enabled us to be unusually close to the Cuban people.

who or what influences your work? Too many to give names. what are the main priorities of your work? Documentaries and cinematic training. quote / slogan Tomorrow is yet another day.

not have a second century. That’s all there is to it, you can write it that way” (1991). Is there a more thrilling prospect? Between these perspectives something is developing, however, today we cannot tell how this is going to feel. This turns the system upside down.

Attendance will only be one decisive factor among many In 2007, 480 films were released in German cinema alone. In the last ten years, this number has doubled. More and more films are watched by fewer and fewer people. Is this a dilemma? One can worry about this development—just like the music industry did in the 1990’s, when the structural change was eyed anxiously and precious time was lost. Another way would be to open up to new

ideas and to explore different ways of production and distribution. One thing is for sure, the number of visitors will not be the only way of how to judge a film’s success and significance in the future.

Change as a chance The change offers us the chance to sharpen our demands. What do films mean to us? What kind of stories do we have to tell? And how do we want to tell them? In the last few years, a new generation of film-makers has formed in Germany. There are affinities and differences. Common ground: our pictures reflect reality, and onto this reality we project questions and meanings. Films create awareness or they are insubstantial. The future? Tomorrow’s cinema is going to be dialogues.

About magic moments and technical perfection.

“The Camera Should Not Be in the Forefront” story by Curt O. Schaller, photography by A. P., D. H..

name Curt O. Schaller occupation Cameraman / Steadicam Operator / Photographer / Developer year of birth 1964 residential and business locations Munich, Germany

who or what influences your work? Good ideas, good directors, good teams. what are the main priorities of your work? Camera work, lighting, writing, directing. quote / slogan “You can’t depend on your eyes when your imagination is out of focus.” (Mark Twain)

When operating the camera, a magic moment occurs again and again—the moment, when the camera is running. This moment, which one probably calls presence, is something which otherwise is only really noticed for about three seconds but becomes detectable and by working with the camera in a special way, so more intensive. Much of what we film and for which we have usually over a long time prepared, researched, rehearsed and developed technical solutions too, is decided, in that one instant. With an attempt to capture the uniqueness of the moment, which will never come again. Technically the camera and its surrounding areas are designed for endless reproductions. Everything that it shows, has only taken place once, in such a way. It makes possible, the mechanical repetition of something, whose existence will occur never more.

Perfect technology for three seconds In my career as a cameraman there were moments, again and again, in which owing to technical solutions, I had

learned to be more confident in the handling of these magic three seconds. A head should be reliable and have good repeatability. Its movements and characteristics neet to be understated, without beeing in the forefront. Thus it makes it possible for the cameraman to pan through time and space freely according to his desires.

The calculable pan I still remember the day when cork and leather heads were replaced with fluid heads by Sachtler. The entire work style and the possibilities themselves had fundamentally changed because of that. From an unpredictable camera movement often also surprising to the cameraman, suddenly occurred a smooth, well timed and a more defined pan. A pan, which subjects itself to the moment of the event, a portrayal invisible and accompanying. I think the camera should not be in the forefront by any shortcomings of itself. Reliability and confidence in the technology are necessary, to be one with the camera,

to capture the one moment, which perhaps will never occur again.

Future is vision At Sachtler, the heads and tripods, developed as a vision of the future by an individual cameraman, have become a reality for millions of cameramen. This equipment gives them the confidence of recording moments in a style that gives a special finish to their work and film. Good training and good material lets one grow and develop further. Thus developing a future for those, who love to work with the camera. Apart from the present, the future for me is above all, vision. An idea, which takes so much form and shape, until it becomes a realisation, here and now.

Evolution as a Key to the Future One of the responsibilities in my role as Technical Director at Trans Audio Video is to foresee the future of our company as a player in the video broadcast production industry. It’s a tough task, as this is one of the most unpredictable and fast-changing realities of our society. story by Sergio Brighel, photography by Curt O. Schaller.

We have tried to face this challenge by forcing ourselves to evolve every day. We have stepped away from the goal of being a mere seller of products, and now embrace the aim of supplying complete solutions. Evolution is the only word you can apply to this process. Evolution contains all of our past, our present, and tells us how our future might be. In case of our team at Trans Audio Video, this could only be accomplished through wide-ranging and close cooperation with our technical partners.

Trusting one’s own strengths Sachtler is one of the most significant and beautiful examples of this approach. During the first ten years of our partnership we gradually grew together, capitalising on what we learned day by day from our partners at Sachtler—some of the brightest professionals we have ever met. Of course, this co-operation eventually changed through an impressive series of success stories, raising our relationship to the point where we began to discuss concepts and ideas for new products and common strategies. And we really loved to do this because it proved the correctness of our vision. It made us different and proactive towards our end clients. It made our knowledge and perspective

almost unique in our country in this industry. At the beginning we only had confidence in our methods but we bet on the future. And we have long since won the bet, our efforts have been highly recognised with several awards and sales records. And on top of all that, today we feel ourselves a part of Sachtler and The Vitec Group.

With vision, passion and confidence The future, though, is always slipping away from us with every second, leaving us wondering about her surprises. On the one hand we continuously live bits of future in the present. Vision, passion and confidence are the keystones for predicting how it can be shaped. On the other hand, when listening to the news these days, it’s difficult not to have serious doubts on how complex and out of our reach the “future” could be.

The future holds all the answers All things considered I remain optimistic, mankind has always found new avenues and unexpected resources to counteract its own mistakes. Over exploiting the planet’s resources, and paying minimal attention to the use and abuse of social tensions are among the most serious issues that demand careful consideration, even in the day-to-day life of each individual. However, the spark of intelligence that defines human nature is so strong that it is somehow beyond any current imagination. I’m sure we will find all the answers … they’re already there, in the future!

entire life has been governed by the goal of bringing the occupation Technical Director highest levels of scientific and at Trans Audio technological Video s. r. l. Italy knowledge and know-how year of birth into each of my 1964 fields of interest. These include residential learning the and business most advanced locations techniques and Milan and solutions, using Caserta, Italy them beyond even who or what their limits influences your before bringwork? ing them onto My work has the market, mainly been understanding influenced by design criteria all the excellent people I met over and suggesting the best possible the first 20 years modifications. of my career. This has led to During that the wonderful period I always tried to learn from feeling of being anyone who knew part of a team of more than I did— wherever I was. However, now I can see that my name Sergio Brighel

excellence. what are the main priorities of your work? To maintain my intellectual honesty, unaffected by anything. Being fully convinced of each thought before expressing it in voice. Trying to observe things from different perspectives before possibly criticising them and, most of all, respecting other people’s efforts and ideas. quote / slogan The future holds all the answers if we ask all the questions today.

Wendelin Sachtlerâ&#x20AC;&#x201D; inventive mind and entrepreneurâ&#x20AC;&#x201D;started his career as a cameraman. In 1958 he started to develop his own tripod heads.

The American Dream in Schwabing Even though he didn’t develop a camera he contributed much to the process of pictures becoming “movies”. In 1958, Wendelin Sachtler, cameraman, actor and inventor, developed his own tripod head, a turning point for the film industry. His so-called gyro head could not only be panned and tilted but was also dampened by a gyro-system—so now film-makers were finally able to execute pans without having to fight against their equipment gaining momentum. Sachtler’s brainchild Today, one cannot know if Wendelin Sachtler was aware of the fact that he had laid the foundation for an inter nationally successful enterprise with his innovations. However, the fact is that he believed in his products’ success and, together with a growing number of engineers, he went about developing more products in his Schwabing workshop (see also interview with Leonhard Jaumann) with enthusiasm, remarkable persistence and plenty of ambition. Feedback for his first invention was very positive: everybody wanted to have the new head, Sachtler took up mass production.

An outgoing person What was the key to his success? Right from the start Wendelin Sachtler wanted the distinctive “S” to be a trademark, not just another logo,

recognised for innovation and quality. But Wendelin Sachtler was also a step ahead of the rest, in addition to taking into account what a cameraman expected from his equipment every day—robustness, reliability and perfection—he was guided by his own experience as a cameraman and the comments he received from those who used his products. He maintained contacts all over the world.

An inventive mind To this day Wendelin Sachtler’s inventive mind is the foundation on which the philosophy of the company is based—a company that now belongs to a group which consolidates products, services and solutions for the broadcast, entertainment and media industry. The ability to look ahead and make real use of feedback from professionals working in the field is now inherent at Sachtler.

In 1958 the special interest magazine Der deutsche Kameramann (“The German cameraman”) reported on the development of two completely novel gyro heads, the beginning of a story of success.

Leonhard Jaumann, born in 1949, is a connecting link between past and present, back in the 1970’s he worked as a student trainee next to Wendelin Sachtler in the Schwabing workshop. In the following interview he talks about his views on the past, present and future. interview by Elli Kuhn.

“Wendelin Sachtler Lived for His Ideas Only” In 1967 the first fluid heads with lubrication grease damping are delivered.

As a result of extensive tests and tricky trials in 1977 the legendary permanent-sealed Sachtler-damping system is patented. This damping is reached by using hermetically sealed modules and is therefore resistant to external influence.

In 1978 Sachtler stirs up the market once again, he introduces extremely light tripods made from carbon fibre. In the 1980’s the company makes the largest turnover of the video industry— more and more camera teams use electronic cameras.

Wendelin Sachtler’s work began in the 1950’s, where from an office and a basement workshop in Schwabing, Munich, equipment could be hired for use. To see into the future you need to know the past. Can you tell us more about the beginnings and development of Sachtler? Wendelin Sachtler started with a camera equipment hire business on Herzogstraße in Schwabing, where he worked until the 1970’s while he was developing camera support. Together with his associate partner at that time Heinrich Wolf, an engineer from Mannheim, he produced tripods, gyro- and fluid heads. In Munich they produced gel frames, gel punches, pedestals and zoom drives. The camera equipment hire business was operated on a European scale. If there was a request for a device he couldn’t find anywhere or it wasn’t fit for hire, he just developed something on his own. Two examples are a tripod system made from titanium pipes and a small swivel head for 16 mm cameras that didn’t then exist.

That sounds ambitious and innovative. What was Wendelin Sachtler like? He lived for his ideas and he was a very generous person who enjoyed his freedom— there were no such thing as a pre-arranged meeting or long-term plans. For us, a team of six to ten employees, life wasn’t always that easy then. If he didn’t like a solution or product idea, he would just upset a whole week’s plan completely. However, if something came up to his expectation he would show his appreciation.

A breakthrough product from 1978: the Panorama head 7 + 7 with seven-stage damping and counterbalance.

Can you tell us how the process of finding ideas and developing new products came about in the early years? Wendelin Sachtler knew a lot about the users’ needs, by listening to his customers at the hire shop. Quite often cameramen would come by and new product ideas were discussed while they were having a cup of coffee together. We used to work a lot from hand-made drawings at the Schwabing workshop—some of the parts are still used today and are available as spare parts. At the drawing-board with Wendelin Sachtler—which ideas from that time have you put into practice? There have been quite a lot, for instance, we were the first to produce floor spreaders made from rubber. Before this they were only available in metal or wood. Wendelin Sachtler also didn’t give up when it came to improving tripods and making them lighter. As titanium became too expensive, he started sourcing alternative materials and was the first to use carbon fibre, which was then only used in aviation or for producing professional ski poles. He visited countless fairs to find adequate suppliers. The next successful product was a head for 16 mm cameras with a multi-stage damping. We sold up to 300 units a year, which was an enormous number.

In 1985 Sachtler constructs the first portable lightweight pedestal in the world. This brings mobility, even with heavy cameras.

To get innovations like these to market is as hard today as it was then. Today Sachtler sell their products all over the world. What was the distribution structure like then? Wendelin Sachtler simply expected his products to be so good that everybody in the industry wanted to have them. Nevertheless, they had to be introduced to the public, so he put a lot of effort into sales. He went to fairs with a van and set up the booths himself. At the same time he personally visited important clients all over Europe.

1988, world premiere, the first and smallest daylight luminaire with 125 W. It proved to be a mobile source of light which didn’t flicker. As soon as 1991 the company presents a complete product range of daylight and tungsten luminaires. 1995 Sachtler is taken over by The Vitec Group, an internationally acting group of companies offering products, services and solutions for the broadcast, entertainment and media industry.

In 2001 Sachtler presents the first of a series of completely novel camera stabilizing systems. The artemis line has been refined constantly since then.

In 2005 the Wendelin Sachtler Academy, Eching moves into their studio and becomes a discussion platform for the industry.

In 2005 the Speedbalance technology—enabling a swifter counterbalancing of fluid heads—is introduced. Currently, the Video 18 SB is the top-selling Sachtler head. In 2006 the company launches the fluid head Cine 30 HD with sideload technology.

Sachtler once again proves to be a pioneer when it comes to artemis, the starter system artemis DV Pro FX, the completely novel ACT 2 vest and the extremely innovative spring arm ACT 2 (available in aluminium or as carbon upgrade) make 2007 headlines in special interest magazines.

2007—the year of innovation at Sachtler: the company surprises the market by launching SOOM, the multi-functional camera support tool, as a worldwide novelty. The “Works with SOOM” line offers the corresponding compatible products: the FSB heads, the battery concept FSB CELL and the Reporter 8LED.

Leonhard Jaumann, Development Engineer

Did Wendelin Sachtler also maintain a dialogue with the developers and engineers? Of course he did! For instance, at the international fairs he met Bill Vinten. Their exchange of ideas went as far as both of them wanting to develop a European standard for camera plates at the end of the 1970’s. Everything used to be better in the past— just a saying or a grain of truth? I don’t have time to think about it that often during the working day, I don’t think everything was better in the past either. For instance, today we have a much larger budget, available for research, which helps the engineers too.

Does Sachtler’s spirit still live on today? I think it does, yes. We are still testing innovative materials and trying to find something new that will boost the industry. Recently we developed an upgrade for the artemis springarm made from carbon fibre— that’s something completely new on the market and will doubtless spur this sector on. The multifunctional SOOM set new standards when it came to camera support. Of course it’s harder today to predict a product’s success. This used to be easier in the past and we knew almost for sure that we were going to be market leader if we brought a new product onto the market.

The Wendelin Sachtler Academy —A Platform for the Industry It has been a tradition at Sachtler to present the latest about new products and to pass on the related know-how during training courses and workshops. This commitment led to the formation of the Sachtler Academy and the idea continued to develop—all over the world an ever-expanding programme of workshops with different partners was offered. Today international lecturers from various backgrounds

meet with newcomers to the business, professionals and ambitious amateurs at the Eching studio of the Sachtler Academy, which was opened in 2005, not only to teach and learn. Every workshop centres upon discussing products and techniques as well as an exchange of experience—some of these notions even have found their way into product development at Sachtler. On the occasion of the company’s

50th anniversary the Sachtler Academy will be re-named Wendelin Sachtler Academy. Thus Wendelin Sachtler’s work and ideas will be the inspiration for this platform of the industry. A concept which would positively meet the approval of the innovative founder of the company, who always put great emphasis on the dialouge with colleagues.

The Wendelin Sachtler Academy from the viewpoint of the lecturer, Leo Borchard A Place of Learning and Exchange of Experiences As a cinematographer, I have been teaching lighting in film schools in Germany and abroad for a long time. Since 2006, also at the Wendelin Sachtler Academy in the “Professional Lighting” workshops. Other than at the film schools or in the further education programs in companies, I don’t meet established groups here with similar previous knowledge. Nevertheless, in a short time, a study and work-group— a team is created with the specific

purpose in mind of successfully completing the practical basic exercises, becoming skilled in pictorial styles, lighting complex sets and filming both documentary and scenic, in the studio and on location. Short theoretical blocks give the participants competence in the foundations of lighting design, the employment of luminants and the measurement of light and colour.

An Investment in the Future Automatically exchanges of experiences soon take place among the

participants and often pleasant and practical contacts are established beyond regional borders. At the end of the workshops, when the time comes for parting and the team dissolves again into individuals with important travel and flight appointments, I sometimes feel a trace of regret in the participants that it can’t continue, the research and learning, the lighting and designing But naturally one consoles oneself at the end with the academy certificate and the practical Sachtler souvenirs. And, no doubt, also with the feeling that time and money have been well invested in the professional future. www.sachtler-academy.com

Fluid Heads

Pedestals / Tripods

Configuration Guide EFP / OB, Film

MiniDV, (H)DV, ENG 75mm mm 75

100 mm

150 mm

FSB 2 2 kg / 4.4 lb

FSB 6 T 6 kg / 13.2 lb

DV 8/100 SB 12 kg / 26.5 lb

FSB 6 6 kg / 13.2 lb

DV 12 SB 14 kg / 30.9 lb

DV 6 SB 9 kg / 19.8 lb

Video 15 SB 16 kg / 35.3 lb

DV 8 SB 12 kg / 26.5 lb

Video 18 SB 18 kg / 39.7 lb

Video 25 Plus 35 kg / 77.2 lb

Video 20 SB 25 kg / 55.1 lb

Cine 30 HD 35 kg / 77.2 lb Adapter 100/150

Adapter 75/100

ENG 75 / 2 D 20 kg / 44.1 lb

DA 75 L 15 kg / 33.1 lb

SOOM TriPod 20 kg / 44.1 lb

Hot Pod CF 20 kg / 44.1 lb

SOOM TriSpread Mid-level spreader or baby tripod (9 kg / 19.8 lb) + rubber feet 100 / 150

Speed Lock® 75 CF 20 kg / 44.1 lb

SOOM Tube 9 kg / 19.8 lb

Speed Lock® CF 40 kg / 88.2 lb

ENG 2 CF 40 kg / 88.2 lb

ENG 2 D 35 kg / 77.2 lb

ENG 2 CF HD 95 kg / 209.4 lb

ENG 2 D HD 90 kg / 198.4 lb

EFP 2 CF 95 kg / 209.4 lb

Speed Lock® CF HD 95 kg / 209.4 lb

CF 100 L 45 kg / 99.2 lb

DA 100 L 25 kg / 55.1 lb

CF 100 HD 90 kg / 198.4 lb

DA 100 HD 80 kg / 176.4 lb

CF 150 L 95 kg / 209.4 lb

CF 100 M 45 kg / 99.2 lb

DA 100 M 35 kg / 77.2 lb

Hot Pod dolly

CF 150 ML 95 kg / 209.4 lb DA 100 K 40 kg / 88.2 lb

Set mid-level spreader 75

Monopod 15 kg / 33.1 lb Mini spreader

Spreader 75

Mid-level spreader 100 / 150 + rubber feet 100 / 150

Dolly DV 75

Dolly DV 100 60 kg / 132.3 lb

Dolly S 95 kg / 209.4 lb

Spreader 100 50 kg / 110.2 lb

Spreader 100 / 150 95 kg / 209.4 lb

Studio Flat Base

FSB 2 2 kg / 4.4 lb

Video 25 Plus FB 35 kg / 77.2 lb

FSB 6 T 6 kg / 13.2 lb

Video 75 Plus Studio 85 kg / 187.4 lb

Studio 9+9 55 kg / 121.3 lb

Video 60 Plus EFP 65 kg / 143.3 lb

Cine 75 HD 75 kg / 165.3 lb

Video 25 Plus FB 35 kg / 77.2 lb

FSB 6 6 kg / 13.2 lb

DV 8/100 SB 12 kg / 26.5 lb

Video 60 Plus Studio 65 kg / 143.3 lb

DV 6 SB 9 kg / 19.8 lb

DV 12 SB 14 kg / 30.9 lb

Video 90 FB 115 kg / 253.5 lb

DV 8 SB 12 kg / 26.5 lb

Video 15 SB 16 kg / 35.3 lb

Video 75 Plus EFP 85 kg / 187.4 lb

Video 18 SB 18 kg / 39.7 lb

Video 20 SB 25 kg / 55.1 lb

Video 60 Plus Studio 65 kg / 143.3 lb

Video 75 Plus Studio 85 kg / 187.4 lb

Video 90 FB 115 kg / 253.5 lb

Mitchell

Adapter Ped C I/DV

Adapter Ped C I/Plus FB Converter

EFP 2 D 90 kg / 198.4 lb

Multi Disc

Cine 150 long 140 kg / 309 lb Cine Mitchell long 140 kg / 309 lb

DA 150 L 95 kg / 209.4 lb

Cine 150 medium 140 kg / 309 lb

OB 2000 140 kg / 309 lb

Cine Mitchell medium 140 kg / 309 lb

Pedestal C I 20 kg / 44.1 lb

Pedestal C III 55 kg / 121.3 lb

Vario Ped 2-75 Studio Ped 2-75 75 kg / 165.3 lb

Combi Ped 1-40 40 kg / 88.2 lb

Cine 2000 K 50 kg / 110.2 lb DA 150 ML 90 kg / 198.4 lb

Mini spreader EX

DA 150 M 50 kg / 110.2 lb

DA 150 K 40 kg / 88.2 lb

Mini spreader 150

Spreader 150 EX

Dolly XL

Mid-level spreader Cine + rubber feet EX (for long versions only)

Spreader Cine

Dolly Cine kg / lb = payload

Sachtler’s fluid heads offer 100 percent reliability. The patented damping system excels even when you and your equipment are challenged by the most adverse shooting conditions imaginable. Extreme temperatures have absolutely no effect on our fluid heads. They provide frictionless operation, are free of hydraulic oil, and are enclosed in their own capsule against any external influence. A special feature of the heads is their ease of operation. Instead of time-consuming adjustment and re-adjustment in search of the balance, our fluid heads offer finely-tuned counterbalance for optimized settings.

Stability

A key reason why Sachtler fluid heads function so reliably is their stability. All components cooperate in a friction-free environment, a key consideration for users who want equipment that functions tirelessly for years to come. In addition, the modern, lightweight materials we use help you limit the stress that unnecessary weight can have on your equipment, especially during long shoots. The Secret behind the Payload

The center of gravity height (C.O.G.) of the camera mounted on a fluid head is decisive in determining the head’s payload. The C.O.G. describes

the distance between the camera or camcorder’s center of gravity and the top edge of the fluid head being used (see illustration page 36). The shorter the distance, the greater the maximum camera weight. The C.O.G. tables on the following product pages show how the payload of a head changes according to the camera’s center of gravity height. SUCCESS PRINCIPLE STEP SWITCHING

The time you take to optimally balance your camera on the tripod depends on the counterbalance. At Sachtler, the secret of success is called step switching. It allows camera operators to optimally align

the fluid head in no time at all. While continuously adjustable systems often require timewasting trial-and-error adjustment, with step switching the counterbalance is perfectly aligned—first go! Workmanship

The meticulous quality that is a feature of our products is due in part to our close working relationship with film and television professionals. The regular feedback sent in from the field provides our engineers with the constant incentive to redesign even our most proven products. The result is solid, innovative and extremely reliable products with a longer than usual life span.

Fluorescent Lighting

Functional and easy to operate

Reporter Lighting

Camera Stabilizing Systems

Systems

Accessories

Tripods

Pedestals

Fluid Heads

Perfect Heads for Every Camera

Sachtler camera tripods have proven themselves for almost 50 years. Whether in temperatures of -40 °C / -40 °F or in the desert’s scorching heat — you can always rely on our camera support systems.

Robust

Sachtler tripods help you hit your target, even when things get a bit rough. At the top, German cameraman Andreas Kieling on the ‘hunt’ for bears in Alaska using the Speed Lock® CF.

B A

From Featherweight to Heavyweight

Sachtler offers the ideal tripod for every camera and camcorder. Whether your equipment weighs just a few hundred grams, like the digital MiniDV and (H)DV camcorder commonly used in day-to-day news gathering, or over 50 kg / 110 lb, like many film and studio cameras loaded with multiple accessories and high-performance optical systems, we have the right tripod for you.

Center of gravity for payloads Center of Gravity Height (A): The distance from the camera’s center of gravity to the top of the fluid head has a decisive effect on the head’s payload. The shorter the distance, the higher the payload.

Systems designed to meet your needs

The Camera’s Center of Gravity (B): To optimally balance a camera, its center of gravity length must be situated directly above the fluid head’s center of motion.

Step 1

300

damping Step 18

250

200 150

100

Damping

Center of gravity height (mm)

Payload diagram

A fluid head can only be fully effective with the right pedestal or tripod (see pages 64 to 81). Sachtler offers a wide

50 0

18 12 16 20 24 28 32 36

Total load (kg)

2 0

Settings

Clear diagrams: Each fluid head product page in this catalogue includes two easy-to-read diagrams showing the change in counter balance and the amount of drag.

range of camera support system packages (see pages 94 to 99) that are designed to meet your demands. The systems let operators choose between differently configured tripods with e. g. spreaders or mid-level spreaders (see pages 32 to 33). In most cases, a padded bag or cover is included in the package. Users can also customize and extend their own systems with optional accessories, such as additional pan bars or adapters. The Film Makers’ Partner

Sachtler is a sustaining member of many different organizations and institutions that represent and unite camera operators, film makers and manufacturers of film and broadcast technology. Membership in the German Society of Cinematographers (bvk), has put us into direct contact with all well-known camera operators in the German speaking world. And our international service and dealer network puts us into direct contact with camera operators worldwide. We also exchange experience with many of the other manufacturers of broadcast equipment in the International Association of Broadcast Manufacturers (IABM), where questions concerning standardization, current technical trends and developments are discussed. RECOMMENDED FOR HIGH DEFINITION (HD)

All Sachtler fluid heads are ideal for use with HD cameras. Some

Fluid Heads The American Academy of Motion Pictures, Arts and Sciences has awarded Sachtler a Technical Oscar for its achievements in the area of fluid head and camera tripod development.

heads, such as the Cine 75 HD or Cine 30 HD, are particularly user friendly for classical film camera operators, who find all the operating controls in their usual place. Of course, those who shoot with digital High Definition camcorders also want to take advantage of features such as a viewfinder extension or front box. Excellent solutions for users of small and lightweight HDV camcorders, such as the new FSB head or the SpeedBalance head DV 6 SB are also available. A useful overview of all our camera support systems can be found on pages 94 to 99.

Thorough quality testing during and after production ensure problem-free, reliable operation over a long life span.

SERVICE

Thanks to the worldwide distribution of Sachtler products, we also offer a widespread service net. Every authorized dealer is able to carry out competent repairs or exchange parts. And in acute situations, Sachtler even provides replacement tripods or heads. In addition, you can download from www.sachtler.com, cost-free user’s manuals for almost all of the products described in this catalogue. They provide highly detailed technical information, lists of parts and explosion drawings.

Quality leads to success: All Sachtler products are universally ISO 9001 certified

Every fluid head is a result of extensive handwork. The head’s key feature—Sachtler damping— is riveted and permanently sealed for a long life span.

Sachtler has been producing fluid heads since 1958. All components are manufactured using highly precise machines, resulting in outstanding reliability and an extremely long life span. Every torsion spring (picture Warranty at the bottom) is intensively Every Sachtler product comes tested in regard to quality with a comprehensive warranty. by stretching it much further than its technically specified limits—thus far beyond its intended daily use.

150 mm

Film / HD

Cine 75 HD

The powerful fluid head for film and high definition Payload range: 4 to 75 kg / 9 to 165 lb (adjustable to payload range of 12 to 85 kg / 25 to 190 lb)

measurements in mm

Tilt range: +90° to -60° For tripods with 150 mm bowls, integrated flat base fitting, Mitchell with adapter

Counterbalance: 24 steps plus Boost Button

250

Interfaces for front pan bar, viewfinder extension and front box

9 horizontal and 9 vertical grades of drag, +0

half ball with screw (integrated flat base)

Payload diagram

systems

Pages 94–99 Cine 75

C. O. G. *

min. kg/lb

max. kg/lb

125/5

5.4/11.8

83.1/183.3

150/6

4.8/10.6

74.5/164.2

175/7

4.4/9.6

67.5/148.7

200/8

4.0/8.8

61.6/135.9

250/10

3.4/7.5

52.6/115.9

Center of gravity height (mm)

Payload Table

7502

300

min.

damping

250 200 150 100

* Center of gravity height (mm/in)

50 0

ø 150

max.

Damping

code

0 10 20 30 40 50 60 70 80 90 100 Total load (kg)

28 24 20 16 12 8 4 0

Settings

Cine 75 HD with front pan bar and front box

Dutch Head 35

Boost Button for payload range shift

ACCessories

Mitchell adapter with locking knob

3908

Mitchell adapter

6053

Fron pan bar

3902

Case V/C 75

3172

9517

Pages 86–93 Adapter FB/150

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Dutch Head 35

3985

Cable clamp V/C 75

3004

6055

Technical data see page 58

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

150 mm

Film / HD

Fluid Heads

Studio 9+9 The working horse for 35 mm

measurements in mm

Payload range: 8 to 55 kg / 18 to 121 lb (adjustable to payload range of 16 to 65 kg / 35 to 143 lb)

For tripods with 150 mm bowls, integrated flat base fitting, Mitchell with adapter

Counterbalance: 18 steps

Interfaces for viewfinder extension and front box

9 horizontal and 9 vertical grades of drag, +0

80 200

224

Tilt range: +90° to -60° ø 150

half ball with screw (integrated flat base)

max. kg/lb

125/5

11.3/24.8

59.1/130.3

150/6

10.0/22.1

52.6/116.4

175/7

9.0/19.9

47.5/104.7

200/8

8.2/18.2

43.2/95.4

250/10

7.0/15.4

36.7/80.9

min.

300 250

200

* Center of gravity height (mm/in)

150 100 50 0

6002

max.

Damping

min. kg/lb

Center of gravity height (mm)

C.O.G.*

code

damping

Payload diagram

Payload Table

28 24 20 16 12 8 4 0

Settings

Total load (kg)

Bracket for viewfinder extension

ACCessories

Dutch Head 35

6054

3986

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

Adapter FB/150

3004

Adapter 1/4 ‘‘. 3/8 ’’, M8

Mitchell adapter with locking knob

3908

3902

Mitchell adapter

6053

9511 Front box adapter

Case 9+9

3985

3920

Pages 86–93 Cable clamp V 60

150 mm

Film / HD

Cine 30 HD The compact and flexible solution for today´s Film / HD applications Payload range: 3 to 35 kg / 7 to 77 lb Counterbalance: 18 steps plus Boost Button

For tripods with 150 mm bowls, integrated flat base fitting, Mitchell with adapter

7 horizontal and 7 vertical grades of drag, +0

Interfaces for front pan bar, viewfinder extension and front box

Tilt range: +90° to -75°

Boost Button for payload range shift

measurements in mm

214

half ball with screw (integrated flat base)

Payload diagram

Payload Table C. O. G. *

systems

Pages 94–99 30 EFP 2 MCF Cine 30

min. kg/lb

max. kg/lb

100/4

3.5/7.7

41.0/90.4

125/5

3.1/6.8

35.7/78.7

150/6

2.7/6.0

31.7/69.9

175/7

2.5/5.5

28.5/62.8

200/8

2.2/4.9

25.9/57.1

Center of gravity height (mm)

3006

Step 1

300

damping Step 18

250

200 150

100

* Center of gravity height (mm/in)

Damping

code

50 0

ø 150

18 12 16 20 24 28 32 36

Total load (kg)

2 0

Settings

Snap & Go mechanism

ACCessories

6054

Cable clamp V 60

Adapter 1/4 ‘‘. 3/8 ’’, M8

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

3061

Pan bar HD left

3986

Front pan bar HD

3371

Mitchell adapter with locking knob

3985

Front box adapter

6053

Mitchell adapter

3372

3902

Adapter FB/150

3920

Case 30

3908

9503

Pages 86–93

Touch & Go® adapter plate

Flat Base

Studio EFP / OB

Fluid Heads

Video 90 FB The professional for every TV studio Payload range: 0 to 115 kg / 0 to 254 lb

Interface for Teleprompter mounting

Counterbalance: 24 steps

Interface for viewfinder extension

7 horizontal and 7 vertical grades of drag, +0

In combination with the ENG adapter plate, this forms the ideal head for the narrow ENG cameras.

Tilt range: +60° to -45°

measurements in mm

270

96.5 VIDEO 90

246

Flat base fitting for pedestals and OB tripods ø 150 Payload diagram

min. kg/lb

max. kg/lb

125/5

123.7/272.7

150/6

111.1/245.0

100.9/222.5

200/8

92.4/203.7

250/10

79.0/174.3

* Center of gravity height (mm/in)

300 250 200 150 100 50 0

0 10 20 30 40 50 60 70 80 90 100 Total load (kg)

28 24 20 16 12 8 4 0

8092 systems

Pages 94–99 90 Studio 90 OB 0

Settings

Spacer for pan bar

ENG adapter plate

6054

Pan bar back sections (R/L)

Pages 86–93 3083

Case 90

B-3073-100 (R) B-3074-100 (L)

9512

ACCessories sko18b0439

175/7

Center of gravity height (mm)

C. O. G. *

code

damping

Damping

Payload Table

flat base

Cable clamp V 60

Flat Base

Studio OB

Video 75 Plus Studio The multi-talent for studio operation Payload range: 12 to 85 kg / 26 to 187 lb

Easy to convert to Video 75 Plus EFP

Counterbalance: 24 steps plus Boost Button 9 horizontal and 9 vertical grades of drag, +0

In combination with the ENG adapter plate, this forms the ideal head for the narrow ENG cameras.

Tilt range: +80° to -60°

Interface for Telepromter mounting

measurements in mm

98 258

For tripods with flat base fittings or pedestals with Multi Discs ø 150

flat base (half ball with adapter)

Pages 94–99 75 Plus Studio 75 Plus OB 2000

C.O.G.*

min. kg/lb

max. kg/lb

125/5

15.5/34.2

90.5/199.6

150/6

14.0/30.8

81.4/179.4

175/7

12.7/27.9

73.9/163.0

200/8

11.6/25.6

67.7/149.3

250/10

9.9/21.9

58.0/127.9

300

Center of gravity height (mm)

systems

damping

Payload diagram

Payload Table

7501

min.

max.

250

200

* Center of gravity height (mm/in)

150 100

Damping

code

50 0

0 10 20 30 40 50 60 70 80 90 100

28 24 20 16 12 8 4 0

Settings

Total load (kg)

Studio Set-up Video 75 Plus

Counterbalance knob

ACCessories

6052

Ball adapter with screw

Cable clamp V/C 75

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

EFP set-up V75 Plus

3985

Pan bar back sections (R/L)

7551

Quickfix

6055

3910

Multi Disc

B-3073-100 (R) B-3074-100 (L)

ENG adapter plate

3914

Case V/C 75

3083

9517

Pages 86–93

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

150 mm

EFP / OB

Fluid Heads

Video 75 Plus EFP The powerful fluid head for field and OB production Payload range: 12 to 85 kg / 26 to 187 lb

Easy to convert to Video 75 Plus Studio

Counterbalance: 24 steps plus Boost Button

Interface for viewfinder extension

measurements in mm

9 horizontal and 9 vertical grades of drag, +0

250

Tilt range: +90° to -60° For tripods with 150 mm bowls, integrated flat base fitting half ball with screw (integrated flat base)

max. kg/lb

125/5

16.1/35.5

93.9/207.0

150/6

14.4/31.8

84.1/185.4

175/7

13.1/28.8

76.2/167.9

200/8

11.9/26.3

69.6/153.5

250/10

10.2/22.4

59.4/130.9

300

min.

250

200

* Center of gravity height (mm/in)

150 100 50 0

7500

max.

Damping

min. kg/lb

Center of gravity height (mm)

C. O. G. *

code

damping

Payload diagram

Payload Table

ø 150

0 10 20 30 40 50 60 70 80 90 100

28 24 20 16 12 8 4 0

systems

Pages 94–99 75 Plus EFP

Settings

Total load (kg)

EFP Set-up Video 75 Plus

Half step counterbalance adjustment lever

ACCessories

Studio set-up V75 Plus

3908

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

7550

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Cable clamp V/C 75

3985

Front pan bar

6055

Case V/C 75

3172

9517

Pages 86–93 Adapter FB/150

Flat Base

Studio OB

Video 60 Plus Studio The versatile studio head with V-plate Payload range: 16 to 65 kg / 35 to 143 lb

Easy to convert to Video 60 Plus EFP

Counterbalance: 18 steps 9 horizontal and 9 vertical grades of drag, +0

In combination with the ENG adapter plate, this forms the ideal head for the narrow ENG cameras.

Tilt range: +90° to -60°

Interface for Telepromter mounting

measurements in mm

91 • • • • ••• • • • • • • • • •

235

For tripods with flat base fittings or pedestals with Multi Discs

ø 124 ø 150

flat base (half ball with adapter)

systems

Pages 94–99 60 Studio 60 OB 2000

C.O.G.*

min. kg/lb

max. kg/lb

125/5

21.4/47.1

66.7/147.2

150/6

19.1/42.2

59.8/131.9

175/7

17.3/38.2

54.2/119.5

200/8

15.9/35.0

49.5/109.2

250/10

13.5/29.8

42.3/93.2

min.

300

Center of gravity height (mm)

6001

damping

Payload diagram

Payload Table

max.

250

200 150

100

Damping

code

* Center of gravity height (mm/in)

4 0

Settings

Total load (kg)

Studio Set-up Video 60 Plus

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

Ball adapter with screw

6051

Adapter 1/4 ‘‘. 3/8 ’’, M8

Quickfix

6052

3914

Multi Disc

3910

Cable clamp V 60

3986

ENG adapter plate

6054

Case 60 FB

3985

9513

Pan bar back sections (R/L)

3083

Pages 86–93

B-3073-100 (R) B-3074-100 (L)

ACCessories

EFP set-up Video 60 Plus

150 mm

EFP / OB

Fluid Heads

Video 60 Plus EFP The EFP allround talent with Touch & Go® Plate 35 Payload range: 16 to 65 kg / 35 to 143 lb

Easy to convert to Video 60 Plus Studio

Counterbalance: 18 steps

Interface for viewfinder extension

measurements in mm

9 horizontal and 9 vertical grades of drag, +0 200

Tilt range: +90° to -60°

224

For tripods with 150 mm bowls, integrated flat base fitting half ball with screw (integrated flat base)

max. kg/lb

125/5

22.5/49.6

70.3/155.1

150/6

20.1/44.2

62.7/138.2

175/7

18.1/39.9

300

200/8

16.5/36.3

51.5/113.5

14.0/30.8

43.7/96.3

250

* Center of gravity height (mm/in)

150

100

50 0

6000

max.

200

56.5/124.7

250/10

min.

Damping

min. kg/lb

Center of gravity height (mm)

C. O. G. *

code

damping

Payload diagram

Payload Table

ø 150

systems

Pages 94–99 60 EFP 2 CF

4 0

Settings

Total load (kg)

EFP Set-up Video 60 Plus

ACCessories

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

3920

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Studio set-up Video 60 Plus

3985

Adapter FB/150

6050

Cable clamp V 60

3908

Case 9+9

6054

9511

Pages 86–93 Front box adapter

Flat Base

Studio OB

Video 25 Plus FB The compact lightweight studio / OB solution Payload range: 8 to 35 kg / 18 to 77 lb

For tripods with flat base fittings or pedestals with Multi Discs (Combi 1–40 direct)

Counterbalance: 18 steps 7 horizontal and 7 vertical grades of drag, +0

measurements in mm

71 154 194

Tilt range: +90° to -75°

ø 150

flat base (half ball with adapter)

systems

Pages 94–99 25 Studio 25 Combi 1-40 25 C III

damping

Payload diagram

Payload Table C.O.G.*

min. kg/lb

max. kg/lb

100/4

10.6/23.4

41.0/90.3

125/5

9.3/20.4

35.7/78.8

150/6

8.2/18.1

31.7/69.9

175/7

7.4/16.3

28.5/62.8

200/8

6.7/14.8

25.9/57.0

min.

300

max.

250

200

* Center of gravity height (mm/in)

150

100

Damping

2501P

Center of gravity height (mm)

code

50 0

16 20 24 28 32 36

2 0

Settings

Total load (kg)

Counterbalance adjustment

ACCessories

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Ball adapter with screw

3985

Multi Disc

6052

Cable clamp V/C 75

3914

6054

Pages 86–93 Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

150 mm

EFP / ENG

Fluid Heads

Video 25 Plus The lightweight but powerful solution for EFP / OB Payload range: 8 to 35 kg / 18 to 77 lb

Interface for viewfinder extension

measurements in mm ••

Counterbalance: 18 steps

••

•

7 horizontal and 7 vertical grades of drag, +0

• • • • ••• • • • • • •

154

194

Tilt range: +90° to -75°

•

For tripods with 150 mm bowls, integrated flat base fitting ø 150

half ball with screw (integrated flat base)

max. kg/lb

100/4

10.6/23.4

41.0/90.3

125/5

9.3/20.4

35.7/78.8

150/6

8.2/18.1

175/7

7.4/16.3

28.5/62.8

6.7/14.8

25.9/57.0

250

* Center of gravity height (mm/in)

systems

150

100

50 0

2500P

max.

200

31.7/69.9

200/8

min.

300

Damping

min. kg/lb

Center of gravity height (mm)

C. O. G. *

code

damping

Payload diagram

Payload Table

16 20 24 28 32 36

Pages 94–99 25 EFP 2 CF

2 0

Settings

Total load (kg)

Bracket for view finder extension

ACCessories

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

3920

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Adapter FB/150

3985

Cable clamp V 60

3908

C.O.G. plate

6054

1063

Pages 86–93 Front box adapter

100 mm

EFP / ENG

Video 20 SB

Maximum power for EFP / ENG on 100 mm tripods Payload range: 7 to 25 kg / 15 to 55 lb

Tap holes for viewfinder extension adapter

Counterbalance: 12 steps 7 horizontal and 7 vertical grades of drag, +0

measurements in mm

71 173

201

Tilt range: ±90° For tripods with 100 mm bowls ø 100

half ball with screw (flat base with FB Converter)

Payload diagram

Payload Table

Video Dutch 18:

1804 systems

Pages 94–99 20 SB SL HD MCF

C.O.G.*

min. kg/lb

max. kg/lb

100/4

8.9/19.6

28.3/62.4

125/5

7.7/17.0

24.7/54.5

150/6

6.8/15.0

21.9/48.3

175/7

6.2/13.7

19.7/43.4

200/8

5.6/12.3

17.9/39.5

300

Center of gravity height (mm)

2005

damping Step 12

250

200 150 100 50

* Center of gravity height (mm/in)

20 SB SL HD CF

Step 1

Damping

code

0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30

14 12 10 8 6 4 2 0

Settings

Total load (kg)

20 SB HD MCF 20 SB HD CF 20 SB ENG 2 CF

Video 18 Dutch ACCessories

Adapter FB/100

3913

C.O.G. plate

3903

Video 18 Dutch

1063

1804

Pages 86–93 FB Converter

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Adapter viewfinder extension 18/20

3985

Adapter 100/150

3981

3901

Technical data see page 60

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

100 mm

ENG

Fluid Heads

Video 18 SB The ENG standard–worldwide Payload range: 2 to 18 kg / 4 to 40 lb

Tap holes for viewfinder extension adapter

Counterbalance: 10 steps

Long sliding range of balance plate

7 horizontal and 7 vertical grades of drag, +0

Dust protected and water resistant housing

Tilt range: ±90°

measurements in mm

71 173

201

For tripods with 100 mm bowls ø 100

half ball with screw (flat base with FB Converter)

max. kg/lb

100/4

1.8/4.0

17.7/39.0

125/5

1.5/3.3

15.4/34.1

150/6

1.4/3.1

300

175/7

1.2/2.6

12.3/27.1

1.1/2.4

11.2/24.6

Step 10

250

200

13.7/30.2

200/8

Step 1

150 100

Damping

min. kg/lb

Center of gravity height (mm)

C. O. G. *

50 0

* Center of gravity height (mm/in)

code

damping

Payload diagram

Payload Table

0 2 4 6 8 10 12 14 16 18 20 22 24

14 12 10 8 6 4 2 0

1805 systems

Pages 94–99 18 SB SL MCF 18 SB SL CF 0

18 SB ENG 2 MCF

18 SB ENG 2 CF

Settings

Total load (kg)

18 SB ENG 2 D

ACCessories

FB Converter

3901

3986

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

Adapter Ped C I / Plus

3913

Adapter 1/4 ‘‘. 3/8 ’’, M8

Adapter FB/100

3941

1063

C.O.G. plate

3903

1804 Adapter viewfinder extension 18/20

Video 18 Dutch

3985

3981

Pages 86–93 Adapter 100/150

100 mm

ENG

Video 15 SB The lightweight solution for ENG Payload range: 1 to 16 kg / 2 to 35 lb

Tap holes for viewfinder extension adapter

Counterbalance: 12 steps

measurements in mm

7 horizontal and 7 vertical grades of drag, +0

177

Tilt range: +90° to -75° For tripods with 100 mm bowls, integrated flat base fitting half ball with screw (integrated flat base)

Pages 94–99 15 SB C III

min. kg/lb

max. kg/lb

75/3

1.7/3.7

20.4/45.0

100/4

1.4/3.2

17.3/38.1

125/5

1.3/2.8

15.0/33.1

150/6

15 SB SL MCF

1.1/2.4

300

Center of gravity height (mm)

systems

C. O. G. *

15 SB ENG 2 MCF

250

200

13.3/29.3

* Center of gravity height (mm/in)

150 100 50 0

15 SB ENG 2 CF

8 10 12 14 16 18 20

Total load (kg)

14 12 10 8 6 4 2 0

Settings

15 SB ENG 2 D

Counterbalance knob

ACCessories

Adapter 1/4 ‘‘. 3/8 ’’, M8

3986

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

Multi Disc

3471

3901

Adapter 100/150

3914

1030

Adapter viewfinder extension 12/15

Adapter Ped C I / Plus

3985

3903

Adapter FB/100

3980

1063

Pages 86–93 C.O.G. plate

ø 100

damping

Payload diagram

Payload Table

1505

Damping

code

Pan bar DV left

100 mm

ENG

Fluid Heads

DV 12 SB

The solution for small ENG cameras Payload range: 1 to 14 kg / 2 to 30 lb

Measurements in mm

Tap holes for viewfinder extension adapter

Counterbalance: 12 steps

5 horizontal and 5 vertical grades of drag, +0

177

Tilt range: +90° to -75° For tripods with 100 mm bowls, integrated flat base fitting ø 100

half ball with screw (integrated flat base)

max. kg/lb

75/3

1.7/3.7

17.6/38.8

100/4

1.4/3.2

14.9/32.9 13.0/28.6

1.1/2.4

11.5/25.3

* Center of gravity height (mm/in)

150 100 50 0

8 10 12 14 16 18 20

Total load (kg)

14 12 10 8 6 4 2 0

1205 systems

Pages 94–99 12 SB SL MCF 12 SB ENG 2 MCF 0

12 SB ENG 2 CF

12 SB

Settings

ACCessories

Multi Disc

3471

Pan bar DV left

Adapter with clamping 1/4 ‘‘. 3/8 ’’, M8

3470

Adapter 1/4 ‘‘. 3/8 ’’, M8

3914

Adapter viewfinder extension 12/15

Adapter 100/150

3986

Adapter Ped C I / Plus

3901

Adapter FB/100

3985

C.O.G. plate

3903

1063

Pages 86–93 1030

150/6

1.3/2.8

250

200

3980

125/5

300

Damping

min. kg/lb

Center of gravity height (mm)

C.O.G.*

code

damping

Payload diagram

Payload Table

Pan bar DV right (telescopic)

100 mm

ENG / (H)DV

DV 8/100 SB Sachtler´s smallest 100 mm solution Payload range: 1 to 12 kg / 2 to 26 lb

measurements in mm

Self-illuminating Touch Bubble

Counterbalance: 12 steps

5 horizontal and 5 vertical grades of drag, +0

177

Tilt range: +90° to -75° For tripods with 100 mm bowls, integrated flat base fitting ø 100

half ball with screw (integrated flat base)

Payload Table

0806 DV 8 SB:

0805

min. kg/lb

max. kg/lb

75/3

1.7/3.7

15.8/34.7

100/4

1.4/3.2

13.4/29.5

125/5

1.3/2.8

11.6/25.6

150/6

systems

1.1/2.4

14 12 10 8 6 4 2 0

300 250

200

10.3/22.6

* Center of gravity height (mm/in)

Pages 94–99

damping

Payload diagram

C. O. G. *

Center of gravity height (mm)

DV 8/100 SB:

150 100

Damping

code

50 0

DV 8/100 SB:

8 10 12 14 16 18 20

Settings

Total load (kg)

8/100 SB ENG 2 CF 8/100 SB DV 8 SB:

75 mm

8 SB SL MCF

DV 8 SB

8 SB / 2 MD 8 SB / 2 D

Optimal in combination with Speed Lock® 75 CF

8 SB MD 8 SB

measurements in mm

65 177

ø 75 half ball with screw (integrated flat base)

ACCessories

3471

Pan bar DV left (telescopic)

Pan bar DV right (telescopic)

Pan bar DV left (telescopic)

C.O.G. plate DV

3906

3470

Pan bar DV right (telescopic)

3470

Multi Disc

Adapter 100/150

1465

1030

Adapter Ped C I / Plus

3901

Adapter FB/100

3471

3903

C.O.G. plate DV

3914

1465

Pages 86–93

Adapter 75/100

75 mm

(H)DV

Fluid Heads

DV 6 SB The (H)DV standard for professionals Payload range: 1 to 9 kg / 2 to 20 lb

Measurements in mm

Self-illuminating Touch Bubble

Counterbalance: 10 steps

5 horizontal and 5 vertical grades of drag, +0

177

Tilt range: +90° to -75° For tripods with 75 mm bowls, integrated flat base fitting ø 75

half ball with screw (integrated flat base)

Payload Table max. kg/lb

75/3

1.2/2.7

12.2/27.2

100/4

1.0/2.3

10.5/23.1

125/5

0.9/2.0

9.1/20.1

150/6

0.8/1.8

8.0/17.7

300 250

200

* Center of gravity height (mm/in)

150 100

Damping

min. kg/lb

Center of gravity height (mm)

50 0

8 10 12 14 16 18 20

Total load (kg)

14 12 10 8 6 4 2 0

0605 systems

Pages 94–99 6 SB SL MCF 6 SB / 2 MD 0

6 SB / 2 D

6 SB MD

Settings

6 SB

Self-illuminating Touch Bubble

ACCessories

Adapter 75/100

Pan bar DV right

3471

C.O.G. plate DV

3906

1465

Pages 86–93 3470

C. O. G. *

code

damping

Payload diagram

Pan bar DV left

75 mm

(H)DV

FSB 6 / 6 T The multi-functional award-winning fluid head measurements in mm (FSB 6)

Payload range: 1 – 6 kg / 2 – 13 lb Counterbalance: 10 steps

measurements in mm (FSB 6 T)

3+0 horizontal and 3+0 vertical grades of drag, +0

163

166

172

175

Tilt range: +90° to -70°

new!

For tripods with 75 mm bowls, integrated flat base fitting ø 75

Self-illuminating Touch Bubble

FSB 6 T:

0405

C. O. G. *

min. kg/lb

max. kg/lb

50/2

1.6/3.5

8.5/18.7

75/3

1.3/2.9

6.9/15.3

100/4

1.1/2.4

5.9/13.0

125/5

systems

1.0/2.1

Center of gravity height (mm)

0407

5.1/11.2

* Center of gravity height (mm/in)

Pages 94–99

damping

Payload diagram

Payload Table

FSB 6:

150 125

100

FSB 6:

25 0

ø 75

half ball with screw (integrated flat base)

Damping

code

Total load (kg)

1 0

Settings

FSB 6 / 2 D FSB 6 MD FSB 6 / 2 MD FSB 6 SL MCF SOOM FSB 6 FSB 6 T:

FSB 6 T FSB 6 T / 2 D FSB 6 T MD FSB 6 T / 2 MD FSB 6 T SL MCF

Pages 94–99 FSB 6 :

FSB 6 PowerSet FSB 6 / 2 D PowerSet FSB 6 MD PowerSet FSB 6 / 2 MD PowerSet FSB 6 SL MCF Power Set Battery systems

See also pages 56–57

ACCessories

Adapter 75/100

FSB CELL

0782

Pan bar DV left (telescopic)

3906

Pan bar DV right (telescopic)

3471

3470

Pages 86–93

0781

C. O. G. *

code

damping

Payload diagram

Payload Table

ø 75

FSB CELLCharger

FSB Series

FSB CELL Revolutionary concept in rechargeable batteries for MiniDV and (H)DV cameras Recommended for fluid heads FSB 2, FSB 6 Weight 0.7 kg / 1.5 lb Capacity: 10.5 Ah Voltage 7.2 V

new!

Low discharge voltage: 5.4 V Operating temperature: 10° to 40° C / 50° to 104° F

Operating discharge temperature: -20° to +60°C / -4° to 140° F Dimensions (L x W x H): 18 x 9.5 x 4.3 cm / 7.1 x 3.7 x 1.7" Cable adapter: Sony I, Sony II, Canon, Panasonic

code

0781

Revolutionary concept in rechargeable

the battery’s underside fastens perfectly onto

batteries for MiniDV and (H)DV cameras:

the fluid head, ensuring secure locking. The

Power meets professional camera support.

battery’s weight (0.65 kg / 1.4 lb) is positioned

The ultra-high performance FSB CELL is a

directly over the fluid head. This optimizes

7.2 volt lithium-ion battery for MiniDV and

camera control, by acting neutrally when

FSB 6 :

(H)DV cameras that loads directly under

balancing the camera. The result is added stabi-

FSB 6 PowerSet

the camera. Shaped like a camera plate,

lity and uniform, smooth camera pans.

systems*

Pages 94–99

FSB 6 / 2 D PowerSet FSB 6 MD PowerSet FSB 6 / 2 MD PowerSet FSB 6 SL MCF Power Set FSB 2 :

– High capacity

FSB 2 PowerSet FSB 2 / 2 D PowerSet

– Attaches directly under the camera on the fluid head

FSB 2 MD PowerSet

– The underside of the battery is shaped like a camera plate

FSB 2 / 2 MD PowerSet

– Extension of the sliding range to 225 mm / 8.9"

FSB 2 SL MCF Power Set

– Totally compatible with the newly developed Sachtler fluid heads FSB 2 and FSB 6, the new generation for MiniDV and (H)DV cameras

* please specify type of cable adapter!

FSB Series

Fluid Heads

FSB CELLCharger Recommended for FSB CELL Weight: 0.4 kg / 0.8 lb Input voltage: 90–250 VAC Input frequency: 50–60 Hz Operating temperature: 10° to +40° C / 50° to +104° F Dimensions (L x W x H): 14 x 8 x 5.5 cm / 5.5 x 3.1 x 2.2"

new! code

0782

systems*

Pages 94–99 FSB 6 :

Sets

FSB 6 PowerSet FSB 6 / 2 D PowerSet FSB 6 MD PowerSet FSB 6 / 2 MD PowerSet FSB 6 SL MCF Power Set FSB 2 :

FSB 2 PowerSet FSB 2 / 2 D PowerSet FSB 2 MD PowerSet FSB 2 / 2 MD PowerSet FSB 2 SL MCF Power Set

Cable Adapters Cable Adapter

Code

Recommended for Cameras

Weight

Cable length

Sony I

0785

PD 100 / PD 150 / PD 170 / DCR-VX2000 / DCR-VX2100 / HDR-FX7

40 g 1.4 oz

16 cm / 6.3"

Cable Adapter

Code

Recommended for Cameras

Weight

Cable length

Sony II

0786

HVR-Z1U/E, HVR-V1U/E, HDR-FX1

80 g 2.8 oz

21 cm / 8.3"

Cable Adapter

Code

Recommended for Cameras

Weight

Cable length

Canon

0787

XH-A1 / XH-G1 / XL-H1 / XL 1 / XL 2 / XM 2

40 g 1.4 oz

25 cm / 9.8"

Cable Adapter

Code

Recommended for Cameras

Weight

Cable length

Panasonic

0788

AG-HVX200 / AJ-DVX100 / AJ-DVX100A / AJDVX100B / DVC 80 / DVC 30

40 g 1.4 oz

20 cm / 7.9"

* please specify type of cable adapter!

Fluid Heads

Specifications

Cine 75 HD Film / HD

Studio 9+9 Film / HD

Cine 30 HD Film / HD

Dutch Head 35 Film / HD

Video 90 FB Studio EFP / OB 8092

Code

7502

6002

3006

3004

Weight

11.9 kg / 26.2 lb

8.4 kg / 18.5 lb

5.6 kg / 12.3 lb

6.0 kg / 13.2 lb

14.2 kg / 31.3 lb

Payload

4–75 kg / 9–165 lb

8–55 kg / 18–121 lb

3–35 kg / 7–77 lb

0–50 kg / 0–110 lb

0–115 kg / 0–254 lb

Balance plate / Sliding range

120 mm / 4.7"

115 mm / 4.5"

150 mm / 5.9"

60 mm / 2.4"

180 mm / 7.1"

Counterbalance steps

24 + Boost Button

18 + Boost Button

horizontal steps

9+0

7+0

vertical steps

9+0

7+0

7 + 0 (diagonal)

7+0

Tilt range

+90/-60°

+90/-75°

±60°

+60/-45°

Temperature range

-40/+60 °C -40/+140 °F

-40/+60 -40/+140 °F

-40/+60 °C -40/+140 °F

Touch & Go® plate

—

Sideload plate

—

30 HD

—

V-plate

—

150 mm

For fluid heads with Touch & Go® plate 35

Integrated

Type

Movie

Plus

Number

Grades of drag 7+0

Camera fitting

Tripod/Pedestal fitting Bowl Mitchell (with adapter) Flat Base

— —

Pan bar(s)

telescopic

Pan bar front sections 2 —

Attachment (front/rear/handle)

Ø 20/25/32 mm Ø 0.8/1/1.3"

Ø 18/22/36 mm Ø 0.7/0.9/1.4"

Ø 18/22/32 mm Ø 0.7/0.9/1.3"

Ø 28.5/–/– mm Ø 1.1"/–/–

Length

430–600 mm 16.9–23.6"

350–520 mm 13.8–20.5"

400 mm 15.7"

Level Self-illuminating Touch Bubble

—

Batteries 3 x 625 U or LR9 Systems

— Cine 75

30 EFP 2 MCF

90 Studio

Cine 30

90 OB

Fluid Heads Video 75 Plus Studio Studio OB

Video 75 Plus EFP EFP / OB

Video 60 Plus Studio Studio OB

Video 60 Plus EFP EFP / OB

Video 25 Plus FB Studio OB

Video 25 Plus EFP / OB

7501 12.9 kg / 28.4 lb

7500

6001

6000

2501P

2500P

11.9 kg / 26.2 lb

9.4 kg / 20.7 lb

8.4 kg / 18.5 lb

4.5 kg / 9.9 lb

12–85 kg / 26–187 lb

16–65 kg / 35–143 lb

8–35 kg / 18–77 lb

145 mm / 5.7"

120 mm / 4.7"

115 mm / 4.5"

100 mm / 3.9"

110 mm / 4.3"

24 + Boost Button

9+0

7+0

9+0

7+0

+80/-60°

+90/-60°

+90/-75°

-40/+60 °C -40/+140 °F

—

150 mm

150 mm *

150 mm

—

— 150 mm *

150 mm

—

150 mm * —

Integrated

— Integrated

Pan bar front sections

Pan bar front/rear sections

Pan bar front sections

Plus

2+2

—

Ø 28.5/–/– mm Ø 1.1"/–/–

Ø 28.5/35/40 mm Ø 1.1/1.4/1.6"

Ø 28.5/–/– mm Ø 1.1"/–/–

18/22/32 mm Ø 0.7/0.9/1.3"

400 mm 15.7"

540–720 mm 21.3–28.3"

400 mm 15.7"

350–520 mm 13.8–20.5"

75 Plus Studio

75 Plus EFP

60 Studio

60 EFP 2 CF

25 Studio

25 EFP 2 CF

75 Plus OB 2000

60 OB 2000

25 Combi 1-40 25 C III * requires ball adapter with screw

Fluid Heads

Specifications

Video 20 SB EFP / ENG

Video 18 SB EFP / ENG

Video 15 SB ENG

DV 12 SB ENG

Video 18 Dutch EFP / ENG

Code

2005

1805

1505

1205

1804

Weight

3.4 kg / 7.5 lb

3.3 kg / 7.3 lb

2.8 kg / 6.2 lb

2.7 kg / 6.0 lb

2.6 kg / 5.7 lb

Payload

7–25 kg / 15-55 lb

2–18 kg / 4-40 lb

1–16 kg / 2–35 lb

1–14 kg / 2–30 lb

0–18 kg / 0–40 lb

Balance plate / Sliding range

120 mm / 4.7"

70 mm / 2.8"

60 mm / 2.4"

Counterbalance steps

horizontal steps

7+0

5+0

vertical steps

7+0

5+0

7 + 0 (diagonal)

Tilt range

±90°

+90/-75°

±80°

Temperature range

-40/+60 °C -40/+140 °F

Touch & Go® plate

Sideload plate S

—

Bowl

100 mm

For fluid heads with Touch & Go® plate 16

Flat Base

—

Integrated

Type

Plus

DV right

DV 100

Plus

Number

Grades of drag

Camera fitting

Tripod/Pedestal fitting

Pan bar(s)

telescopic

—

Attachment (front/rear/handle)

Ø 18/22/32 mm Ø 0.7/0.9/1.3"

Ø 18/32 mm Ø 0.7/1.3"

Ø 18/22/32 mm Ø 0.7/0.9/1.3"

Length

350–520 mm 13.8–20.5"

450 mm 17.7"

350–520 mm 13.8–20.5"

Battery 1 x CR 2032

—

Systems

20 SB SL HD MCF

18 SB SL MCF

15 SB C III

12 SB SL MCF

20 SB SL HD CF

18 SB SL CF

15 SB SL MCF

12 SB ENG 2 MCF

20 SB HD MCF

18 SB ENG 2 MCF

15 SB ENG 2 MCF

12 SB ENG 2 CF

20 SB ENG 2 HD CF

18 SB ENG 2 CF

15 SB ENG 2 CF

12 SB

20 SB ENG 2 CF

18 SB ENG 2 D

15 SB ENG 2 D

Level Self-illuminating Touch Bubble Batteries 3 x 625 U or LR9

Fluid Heads

new!

DV 8/100 SB ENG

DV 8 SB ENG / (H)DV

DV 6 SB (H)DV

FSB 6 (H)DV

FSB 6 T (H)DV

FSB 2 (H)DV

0806

0805

0605

0407

0405

0207

2.6 kg / 5.7 lb

2.5 kg / 5.5 lb

2.4 kg / 5.3 lb

2 kg / 4.4 lb

2.15 kg / 4.7 lb

1.85 kg / 4.1 lb

1–12 kg / 2–26 lb

1–9 kg / 2–20 lb

1–6 kg / 2.2–13.2 lb

0–2 kg / 0–4.4 lb

60 mm / 2.4"

120 mm / 4.7"

60 mm / 2.4"

120 mm / 4.7"

5+0

3+0

5+0

3+0

+90/-75°

+90/-70°

+90/-75°

-40/+60 °C -40/+140 °F

—

DV 8

—

100 mm

75 mm

Integrated

DV 75

—

Ø 16/– mm Ø 0.6"/–

430 mm 16.9"

— —

—

— —

8/100 SB ENG 2 CF

8 SB SL MCF

6 SB SL MCF

FSB 6

FSB 6 T

FSB 2

8/100 SB

8 SB / 2 MD

6 SB / 2 MD

FSB 6 / 2 D

FSB 6 T / 2 D

FSB 2 / 2 D

8 SB MD

6 SB MD

FSB 6 MD

FSB 6 T MD

FSB 2 MD

8 SB / 2D

6 SB / 2D

FSB 6 / 2 MD

FSB 6 T / 2 MD

FSB 2 / 2 MD

8 SB

6 SB

FSB 6 SL MCF

FSB 6 T SL MCF

FSB 2 SL MCF

FSB 6 PowerSet

FSB 2 PowerSet

FSB 6 / 2 D PowerSet

FSB 2 / 2 D PowerSet

FSB 6 MD PowerSet

FSB 2 MD PowerSet

FSB 6 / 2 MD PowerSet

FSB 2 / 2 MD PowerSet

FSB 6 SL MCF PowerSet SOOM FSB 6

FSB 2 SL MCF PowerSet SOOM FSB 2

EASY-TO-OPERATE PEDESTALS

Sachtler studio and OB pedestals make life easy for users. Camera operators can easily keep the wheel positions in view at all times and reach all three wheel brakes from any position. The crab & steer function enables simple maneuvering with defined rolling turns. Cable guards protect the cables from damage. Rubber-coated surfaces ensure that you don’t slip when pushing the pedestal with your feet, while the trim weights for the column are covered in plastic to prevent skin contact with the lead. The Quickfix fitting enables fast and easy setups. And the highlyflexible C I and C III models are ideal for small studios and outside shoots.

Speed Lock® clamping system

Fast-action clamp

Rotary clamp

Reporter Lighting

FASTENERS

Single extension tripods usually feature a rotary clamping system that secures each tripod leg in the required extension position within seconds. Double extension tripods lock into place in a flash with Sachtler fastaction clamps, with the help of a MATERIALS lever specially designed for this Sachtler chooses aluminium purpose. The Speed Lock® and carbon fiber for its tripods. tripod also features an easy-toThis is because both materials use, patented clamping system. stand out for their extraordinary A single release lever operates resilience and extremely high the two fasteners on each leg of safety against rupture. And this double extension tripod. because carbon fiber (CF) is FITTINGS FOR EVERY HEAD exceptionally lightweight, it is the choice of camera operators Depending on payload, Sachtler tripods use different who often need to travel. connections to fit their fluid Carbon fiber has an additional advantage – it is more pleasant heads. 75 mm bowls are usually used with tripods that carry to hold at extremely low lightweight digital camcorders. temperatures. 100 mm fittings are widely used with tripods in ENG operation. Heavy film and television cameras mount stably on tripods with 150 mm, Mitchell or flat base fittings that are easy to convert for different applications using adapters. Studio pedestals and OB tripods have flat base connections for use with studio heads. The Cine Mitchell is used with fluid heads that have Mitchell base connections.

Fluorescent Lighting

ROBUST AND PROVEN

Sachtler camera tripods have proven themselves for almost 50 years. Whether in temperatures of -40 °C / -40 °F or in the desert’s scorching heat – you can always rely on our camera support systems.

Camera Stabilizing Systems

Systems

Accessories

Tripods

Pedestals

Fluid Heads

Stable in Every Position

Flat Base

Studio OB

Vario Ped 2-75 Studio Ped 2-75 Safe, flexible and incredibly easy to use Payload: up to 75 kg / 165 lb On-shot stroke: 77 cm / 30.3" Height: 66 to 143 cm / 26" to 56.3" Clearance: 69 to 92 cm / 27.2" to 36.2" (Vario Ped 2-75) (enables narrow track settings) 88.8 cm / 35" (Studio Ped 2-75)

code

Vario Ped 2-75:

5201

Top-class pedestals for studio and OB operation

Weight: 55kg/121 lb only (Vario Ped 2-75) 82 kg / 181 lb (Studio Ped 2-75)

Optional retrofit kit for conversion from Studio Ped to Vario Ped and vice versa

Safe air charging with pump or compressor

Quickfix enables fast camera changeover from pedestal to tripod

Pressure relief valve prevents damage to the column Low operating costs due to air charging Crab & steer function for easy maneuverability and defined cornering ability

Column, handwheel and dolly dismountable for easy transport (Vario Ped 2-75) Including trim weights

Studio Ped 2-75:

5275 systems

Pages 94–99 Vario Ped 2-75:

75 Plus Studio 60 Studio 25 Studio Studio Ped 2-75:

90 Studio

The Vario Ped 2-75 with fluid head Video 90 and V-plate.

Studio Ped 2-75

Vario Ped 2-75

OB wheels 200CG OB wheels 200

5205

OB wheels 200

5209CG

Studio wheels

5208

Small Steering wheel

5210

Compressor

5206

5207

Pages 86–93 Air wheels

B-5275-450

ACCessories

Retrofit kit studio dolly only for Vario Ped 2-75

Flat Base

EFP / OB

Combi Ped 1-40 Pedestals

Leightweight and stable—perfect on the road

Payload: up to 40 kg / 88.2 lb

Column brake for locking at any height

On-shot stroke: 54 cm / 21.3"

Crab function for easy maneuverability

Height: 79 to 133 cm / 31.1" to 52.4" Clearance: 70 cm / 27.5"

Column, handwheel and dolly dismountable for easy transport

Air charging with pump

Fast, tool-free set-up

Smooth and precise height adjustment

Pressure gauge for air pressure control in column

systems

Pages 94–99 25 Combi 1-40

new!

Compact and easy to transport: the dolly, pneumatic column and steering wheel

ACCessories

FB Converter

3910

3913

Pages 86–93 Quickfix

Cover

Flat Base

EFP / OB

C I Pedestal C III Pedestal Flexibility for small studios and outside broadcasting

code

Payload: 55 kg / 121 lb (C III Pedestal) 20 kg / 44 lb (C I Pedestal)

Weight: 16.5 kg / 36.4 lb (C III)

Smooth-running lifting column for vibration-free “on the air” movement

9.2 kg / 20.3 lb (C I)

On-shot stroke: 42 cm / 16.5" (C III) 39 cm / 15.4" (C I)

Safe air charging with pump or compressor

Column can be locked in place by brake at any height

Height: 71.5 to 157 cm / 28.1" to 61.8" (C III) 68 to 157 cm / 26.8" to 61.8" (C I)

C I Pedestal:

4191 C III Pedestal:

Clearance: 99 cm / 39.0" (C III) 93 cm / 36.6" (C I)

Optimally adjustable air pressure to balance any camera configuration

Large height range and silent dolly movement

Incl. pressure gauge (C III)

Fast, tool-free set-up Convenient eccentric clamp (C III)

5195 systems

Pages 94–99 15 SB C III 25 C III

The pressure gauge, which controls the air pressure in the C III Pedestal.

C I Pedestal C III Pedestal

Adapter Ped C I / DV

Adapter Ped C I / Plus

1030 (C I)

Multi Disc

3941 (C I)

FB Converter

3914 (C III)

Pages 86–93

3913 (C III)

ACCessories

Cover

Flat Base

Aluminium

EFP / OB

OB 2000 Payload: up to 140 kg / 309 lb

Level for easy balancing

Single extension with rotary clamp

Leg scales for easy reproduction of settings

Height: 66 to 124 cm / 26" to 48.8" Transport length: 84 cm / 33.1" Weight: 9.6 kg / 21.2 lb

Tripods

Pedestals

For heavy loads

Mid-level spreader and rotatable rubber feet are standard features code

6481 Hand Crank Column:

6205 systems

Pages 94–99 90 OB 75 Plus OB 2000 60 OB 2000

Hand Crank Column Lifting heavy loads higher Payload: 130 kg / 287 lb On-shot stroke: 36 cm / 14.2" Maximum height with the OB 2000: up to 172 cm / 67.7" Transport length: 53 cm / 20.9" Weight: 6 kg / 13.2 lb

ACCessories

Dolly XL

3910

Spreader SP 150 EX

7080

7013

Pages 86–93 Quickfix

Cover

150 mm

Aluminium

Film / HD

Cine 150 long Cine 150 medium Cine 2000 short

Extremely robust and stable for loads up to 140 kg / 309 lb

Single extension

Transport length: 103 cm / 40.6" (Cine 150 long) 60 cm / 23.6" (Cine 150 medium) 37.5 cm / 14.8" (Cine 2000 short)

Height range: 85 to 176 cm / 33.5 to 69.3" (Cine 150 long) 20 to 88 cm / 7.9 to 34.6" (Cine 150 medium) 17–43 cm / 6.7–16.9" (Cine 2000 short)

Weight: 10.7 kg / 23.6 lb (Cine 150 long) 8.4 kg / 18.5 lb (Cine 150 medium) 5.9 kg / 13 lb (Cine 2000 short)

Payloads: up to 140 kg / 309 lb (Cine 150 long, medium) 50 kg / 110 lb (Cine 2000 short)

code

Cine 150 long:

6290 Cine 150 medium:

6250 Cine 2000 short:

6232

Large-sized spikes for firm standing Large height adjustment clamps Incl. transport locks

systems

Pages 94–99 Cine 75 Cine 30

Spreader with tap holdes that enable the tripod to be fixed to the ground.

Cine 150 medium

Cine 150 long

Cine Mitchell Top

Dolly Cine

Spreader Cine

7013K (Cine K)

Cover

7023 (Cine L / M)

Rubber feet EX

7085 (Cine L / M)

Mid-level spreader Cine

7014 (Cine L)

Pages 86–93

7027 (Cine L)

Accessories

6056 (Cine L/ M)

Cine 2000 short

Mini spreader EX

Mitchell

Aluminium

Film / HD

Cine Mitchell long Cine Mitchell medium Tripods

Heavy duty Cine tripods

Payload: up to 140 kg / 309 lb

Transport length: 103 cm / 40.6" (Cine Mitchell long) 60 cm / 23.6" (Cine Mitchell medium)

Single extension Height range: 85 to 176 cm / 33.5 to 69.3"

Weight: 10.7 kg / 23.6 lb (Cine Mitchell long) 8.4 kg / 18.5 lb (Cine Mitchell medium)

(Cine Mitchell long)

20 to 88 cm / 7.9 to 34.6"

For fluid heads with Mitchell or flat base fittings as well as gear heads code

Level for easy balancing

Cine Mitchell long:

Tool-free tripod leg adjustment

6295 Cine Mitchell medium:

6255

(Cine Mitchell medium)

Tripod leg adjustment the tool-free Sachtler way: open the clamp—set the leg—close the clamp!

Cine Mitchell medium

Cine Mitchell long

Pages 86–93 Rubber feet EX

Cover

6057

Mid-level spreader Cine

7014 (Cine L)

Spreader Cine

7027 (Cine L)

Dolly Cine

7023

7085

accessories

Cine 150 mm Top

150 mm

EFP 2 CF

CF 150 L CF 150 ML

150 mm carbon fiber tripod

Carbon Fiber

150 mm tripods with the choice of two lengths Payload: 95 kg / 209 lb

Payload: up to 95 kg / 209 lb

Double extension with fast-action clamp

Single extension with rotary clamp

Height: 58 to 161 cm / 22.8" to 63.4"

Height: 79 to 166 cm / 31.1" to 65.4" (CF 150 L) 67 to 138 cm / 26.4" to 54.3" (CF 150 ML)

Transport length: 76 cm / 29.9" code

Weight: 4.1 kg / 9 lb

CF 150 L:

Transport length: 92 cm / 36.2" (CF 150 L) 83 cm / 32.7" (CF 150 ML) Weight: 4.2 kg / 9.3 lb (CF 150 L) 4.0 kg / 8.8 lb (CF 150 ML)

Lightweight, robust construction using carbon fiber

6392 CF 150 ML:

6381 EFP 2 CF:

6386 systems

Pages 94–99 EFP 2 CF:

75 EFP 2 CF 60 EFP 2 CF 25 EFP 2 CF 30 EFP 2 MCF

Sachtler’s fast-action clamp locks in the tripod leg with exceptional speed. CF 150 L

CF 150 ML

Rotary clamping system for 1-stage tripods. EFP 2 CF

accessories

Dolly S

Cover

Padded bag

8690

Spreader SP 100/150

7065

Rubber feet 100/150

7003

Mid-level spreader 100/150

7004

7007

Pages 86–93 Carrying strap ENG 2

Aluminium

150 mm

EFP 2 D

DA 150

150 mm aluminium tripods

Payload: 90 kg / 198 lb (DA 150 L/ML) 50 kg / 110 lb (DA 150 M) 40 kg / 88 lb (DA 150 K)

Payload: 90 kg / 198 lb Double extension with fast-action clamp Height: 58 to 161 cm / 22.8" to 63.4" Transport length: 76 cm / 29.9"

83 cm / 32.7" (DA 150 ML) 57 cm / 22.4" (DA 150 M) 32 cm / 12.6" (DA 150 K)

Single extension with rotary clamp

Weight: 5 kg / 11 lb

Height ranges ideally complement each other (see p. 83)

High stability due to doubleextension tubes

Tripods

150 mm

Transport length: 92 cm / 36.2" (DA 150 L)

Weight: 5.0 kg / 11 lb (DA 150 L) 4.7 kg / 10.4 lb (DA 150 ML) 3.9 kg / 8.6 lb (DA 150 M) 3.1 kg / 6.8 lb (DA 150 K)

code

EFP 2 D:

6186

Extremely low shooting position: 15 cm / 5.9" (DA 150 K)

DA 150 L:

6192 DA 150 M:

6157 DA 150 ML:

6181 DA 150 K:

6132

Practical fast-action release clamps on all double extension dural aluminium tripods in the 150 mm series. DA 150 L

EFP 2 D

Practical rotary clamp on all single extension dural aluminium tripods in the 150 mm series.

DA 150 M

7004

Rubber feet 100/150

DA 150 ML Accessories

Spreader SP 100/150

Dolly S

Cover

Padded bag

7003K

Mid-level spreader 100/150

7065

Pages 86–99 7003

Carrying strap ENG 2

7007

8690

DA 150 K

Mini spreader 150 for DA 150K for DA 150 only

Carbon Fiber

100 mm

Speed Lock® CF HD Speed Lock® CF The fastest double extension tripod – ready to shoot with 3 turns of the hand Payload: up to 95 kg / 209 lb (Speed Lock® CF HD) 40 kg / 88 lb (Speed Lock® CF)

Transport length: 75 cm / 29.5" (Speed Lock® CF HD) 70 cm / 27.6" (Speed Lock® CF)

Double extension with quick release clamp

Weight: 4.5 kg / 9.9 lb (Speed Lock® CF HD) 3 kg / 6.6 lb (Speed Lock® CF)

Height range: 55 to 161 cm / 21.7" to 63.4" (Speed Lock® CF HD) 46 to 155 cm / 18.1" to 61" (Speed Lock® CF)

code

Speed Lock® CF HD:

Extremely low tripod weight and high torsional resistance The perfect tripod for ENG applications

5590 Speed Lock® CF:

5586 systems

Pages 94–99 20 SB SL HD MCF 18 SB SL MCF 18 SB SL CF 15 SB SL MCF 12 SB SL MCF

The Speed Lock® CF’s patented clamping system locks the six fasteners with just three clamp levers.

Speed Lock® CF HD

Speed Lock® CF

Padded bag accessories

Dolly S

8690

Spreader SP 100/150

7065

Spreader SP 100

7003

Rubber feet 100/150

7002

Mid-level spreader 100/150

7004

7007

Pages 86–93 Carrying strap ENG 2

Cover

Carbon Fiber

100 mm

ENG 2 CF HD ENG 2 CF Payload: 95 kg / 209 lb (ENG 2 CF HD) 40 kg / 88 lb (ENG 2 CF)

Transport length: 75 cm / 29.5" (ENG 2 CF HD) 70 cm / 27.6" (ENG 2 CF)

Double extension with fast-action clamp

Weight: 4 kg / 8.8 lb (ENG 2 CF HD) 2.6 kg / 5.7 lb (ENG 2 CF)

Height range: 55 to 161 cm / 21.7" to 63.4" (ENG 2 CF HD) 46 to 155 cm / 18.1" to 61" (ENG 2 CF)

Tripods

100 mm double extension carbon fiber tripods

code

ENG 2 CF HD:

5390 ENG 2 CF:

5386 systems

Pages 94–99 ENG 2 CF HD:

20 SB HD MCF 20 SB ENG 2 HD CF ENG 2 CF:

20 SB ENG 2 CF 18 SB ENG 2 MCF 18 SB ENG 2 CF 15 SB ENG 2 MCF 15 SB ENG 2 CF 12 SB ENG 2 MCF 12 SB ENG 2 CF 8/100 SB ENG 2 CF

The tripod leg is lockedin using the Sachtler fast action clamp.

ENG 2 CF

ENG 2 CF HD

Accessories

Pages 86–93

Dolly DV 100

Padded bag

8690

Dolly S

7067

Spreader SP 100/150

7065

Spreader SP 100

7003

Rubber feet 100/150

7002

Mid-level spreader 100/150

7004

7007

Cover

Carrying strap ENG 2

Aluminium

100 mm

ENG 2 D HD ENG 2 D 100 mm aluminium tripods Payload: 90 kg / 198 lb (ENG 2 D HD) 35 kg / 77 lb (ENG 2 D)

Transport length: 75 cm / 29.5" (ENG 2 D HD) 70 cm / 27.6" (ENG 2 D)

Double extension with fast-action clamp

Weight: 5.0 kg / 11 lb (ENG 2 D HD) 3.1 kg / 6.8 lb (ENG 2 D)

Height range: 55 to 161 cm / 21.7" to 63.4" (ENG 2 D HD) 46 to 155 cm / 18.1" to 61" (ENG 2 D)

code

ENG 2 D HD:

Foldout carrying handle (only ENG 2 D HD)

5490 ENG 2 D:

5186 systems

Pages 94–99 18 SB ENG 2 D 15 SB ENG 2 D

The tripod leg is easy to lock into place using the fast-action clamp.

ENG 2 D

ENG 2 D HD

Cover

Padded bag

accessories

Carrying strap ENG 2

7067

Dolly S

8690

Spreader SP 100/150

7065

Spreader SP 100

7003

Rubber feet 100/150

7002

Mid-level spreader 100/150

7004

7007

Pages 86–93 Dolly DV 100

Carbon Fiber

100 mm

CF 100 DA 100

Aluminium

Proven 100 mm tripods – in both carbon fiber and aluminium DA 100

Payload: 90 kg / 198 lb (CF 100 HD) 45 kg / 99 lb (CF 100 L, M)

Transport length: 82 cm / 32.3" (CF 100 HD, L) 51 cm / 20.1" (CF 100 M)

Single extension with rotary clamp

Weight: 3.7 kg / 8.2 lb (CF 100 HD) 2.4 kg / 5.3 lb (CF 100 L) 1.9 kg / 4.2 lb (CF 100 M)

Height ranges optimally complement each other

Heavy Duty design with 22 mm tube diameter

(see p. 61)

Payload: 80 kg / 176 lb (DA 100 HD) 35 kg / 77 lb (DA 100 L, M) 40 kg / 88 lb (DA 100 K)

Transport length: 82 cm / 32.3" (DA 100 HD, L) 51 cm / 20.1" (DA 100 M) 22 cm / 8.7" (DA 100 K)

Single extension with rotary clamp

Weight: 4.4 kg / 9.7 lb (DA 100 HD) 2.9 kg / 6.4 lb (DA 100 L) 2.2 kg / 4.9 lb (DA 100 M) 1.5 kg / 3.3 lb (DA 100 K)

Height ranges optimally complement each other (see p. 60)

Tripods

CF 100

code

CF 100 HD:

5380 CF 100 L:

5382 CF 100 M:

5351 DA 100 HD:

5480 DA 100 L:

5182 DA 100 M:

5151 DA 100 K:

5122 systems

Pages 94–99 12 SB CF 100 L

CF 100 HD

8/100 SB

CF 100 M

DA 100 K

DA 100 M DA 100 HD DA 100 L

Cover

Padded bag Accessories

except DA 100 short

Dolly DV 100

8690

Dolly S

7067

Spreader SP 100/150

7065

Spreader SP 100

7003

Rubber feet 100/150

7002

Mid-level spreader 100/150

7004

7007

Pages 86–93 Carrying strap ENG 2

except DA 100 short

Carbon Fiber

100 mm

Hot Pod® CF Monopod 2 CF For shooting positions of more than 2 m / 6' 6" high

Also a favorite with photographers

Hot Pod®

Monopod

Pneumatic lifting column for lens heights of more than 2 m / 6' 6"

Payload: 15 kg / 33 lb (Monopod 2 CF)

Extremely fast set-up due to central locking of all legs

Max. height: 166 cm / 65.4"

Transport length: 85 cm / 33.5"

Center locking system for height adjustment

Weight: 1 kg / 2.2 lb

Weight: 5.8 kg / 12.8 lb

Tool-free head changeover

Payload: up to 25 kg / 55 lb (Hot Pod® CF 14) up to 15 kg 33 lb (Hot Pod® CF 10) Single extension Height: 79 to 174 cm / 31.1" to 68.5" code

Hot Pod® CF 14:

5385/14

Double extension Transport length: 65 cm / 25.6" Available with Betacam or Touch & Go® systems

Hot Pod® CF 10:

5385/10 Monopod:

5395 (Sandwich Touch & Go®)

5396 (Betacam connection)

Hot Pod® CF

Monopod 2 CF

(available as CF 14 and CF 10)

Accessories

Cover

Padded bag

Monopod Betacam quick release systems

1091

Hot Pod Dolly

1096

7066

Pages 86–93 Sandwich Touch & Go® (Monopod)

4 in 1

Tripods

Award-winning multi-functional tool

The perfect setting for the fashion video from Hugo Boss: Cameraman Sebastian Georgi panning the SOOM HiPod System in picturesque landscape on the Spanish Island Majorca.

Photo: BildManufaktur

… infinite possibilities.

Aluminium

75 mm

new!

SOOM TriPod

A tool with exceptional possibilities: Lightweight, modular, flexible and multifunctional

Payload: 20 kg / 44 lb Single extension Height: 68.5 to 141 cm / 27 to 55.5" (no accessories fitted) code

82.5 cm / 32.5" (no accessories fitted)

S2003-0003

Weight: 3.0 kg / 6.6 lb

systems

Pages 94–99 SOOM Tripod SOOM HiPod SOOM FSB 2

The SOOM basic system consists of the SOOM TriPod

SOOM FSB 6

with a 75 mm head fixture and the SOOM TriSpread (mid-level spreader). Featuring a height range of 70.5 to 142.5 cm / 28 to 56" (incl. rubber feet), the SOOM TriPod is based on the proven Sachtler 100 mm ENG single extension tripod. The SOOM TriSpread ensures firm footing and is transformed into the perfect baby tripod with just a few simple moves. The baby tripod also has a 75 mm head fixture and height range from 21.5 to 49 cm / 8.5 to 19.3". The SOOM TriSpread and the SOOM TriPod combine to fix the SOOM Tube, the first in a series of auxiliary modules. The SOOM HiPod system is the combination of these three modules. It is telescopable to a maximum of 250 cm / 98.4" (lens height), giving you a perfect view for optimal shots at e. g. sports events, concerts or weddings. The SOOM Tube also stands alone as a monopod with a height range of 87 to 157 cm / 34.3 to 61.8". In this function the SOOM Tube is the ideal tool to stabilize cameras in difficult shooting conditions like cramped places, or for quick position changes. The SOOM TriPod, TriSpread and Tube are designed to carry 75 mm heads.

SOOM clamping bowl

Dolly DV 100

7065

Padded bag

7067

Rubber feet 100/150

S2003-1006

SOOM Tube

7004

SOOM TriSpread

S2005-0001

Pages 86–93

S2004-0001

Accessories

Dolly S

SOOM TriSpread SOOM Tube The TriSpread can be used as mid-level spreader or as baby tripod

Aluminium

new! The Tube can be used as part of a HiPod System or stand-alone monopod Tripods

75 mm

SOOM TriSpread

SOOM Tube

Payload: 9 kg / 20 lb (incl. fluid head)

Height: 21.5 to 49 cm / 8.5 to 19.3"

Single extension

Transport length: 36 cm / 14.2"

Height: 87 to 157 cm / 34.3 to 61.8"

Weight: 1.2 kg / 2.6 lb

(88 to 225 cm / 34.6 to 88.6" SOOM HiPod System leads to approx. lens height of max. 250 cm / 98.4")

Adjustment: 35° and 55° leg angles adjustable by cam on top casting

Transport length: 87 cm / 34.3" (Tube)

SOOM TriSpread:

Weight: 1.0 kg / 2.2 lb

SOOM Tube:

code

S2004-0001 S2005-0001 systems

Pages 94–99

Special Features SOOM Systems – Modular system, in which components can be used separately, in various combinations and as complete sets

SOOM TriPod SOOM HiPod SOOM FSB 2 SOOM FSB 6

– “ Works with SOOM” line: fluid heads FSB 2 and FSB 6, battery FSB CELL, Reporter 8LED – Flexible operation, ideal for the constantlychanging conditions on many sets – Robust equipment which withstands all requirements at the outdoor shoot – Easy to transport and to set up

SOOM TriSpread (mid-level

SOOM Tube

spreader / baby tripod)

(HiPod / monopod)

SOOM HiPod System leads to approx. lens height of max. 250 cm / 98.4".

Carbon

75 mm

Speed Lock® 75 CF

No tripod is more compact – the fast, lightweight solution for ENG, (H)DV and MiniDV

Payload: 20 kg / 44 lb Double extension with quick release clamp

Eye for mounting carrying strap featuring shoulder pads The professional tripod for 75 mm

Height: 34 to 147 cm / 13.4 to 57.9" Transport length: 65 cm / 25.6" Weight: 2 kg / 4.4 lb

code

Speed Lock 75®CF

4588 Set mid-level spreader 75:

7011

Set mid-level spreader 75

systems

Ideal for 75 mm tripods

Pages 94–99 8 SB SL MCF 6 SB SL MCF FSB 6T SL MCF PowerSet FSB 6 SL MCF PowerSet FSB 2 SL MCF PowerSet FSB 6T SL MCF FSB 6 SL MCF FSB 2 SL MCF

Complete: mid-level spreader and rubber feet in one set Tripod and mid-level spreader can be folded with one hand Rubber feet self-align Just three clamps are used to lock the six clamping connections.

Recommended for tripods: – Speed Lock® 75 CF – ENG 75/2 D – DA 75 L

accessories

Dolly DV 75

Cover

Padded bag

8675

Spreader SP 75

7063

Set mid-level spreader 75

7001

7011

Pages 86–93 Carrying strap DV

Aluminium

75 mm

ENG 75/2 D DA 75 L Payload: 20 kg / 44 lb (ENG 75/2 D) 15 kg / 33 lb (DA 75 L)

Transport length: 65 cm / 25.6" (ENG 75/2D) 82 cm / 32.3" (DA 75 L)

Double extension with rotary clamp (ENG 75/2 D) Single extension with rotary clamp (DA 75 L)

Weight: 2.2 kg / 4.9 lb (ENG 75 2/D) 1.9 kg / 4.2 lb (DA 75 L)

Height: 34 to 147 cm / 13.4 to 57.9" (ENG 75/2 D) 61 to 141 cm / 24 to 55.5" (DA 75 L)

Tripods

Ready for (H)DV

code

DA 75 L:

4183 ENG 75/2 D:

4188 systems

Pages 70–73 DA 75 L:

8 SB MD 8 SB 6 SB MD 6 SB FSB 6 FSB 6 PowerSet FSB 6 MD FSB 6 MD PowerSet FSB 6 T FSB 6 T MD FSB 2 FSB 2 PowerSet FSB 2 MD FSB 2 MD PowerSet

Pages 94–99 ENG 75/2 D:

8 SB / 2 MD 8 SB / 2 D 6 SB / 2 MD 6 SB / 2 D FSB 6 / 2 MD FSB 6 / 2 MD PowerSet FSB 6 / 2 D FSB 6 / 2 D PowerSet FSB 6 T / 2 MD FSB 6 T / 2 D FSB 2 / 2 MD FSB 2 / 2 MD PowerSet FSB 2 / 2 D FSB 2 / 2 D PowerSet DA 75 L

ENG 75/2 D

Accessories

Spreader SP 75

7063

Set mid-level spreader 75

7001

7011

Pages 86–93 Dolly DV 75

Cover

Padded bag

Tripods / Pedestals

Specifications

new!

Studio Ped 2-75 Studio OB

Vario Ped 2-75 Studio OB

Combi Ped 1-40 EFP / OB

Pedestal C III EFP / OB

Pedestal C I EFP / OB

Code

5275

5201

including Weight

6 trim weights, pump 82 kg / 181 lb

6 trim weights, pump 55 kg / 121 lb

4 trim weights, pump 24.6 kg / 54 lb

5195

4191

Dolly XL, pump 16.5 kg / 36.4 lb

Dolly DV 75, pump 9.2 kg / 20.3 lb

Payload Height

75 kg / 165 lb 66–143 cm / 26–56.3"

40 kg / 88.2 lb 79–133 cm / 31.1–52.4"

55 kg / 121 lb 71.5–157 cm / 28.1–61.8"

20 kg / 44.1 lb 68–157 cm / 26.8–61.8"

with Spreader with Mid-level spreader On-shot stroke

— —

77 cm / 30.3"

54 cm / 21.2"

42 cm / 16.5"

39 cm / 15.4"

Clearance

88.8 cm / 35"

69–92 cm / 27.2"–36.2"

70 cm / 27.6"

99 cm / 39"

93 cm / 36.6"

Head fitting

Flat base, Quickfix

Flat base

Transport length

—

Extension

—

— — —

— — — 90 Studio

— — — 75 Plus Studio 60 Studio 25 Studio

— — — — —

— — — — — — — 25 C III 15 SB C III

— — — — —

OB 2000 EFP/OB

Hand crank column EFP/OB

EFP 2 CF

EFP 2 D

CF 150 L

Code

6481

6205

6386

6186

6392

including

Mid-level spreader and rubber feet 9.6 kg / 21.2 lb

—

6 kg / 13.2 lb

4.1 kg / 9 lb

5 kg / 11 lb

4.2 kg / 9.3 lb

Payload Height with

140 kg / 309 lb

130 kg / 287 lb

95 kg / 209 lb

90 kg / 198 lb

95 kg / 209 lb

Spreader Mid-level spreader

— 66–124 cm / 26–48.8"

— —

58–161 cm / 22.8–63.4" 58–154 cm / 22.8–60.6"

79–166 cm / 31.1–65.4" 82–156 cm / 32.3–61.4"

On-shot stroke

–

36 cm / 14.2"

—

Camera fitting

Flat base, Mitchell

Flat base, Quickfix

150 mm

Transport length

84 cm / 33.1"

53 cm / 20.9"

76 cm / 29.9"

92 cm / 36.2"

Extension

Hand crank

integrated SP 150 EX Dolly XL integrated

— — — — — —

100/150 SP 100/150 Dolly S

Combinable with Mid-level spreader Spreader Dolly Wheels Rubber feet Cover Padded bag Systems

Weight

— 25 Combi 1-40

—

Combinable with Mid-level spreader Spreader Dolly Rubber feet Cover Padded bag Systems

— 90 OB 75 Plus OB 2000 60 OB 2000

75 Plus EFP 2 CF 60 EFP 2 CF 30 EFP 2 MCF 25 EFP 2 CF

Pedestals Cine 150 medium Film / HD

Cine 2000 short Film / HD

Cine Mitchell long Film / HD

Cine Mitchell medium Film / HD

6290

6250

6232

6295

6255

— 10.7 kg / 23.6 lb

— 8.4 kg / 18.5 lb

— 5.9 kg / 13 lb

— 10.7 kg / 23.6 lb

— 8.4 kg / 18.5 lb

140 kg / 309 lb

50 kg / 110 lb

140 kg / 309 lb

85–176 cm / 33.5–69.3" 93–176 cm / 36.6–69.3"

20–88 cm / 7.9–34.6" —

17–43 cm / 6.7–16.9" —

85–176 cm / 33.5–69.3" 93–176 cm / 36.6–69.3"

20–88 cm / 7.9–34.6" — —

—

Tripods

Cine 150 long Film / HD

150 mm

Mitchell, Flat base

103 cm / 40.5"

60 cm / 23.6"

37.5 cm / 14.8"

103 cm / 40.5"

60 cm / 23.6"

Cine Cine Cine —

— Cine Cine — —

– Mini spreader EX — — —

Cine Cine Cine —

— Cine Cine — —

— Cine 75 Cine 30

—

CF 150 ML

DA 150 L

DA 150 ML

DA 150 M

DA 150 K

6381

6192

6181

6157

6132

—

4 kg / 8.8 lb

5 kg / 11 lb

4.7 kg / 10.4 lb

3.9 kg / 8.6 lb

3.1 kg / 6.8 lb

95 kg / 209 lb

90 kg / 198 lb

50 kg / 110 lb

40 kg / 88 lb

67–138 cm / 26.4–54.3" 70–138 cm / 27.6–54.3"

79–166 cm / 31.1–65.4" 82–156 cm / 32.3–61.4"

67–138 cm / 26.4–54.3" 70–138 cm / 27.6–54.3"

21–85 cm / 8.3–33.5" 28–80 cm / 11–31.5"

15–39 cm / 5.9–15.4" —

—

150 mm

83 cm / 32.7"

92 cm / 36.2"

83 cm / 32.7"

57 cm / 22.4"

32 cm / 12.6"

100/150 SP 100/150 Dolly S

100/150 SP 100/150 Dolly S — — —

100/150 SP 100/150 Dolly S

— Mini spreader 150 — —

• = available as accessory

—

Tripods / Pedestals

Specifications Code

Speed Lock®CF HD

ENG 2 CF HD

ENG 2 D HD

Speed Lock® CF

ENG 2 CF

ENG 2 D

5590

5390

5490

5586

5386

5186

Weight

4.5 kg / 9.9 lb

4 kg / 8.8 lb

5 kg / 11 lb

3 kg / 6.6 lb

2.6 kg / 5.7 lb

3.1 kg / 6.8 lb

Payload Height with

95 kg / 209 lb

90 kg / 198 lb

40 kg / 88 lb

35 kg / 77 lb

Spreader

55–161 cm 21.7–63.4" 56–157 cm 22–61.8"

46–155 cm 18.1–61" 50–151 cm 19.7–59.4"

46–155 cm 18.1–61" 50–151 cm 19.7–59.5"

Mid-level spreader Head fitting

100 mm

Transport length

75 cm / 29.5"

70 cm / 27.6"

Extension

100/150

SP 100/150 (SP 100) Dolly S

SP 100 (SP 100/150) Dolly S

SP 100 (SP 100/150) Dolly S, DV 100

20 SB SL HD MCF 20 SB SL HD CF

20 SB HD MCF 20 SB HD CF

18 SB SL MCF 18 SB SL CF 15 SB SL MCF 12 SB SL MCF

20 SB ENG 2 CF 18 SB ENG 2 MCF 18 SB ENG 2 CF 15 SB ENG 2 MCF 15 SB ENG 2 CF 12 SB ENG 2 MCF 12 SB ENG 2 CF 8/100 SB ENG 2 CF

18 SB ENG 2D 15 SB ENG 2D

Combinable with Mid-level spreader Spreader Dolly Rubber feet Cover Padded bag Systems

DA 100 HD

DA 100 L

DA 100 M

DA 100 K

Hot Pod® CF 14

Hot Pod® CF 10

Code

5480

5182

5151

5122

5385/14

5385/10

Weight

4.4 kg / 9.7 lb

2.9 kg / 6.4 lb

2.2 kg / 4.9 lb

1.5 kg / 3.3 lb

for Video 15, Video 18 5.8 kg / 12.8 lb

for DV 8/100, DV 12 5.8 kg / 12.8 lb

Payload Height with

80 kg / 176 lb

35 kg / 77 lb

40 kg / 88 lb

25 kg / 55 lb

15 kg / 33 lb

Spreader

65–142 cm 25.6–55.9" 68–136 cm 26.8–53.5"

65–142 cm 25.6–55.9" 70–142 cm 27.6–55.9"

14–77 cm 5.5–30.3" 17–71 cm 6.7–28"

13–27 cm 5.1–10.6" —

—

79–174 cm 31.1–68.5"

79–174 cm / 31.1–68.5"

Mid-level spreader Head fitting

100 mm

Transport length

82 cm / 32.3"

51 cm / 20.1"

22 cm / 8.7"

85 cm / 33.5"

Extension

100/150 SP 100/150 (SP 100) Dolly S

100/150 SP 100 (SP 100/150) Dolly S, DV 100

— Mini spreader — —

integrated — Hot Pod Dolly integrated

Combinable with Mid-level spreader Spreader Dolly Rubber feet Cover Padded bag Systems

12 SB 8/100 SB

CF 100 L

CF 100 M

Monopod 2 CF

5380

5382

5351

5396

5395

3.7 kg / 8.2 lb

2.4 kg / 5.3 lb

1.9 kg / 4.2 lb

Betacam quick release 1 kg / 2.2 lb

Sandwich Touch & Go® 1 kg / 2.2 lb

90 kg / 198 lb

45 kg / 99 lb

15 kg / 33 lb

65–142 cm 25.6–55.9" 68–136 cm 6.8–53.5"

65–142 cm 25.6–55.9" 70–142 cm 27.6–55.9"

14–77 cm 5.5–30.3" 17–71 cm 6.7–28"

max. 166 cm 65.4" —

100 mm

—

82 cm / 32.3"

51 cm / 20.1"

65 cm / 25.6"

—

100/150

—

SP 100/150 (SP 100) Dolly S

SP 100 (SP 100/150) Dolly S, DV 100

— — — — —

new!

= available as accessory

SOOM TriPod

SOOM TriSpread

SOOM Tube

Speed Lock® 75 CF

ENG 75/2 D

DA 75 L

S2003-0003

S2004-0001

S2005-0001

4588

4188

4183

3.0 kg / 6.6 lb

1.2 kg / 2.6 lb

1.0 kg / 2.2 lb

2 kg / 4.4 lb

2.2 kg / 4.9 lb

1.9 kg / 4.2 lb

20 kg / 44 lb

9 kg / 20 lb

20 kg / 44 lb

15 kg / 33 lb

—

21.5–49 cm 8.5–19.3" —

87 to 157 cm 34.3 to 61.8" —

34–147 cm 3.4–57.9" 60–144 cm 23.6–56.7"

34–147 cm 13.4–57.9" 60–144 cm 23.6–56.7"

61–141 cm 24–55.5" 78–142 cm 30.7–55.9"

68.5–141 cm 27–55.5" 75 mm

75 mm

82.5 cm / 32.5"

36 cm / 14.2"

87 cm / 34.3"

65 cm / 25.6"

82 cm / 32.3"

SOOM TriSpread SP 100 (SP 100/150) Dolly S, DV 100 detachable —

— — — integrated soft spikes —

— — — — —

Set mid-level spreader 75 SP 75 Dolly DV 75

SOOM TriPod SOOM HiPod SOOM FSB 2 SOOM FSB 6

SOOM HiPod SOOM FSB 2 SOOM FSB 6

8 SB SL MCF 6 SB SL MCF FSB 6 T SL MCF FSB 6 SL MCF FSB 2 SL MCF

8 SB / 2 D 8 SB / 2 MD 6 SB / 2 D 6 SB / 2 MD FSB 6 T / 2 MD FSB 6 / 2 MD FSB 2 / 2 MD

8 SB 8 SB MD 6 SB 6 SB MD FSB 6 T FSB 6 FSB 2

Tripods

CF 100 HD

Accessories

Spreaders Weight

Payload

Height

Weight

Built-up radius

7002

33–58 cm 13–22.8"

7013K

40 kg 88 lb

45 mm 1.8"

22.5–33.5 cm 8.9–13.2"

7007

0.75 kg 1.7 lb

15–25 cm 5.9–9.8"

28–46 cm 11–18.1"

SOOM TriSpread for SOOM TriPod

Rubber feet 100/150 set of 3, rubber locking, for tripods with mid-level spreader 100/150 and SOOM TriPod

1.2 kg 2.6 lb

0.58 kg 1.3

9 kg 19.8 lb

95 kg lb 209

40 mm lb 1.6"

7.2 cm 2.83"

Spreader SP 100 lightweight spreader for all tripods with 100 mm bowl (except DA 100 K short)

Spreader Cine heavy duty metal spreader with eccentric locking for tripods Cine long and Cine medium

0.8 kg 1.8 lb

1.4 kg 3.1 lb

50 kg 110 lb

40 mm 1.6"

33–58 cm 13–22.8"

40 kg 88 lb

40 mm 1.6"

15.5–23 cm 6.1–9.1"

7027

0.55 kg 1.2 lb

140 kg 309 lb

45 mm 1.8"

41–68 cm 16.1–26.8"

28–46 cm 11.0–18.1"

Mid-level spreader Cine for tripods Cine long

1.4 kg 3.1 lb

Spreader SB 100/150 heavy duty rubber spreader, for all tripods 100 and 150 mm bowl (except DA 100 K short and DA 150 K short)

Rubber feet EX set of 3 with eccentric locking for tripods Cine long

1.64 kg 3.6 lb

0.5 kg 1.1 lb

95 kg 209 lb

45 mm 1.8"

35–58 cm 13.8–22.8"

1.3 kg 2.9 lb

40 kg 88 lb

45 mm 1.8"

22.5–33.5 cm 8.9–13.2"

Spreader SP 150 EX rubber spreader with eccentric locking, for tripod OB 2000 1.75 kg 3.9 lb

140 kg 309 lb

45 mm 1.8"

35–58 cm 13.8–22.8"

7014

7002K 7003 7003K

50 kg 110 lb

0.3 kg 0.7 lb

Mini spreader 150 for tripod DA 150 K short

7013

1.4 kg 3.1 lb

Mid-level spreader 100/150 for all tripods with 100 and 150 mm bowls (except DA 100 K short, DA 150 K short and Cine)

Mini spreader for tripod DA 100 K short

Built-up radius

Set mid-level spreader 75 set with mid-level spreader and 3 rubber feet for tripods Speed Lock® 75 CF, ENG 75/2 D and DA 75 L

7004

7011 S2004-0001

new!

0.6 kg 1.3 lb

Height

Mini spreader EX for tripod Cine 2000 short

7023

7011

7001

Spreader SP 75 for tripods Speed Lock® 75 CF, ENG 75/2 D and DA 75 L

Payload

95 kg 209 lb

40 mm 1.6"

7.2 cm 2.83"

Accessories

Payload

Height

Weight

Built-up radius

FB Converter flat base converter for Video 18/20 SB and Plus on pedestals and OB tripods (except Pedestal C I)

4.4 kg 9.7 lb

400 g 0.9 lb

40 kg 88 lb

155 mm 6.1"

49 cm 19.3"

60 kg 132 lb

155 mm 6.1"

49 cm 19.3"

7065

Dolly S with 100 mm/4" wheel diameter, for SOOM TriPod and all tripods with 100 and 150 mm bowls ecept tripods DA 100 K and DA 150 K), incl. cable guards and multi-position track lock 4.45 kg 9.8 lb

95 kg 209 lb

160 mm 6.3"

49 cm 19.3"

3914

5.15 kg 11.4 lb

new!

140 kg 309 lb

190 mm 7.5"

49 cm 19.3"

140 kg 309 lb

190 mm 7.6"

49 cm 19.3"

Hot Pod Dolly for tripods Hot Pod®

3985

35 cm 13.8"

40 g 1.40 lb

36 x 25 x 20 mm 3.6 x 2.5 x 2"

40 g 0.08 lb

36 x 21 x 20 mm 1.4 x 0.8 x 0.8"

40 g 0.08 lb

36 x 21 x 20 mm 1.4 x 0.8 x 0.8"

100 g 0.2 lb

40 x 40 x 25 mm 1.6 x 1.6 x 1"

Adapter with clamping 1/4", 3/8", M8 adapter with 1/4", M8 and 3/8" tap holes for additional accessories and/or adapter viewfinder extension, for fluid heads with adapter viewfinder extension 3986

160 mm 6.3"

130 g 0.3 lb

60 x 40 x 25 mm 2.4 x 1.6 x 1"

Adapter Ped C I / DV for fluid heads DV 8/100, DV 12 and Video 15 on Pedestal C I 1030

30 kg 66 lb

Adapter block FSB 6 for fluid heads FSB 6 and FSB 6 T

Adapter 1/4", 3/8", M8 adapter with 1/4", M8 and 3/8" tap holes for additional accessories, for mounting on fluid heads with adapter viewfinder extension

120 g 0.26 lb

89 mm 3.5"

Adapter Ped C I / Plus for fluid heads Video 18/20 SB and Plus on Pedestal C I 3941

4.12 kg 9.1 lb

133 mm 5.2"

Adapter viewfinder extension 18/20 for fluid heads Video 18/20 SB, Video 18 Plus models starting from 05/2005, and Video 20 Plus models starting from 2002 3981

7085

Dolly Cine for tripods Cine long and Cine medium

7 kg 15.4 lb

430 g 0.95 lb

Adapter viewfinder extension 12/15 for fluid heads DV 12 SB and Video 15 SB

3980

7080

Dolly XL with 125 mm/5" wheel diameter and excenter locking, for tripod OB 2000, incl. cable guards and multi-position track lock 6.8 kg 15 lb

133 mm 5.2"

Multi Disc flat base for DV 8/100, DV 12, Video 15–20 III FB and Euroadapter on Quickfix (e. g. on Vario Ped), and Video 25 Plus FB, Cine 30 HD, Video 60 Plus Studio, Video 75 Plus Studio and flat base heads of other manufactures on Vario/Studio Ped and C III

3982

7067

Dolly DV 100 for systems DV 8/100, DV 12, Video 15 and SOOM TriPod

7066

Dimensions

Dolly DV 75 for tripods Speed Lock® 75 CF, ENG 75/2 D and DA 75 L 3913

7063

Weight

Adapters

75 g 0.17 lb

75 mm 3"

Accessories

Dollies

Accessories

Adapters Weight

Weight

Dimensions

Kit clamping screw 75 for fluid heads with 75 mm balls, manufactured until 04/2005

Cine Mitchell Top conversion set from 150 mm bowl to Mitchell for tripods Cine long and Cine medium 6056

3905

Cine 150 mm Top Cine conversion set from Mitchell to 150 mm bowl for tripods Cine long and Cine medium

106 g 0.23 lb

830 g 1.83 lb

100 mm 3.9"

6052

80 g 0.18 lb

Ball adapter with screw for conversion of fluid heads Video 25 Plus FB, Video 60 Plus Studio and Video 75 Plus Studio to bowl

Quickfix fast-on connector for fluid heads Video 25 Plus FB to Video 90 on OB 2000 and pedestals may require Multi Disc

266 g 0.59 lb

1.24 kg 2.7 lb

150 mm 5.9"

3910

Adapter 100/150 for fluid heads with 100 mm balls on tripods with 150 mm bowls

Adapter FB/100 for fluid heads with 100 mm balls on flat base tripods and pedestals (Multi Disc is required for Pedestals C III and Combi)

1.020 g 2.25 lb

420 g 0.9 lb

Ø 150 x 155 mm Ø 6.1 x 9.5"

170 mm 6.7"

6055

3902

580 g 1.28 lb

Cable clamp V 60 for fluid heads Video 25 Plus, Cine 30 HD, Video 60 Plus and Video 90

170 mm 6.7"

Front box adapter for fluid heads Video Plus 25, Cine 30 HD, Studio 9+9 and Video 60 Plus 120 g 0.26 lb

35 x 95 x 28 mm 1.4 x 3.7 x 1.1"

6054

6053

Mitchell adapter with locking knob for fluid heads Cine 30 HD, Studio 9+9 and Cine 75 HD on Mitchell tripods 800 g 1.8 lb

Ø 115 x 130 mm Ø 4.5 x 5.1"

Cable clamp V/C 75 for fluid heads Video 75 Plus and Cine 75 HD

Mitchell adapter for fluid heads Cine 30 HD, Studio 9+9 and Cine 75 HD on Mitchell tripods

3920

internal Ø 133 mm internal Ø 5.2"

Adapter FB/150 for fluid heads with 150 mm balls on flat base tripods and pedestals 3903

3908

3901

3906

Adapter 75/100 for fluid heads with 75 mm balls on tripods with 100 mm bowls

1,030 g 2.27 lb

SOOM clamping bowl for SOOM TriPod, SOOM TriSpread and SOOM Tube 6057

S2003-1006

new!

Dimensions

Accessories

Camera plates

1464

Weight

120 g 0.26 lb

880 g 1.94 lb

V-plate for fluid heads Video 60 Plus Studio, Video 75 Plus Studio and Video 90

45 g 0.1 lb

860 g 1.9 lb

62 x 45 mm 2.4 x 1.8"

3080

Touch & Go® plate DV with pin and 1/4" screw for fluid heads DV 2, DV 4 and DV 6

46 g 0.1 lb

690 g 1.5 lb

62 x 45 mm 2.4 x 1.8"

3083

ENG adapter plate for ENG cameras on fluid heads Video 60 Plus Studio, Video 75 Plus Studio and Video 90 155 x 200 mm 6.1 x 7.9"

C.O.G. plate DV for fluid heads DV 2, DV 4, DV 6 and DV 8 if camera is front- or back-heavy

Studio set-up Video 60 Plus for fluid head Video 60 Plus EFP for conversion to Video 60 Plus Studio

107 g 0.23 lb

4.8 kg (incl. V-plate) 10.6 lb (incl. V-plate)

120 x 52 mm 4.7 x 2"

Touch & Go® plate DV 8 with 1/4" and 3/8" screws for fluid heads DV 8 and DV 8/100

EFP set-up Video 60 Plus for fluid head Video 60 Plus Studio for conversion to Video 60 Plus EFP

47 g 0.1 lb

2.6 kg (incl. camera plate) 5.3 lb (incl. camera plate)

62 x 45 mm 2.4 x 1.8"

Studio set-up V75 Plus for fluid head Video 75 Plus EFP for conversion to Video 75 Plus Studio

79 x 65 mm 3.1 x 2.6"

7550

80 g 0.18 lb

C.O.G. plate for fluid heads DV 12 and Video 15 to 25 if camera is front- or back-heavy or with teleprompter

EFP set-up V75 Plus for fluid head Video 75 Plus Studio for conversion to Video 75 Plus EFP

345 g 0.76 lb

2.7 kg (incl. camera plate) 5.9 lb (incl. camera plate)

150 x 75 mm 5.9 x 3"

7551

1064 1063

66/156 x 256 mm 2.6/6.1 x 10.1"

Touch & Go® plate S for fluid heads DV 2 – DV 8/100 and FSB 6 T with pin, 1/4" and 3/8" screws

Sandwich Touch & Go® (Monopod) retrofits other tripods and for Monopod, includes Touch & Go® plate 16

Pan/tilt plate for CamCrane EFP, mounts on the camera console and all fluid heads with Touch & Go® plate 16 1.2 kg 2.65 lb

1091

5727

300 x 96 x 18 mm 11.8 x 3.8 x 0.71"

Accessories

140 x 50 mm 5.5 x 2"

3061

Touch & Go® adapter plate for fluid head Cine 30 HD with Touch & Go® plate 35

Touch & Go® plate 16 for fluid heads, DV 12, Video 15 to 25 and Video 18 Dutch

Monopod Betacam quick release systems Betacam quick release system for Monopod

190 g 0.42 lb

120 x 80 mm 4.7 x 3.1"

1096

Touch & Go® plate 35 for fluid heads Video 25 Plus FB, Video 60 Plus EFP, Studio 9+9, Video 75 Plus EFP, Cine 75 HD and Dutch Head 35 3051

Dimensions

Sideload plate S with pin and 1/4" screw for fluid head DV 1, FSB 2 and FSB 6

6050

1465

0364

new!

Dimensions

6051

0264

0164

Weight

3060

Sideload plate 30 HD for Cine 30 HD

500 g 1.1 lb

305 x 96 x 9 mm 12 x 3.8 x 0.35"

Accessories

Pan bars Dimensions (front / back / handle)

Dimensions (front / back / handle)

0992

Pan bar DV 75 for fluid heads FSB 2, DV 2, DV 4, FSB 6, FSB 6T, DV 6, DV 8 and DV 8/100 Ø – / 16 / 28 mm Ø –/ 0.63 / 1.1"

B-3073-020

Ø – / 16 / 28 mm Ø –/ 0.63 / 1.1"

B-3074-020

0993

Pan bar DV 75 L for fluid head DV 1

Ø – / 18 / 32 mm Ø –/ 0.71 / 1.26"

B-3073-100

1075

Pan bar DV 100 for fluid head DV 12

Ø 18 / 22 / 32 mm Ø 0.71 / 0.87 / 1.26"

B-3074-100

3470

Pan bar DV right (telescopic) for fluid heads FSB, DV and Video 15

Ø 18 / 22 / 32 mm Ø 0.71 / 0.87 / 1.26"

Ø 18 / 22 / 32 mm Ø 0.7 / 0.9 / 1.2"

3370

Pan bar HD right (telescopic) for fluid head Cine 30 HD

Ø 18 / 22 / 36 mm Ø 0.7 / 0.9 / 1.4"

3371

Pan bar HD left (telescopic) for fluid head Cine 30 HD

Ø 18 / 22 / 36 mm Ø 0.7 / 0.9 / 1.4"

3170

Pan bar Movie right (telescopic) for fluid heads Studio 9+9 and Cine 75 HD

Ø 20 / 25 / 32 mm Ø 0.79 / 0.98 / 1.26"

Ø 28.5 / – / – mm Ø 1.12" / – / –

Pan bar back section right for fluid heads Video 60 Plus Studio, Video 75 Plus EFP, Video 75 Plus Studio and Video 90 Ø – / 35 / 40 mm Ø – / 1.38 / 1.57"

Pan bar back section left for fluid heads Video 60 Plus Studio, Video 75 Plus EFP, Video 75 Plus Studio and Video 90 Ø – / 35 / 40 mm Ø – / 1.38 / 1.57"

3172

Front pan bar for fluid heads Cine 75 HD and Video 75 Plus EFP

Spacer V 90 for fluid head Video 90 sko18b0439

3270 3271

Pan bar Plus left (telescopic) for fluid heads Video 18 to 25, Video 60 Plus EFP and Dutch Heads

Pan bar front section left for fluid heads Video 60 Plus Studio, Video 75 Plus EFP, Video 75 Plus Studio and Video 90

Front pan bar HD for fluid head Cine 30 HD

Pan bar Plus right (telescopic) for fluid heads Video 18 to 25, Video 60 Plus EFP and Dutch Heads Ø 18 / 22 / 32 mm Ø 0.7 / 0.9 / 1.2"

Ø 28.5 / – / – mm Ø 1.12" / – / –

3372

3471

Pan bar DV left (telescopic) for fluid heads FSB, DV and Video 15

Pan bar front section right for fluid heads Video 60 Plus Studio, Video 75 Plus EFP, Video 75 Plus Studio and Video 90

Accessories

Covers Length

Diameter

Weight

3.1 kg 6.8 lb

104–113 cm 40.9–44.5"

20 cm 7.9"

90–99 cm 35.4–39"

20 cm 7.9"

104–113 cm 40.9–44.5"

25 cm 9.8"

90–99 cm 5.4–39"

Ø25 cm Ø 9.8"

94–103 cm 37–40.6"

25 cm 9.8"

54–63 cm 21.3–24.8"

20 cm 7.9"

29 cm 11.4"

20 cm 7.9"

25 cm 9.8"

2.8 kg 6.2 lb

60–69 cm 23.6–27.2"

25 cm 9.8"

2 kg 4.4 lb

39 cm 15.4"

25 cm 9.8"

5.4 kg 11.9 lb

112–117 cm 44.1 x 46.1"

28 cm 11"

4 kg 8.8 lb

66–75 cm 26–29.5"

28 cm 11"

Cover 25 for tripod Cine 2000 K with spreader (without fluid head) 9504

9201

Cover 100 K for tripod DA 100 K with spreader (without fluid head) 1.3 kg 2.9 lb

74–83 cm 29.1–32.7"

Cover Cine M for tripod Cine medium with spreader (without fluid head) 9317

9214

Cover 100 M for tripods 100 mm medium with spreader (without fluid head) 2.0 kg 4.4 lb

3.3 kg 7.3 lb

Cover Cine L for tripods Cine long with spreader (without fluid head) 9320

9312

Cover 150 L for fluid heads Video 18/20 on tripods Speed Lock® CF HD and ENG 2 HD (without spreader); for tripod 150 L with spreader (without fluid head) 4.0 kg 8.8 lb

28 cm 11"

Cover 150 K for tripod DA 150 K with spreader (without fluid head) 9301

9311

Cover ENG 2 for fluid heads DV 8/100, DV 12 and Video 15/18/20 on tripods Speed Lock® CF and ENG 2; for DV 6, DV 8, DV 12 and Video 15/18 on Pedestal C I 3.8 kg 8.4 lb

94–103 cm 37.0–40.5"

Cover 150 M for tripod DA 150 medium with spreader (without fluid head) 9308

9309

Cover 100 II for fluid heads DV 8/100, DV 12, Video 15/18/20 on tripods 100 L/100 HD tripods with spreader and on Hot Pod® 4.2 kg 9.3 lb

5.0 kg 11.0 lb

Cover 150 SE for Dolly DV 100 and Dolly S; tripods EFP 2 with spreader (without fluid head) 9316

9213

Cover DV 2 for fluid heads DV 1 to DV 8 and FSB on tripods Speed Lock® 75 CF and ENG 75/2 D 2.8 kg 6.2 lb

Diameter

Cover EFP 2 for fluid heads Video 18/20 on tripod Speed Lock® CF HD with spreader; Video 25 Plus on tripods EFP 2; tripod OB 2000 with spreader (without fluid head) 9315

9212

Cover 75 for fluid heads DV 1 to DV 8 and FSB on tripod DA 75 L

Length

2.1 kg 4.6 lb

40 cm 15.7"

28 cm 11"

9310

Cover 150 II for fluid heads Video 25 Plus on medium long tripods with spreader; Video 60 Plus EFP (without pan bar) on tripod EFP 2 or Video 25 Plus FB on tripod OB 2000; for DV 8/100, DV 12, Video 15 to Video 60 Plus (except Cine 30 HD) on Combi Pedestal 5.3 kg 11.7 lb

104–113 cm 40.9–44.5"

28 cm 11"

Accessories

Weight

Accessories

Padded bags Dimensions (l / w / h)

1.4 kg 3.1 lb

7 kg 15.4 lb

102 x 20 x 20 cm 40.2 x 7.9 x 7.9"

32 x 30 x 42 cm 12.6 x 11.8 x 16.5"

1.15 kg 2.5 lb

5.25 kg 11.6 lb

102 x 21 x 18 cm 40.2 x 8.3 x 7.1"

9511

Case 9+9 for fluid heads Studio 9+9 and Video 60 Plus EFP 29 x 29 x 41 cm 11.4 x 11.4 x 16.1"

Case 60 FB for fluid head Video 60 Plus Studio

1 kg 2.2 lb

6 kg 13.2 lb

92 x 21 x 18 cm 36.2 x 8.3 x 7.1"

2 kg 4.4 lb

90 x 21.5 x 20 cm 35.4 x 8.5 x 7.9"

2.4 kg 5.3 lb

96 x 23.5 x 20 cm 37.8 x 9.3 x 7.9"

0.15 kg 0.33 lb

80–135 cm 31.5–53.1"

Carrying strap ENG 2 for tripods Speed Lock® CF, EFP 2, CF 150, DA 150 (except DA 150), DA 100 HD and ENG 2 0.08 kg 0.18 lb

80–135 cm 31.5–53.1"

9513

Padded bag DV 75 S for fluid heads DV 1 to DV 8 and FSB on tripods Speed Lock® 75 CF and ENG 75/2 D

34 x 30 x 42 cm 13.4 x 11.8 x 16.5"

Case V/C 75 for fluid heads Cine 75 HD, Video 75 Plus Studio and Video 75 Plus EFP 9517

9104 9106

Dimensions (l / w / h)

Padded bag DV 75 L for fluid heads DV 1 to DV 8 and FSB on tripod DA 75 L and SOOM TriPod system

Carrying strap DV for tripod Speed Lock® 75 CF and padded bags of DV 1 systems 8675

9503

Case 30 for fluid head Cine 30 HD

Padded bag ENG/EFP for fluid heads DV 8/100, DV 12 and Video 15/18/20 on tripods 100 HD/L, Hot Pod®, Speed Lock® CF HD and ENG 2 HD; Video 25 on tripods EFP 2

8690

Weight

Padded bag 75 for fluid heads DV 1 to DV 8 and FSB on tripod DA 75 L

Padded bag ENG 2 for fluid heads DV 1 to DV 8 and FSB on tripods Speed Lock® 75 CF and ENG 75/2 D; DV 8/100, DV 12, Video 15/18/20 on tripods Speed Lock® CF and ENG 2

Cases

7.5 kg 16.5 lb

41 x 32 x 42 cm 16.1 x 12.6 x 16.5"

Case 90 for fluid head Video 90

9512

9108

9109

9100

Weight

Accessories

7 kg 15.4 lb

38 x 32 x 42 cm 15 x 12.6 x 16.5"

Accessories

Accessories for Pedestals Diameter

125 mm 4.9"

Accessories

5210

Set of studio wheels for Studio and Vario Pedestals with adjustable cable guard

5208

Set of OB wheels 200 for Studio and Vario Pedestals

200 mm 7.9"

5209CG

Set of OB wheels 200CG for Studio and Vario Pedestals with adjustable cable guard 200 mm 7.9"

5205

Set of air wheels for Studio and Vario Pedestals

185 mm 7.3"

5206

Small steering wheel for Studio and Vario Pedestals with teleprompter 450 mm 17.7"

B-5275-450

Retrofit Kit Studio Dolly for converting a Vario Dolly to a Studio Dolly

B-5275-400

Studio Dolly for Vario Ped column 2-75

5207

Compressor (220 V) for Vario and Studio Peds as well as Pedestal C III and Combi Ped 1-40

Systems System Fluid Head Cine 75 HD Cine 30 HD Video 90 FB Video 75 Plus Studio Video 75 Plus EFP Video 60 Plus Studio Video 60 Plus EFP Video 25 Plus FB Video 25 Plus Tripod/Pedestal Studio Ped 2-75 Vario Ped 2-75 Pedestal Combi 1-40 Pedestal C III OB 2000 Cine 150 L EFP 2 CF Spreader Spreader Cine SP 100/150 Mid-level spreader 100/150 Rubber feet 100/150 Dolly XL Cover 150 II EFP 2 Multi Disc Payload Weight * Height min./max.

Code

new!

90 Studio 8094

75 Plus Studio 7594

60 Studio 6094

25 Studio 2594

25 Combi 1-40 2580

25 C III 2570

60 kg / 132 lb 98 kg / 216 lb 90–167 cm 35.4–65.7"

60 kg / 132 lb 70 kg / 154 lb 92–169 cm 36.2–66.5"

60 kg / 132 lb 67 kg / 148 lb 90–167 cm 35.4–65.7"

35 kg / 77 lb 61 kg / 134 lb 86–163 cm 33.8–64.2"

35 kg / 77 lb 27 kg / 59.5 lb 98–152 cm 38.6–59.8"

35 kg / 77 lb 22.6 kg / 49.8 lb 91–176 cm 35.8–69.3"

7502 3006 8092 7501 7500 6001 6000 2501P 2500P 5275 5201 5195 6481 6290 6386 7023 7003 7007 7004 7080 7004 9310 9315 3914

Transport length

System Fluid Head Video 20 SB Video 18 SB Video 15 SB Tripod/Pedestal Pedestal C III Speed Lock® CF HD ENG 2 CF HD ENG 2 CF Speed Lock® CF ENG 2 D Spreader SP 100/150 SP 100 Mid-level spreader 100/150 Rubber feet 100/150 Cover ENG 2 Padded bag ENG/EFP ENG 2 Payload Weight * Height min./max. Transport length

Code

20 SB SL HD MCF 2075

20 SB HD MCF 2073

20 SB SL HD CF 2074

20 SB HD CF 2072

20 SB ENG 2 CF 2062

18 SB SL MCF 1865

25 kg / 55 lb 10.3 kg / 22.7 lb 73–174 cm 28.7–68.5" 94 cm / 37"

25 kg / 55 lb 9.9 kg / 21.8 lb 73–174 cm 28.7–68.5" 94 cm / 37"

25 kg / 55 lb 10.8 kg / 23.8 lb 73–178 cm 28.7–70.1" 94 cm / 37"

25 kg / 55.1 lb 10.4 kg / 22.9 lb 72–178 cm 28.3–70.1" 94 cm / 37"

25 kg / 55.1 lb 8.2 kg / 17.6 lb 63–172 cm 24.8–67.7" 89 cm / 35"

18 kg / 39.7 lb 8.8 kg / 19.4 lb 67–168 cm 26.4–66.1" 89 cm /35"

2005 1805 1505 5195 5590 5390 5386 5586 5186 7003 7002 7007 7004 9311 9106 9104

90 OB 8095

75 Plus OB 2000 7595

60 OB 2000 6095

75 Plus EFP 7512

60 EFP 2 CF 6012

30 EFP 2 MCF 3012

25 EFP 2 CF 2512

Cine 75 7525

Cine 30** 3025

115 kg / 253.5 lb 32 kg / 70.5 lb 116–177 cm 45.7–69.7"

85 kg / 187 lb 31 kg / 68 lb 117–178 cm 46.1–70.1"

65 kg / 143 lb 27 kg / 59.5 lb 115–176 cm 45.3–69.3"

81 kg / 179 lb 20 kg / 44.1 lb 80–183 cm 31.5–72" 100 cm / 39.4"

65 kg / 143 lb 16 kg / 35.3 lb 77–181 cm 30.3–71.3" 97 cm / 38.2"

35 kg / 77 lb 12.2 kg / 26.9 lb 77–173 cm 30.3–68.1" 95 cm / 37.4"

35 kg / 77 lb 11.6 kg / 25.6 lb 75–178 cm 29.5–70.1" 95 cm / 37.4"

75 kg / 165 lb 25.7 kg / 56.7 lb 108–199 cm 42.5–78.3" 127 cm / 50"

35 kg / 77 lb 20 kg / 44.1 lb 105–195 cm 41.3–76.8" 123 cm / 48.4"

18 SB ENG 2 MCF 1863

18 SB SL CF 1864

ENG 2 CF 1862

18 SB ENG 2D 1861

15 SB C III 1570

15 SB SL MCF 1565

15 SB ENG 2 MCF 1563

15 SB ENG 2 CF 1562

15 SB ENG 2 D 1561

18 kg / 39.7 lb 8.4 kg / 18.5 lb 67–168 cm 26.4–66.1" 89 cm / 35"

18 kg / 39.7 lb 8.3 kg / 18.3 lb 63–172 cm 24.8–67.7" 89 cm / 35"

18 kg / 39.7 lb 7.9 kg / 17.4 lb 63–172 cm 24.8–67.7" 89 cm / 35"

18 kg / 39.7 lb 8.5 kg / 18.7 lb 63–172 cm 24.8–67.7" 89 cm / 35"

16 kg / 35.3 lb 18.3 kg / 40.3 lb 86–170 cm 33.9–66.9" 91–177 cm 35.8–69.7"

16 kg / 35.3 lb 7.5 kg / 16.5 lb 67–168 cm 26.4–66.1" 89 cm / 35"

16 kg / 35.3 lb 7.1 kg / 15.7 lb 67–168 cm 26.4–66.1" 89 cm / 35"

16 kg / 35.3 lb 6.6 kg / 14.6 lb 63–172 cm 24.8–67.7" 89 cm / 35"

16 kg / 35.3 lb 7.2 kg / 15.9 lb 63–172 cm 24.8–67.7" 89 cm / 35"

Systems

* without cover / padded bag ** incl. front pan bar

Systems System Fluid Head DV 12 SB DV 8/100 SB DV 8 SB Tripod Speed Lock® CF ENG 2 CF DA 100 L Speed Lock® 75 CF ENG 75/2 D DA 75 L Spreader SP 100 SP 75 Mid-level spreader 100/150 Rubber feet 100/150 Set mid-level spreader 75 Cover ENG 2 100 II Padded bag ENG 2 DV 75 S DV 75 L Payload Weight * Height min./max.

Code

Fluid Head DV 6 SB Tripod Speed Lock® 75 CF ENG 75/2 D DA 75 L Spreader SP 75 Set mid-level spreader 75 Cover DV 75 S DV 75 L Payload Weight * Height min./max. Transport length

* without cover / padded bag ** plus adapter cable

12 SB ENG 2 MCF 1263

12 SB ENG 2 CF 1262

12 SB 1260

8/100 SB ENG 2 CF 0862

14 kg / 30.9 lb 7.5 kg / 16.5 lb 67–168 cm 26.4–66.1" 89 cm / 35"

14 kg / 30.9 lb 7.1 kg / 15.7 lb 67–168 cm 26.4–66.1" 89 cm / 35"

14 kg / 30.9 lb 6.6 kg / 14.55 lb 63–172 cm 24.8–67.7" 89 cm / 35"

14 kg / 30.9 lb 6.9 kg / 15.2 lb 82–159 cm 32.3–62.6" 101 cm / 39.8"

12 kg / 26.5 lb 6.4 kg / 14.1 lb 63–172 cm 24.8–67.7" 89 cm / 35"

6 SB SL MCF 0650

6 SB/2 MD 0643

6 SB MD 0642

6 SB/2D 0641

6 SB 0640

9 kg / 19.8 lb 5.4 kg / 11.9 lb 77–160 cm 30.3–63" 84 cm / 33.1"

9 kg / 19.8 lb 5.5 kg / 12.1 lb 77–160 cm 30.3–63" 84 cm / 33.1"

9 kg / 19.8 lb 5.3 kg / 11.7 lb 95–158 cm 37.4–62.2" 101 cm / 39.8"

9 kg / 19.8 lb 5.6 kg / 12.3 lb 51–164 cm 20.1–64.6" 84 cm / 33.1"

9 kg / 19.8 lb 5.4 kg / 11.9 lb 78–158 cm 30.7–62.2" 101 cm / 39.8"

1205 0806 0805 5586 5386 5182 4588 4188 4183 7002 7001 7007 7004 7011 9311 9309 9104 9108 9109

Transport length

System

12 SB SL MCF 1265

Code 0605 4588 4188 4183 7001 7011 9108 9109

Please specify type of cable adapter: Adapter cable FSB CELL Code Sony I 0785 Sony II 0786 Canon 0787 Panasonic 0788

For cameras PD100/150/170, DCRVX2000/2100, HDR-FX7 HVR-Z1U/E, HVR-V1U/E, HDR-FX1 XH-A1/G1, XM2 , XLH1, XL1/2 AG-HVX200, AJ-DVX100/100A/100B, DVC80/30

8 SB SL MCF 0850

8 SB/2 MD 0843

8 SB MD 0842

8 SB/2D 0841

8 SB 0840

12 kg / 26.5 lb 6.7 kg / 14.8 lb 82–159 cm 32.3–62.6" 101 cm / 39.8"

12 kg / 26.5 lb 5.4 kg / 11.9 lb 77–160 cm 30.3–63" 84 cm / 33.1"

12 kg / 26.5 lb 5.5 kg / 12.1 lb 77–160 cm 30.3–63" 84 cm / 33.1"

12 kg / 26.5 lb 5.3 kg / 11.7 lb 95–158 cm 37.4–62.2" 101 cm / 39.8"

12 kg / 26.5 lb 5.6 kg / 12.3 lb 51–164 cm 20.1–64.6" 84 cm / 33.1"

12 kg / 26.5 lb 5.4 kg / 11.9 lb 78–158 cm 30.7–62.2" 101 cm / 39.8"

Systems

8/100 SB 0860

new!

System Fluid Head FSB 6 FSB 6 T FSB 2 Tripod Speed Lock® 75 CF ENG 75/2 D DA 75 L SOOM TriPod + Tube Spreader Set mid-level spreader 75 SP 75 SOOM TriSpread Padded bag DV 75 S DV 75 L FSB Power and Accessories FSB CELL** FSB CELLCharger Payload Weight * Height min./max. Transport length (without battery)

Code

new!

FSB 6 SL MCF 0475B PowerSet

FSB 6 / 2 MD 0473B PowerSet

FSB 6 MD 0472B PowerSet

FSB 6 / 2 D 0471B PowerSet

FSB 6 0470B

1–5.5 kg / 2.2–12.1 lb 5.8 kg / 12.6 lb 82–165 cm 32.3–65" 84 cm / 33.1"

1–5.5 kg / 2.2–12.1 lb 5.9 kg / 12.8 lb 82–165 cm 32.3–65" 84 cm / 33.1"

1–5.5 kg / 2.2–12.1 lb 5.7 kg / 12.3 lb 100–163 cm 39.4–64.2" 101 cm / 39.8"

1–5.5 kg / 2.2–12.1 lb 6 kg / 13.2 lb 56–169 cm 22–66.5" 84 cm / 33.1"

1–5.5 kg / 2.2–12.1 lb 5.8 kg / 12.8 lb 83–163 cm 32.7–64.2" 101 cm / 39.8"

PowerSet

0407 0405 0207 4588 4188 4183

7011 7001

9108 9109 0781 0782

Systems new!

System Fluid Head FSB 6 FSB 6 T Tripod Speed Lock® 75 CF ENG 75/2 D DA 75 L SOOM TriPod + Tube Spreader Set mid-level spreader 75 SP 75 SOOM TriSpread Padded bag DV 75 S DV 75 L SOOM Bag FSB Power and Accessories FSB CELL FSB CELLCharger Payload Weight * Height min./max.

Code

Transport length (without battery)

new!

FSB 6 SL MCF 0475

FSB 6 / 2 MD 0473

FSB 6 MD 0472

FSB 6 / 2 D 0471

FSB 6 0470

1–6 kg / 2.2–13.2 lb 5.1 kg / 11.2 lb 77–160 cm 30.3–63" 84 cm / 33.1"

1–6 kg / 2.2–13.2 lb 5.2 kg / 11.5 lb 77–160 cm 30,3–63" 84 cm / 33.1"

1–6 kg / 2.2–13.2 lb 5 kg / 11 lb 95–158 cm 37.4–6.2" 101 cm / 39.8"

1–6 kg / 2.2–13.2 lb 5.3 kg / 11.7 lb 51–164 cm 20.1–64.6" 84 cm / 33.1"

1–6 kg / 2.2–13.2 lb 5.1 kg / 11.2 lb 78–158 cm 30.7–62.2" 101 cm / 39.8"

4588 4188 4183

7011 7001

9108 9109

0781 0782

new!

Fluid Head FSB 2 Tripod Speed Lock® 75 CF ENG 75/2 D DA 75 L SOOM TriPod + Tube Spreader Set mid-level spreader 75 SP 75 SOOM TriSpread Padded bag DV 75 S DV 75 L SOOM bag FSB Power and Accessories FSB CELL FSB CELLCharger Payload Weight * Height min./max.

new!

0407 0405

Transport length (without battery)

System

new!

Code 0207

new!

FSB 2 SL MCF 0275B PowerSet

FSB 2 / 2 MD 0273B PowerSet

FSB 2 MD 0272B PowerSet

FSB 2 / 2 D 0271B PowerSet

FSB 2 0270B

0–1.5 kg / 0–3.3 lb 5.6 kg / 12.1 lb 82–165 cm 32.3–65" 84 cm / 33.1"

0–1.5 kg / 0–3.3 lb 5.7 kg / 11.5 lb 82–165 cm 32.3–65" 84 cm / 33.1"

0–1.5 kg / 0–3.3 lb 5.5 kg / 11.9 lb 100–163 cm 39.4–64.2" 101 cm / 39.8"

0–1.5 kg / 0–3.3 lb 5.8 kg / 12.8 lb 56–169 cm 22–66.5" 84 cm / 33.1"

0–1.5 kg / 0–3.3 lb 5.6 kg / 12.3 lb 83–163 cm 32.7–64.2" 101 cm / 39.8"

PowerSet

4588 4188 4183

7011 7001

9108 9109

0781 0782

new!

FSB 6 T / 2 MD 0443

FSB 6 T MD 0442

FSB 6 T / 2 D 0441

FSB 6 T 0440

SOOM FSB 6 0480

1–6 kg / 2.2–13.2 lb 5.2 kg / 11.5 lb 77–160 cm 30.3–63" 84 cm / 33.1"

1–6 kg / 2.2–13.2 lb 5.3 kg / 11.7 lb 77–160 cm 30.3–63" 84 cm / 33.1"

1–6 kg / 2.2–13.2 lb 5.1 kg / 37.4 lb 95–158 cm 37.4–62.2" 101 cm / 39.8"

1–6 kg / 2.2–13.2 lb 5.4 kg / 11.9 lb 51–164 cm 20.1–64.6" 84 cm / 33.1"

1–6 kg / 2.2–13.2 lb 5.2 kg / 11.8 lb 78–158 cm 30.7–62.2" 101 cm / 39.8"

1–6 kg 8.3 kg / 18.4 lb 37–241 cm 14.9–95" 113 cm / 44.5"

Systems

FSB 6 T SL MCF 0450

new!

FSB 2 SL MCF 0275

FSB 2 / 2 MD 0273

FSB 2 MD 0272

FSB 2 / 2 D 0271

FSB 2 0270

SOOM FSB 2 0280

0–2 kg / 0–4.4 lb 4.9 kg / 10.8 lb 77–160 cm 30.3–63" 84 cm / 33.1"

0–2 kg / 0–4.4 lb 5 kg / 11 lb 77–160 cm 30.3–63" 84 cm / 33.1"

0–2 kg / 0–4.4 lb 4.8 kg / 10.6 lb 95–158 cm 37.4–62.2" 101 cm / 39.8"

0–2 kg / 0–4.4 lb 5.1 kg / 11.2 lb 51–164 cm 20.1–64.6" 84 cm / 33.1"

0–2 kg / 0–4.4 lb 4.9 kg / 10.8 lb 78–158 cm 30.7–62.2" 101 cm / 39.8"

0–2 kg / 0–4.4 lb 8.1 kg / 17.9 lb 37–241 cm 14.5–9.5" 113 cm / 44.5"

* without cover / padded bag ** plus adapter cable

Please specify type of cable adapter: Adapter cable FSB CELL Code Sony I 0785 Sony II 0786 Canon 0787 Panasonic 0788

For cameras PD100/150/170, DCRVX2000/2100 HVR-Z1U/E, HVR-V1U/E, HDR-FX1 XH-A1/G1, XM2 AJ-DVX100/100A/100B, DVC80/30

100

Shifting the centre of gravity

The gimbal is a cardanic joint, which works with three axles.

Stability by mass inertia

Through the length and the total weight of the camera, system and counterweight, the second component now comes into play: mass inertia. This ensures that all move-

opposite side the arm and the system are carried with the help of a vest worn by the cameraman.

The decoupling of the cameraman

The actual decoupling of the cameraman’s movements is also based on mass inertia: When moving, the hip moves upward with each step simultaneously, on the other side, the arm of the system, that is the camera, moves downward. This moves the two arm ends in opposite directions, which are mutually neutralised by the independently moving parallelograms.

The most important component for steady pictures is decoupling the movement of the cameraman from the camera. That is done partially via the Gimbal, but mostly with the spring arm. The spring arm consists of two independent mobile parallelograms and takes over two major tasks: carrying and decoupling. The arm is equipped with a spring system that is strong enough to carry the entire system. This makes it possible for the cameraman to move heavy cameras with a minimum of effort, which greatly contributes to the decoupling. The arm is connected on one side with the actual system at the Gimbal and on the

Perfection

In order to let pictures really flow, the perfect solution— that is a system, which can be adapted perfectly to the camera as well as the task—has to be combined with perfect body control and fun. Then camera movements will surprise.

Art comes from artistry

In order to learn how to handle the camera stabilizing systems or to further one’s knowledge about it, the Wendelin Sachtler Academy offers workshops worldwide. Apart from all technical and physical aspects emphasis is put on the new possibilities of picture design. More information about the workshops under www.sachtler-academy.com

101

Camera Stabilizing Systems

ments are slowed down and that jerky movements and vibrations change into soft, smooth movements.

Reporter Lighting

In order to let pictures glide, the crucial components are: shifting the centre of gravity, mass inertia, decoupling and perfection.

The actual system, which is also called the rig, hangs on it. It is a vertical standing pipe— with the camera is placed at its upper end and at the lower end, as a counterweight, are the monitor and the batteries. When balancing the center of gravity, the camera and the counterweight are shifted to the gimbal where they become a combined pivot and balance point. The counterweight is co-ordinated in such a way that, when balancing the camera, the system places itself in an upright position (static balance) and also remains vertical and doesn’t start to spin when accelerated (dynamic balance).

Fluorescent Lighting

Since the 1970’s cameramen and designers have worked to technical perfect the operation and application of the “loose” camera. Camera stabilizing means to transfer the wellknown possibilities of the hand-held camera into steady, dolly-like movements. In order to be able to be steadily moved, the picture seen in the camera, must be separated from the eye and body of the cameraman. Therefore, a holding and stabilizing system is worn on the body, portable film and television cameras to be used in this way.

Systems

Accessories

Tripods

Pedestals

Fluid Heads

What is Camera Stabilizing?

Camera Stabilizing

artemis Camera Stabilizing System

Today’s artemis Cine HD-, Cine-, EFP Pro and EFP-family was developed from the desire to enrich the European and worldwide market with high-quality products—a completely new, user-friendly type of camera stabilizing system. In order to achieve this goal, Sachtler together with the developer, camera-

man and operator Curt O. Schaller brought together a competent team of technical designers, who developed innovative designs to satisfy these industry needs. In 2001 the artemis Cine HD had its premiere with an inter national public audience at the NAB show in Las Vegas.

artemis was the first-ever HD-capable camera stabilizing system and immediately set itself apart from existing systems. The Cine HD became the product vision of the future and confirmed that HD would come. During the development of the artemis product family, Sachtler has registered five patents on these new core technologies.

artemis Cine and Cine HD Camera independent artemis Cine and artemis Cine HD are the top-level products of the artemis family. The Cine HD is the ideal system for the film industry, along with HD and professional SD video applications: all possible features are supplied for the operator in order to use it for film and video cameras and their accessories. The Cine HD version offers a patented HD video signal process. This allows HD video cameras (RGB HD) to be used without a down converter. The Cine version is the ideal machine for classical applications, for example film and SD video, offers SD video signals with all the functions of the Cine HD.

artemis EFP

artemis EFP Pro

Modular

Multiple formats

The move into the professional arena is also catered for as apart from the three large systems, Cine HD, Cine, EFP Pro HD SDI, Sachtler has developed the EFP. This system is fully compatible with the large system, however, in the basic configuration it is equipped only with the functions the operator needs for daily broadcasts. Piece for piece, the EFP can be updated, by exchange of modules, to the technical level of a Cine HD. There is nothing even preventing a change to film.

In 2003 the artemis EFP Pro, the world’s first, fully HDcapable camera stabilizing system, resulted from close co-operation with the television station NHK in Tokyo. The Japanese television company was already producing HDTV and they had clear ideas about how an HD camera stabilizing system must be set-up in order to perform as required. Beside the HD RGB signal processing, special attention was also given during the development to ensure that the HD SDI signal was brought with maximum quality from the camera to the monitor. The EFP Pro HD SDI could be regarded as the “cross over” system, since it can process all kinds of video signals (SD, SD SDI, HD RGB, HD SDI). Also by upgrading to 24v, all movie cameras can be used without compromise.

102

Future assured

artemis DV Pro system New formatsâ&#x20AC;&#x201D;new ways

The product design of the artemis DV Pro MD and the new artemis DV Pro FX system follows the consistent philosophy, functionality and quality of the professional artemis Cine HD model line. They were specially developed for the new generation of professional mini DV and (H)DV cameras. Nevertheless the rigs have all the functions a professional operator is used to, from the larger systems. As the industry is expecting precision, speed and picture diversity on a daily basis also from lower-priced equipment the DV Pro system offers the optimal features.

Modularity and a component building method was already an important basic module in the design and philosophy of the first generation of the artemis family. Through already exisiting modules and interchangeable components, systems can become state of the art upgrades. The service is simple, fast and economical. The ACT 2 represents the next generation of the artemis product family. Priority is given to maximum flexibility and practical utilisation as well as to modern materials and solutions. So, Sachtler, Camera Dynamics presents the first carbon upgrade for artemis spring arm ACT 2, as well as its new artemis ACT 2 vest.

www.artemis-hd.com www.sachtler-academy.com

103

Camera Stabilizing Systems

ACTâ&#x20AC;&#x2030;2 artemis component technology

104

Lighting Sets

Lighting sets are available for each Reporter model. They include up to three fixtures, bulbs, stands, filters and additional accessories, all conveniently stored in a compact aluminium case.

Camera Stabilizing Systems

All Sachtler luminaires stand out for their ease of operation. They are robust, silent, and extremely reliable—even under extreme conditions. Mains powered tungsten luminaires such as the Reporter 1000H, 650HS and 300H and daylight luminaires such as the Reporter 400D, 270DI and 200DI are primarily designed for use with lighting stands. Highly-efficient luminaires such as the Reporter 250H and 100H can be handle-operated or mounted on cameras. The Reporter 75H, Reporter 8LED and Reporter 21D MicroSun were designed for on-board camera use.

Reporter Lighting

Although today’s electronic cameras feature greatly increased sensitivity, no ENG team can do without additional lighting. Fill-in lights are often required to help guests look their best, particularly for interviews. Sachtler offers an ideally graduated program of Reporter luminaires, with a choice between daylight or tungsten lighting and mains or battery operation. In 2007 Sachtler entered new lighting field and launched the Reporter 8LED, the new on-camera light, that deploys all advantages of the LED lighting technology.

The lighting characteristics of each luminaire are measured exactly and displayed in clear graphics. 10 8

Fluorescent Lighting

THE RIGHT LIGHTING FOR EVERY EVENT

6 x 1,000 lux

LIGHTING FOR MOBILE OPERATION

Systems

Accessories

Tripods

Pedestals

Fluid Heads

Lighting for Mobile Operation

4 2 0

-50 -40 -30 -20 -10 PAN (degrees)

Spot peak 9,255 lux, Half value 4,612 lux @ 12.3°

10 20 30 40 50 Distance to sensor: 5 m

Flood peak 1,173 lux Half value 586 lux @ 44.5°

All Reporter fixtures are also available in practical sets that include a host of accessories (pages 124–127).

105

LED

new!

Reporter 8LED On-camera LED light—battery or mains operated Invert polarity protection and over/low voltage indication

Power: 8 W Input voltage: 6 to 24 V DC

Robust, unbreakable, splash-proof, compact, small and light-weight

Light output: 250 lm Degree of protection: IP 44

Aluminium housing allows for fast heat dissipation

Storage temperature: - 40° C to + 60° C / - 40 ° F to + 120° F

Usage of one LED module (no multiple shadows)

Operating temperature: - 25 ° C to + 40 ° C / - 13° F to + 104° F Code

s2401-0001

Reporter 8LED

Measurements in mm

6oo

500 400 300 57 96

LUX

200 100 0 -45 -40 -35 -30 -25 -20 -15 -10 -5 0

5 10 15 20 25 30 35 40 45

PAN Standard optic

Peak: 310 lux Half value: 155 lux @ 37,5°

With medium optic

Peak: 530 lux Half value: 265 lux @ 26,5°

Detachable 4-leaf barndoor

Quick release mechanism

Different positions of double joined bracket 45° rotatable 4-leaf barndoor

106

new!

Reporter 8LED as on-camera light

Reporter Lighting

Reporter 8LED on the mini croco clamp

Reporter 8LED on the mounting base

R8LED Complete Set, S2403-0040

Reporter 8LED

+ Set

LED Power Connector Set

+ Set

R8LED Optic Set

+ Set

Location Set

Bag

LED Power Connector Set,

Adapter cable A/B Power Tab– PowerPlug Connector

Extension cable A/B Power Tab

R8LED Optic Set,

2 x Gel frame

Location Set,

Socket 16 mm

S2403-0010

Adapter cable A/B Power Tab–XLR, 4-pin

Car adapter A/B Power Tab

LED module tungsten

Diffusor

Mounting base

Mini croco clamp

S2403-0020

Optic lens medium

S2403-0030

Extension arm

107

Mains power adapter with EU / UK / US adapter

Daylight

Configuration Guide 5600 K

Front adapter Belt Pack® 12 V / 4,5 Ah Reporter 21D Charger 12 II 4-leaf barndoor RD21

Gel frame 21 Filter 6/3200 K

Belt Pack® 12 V / 7 Ah

Socket 16/1

Speedcharger

Stand L1 Diffusor 202 Belt Pack® 30 V / 4,5 Ah Filter 202/3200 K Reporter 200DI

Low profile mount Betacam low profile mount Belt Pack® 30 V / 7 Ah

Diffusor 2

Power Pack 30

Filter 2 / 3200 K Reporter 270DI

Spigot 16 / 2

Batronic 3

Handle 2

Stand L2 Silent 200 Diffusor 170

Filter 170 / 3200 K

Reporter 400D

108

Silent 400

Daylight

Reporter 21D MicroSun More light for less current Power: 21 W (corresponds to 50 W halogen)

Variable positioning due to double-hinged yoke

Battery-operated daylight luminaire for 12 V to 30 V operation

Exceptionally well-protected from moisture (IP33)

Synthetic housing with low heat conductivity

Available connections: PowerTap plug or XLR 4-pin

Reporter 21D Microsun

code

measurements (in mm)

140

R21D

sets

Pages 124–127

116 10 20 30 40 50 Distance to sensor: 5 m

Reporter Lighting

Flood peak 90 lux Half value 45 lux @ 65.5°

The R21D MicroSun can be mounted on all well-known cameras

ACCessories

Pages 120–123 Stands

Sky hook

Double-ended spigot 16/1

Socket 16/1

Vario clamp

A2001

Spot peak 530 lux, Half value 265 lux @ 19°

S21DX MicroSun

A1018

PAN (degrees)

A1015

-50 -40 -30 -20 -10

S21D MicroSun

A1016

A1020

x 100 lux

Umbrella

109

Daylight

Reporter 200DI Reporter 270DI Mobile daylight luminaires with battery or mains operated

Handle with integrated camera shoe (R200DI)

x 1,000 lux

Patented no-noise ignition

R200D R270DI

Battery-operated daylight luminaires (30 V) (optional upgrading to mains operation) code

Reporter 270DI

Reporter 200DI

Power: 270 W (R270DI), 200 W (R200DI)

1 0

-50 -40 -30 -20 -10 PAN (degrees)

10 20 30 40 50

2 0

Spot peak 3,800 lux Half value 1,900 lux @ 16.5°

Flood peak 860 lux Half value 430 lux @ 43.8°

-50 -40 -30 -20 -10

PAN (degrees)

Distance to sensor: 5 m

Spot peak 9,255 lux Half value 4,612 lux @ 12.3°

10 20 30 40 50 Distance to sensor: 5 m

Flood peak 1173 lux Half value 586 lux @ 44.5°

sets

Pages 124–127

Reporter 200DI

Reporter 270DI

S270DB battery operation

223

124

229

180

S200DN mains operation 124

S200DNSM mains operation

218

S200DB battery operation

112

143 252

R270DI

R200DI

ACCessories

110

Short handle

A2000

Umbrella

A1005

Vario clamp

A2001

Double-ended spigot 16/1

A1018

Sky hook

A1016

Stands

A1020

Pages 120–123 Handle 2

Daylight

Reporter 400D Daylight for every shoot

Power: 400 W

Outstanding for outside use (IP33)

Mains connection using electronic

Rain proof

ballast unit (110 V/230 V) Silent operation

Compact synthetic housing in stable, lightweight design

Dimmable via ballast Silent 400

Rotatable, removable 4-leaf barndoor

Alternatively with Schaltbau or VEAM connectors

Protection class II

CODE

R400D sets

Pages 124–127 S400DS

Reporter 400D

measurements (in mm)

206

S400DVS

200

8 6 x 1,000 lux

160 272

4 2 0

-50 -40 -30 -20 -10 PAN (degrees)

10 20 30 40 50 Distance to sensor: 5 m

Flood peak 820 lux Half value 410 lux @ 85°

Reporter Lighting

Spot 7,350 lux Half value 3,675 lux @ 13°

Fast clamp mechanism

ACCessories

Double-ended spigot 16/1

A1018

Sky hook

A1016

Stands

A1020

Pages 120–123 Vario clamp

111

Tungsten

Configuration Guide 3200 K

Diffusor Belt Pack® 12 V / 4,5 Ah

4-leaf barndoor RD75

Filter 7/5600

Reporter 75H Charger 12 II

Protective glass RG75

Front adapter Belt Pack® 12 V / 7 Ah

Dimmer PowerBase

Reporter 100H

Speedcharger

Socket 16/1 Belt Pack 30 V / 4,5 Ah ®

Reporter 250H

Low profile mount Betacam low profile mount

Stand L1

Diffusor 1

Filter 1/5600 K

Belt Pack® 30 V / 7 Ah

Reporter 300H Spigot 16/2 Stand L1

Handle 2 Reporter 300HSM PowerPack 30 Diffusor 2 Stand L2 Filter 2/5600K 110 V/230 V (according to bulb used)

Reporter 650HS

Spigot 16/2

Diffusor 3 Stand L2/L3 Reporter 1000H

Filter 35/5600K

4-leaf barndoor 35

112

Tungsten

Reporter 75H Small and strong – available in four versions Max. 75 W power (bulbs of 20 W or higher can be used)

Luminaire can be detached from base Double-hinged with central locking screw for individual alignment

Battery-operated tungsten luminaires (halogen 12 V)

Rotatable and removable 4-leaf barndoor (optional)

Silent operation Integrated dimmer in luminaire base (Versions R75HD and R75HABD)

code

R75H R75HAB R75HD R75HABD

Reporter 75H

measurements (in mm)

2,5

124

2,0 sets

1,5

Pages 124–127

1,0 x 100 lux

72 119

S75H PowerBase XLR

0,5 0

-50 -40 -30 -20 -10 PAN (degrees)

S75HAB PowerBase Anton/Bauer

10 20 30 40

S75HD Dimmer PowerBase

Distance to sensor: 1 m Flood 75W longlife 1m Peak 594 lux Half value 297lux @ 73.3°

S75HABD Dimmer PowerBase Anton/Bauer

Reporter Lighting

Spot 75 W longlife 1 m Peak 2,196 lux Half value 1,098 lux @ 26°

A dimmer is located in the luminaire base.

The bulb sits in the convenient focus knob at the rear of the luminaire.

ACCessories

Vario clamp

A2001

Socket 16/1

A1018

Sky hook

A1015

Stands

A1020

Pages 120–123 Umbrella

113

Tungsten

Reporter 100H Reporter 250H Battery-operated tungsten luminaires with incomparable lighting performance Reporter 100H

Power: 100 W (R100H), 250 W (R250H)

10 8

Reporter 100H (12 V), Reporter 250H (30 V)

Silent operation

4 x 100 lux

Battery-operated tungsten luminaires (halogen)

Rotatable and removable 4-leaf barndoor

code

Handle with integrated camera shoe and compartment for replacement lamp

R100H R250H

2 0

-50 -40 -30 -20 -10

PAN (degrees)

10 20 30 40 50 Distance to sensor: 5 m

Spot Peak 562 lux Half value 281 lux @ 17.8°

Flood peak 188 lux Half value 94 lux @ 38°

sets

Pages 124–127

Reporter 250H

Reporter 100H + Reporter 250H

151

S100H4

S100H7S

S250H4

S250H7 x 100 lux

100

125

4 0

-50 -40 -30 -20 -10 PAN (degrees)

10 20 30 40 50 Distance to sensor: 5 m

Spot Peak 1,500 lux Half value 750 lux @ 16.0°

Flood peak 487 lux Half value 243 lux @ 38°

ACCessories

114

Umbrella

A1005

Vario clamp

A2001

Socket 16/1

A1018

Sky hook

A1015

Stands

A1020

Pages 120–123 Short handle

A1002 + A1002B

189

Low profile mount / Betacam low profile mount

Tungsten

Reporter 300H Reporter 300HSM Compact mains luminaire

Reporter 300H/HSM

R300H: Hand-held luminaire with handle

Mains operated tungsten luminaires (halogen) for 230 V or 110 V operation Silent operation

10 8

R300HSM: Luminaire for use on stands with 16 mm spigot

6 4 x 100 lux

Power: 300 W (also ideal for 150 W and 200 W operation)

Protection class II

Rotatable and removable 4-leaf barndoor

2 0

-50 -40 -30 -20 -10 PAN (degrees)

Spot peak 750 lux Half value 375 lux @ 27.5°

Reporter 300h

code

10 20 30 40 50

R311H R311HSM R322H R322HSM R324H R324HSM

Distance to sensor: 5 m Flood peak 220 lux Half value 110 lux @ 60°

Reporter 300HSM

163

sets

ø 100

125

Pages 124–127

ø 100

125

S311H – 110 V/230 V S322H – 230 V S324H – 240 V S311HSM – 110 V/230 V S322HSM – 230 V

201

S324HSM – 240 V compact sets

SC 311HSM – 110 V/230 V SC 324HSM – 240 V

Reporter 300H

Reporter 300HSM

ACCessories

Umbrella

A1005

Vario clamp

A2001

Socket 16/1

A1018

Double-ended spigot 16/1

A1015

Sky hook

A1016

Stands

A1020

Pages 120–123 Short handle

115

Reporter Lighting

SC 322HSM – 230 V

Tungsten

Reporter 650HS For wide-angle illumination Power: 650 W Mains operated tungsten luminaires (halogen) for 230 V or 110 V operation Silent operation Optional handle for use as hand-held luminaire Protection class II (R652HS), protection class I (R651HS, R654HS) Rotatable and removable 4-leaf barndoor code

R651HS R652HS R654HS

Reporter 650HS

229

180

20 15

sets x 100 lux

Pages 124–127 S651HS – 110 V/120 V

112

143 252

S652HS – 230 V S654HS – 240 V

5 0

-50 -40 -30 -20 -10 PAN (degrees)

Spot peak 2,200 lux Half value 1,100 lux @ 17.8°

ACCessories

116

Vario clamp

A2000

Double-ended spigot 16/1

A1018

Sky hook

A1016

Stands

A1020

Pages 120–123 Handle 2

10 20 30 40 50 Distance to sensor: 5 m

Flood peak 500 lux Half value 250 lux @ 48.8°

Tungsten

Reporter 1000H 1.000 W Open Face Reporter Light Power: 1,000 W Mains-operated tungsten luminaires (halogen) for 230 V or 110 V operation Silent operation Optional handle for use as hand-held luminaire Protection class II Rotatable and removable 4-leaf barndoor (optional) code

R1001H R1003H

Reporter 1000H

180

222

sets

x 1,000 lux

3 178 282

Pages 124–127

SR 1001H – 110 V

1 0

SR 1003H – 230 V/240 V -50 -40 -30 -20 -10

PAN (degrees)

10 20 30 40 50 Distance to sensor: 5 m

Flood peak 540 lux Half value 270 lux @ 57.5°

Reporter Lighting

Spot peak 2,950 lux Half value 14.75 lux @ 24.3°

ACCessories

Vario clamp

A2000

Double-ended spigot 16/1

A1018

Sky hook

A1016

Stands

A1020

Pages 120–123 Handle 2

117

Daylight

Tungsten

LED

Specifications Daylight

Reporter 400D with Schaltbau connector

Reporter 400DV with VEAM connector

Reporter 270DI with Amphenol connector

Reporter 200DISM with stand mount

Code

R400D

R400DV

R270DI

R200DSM

Without ballast unit

—

Batronic 3

Ballast unit (battery)

—

Ballast unit (mains)

Silent 400

Silent 400SNV

Batronic 3 Silent 200

Power

400 W

270 W

200 W

Focusing ratio

1:7

1:8.7

1:4.5

Bulb socket

GZZ 9.5

FaX 1.5 – 3x1

GZY 9.5

Bulb type

Philips MSR 400HR

Osram HMI 270 W / SE

Philips MSR 200HR / Osram HMI 200SE

Dimensions * (L x W x H)

206 x 199.5 x 253 mm 8.1 x 7.9 x 10"

229 x 180 x 252 mm 9 x 7.1 x 9.9"

223 x 124 x 218 mm 8.8 x 4.9 x 8.6"

2 kg / 4.4 lb

1.5 kg / 3.3 lb

1.3 kg / 2.9 lb

Weight Luminaire 4-leaf barndoor

0.7 kg / 1.5 lb

0.29 kg / 0.6 lb

0.3 kg / 0.7 lb

Mount type

Socket 16/1

Cable length

5 m / 16' 5"

3.8 m / 12' 6"

Reporter 1000H with stand mount

Reporter 650HS with stand mount

Reporter 300HSM with stand mount

Reporter 300H with handle

Tungsten Code 12 V =

—

30 V =

—

110 V ~

R1001H (110-120 V)

R651HS

R311HSM

R311H

230 V ~

R1003H (230-240 V)

R652HS

R322HSM

R322H

240 V ~

—

R654HS

R324HSM

R324H

Power

1,000 W

650 W

300 W

Focusing ratio

1:5.5

1:4.4

1:3.5

Bulb socket

R7s, 93 mm

GY 9.5; 46.5 mm

GX 6.35; 30 mm

Bulb type

ANSI code: DXW LIF code: P2/35

ANSI codes: FRK, FRL LIF code: CP89

Philips VL 300, VL 150 Osram 64514 (110 V) 64516 (230 V)

Dimensions * (L x W x H)

180 x 222 x 282 mm 7.1 x 8.7 x 11.1"

229 x 180 x 252 mm 9 x 8.7 x 9.9"

163 x 100 x 125 mm 6.4 x 3.9 x 4.9"

201 x 100 x 125 mm 7.9 x 3.9 x 4.9"

Weight Luminaire

1.85 kg / 4.1 lb

1.3 kg / 2.9 lb

0.65 kg / 1.4 lb

4-leaf barndoor

0.55 kg / 1.2 lb

0.26 kg / 0.6 lb

0.15 kg / 0.3 lb

Mount type

Socket 16/1

1/4" threaded screw incl. shoe for camera mount

Cable length

3 m / 9' 10"

3.8 m / 12' 6"

4 m / 13' 1"

* See the product pages for dimensioned drawings.

118

new!

Reporter 200DI with handle

Reporter 21D MicroSun with Anton/Bauer Power Tap connector

Reporter 21DX MicroSun with XLR connector

Reporter 8LED

R200D

R21D

R21DX

Code

S2401-0001

—

9–36 V

Without ballast unit

6 - 24 V

Batronic 3

—

Ballast unit (battery)

—

LED

Silent 200

—

Ballast unit (mains)

—

200 W

21 W

Power

1:4.5

1:5.9

Focusing ratio

Change of optic (standard / medium)

GZY 9.5

Special

Special LED module

Daylight module (optionally tungsten)

Dimensions * (L x W x H)

80 mm x 52 mm x 52 mm 3.1" x 2.05" x 2.05"

Philips MSR 200HR Osram HMI 200SE 223 x 124 x 218 mm 8.8 x 4.9 x 8.6"

140 x 87 x 116 mm 5.5 x 3.4 x 4.6"

1.3 kg / 2.9 lb

0.5 kg / 1.1 lb

Luminaire

400 g / 0.9 lb (complete)

0.3 kg / 0.7 lb

0.1 kg / 0.2 lb

4-leaf barndoor

included

1/4" threaded screw incl. shoe for camera mount

Mount type

1/4" threaded screw incl. shoe for camera mount

3.8 m / 12' 6"

0.7 m / 27.6" (Power Tap 2-pin)

1.5 m / 59" (XLR 4-pin)

Cable length

0,85 m / 33,5" (Power Tap 2-pin)

Reporter 250H with handle (battery-operated)

Reporter 100H with handle (battery-operated)

Reporter 75H PowerBase XLR

Reporter 75HAB PowerBase Anton/Bauer

Reporter 75HD Dimmer PowerBase XLR

Reporter 75HABD Dimmer PowerBase Anton/Bauer

—

R100H

R75H

R75HAB

R75HD

R75HABD

R250H

—

250 W

100 W

20–75 W

1:3

1:3.7

GX 6.35; 22 mm

GX 6.35; 30 mm

G 6.35; 30 mm

e. g. Sylvania 61455 ANSI code: EPL

e. g. Osram HLX 64625 ANSI code: FCR LIF code: A1/215

204 x 100 x 125 mm 8 x 3.9 x 4.9"

124 x 72 x 119 mm 4.9 x 2.8 x 4.7"

0.55 kg / 1.2 lb

0.45 kg / 1 lb

0.4 kg / 0.9 lb

0.5 kg / 1.1 lb

0.45 kg / 1 lb

0.15 kg / 0.3 lb

0.12 kg / 0.3 lb

1/4" threaded screw incl. shoe for camera mount

2 m / 6' 7"

1.5 m / 59" (XLR 4-pin)

0.75 m / 29.5" (Power Tap 2-pin)

1.5 m / 59" (XLR 4-pin)

0.75 m / 29.5" (Power Tap 2-pin)

119

Reporter Lighting

Weight

Accessories

Batteries / Chargers For optimal power wherever the shoot

Rechargeable Batteries Reliable batteries without memory effect Long life span Constant output even at low temperatures Ergonomically shaped batteries for high carrying comfort Broad carrying strap with adjustable shoulder padding

Type

Code

Voltage

Capacity

Weight

Dimensions L x W x H

Belt-Pack® 12/4.5

B1245

13.2 V

4.5 Ah

2.2 kg / 4.9 lb

23 x 10 x 5 cm / 9.1 x 3.9 x 2"

Belt-Pack® 12/7

B1270

13.2 V

7.0 Ah

3.3 kg / 7.3 lb

23 x 19 x 5 cm / 9.1 x 7.5 x 2"

Belt-Pack® 30/4.5

B3045

30 V

4.5 Ah

4.5 kg / 9.9 lb

25 x 10 x 8 cm / 9.8 x 3.9 x 3.1"

Belt-Pack® 30/7

B3070

30 V

7.0 Ah

6.9 kg / 15.2 lb

25 x 19 x 8 cm / 9.8 x 7.5 x 3.1"

Operating times *

Belt-Pack® 12/4.5

Belt-Pack® 12/7

R21D (21 Watt)

2 h 05 min

3 h 30 min

R75H (75 Watt)

0 h 45 min

1 h 15 min

R100H (100 Watt)

0 h 30 min

0 h 50 min Belt-Pack® 30/7

Operating times *

Belt-Pack® 30/4.5

R21D

5 h 00 min

7 h 45 min

R250H

0 h 30 min

0 h 45 min

R200D

0 h 30 min

0 h 45 min

R270DI

0 h 25 min

0 h 35 min *for Sachtler Reporter luminaires with 12 V Belt-Packs® and 30 V Belt-Packs®

Chargers

120

Type

Code

Voltage

Charging time *

Weight

Dimensions L x W x H

Charger 12 II

C1203

85–264 V wide-range input

7 h 30 min (B1245) 13 h 30 min (B1270)

0.5 kg 1.1 lb

14 x 6 x 7 cm 5.5 x 2.4 x 2.8"

Speedcharger

C1232

110/230 V with automatic voltage selector

1 h 09 min (B1245) 1 h 47 min (B1270) 2 h 09 min (B3045) 3 h 20 min (B3070)

1 kg / 2.2 lb

23 x 7 x 8 cm 9.1 x 2.8 x 3.1" * at 25 °C / 77 °F

Accessories

Ballast Units / Power Supply Cables Battery-operated electronic ballasts Type

Code

Voltage

Power

For luminaries

Weight

Dimensions LxWxH

Batronic 3

E327B

25–36 V

330 VA

Reporter 200DI/DISM Reporter 270DI

1.2 kg 2.6 lb

25 x 8 x 8 cm 9.8 x 3.1 x 3.1"

Type

Code

Voltage

Power

For luminaries

Weight

Dimensions LxWxH

PowerPack 30

S2402-0001

85–264 V

max. 360 W

Reporter 250H Reporter 21D MicroSun with plug XLR-4pin with Batronic: Reporter 200DI and Reporter 270DI

2.5 kg 5.5 lb

30 x 14 x 12.3 cm 11.8 x 5.5 x 4.8"

Power supply new!

Mains-operated ballasts Code

Mains voltage

Max. input power

Protective class

Weight

Fixture connection

Dimensions LxWxH

For fixtures

Silent 200

E200SN

90–125 V 190–245 V

400 W

II/IP21

2.5 kg 5.5 lb

Amphenol

10 x 23 x 24.5 3.9 x 9.1 x 9.6"

Reporter 200DI/DISM

Silent 400SN (SNV)

E400SN (SNV)

90–125 V 190–245 V

460 W

I/IP23

4.9 kg 10.8 lb

Schaltbau M1, A-coded (VEAM 14SA-7S)

18.5 x 15 x 26 7.3 x 5.9 x 10.2"

Reporter 400D (DV)

Reporter Lighting

Type

All ballast units feature automatic input-voltage-switching, are fully power-factored, cos phi ≈ 1, and come without a fan

Extension cables for fixtures Type

Code

Length

Connector type

For fixtures

Cable 270/5

A2750

5 m / 16' 4"

Amphenol C16-1

Reporter 200DI, 270DI

Cable 270/10

A2700

10 m / 32' 8"

Amphenol C16-1

Reporter 200DI, 270DI

Cable 1205S

A1205S

5 m / 16' 4"

Schaltbau M1, A-coded

Reporter 400D Reporter 400D

Cable 1210S

A1210S

10 m / 32' 8"

Schaltbau M1, A-coded

Cable 1205

A1205

5 m / 16' 4"

VEAM 16S-1SW

Reporter 400 DV

Cable 1210

A1210

10 m / 32' 8"

VEAM 16S-1SW

Reporter 400 DV

121

Accessories

Stands / Umbrella Spigots / Diffusors Accessories for every assignment

Stands Type

Code

Transport length

Max. load

Weight

Max. length

Stand L1C

A1004

49 cm / 19.3"

2 kg / 4.4 lb

0.96 kg / 2.1 lb

1.90 m / 6' 3"

Stand L1

A1003

67 cm / 26.4"

2 kg / 4.4 lb

0.96 kg / 2.1 lb

2.46 m / 8' 1"

Stand L2

A1006

69 cm / 27.2"

2 kg / 4.4 lb

1.25 kg / 2.8 lb

2.85 m / 9' 4" 2.84 m / 9' 4"

Stand L3

A1008

1.04 m / 40.9"

10 kg / 22 lb

2.12 kg / 4.7 lb

Stand L4

A1010

1.22 m / 48.0"

12 kg / 26 lb

3 kg / 6.6 lb

3.3 m / 10' 8"

Stand L5

A1012

1.22 m / 48.0"

18 kg / 40 lb

7.3 kg / 16.1 lb

3.25 m / 10' 7"

Stand L6

A1014

1.44 m / 56.7"

40 kg / 88 lb

13.5 kg / 29.8 lb

4.77 m / 15' 6"

L1C, L1, L2 and L3 stands all feature 16 mm / 0.63" spigots, while L3 also has a socket. All Reporter models with handles require Socket 16/1 (A1015). The SM models in the Reporter line fit directly, with no need for an adapter.

Note: The hot filament of tungsten bulbs is highly susceptible to shock when switched on. For this reason, always use the utmost care in moving lighting stands with tungsten lights that are switched on. HMI/MSR bulbs are far less susceptible to shock.

Umbrella Type

Code

Description

Umbrella

A2001

White translucent reflective & diffusing umbrella (75% reflection and 25% transmission)

Umbrella mount

A1019

Simultaneously mounts umbrella and luminaire on a lighting stand with spigot 16/1

Spigots Type

Code

Description

Double-ended spigot 16/1

A1016

Mounts fixtures with 16 mm / 0.63" sockets to stands with 16 mm / 0.63" sockets

Spigot 28

A1028

28 mm / 1.1" spigot, replaces 16 mm / 0.63" socket on R270DI, R400D, R650HS and R1000H

Spigot 16/2

A2016

16 mm / 0.63" spigot with mounting material, replaces 16 mm / 0.63" socket on R270DI, R400D, R650HS and R1000H

Spigot 28/16

A1628

Extends 16 mm / 0.63" spigot to 28 mm / 1.1"; only suitable for operation on lighting stands

Diffusors

122

Type

Code

Description

Diffusor 1

D1000

Diffusor made of mineral glass for R100H, R250H and R300H

Diffusor 2

D2000

Diffusor made of mineral glass for R650HS and R270DI

Diffusor 35

D3500

Diffusor made of mineral glass for R1000H

Diffusor 170

D170

Diffusor for R400D

Diffusor 202

D1200

Diffusor made of mineral glass for R200DI

Diffusion filter 1/5600 K

FD1056

Matt-finished dichroic daylight filter made of mineral glass for R100H, R250H, R300H

Accessories

Filters / Clamps / Adapters With these accessories, nothing is left to chance

Filters Type

Code

Description

Filter 1/5600 K

F1056

Dichroic daylight filter for R100H, R250H and R300H

Filter 2/3200 K

F2032

Dichroic tungsten light filter for R270DI

Filter 2/5600 K

F2056

Dichroic daylight filter for R650HS

Filter 35/5600 K

F3556

Dichroic daylight filter for R1000H

Filter 170/3200 K

F2032

Dichroic tungsten light filter for R400D

Filter 202/3200 K

F1232

Dichroic tungsten light filter for R200DI

Clamps Code

Description

Sky hook

A1020

Clamps 1 or 2 luminaires to tubes ø 20 to 75 mm / 0.79 to 3"; with 16 mm / 0.63" spigot, 16 mm / 0.63" socket and 16 mm / 0.63" double-ended spigot

Vario clamp

A1018

Universal clamp to attach accessories to tubes etc. up to ø 51 mm / 2", with 16 mm / 0.63" socket and 1/4" threaded hole; also available with double-ended spigot 16 mm / 0.63"

Handle 2

A2000

Handle for luminaires with 16 mm / 0.63" sockets (R300HSM, R650HS, R1000H, R200DI and 270DI)

Socket 16/1

A1015

Mounts luminaires with 1/4" screws on lighting stands with 16 mm / 0.63" spigots; not required for SM versions with integrated 16 mm / 0.63" socket

C-clamp

A2028

Clamps for tubes from ø 28–78 mm; with 16 mm socket and spigot and 28 mm socket rotatable

C-clamp

M-C100

Clamp made of die-cast aluminium for tubes from ø 20–55 mm; with 28 mm socket

Reporter Lighting

Type

Adapters / Poles Type

Code

Description

Forward adapter

A1000SL

Adapter used to move the luminaire-holder forward on the camera; mounts R75H on cameras with standard accessory shoe with 1/4" threaded hole

Mounting shoe

R100H-26

Hot shoe mounting plate (included in delivery of R100H, R250H, R300H and R200DI) with 1/4" threaded hole that attaches luminaires to the camera accessory shoe

Betacam adapter/ Mounting shoe

A1000

Mounts R100H, R250H, R300H and R200DI on cameras with Betacam accessory receptacles; replaces standard hot shoe mounting plate on luminaire handles

Betacam low profile mount

A1002B

Enables direct, low-profile mounting of R100H, R250H, R300H and 200DI on cameras with Betacam accessory receptacles (not for SM fixtures with built-in 16 mm / 0.63" sockets)

Low profile mount

A1002

Enables low-profile mounting of R100H, R250H, R300H and 200DI on camera shoe (not for SM fixtures with integrated 16 mm / 0.63" sockets)

Telescopic pole 4.0

ST1945

3-step extendable, 1.4–4.0 m

Telescopic pole 6.5

ST2045

4-step extendable, 2.0–6.5 m

123

Lighting Sets Tungsten

Sets for mains operation Completely equipped and ready to shoot

– Luminaire cases for mains operation – Robust and reliable lighting technology – All sets combine top rate equipment with a host of accessories – Long life lamp bulbs – Equipment clearly arranged in cases

Sets 300–1,000 W

124

Set 300H

Code

Contents

Weight

Dimensions

110 V 230 V 240 V

S311H S322H S324H

3 x Reporter 300H complete with bulb, rotatable 4-leaf barndoor, 3 x Diffusor 1, 3 x Daylight filter 1/5600K, 2 x Socket 16/1, 2 x Stand L1, 1 x Umbrella, 1 x Umbrella with mount, Case 300

11 kg 24.3 lb

82 x 33 x 14.5 cm 32.3 x 13 x 5.7"

Set 300HSM

Code

Contents

Weight

Dimensions

110 V 230 V 240 V

S311HSM S322HSM S324HSM

3 x Reporter 300HSM (same as Set 300H but with lamp head with stand mount), 3 x Diffusor 1, 3 x Daylight filter 1/5600K, 3 x Stand L1, 1 x Umbrella, 1 x Umbrella mount, Case 300

11 kg 24.3 lb

82 x 33 x 14.5 cm 32.3 x 13 x 5.7"

Compact Set 300HSM

Code

Contents

Weight

Dimensions

110 V 230 V 240 V

SC311HSM SC322HSM SC324HSM

3 x Reporter 300HSM complete with bulb, rotatable 4-leaf barndoor and 3 x Stand L1C, Case 303C

10 kg 22 lb

42 x 52.5 x 14 cm 16.5 x 20.7 x 5.5"

Set 650 HS

Code

Contents

Weight

Dimensions

110 V 230 V 240 V

S651HS S652HS S654HS

3 x Reporter 650HS complete with bulb, (S651HS without bulb), rotatable 4-leaf barndoor, 3 x Diffusor 2, 3 x Daylight Filter 2/5600K, 3 x Stand L2, Case 650

20 kg 44.1 lb

88 x 38 x 23 cm 34.6 x 15 x 9.1"

Set 1000H

Code

Contents

Weight

Dimensions

110 V 230 V/240 V

SR1001H SR1003H

3 x Reporter 1000H complete with bulb, 3 x rotatable 3 x 4-leaf barndoor and 3 x Stand L2, Case 1000H

21 kg 46.3 lb

92 x 39 x 26.5 cm 36.2 x 15.4 x 10.4"

Lighting Sets Tungsten

Sets for battery operation For independent operation

– Ergonomic battery shape for added carrying comfort – High-performance batteries for long illumination times – Luminaires suitable for on-board operation – Completely equipped with barndoor and daylight filter – R100H and R250H with replacement lamp in handle

Set 75H

Code

Contents

Weight

Dimensions

PowerBase XLR PowerBase Anton/Bauer Dimmer PowerBase XLR Dimmer PowerBase Anton/Bauer

S75H S75HAB S75HD S75HABD

Set 75, alternatively with R75H, R75HAB, R75HD or R75HABD, equipped with: rotatable 4-leaf barndoor, Daylight filter 7/5600K, Belt Pack® battery 12 V/4.5 Ah, Charger 12 II, Case 75

5.3 kg 11.7 lb

34.5 x 30 x 12 cm 13.6 x 11.8 x 4.7"

Set 100H7S

Code

Contents

Weight

Dimensions

Set 100H7S

S100H7S

Reporter 100H complete with 2 bulbs, rotatable 4-leaf barndoor, Diffusor 1, Daylight Filter 1/5600K, Belt Pack® 12 V/7 Ah, Speedcharger, Case 100

9 kg 19.8 lb

42 x 35 x 13.5 cm 16.5 x 13.8 x 5.3"

Set 100H4

Code

Contents

Weight

Dimensions

Set 100H4

S100H4

Combination as in Set 100H7S, but with Belt Pack® 12 V/4.5 Ah and Battery Charger 12 II

7.3 kg 16.1 lb

42 x 35 x 13.5 cm 16.5 x 13.8 x 5.3"

Set 250H7

Code

Contents

Weight

Dimensions

Set 250H7

S250H7

Reporter 250H with 2 bulbs, rotatable 4-leaf barndoor, Diffusor 1, Daylight filter 1/5600K, Belt Pack® 30 V/7 Ah, Speedcharger, Case 250

12 kg 26.5 lb

45 x 35 x 15.5 cm 17.7 x 13.8 x 6.1"

Set 250H4

Code

Contents

Weight

Dimensions

Set 250H4

S250H4

Combination as in Set 250H7, but with Belt Pack® 30 V/4.5 Ah

10 kg 22 lb

45 x 35 x 15.5 cm 17.7 x 13.8 x 6.1"

125

Reporter Lighting

Sets 75–250 W

Lighting Sets Daylight

Sets for mains operation With accessories that guarantee success

– High light efficiency – Minimal heat accumulation – Flicker-free electronic ballast units – Silent operation – Protected against moisture – Complete sets with up-to-date accessories

Sets 200–400 W

126

Set 200DN

Code

Contents

Weight

Dimensions

Set 200DN

S202DN

Reporter 200DI with bulb, Socket 16/1, Silent 200, rotatable 4-leaf barndoor, Diffusor 202, Filter 202/3200K, Case 202N

8.5 kg 18.7 lb

46 x 28 x 15 cm 18.1 x 11 x 5.9"

Set 200DNSM

Code

Contents

Weight

Dimensions

Set 200DNSM

S202DNSM

Reporter 200DISM with bulb, Silent 200, rotatable 4-leaf barndoor, Diffusor 202, Filter 202/3200K, Case 202N

8.5 kg 18.7 lb

46 x 28 x 15 cm 18.1 x 11 x 5.9"

Set 400DS

Code

Contents

Weight

Dimensions

Set 400DS

S400DS

Reporter 400DV with bulb, Silent 400 SN, rotatable 4-leaf barndoor, Filter 170/3200, Diffusor 170, Case 400S

12.9 kg 28.4 lb

46 x 37.5 x 22 cm 18.1 x 14.8 x 8.7"

Set 400DVS

Code

Contents

Weight

Dimensions

Set 400DVS

S400DVS

Reporter 400DV with bulb, Silent 400 SNV, rotatable 4-leaf barndoor, Filter 170/3200, Diffusor 170, Case 400S

12.9 kg 28.4 lb

46 x 37.5 x 22 cm 18.1 x 14.8 x 8.7"

Lighting Sets Daylight

Mobile lighting sets For independent operation

– Camera mounting for R21D and R200DI possible – High lighting efficiency compared to Halogen – 6,000 lux light power at a distance of 5 m / 16' 5" (R270DI)

Sets 21–270 W Code

Contents

Weight

Dimensions

Set 21D MicroSun

S21D

Reporter 21D MicroSun with bulb, Charger 12 II, BeltPack® 12 V/4.5 Ah, rotatable 4-leaf barndoor RD21, Cable XLR-AB, Filter 6/3200, Gel frame 21, Case 21; Anton/Bauer version

6.9 kg 15.2 lb

40.5 x 30 x 14.5 cm 15.9 x 11.8 x 5.7"

Set 21DX MicroSun

Code

Contents

Weight

Dimensions

Set 21DX MicroSun

S21DX

Reporter 21DX MicroSun with bulb, Charger 12 II, Belt Pack® 12 V/4.5 Ah, rotatable 4-leaf barndoor RD21, Filter 6/3200, Gel frame 21, Case 21; XLR version

6.9 kg 15.2 lb

40.5 x 30 x 14.5 cm 15.9 x 11.8 x 5.7"

Set 200DB

Code

Contents

Weight

Dimensions

Set 200DB

S204DB

Reporter 200DI with bulb, Batronic 3, Belt Pack® 30 V/4.5 Ah, Speedcharger, rotatable 4-leaf barndoor, Diffusor 202, Filter 202/3200K, Case 202 (also suitable for Belt Pack® 30V/7 Ah)

13.9 kg 30.6 lb

54 x 30 x 21 cm 21.3 x 11.8 x 8.3"

Set 270DB

Code

Contents

Weight

Dimensions

Set 270DB

S270DBI

Reporter 270DI with bulb, Belt Pack® 30 V/7 Ah, Speedcharger, Batronic 3, rotatable 4-leaf barndoor, Diffusor 2, Filter 2/3200 K, Handle 2, Case 270B

17.4 kg 38.4 lb

45 x 35 x 21 cm 17.7 x 13.8 x 8.3"

Reporter Lighting

Set 21D MicroSun

127

Tungsten

Daylight

Topas

Fluorescent lights

– TOPAS lighting is ideal for all television and video studios, especially for small and News Studios. – Topas stand out due to their extremely consistent light distribution and large beam-reflection-angle. – The newly designed tube arrangement means faster tube

– Topas luminaires can be categorized as cold lights because they generate very little heat. They require less energy and stand out for their long working life. – These large-surfaced lights are also referred to as softlights because of their extremely soft light.

cooling, ensuring even better color reproduction.

– The newly developed electronics allow for a flicker-free

– A huge range of accessories ensures easy and flexible

operation with a linear dimming range of 10 to 100 %.

integration into any studio.

The dimming can be controlled manually via a local dimmer or each DMX-capable control panel. – Topas offers various mounting possibilities (ball head, manual yoke, pole operated yoke) which can be easily exchanged.

Manual (Standard)

Pole operated (Studio version)

Topas operating elements with display and possibility to daisy chain DMX signals

128

Specification / Accessories Topas 220

Topas 330

Topas 440

Topas 660

Order code Standard (manual yoke)

T223T*

T333T*

T443T*

T663T*

Studio (pole operated yoke)

T223TM*

T333TM*

T443TM*

T663TM*

Number of tubes (55 W)

Socket

4 x 2 G 11

6 x 2 G 11

8 x 2 G 11

12 x 2 G 11

0 to +40 °C

Power supply 230 V/50/60 Hz Operating temperature Air humidity

20–80 %

Control

DMX512/0...10 V

Weight manual yoke

6,1 kg / 13.4 lb

7.7 kg / 17 lb

9.2 kg / 20.3 lb

12.2 kg / 26.9 lb

pole operated yoke

7.5 kg / 16.5 lb

10.5 kg / 19.4 lb

10.5 kg / 23.2 lb

13.3 kg / 29.3 lb

Mount

Spigot 28 mm

Dimming range

10–100 %

Standard Reflective

Photometric data (lux) Distance in m 1

3,300

4,370

6,012

7,816

1,640

2,210

2,580

905

1,220

1,275

1,715

940

1,270

1,315

1,770

465

620

675

885

540

730

795

1,070

280

375

410

538

370

500

545

730

195

256

3,480

615

217

292

372

527

133

692

748

Fluorescent Lighting

Dimensions (mm)

*Scope of Supply: incl. manual or pole operated yoke, 2 m mains cable with Schuko plug and tubes (tungsten).

Tube (daylight)

4-leaf barndoor (black) 220, 330, 440, 660

A2028

Tube (tungsten)

Pole operated yoke 220, 330, 440, 660

L5556C

L5532C

Manual operated yoke 220, 330, 440, 660

C-clamp

4-leaf barndoor (reflective) 220, 330, 440, 660

Egg crate 220, 330, 440, 660

C-clamp

Ball head

Gel frame 220, 330, 440, 660

Stands

T-DIM 2

M-C100

A D

Local dimmer

Telescopic pole

129

Index Ac

cessory 4-leaf barndoor 35 B-R1000H-200 . . . . . . . . . . . . . 122 Accessory 4-leaf barndoor RD400 . . . . . . . . . . . . . . . . . . . . . 122 Accessory adapter 3985 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Accessory adapter with clamping 3986 . . . . . . . . . . . . . . . . . . . . . . . 87 Accessory Batronic 3 E327B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Accessory Betacam adapter / Mounting shoe A1000 . . . . . . . . . . 123 Accessory Betacam low profile mount A1002B . . . . . . . . . . . . . . . . . 123 Accessory Cine 150 mm Top 6056. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Accessory Cine Mitchell Top 6056 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Accessory Double-ended spigot 16/1 A1016. . . . . . . . . . . . . . . . . . . 122 Accessory Sky hook A1020 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Accessory Quickfix 3910 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Adapter 100/150 3901. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Adapter 75/100 3906. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Adapter block FSB 6 3982 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Adapter FB/100 3903. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Adapter FB/150 3908. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Adapter Ped C I/DV 1030. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Adapter Ped C I/Plus 3941 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Adapter viewfinder extension 12/15 3980 . . . . . . . . . . . . . . . . . . . . . 87 Adapter viewfinder extension 18/20 3981 . . . . . . . . . . . . . . . . . . . . . 87 artemis ACT 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 artemis Cine/HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 artemis DV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 artemis DV Pro MD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 artemis DV Pro FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 artemis EFP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 artemis EFP Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 ll adapter with screw 6052. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Battery FSB CELL 0781. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Belt Pack® 12/4.5 B1245 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Belt Pack® 12/7 B1270. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Belt Pack® 30/4.5 B3045. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Belt Pack® 30/7 B3070 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 .G. plate 1063. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 C.O.G. plate DV 1465 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Cable adapter FSB CELL Sony I 0785. . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Cable adapter FSB CELL Sony II 0786 . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Cable adapter FSB CELL Canon 0787. . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Cable adapter FSB CELL Panasonic 0788 . . . . . . . . . . . . . . . . . . . . . . . 57 Cable 1205 A1205. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Cable 1205S A1205S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Cable 1210 A1210. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Cable 1210S A1210S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Cable 270/5 A2750. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Cable 270/10 A2700. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Cable clamp V 60 6054 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Cable clamp V/C 75 6055. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Carrying strap DV 8675. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Carrying strap ENG 2 8690 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Case 30 9503. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Case 60 FB 9513 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Case 90 9512. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Case 9+9 9511 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Case for column 9507 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Case for dolly 9510. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Case V/C 75 9517. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Charger 12 II C1203 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Combi Pedestal 5198. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Compact Set 300 HSM – . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Compressor 5207. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Cover 100 ll 9309 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 100 K 9201 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 100 M 9214. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 150 II 9310 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 150 K 9301 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 150 L 9312. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 150 M 9308. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 150 SE 9316. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 2000 M 9317. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 25 9504. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover 75 9212 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover Cine L 9320. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover Cine M 9317 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover DV 2 9213 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover EFP 2 9315. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Cover ENG 2 9311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 ffusion filter 1/5600 K FD1056 . . . . . . . . . . . . . . . . . . . . . . . . . 122 Diffusor 1 D1000. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Diffusor 170 D170. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Diffusor 2 D2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Diffusor 202 D1200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

C.O

130

Diffusor 35 D3500 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Dolly Cine 7085. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Dolly DV 100 7067 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Dolly DV 75 7063 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Dolly S 7065 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Dolly XL 7080 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 P set-up Video 60 Plus 6051. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 EFP set-up Video 75 Plus 7551. . . . . . . . . . . . . . . . . . . . . . . . . . . 89 ENG adapter plate 3083 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 FB Converter 3913 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Filter 1/5600 K F1056. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Filter 170/3200 K F2032 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Filter 2/3200 K F2032 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Filter 2/5600 K F2056 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Filter 202/3200 K F1232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Filter 35/5600 K F3556 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Fluid head Cine 30 HD 3006. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 58 Fluid head Cine 75 HD 7502 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 58 Fluid head Dutch Head 35 3004. . . . . . . . . . . . . . . . . . . . . . . . . . . 30, 58 Fluid head DV 12 SB 1205 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Fluid head DV 6 SB 0605. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53, 61 Fluid head DV 8 SB 0805. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52, 61 Fluid head DV 8/100 SB 0806. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52, 61 Fluid head FSB 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 61 Fluid head FSB 6 0407. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 61 Fluid head FSB 6T 0405. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 61 Fluid head Studio 9+9 6002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39, 58 Fluid head Video 12 SB 1205 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51, 60 Fluid head Video 15 SB 1505 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50, 60 Fluid head Video 18 Dutch 1804 . . . . . . . . . . . . . . . . . . . . . . . . . . 49, 60 Fluid head Video 18 SB 1805 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49, 60 Fluid head Video 20 SB 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48, 60 Fluid head Video 25 Plus 2500P. . . . . . . . . . . . . . . . . . . . . . . . . . 47, 59 Fluid head Video 25 Plus FB 2501P . . . . . . . . . . . . . . . . . . . . . . . . 46, 59 Fluid head Video 60 Plus EFP 6000. . . . . . . . . . . . . . . . . . . . . . . . 45, 59 Fluid head Video 60 Plus Studio 6001 . . . . . . . . . . . . . . . . . . . . 44, 59 Fluid head Video 75 Plus EFP 7500 . . . . . . . . . . . . . . . . . . . . . . . . 43, 59 Fluid head Video 75 Plus Studio 7501. . . . . . . . . . . . . . . . . . . . . . 42, 59 Fluid head Video 90 FB 8092 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41, 58 Forward adapter A1000SL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Front box adapter 3920. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Front pan bar 3172. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Front pan bar HD 3372 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 FSB CELL Charger 0782 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 FSB PowerSet 0780 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 nd Crank Column for OB 2000 6205 . . . . . . . . . . . . . . . . . 67, 82 Handle 2 A2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Hot Pod® Dolly 7066 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 t clamping screw 75 3905 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Ha Ki LE Mi

D Power Connector Set S2403-0010. . . . . . . . . . . . . . . . . . . . 107 Location Set S2403-0030. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Low profile mount A1002. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 d-level spreader 100/150 7007 . . . . . . . . . . . . . . . . . . . . . . . . . 86 Mid-level spreader Cine 7027. . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Mini spreader 7002K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Mini spreader 150 7003K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Mini spreader EX 7013K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Mitchell adapter 3902. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Mitchell adapter with locking knob 6053 . . . . . . . . . . . . . . . . . . . . . . 88 Monopod 2 CF (Betacam) 5396. . . . . . . . . . . . . . . . . . . . . . . . . . . 76, 85 Monopod 2 CF (Touch & Go®) 5395. . . . . . . . . . . . . . . . . . . . . . . . 76, 85 Monopod Betacam 1096. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Monopod SOOM Tube S2005-0001. . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Mounting shoe R100H-26. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Multi Disc 3914. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 dded bag 9107. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Padded bag 75 9100. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Padded bag DV 75 L 9109. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Padded bag DV 75 S 9108. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Padded bag ENG 2 9104 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Padded bag ENG/EFP 9106. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Padded bag for steering wheel 9107 . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Pan bar back section left B-3074-100 . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar back section right B-3073-100 . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar DV 100 1075 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar DV 75 0992 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar DV 75 L 0993. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar DV left (telescopic) 3471 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar DV right (telescopic) 3470 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar front section left B-3074-020 . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar front section right B-3073-020. . . . . . . . . . . . . . . . . . . . . . . . 90

Pan bar HD left (telescopic) 3371 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar HD right (telescopic) 3370. . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar Movie right (telescopic) 3170 . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar Plus left (telescopic) 3271 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan bar Plus right (telescopic) 3270. . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Pan/tilt plate 5727. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Pedestal C I 4194 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66, 82 Pedestal C III 5195 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66, 82 Pedestal Combi Ped 1-40 –. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Pedestal Studio Ped 2-75 5275 . . . . . . . . . . . . . . . . . . . . . . . . . . 64, 82 Pedestal Vario Ped 2-75 5201. . . . . . . . . . . . . . . . . . . . . . . . . . . . 64, 82 Power Pack 30 S2402-0001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 LED Complete Set S2403-0040 . . . . . . . . . . . . . . . . . . . . . . . 107 R8LED Optic Set S2403-0020 . . . . . . . . . . . . . . . . . . . . . . . . . 107 Reporter 1000H-110 V/120 V R1001H. . . . . . . . . . . . . . . . . . . 117, 118 Reporter 1000H-230 V/240 V R1003H . . . . . . . . . . . . . . . . . . 117, 118 Reporter 100H R100H. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114, 119 Reporter 200DI R200D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110, 119 Reporter 200DISM R200DSM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Reporter 21D MicroSun R21D. . . . . . . . . . . . . . . . . . . . . . . . . . 109, 119 Reporter 21DX MicroSun R21DX . . . . . . . . . . . . . . . . . . . . . . . 109, 119 Reporter 250H R250H. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114, 119 Reporter 270DI R270DI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110, 118 Reporter 300H-110 V/120 V R311H. . . . . . . . . . . . . . . . . . . . . 115, 118 Reporter 300H-230 V R322H . . . . . . . . . . . . . . . . . . . . . . . . . . 115, 118 Reporter 300H-240 V R324H . . . . . . . . . . . . . . . . . . . . . . . . . . 115, 118 Reporter 300HSM-110 V/120 V R311HSM . . . . . . . . . . . . . . . 115, 118 Reporter 300HSM-230 V R322HSM. . . . . . . . . . . . . . . . . . . . . 115, 118 Reporter 300HSM-240 V R324HSM. . . . . . . . . . . . . . . . . . . . .115, 118 Reporter 400D R400D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111, 118 Reporter 400DV R400DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111, 118 Reporter 650HS-110 V/120 V R651HS. . . . . . . . . . . . . . . . . . . 116, 118 Reporter 650HS-230 V R652HS . . . . . . . . . . . . . . . . . . . . . . . . 116, 118 Reporter 650HS-240 V R654HS. . . . . . . . . . . . . . . . . . . . . . . . 116, 118 Reporter 75H R75H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 119 Reporter 75HAB R75HAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 119 Reporter 75HABD R75HABD. . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 119 Reporter 75HD R75HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 119 Reporter 8LED S2401-0001 . . . . . . . . . . . . . . . . . . . . . . . . . . . 106, 119 Retrofit Kit Studio Dolly B-5275-450 . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Rubber feet 100/150 7004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Rubber feet EX 7014. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 ndwich Touch & Go® 1091 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Set 1000H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Set 100H4 S100H4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Set 100H7S S100H7S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Set 200DB S204DB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Set 200DN S202DN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Set 200DNSM S202DNSM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Set 21D MicroSun S21D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Set 21DX MicroSun S21DX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Set 250H4 S250H4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Set 250H7 S250H7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Set 270DB S270DBI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Set 300H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Set 300HSM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Set 400DS S400DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Set 400DVS S400DVS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Set 650HS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Set 75H. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Set mid-level spreader 75 7011. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Set of air wheels 5205. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Set of OB wheels 200 5208. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Set of OB wheels 200CG 5209CG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Set of studio wheels 5210. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Short handle tripod mount A1005 . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Sideload plate 30 HD 3060. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Sideload plate S 164 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Silent 200 E200SN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Silent 400SN E400SN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Silent 400SNV E400SNV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Small steering wheel 5206. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Socket 16/1 A1015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 SOOM clamping bowl S2003-1006. . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 SOOM TriPod S2003-003. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78, 85 SOOM TriSpread S2004-0001. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79, 85 SOOM Tube S2005-0001. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79, 85 SOOM HiPod System 4161. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Spacer V 90 sko18b0439. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Speedcharger C1232. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Spigot 16/2 A2016. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Spigot 28 A1028. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

David Lynch

Photography by Fran Collin

“Smooth, Inspiring & Secure. Sachtler.”

Um Va

Imprint Publisher

This issue’s authors (Magazine)

Graphics and Layout

Graphic material magazine: see picture

Camera Dynamics GmbH

Leo Borchard, Sergio Brighel,

Frank Übler AGD (Art Director),

credits on the respective pages

Erfurter Straße 16

Kane Christopher, Stefan Gieren,

Susanne Keuschnig, Franziska Becker

We shall not be liable for accuracy of the

85386 Eching / Germany

Sebastian Hirsch, Stefan Kluge,

Phone: +49 89 321 58 200

Richard Kruger, Elli Kuhn, Carsten Möller,

Prepress

reserved. Any reproduction and / or use of

www.sachtler.com

Curt O. Schaller, Christine Sommer,

Thiemo Wenkemann DTP

the data requires prior written approval

sent in articles and pictures. All rights

of the author.

Lisa Stocker, Steffi Weiß, Najib Yousofy Printing

Editors in charge Anita Mayer, Darina Enz

Conception, Editorial Work

Druckerei und Verlag

Please Note

and Realisation

Karl Ziegler GmbH

The accessories displayed with the

SoKo

86381 Krumbach / Germany

products described in this catalogue may be optional. Delivery is possible only

Philippine-Welser-Straße 21 86150 Augsburg / Germany

Photos / Graphics

after written confirmation of order is

Phone: +49 821 21 93 99 18

Graphic material products:

received. The availability of the products

mail@sommer-kommuniktion.de

BildManufaktur, Kay Kramme,

may vary according to sales region.

www.sommer-kommunikation.de

Andreas Pohmer, Roll Call Productions,

Specifications are subject to change

Sachtler, Kim Sachtler´s private photo

without notice.

archive, Curt O. Schaller

Camera Support

Reporter Lighting

2008

2008 Camera Support Reporter Lighting Fifty years of ideas in motion Innovation

Idea

www.sachtler.com www.artemis-hd.com www.sachtler-academy.com

Future

English

Munich Beijing Bury Middle East Moscow New York Paris Singapore Tokyo

Heritage