artemis workshop impressions

“Always prepared the director´s ideas”

“Useful. Chronological. Good.”
This is Markus Kambeck’s opinion of the structure of the Basic Camera Stabilizing Systems workshops. They take place regularly at the Wendelin Sachtler Academy studio in Eching near Munich. In April 2009, Markus Kambeck from Karlsruhe and other participants will now use the artemis camera stabilizing system at the AV-Studio Jochen Heine GmbH – a film production company for commercial and industrial films.

Wendelin Sachtler Academy: the developer of artemis, Curt O. Schaller, ran the workshop – how was the atmosphere?
Markus Kambeck: “It was great! Curt’s way of getting across even complex matters in an understandable way is very pleasant. He has many years of professional experience and because he developed the system, he is the perfect man to answer all the questions. He did very well and he also gave us many tips for working on the set. Also, the group was just perfect, so it was doubly enjoyable.”

You tested the artemis EFP Pro HD SDI upgraded with the HotSwap technology of the artemis EFP HD SE during the Basic Camera Stabilizing Systems Workshops. What do you think of this system?
“It’s super. I particularly liked the HD-SDI, HotSwap and the RED Option features. The vest also turned out well and is very flexible. The weight is actually distributed optimally over the whole body. The burden lies on the hips and shoulders and not directly on the spine. With the modular construction of the artemis system one is prepared for all the ideas a director may come up with – and most adjustments take only a few seconds or minutes. I have also tested the spring arm: it’s a precise piece of technology with optimum functionality. I was very impressed by the high versatility of the artemis system, it allows me to work with many diverse video and film systems. The quality of workmanship of the artemis system is outstanding. The feeling when it’s first positioned is really good, there is no play between the parts and the well-made gimbal is absolutely precise.”

Which specific demands do modern HD cameras make on a camera stabilizing system?
“The AV-Studio Jochen Heine GmbH owns many different types of cameras – it is very important that the camera stabilizing system is versatile. Many of our shots are done with the RED ONE so HD monitoring is essential for 4-K recordings. The ability to use SD and HD signals is of absolute advantage today. The HotSwap technology of the artemis EFP HD SE is highly appreciated when working with the RED because the camera has very long boot cycles. It is also very important that batteries can be changed without interrupting the power supply in order to maintain the flow on the set, to avoid unnecessary waiting time.”

The workshops of the Wendelin Sachtler Academy are modulary structured and include theory and practice. How do you like this concept?

“I really enjoyed the workshop. My current knowledge was taken into account and I was able to learn a lot more. The combination of theory and practice was well balanced. I am now able to balance my system much better. As a result, my picture is now automatically more stable. Also, the movements of my body are more defined. I believe that the practical exercises were very helpful in this matter. I think everyone’s wish is to have somebody watching him who will pass on valuable tips right away. For instance, I am now able to correct my bad posture immediately. Practicing different ways of walking also opened new possibilities for me. One has to actually do this to work the muscles. You can’t learn this by just hearing about it. I will definitely attend the Advanced Workshop, if time permits.”

How to hold a camera? Stabilized!

First-hand impression:
how René Blümel experienced the workshop

At the second artemis camera stabilizing system workshop, held from 10 to 14 April, 16 participants from Germany, Italy, Denmark, England, Austria, Croatia and Switzerland were introduced to the camera stabilizer systems. They soon discovered that as well as strength and stamina, a sense of balance was also vital for good handling. The workshop, run by experienced instructors Curt O. Schaller and Kay M. Kramme, was aimed at participants’ practical production requirements.

»I had already got involved with the subject of camera stabilizers –

now I wanted to attend the workshop to see how it really worked.

and that’s exactly what the workshop achieved.«

Ole Sieg, cameraman

Getting the movements right

After a creative introduction, the instructors demonstrated the camera stabilising system and showed how it worked. Participants were able to try out the whole range of stabilizer systems for video and film (ENG, EFP, studio, 16 mm and 35 mm). One essential element was learning to balance the rig, as complete concentration and body control are vital for stability. As well as adjusting the system to their bodies, the instructors concentrated on getting their movements right: body balance, slow and fast starts and stops, dealing with stairs and changing sides. Those who were good at dancing had a natural advantage and their dance course paid off at the workshop. Handling this system calls for lots of practice and stamina; after ten minutes, nearly every participant had to stop for a breather. So the instructors’ tireless demonstration was very impressive, bringing a wealth of practical know-how to the workshop

Special exercises under set conditions

A lot of my work is off the beaten track, where you just can’t work with a dolly, so the camera stabilising system is the only way to get the kind of expressive pictures I am looking for«

Film-maker Klaus Friedrich

The exercises got more specialised on the fourth and fifth day of the workshop. The team of instructors, participants and actors tackled two fast-moving sequences from a spy and an action film, so that participants were able to get a realistic picture of a operator's job. They covered the scenes a number of times each and were able to analyse their recorded material later. Participants had already experienced a number of difficulties at first hand and now it became even clearer how hard it is to hold a scene, stay in focus, follow an actor forwards and backwards, go round the corner and change the camera position. Instructor Kay M. Kramme made the sobering remark: "You need two or three years to become a real operator.” However, the participants all saw improvements in their own camera work.