ARRI has introduced a second generation of its TRINITY and ARTEMIS camera stabilizers that were so well shown off by Roger Deakins, ASC, BSC on his academy award winning movie 1917. We are told that the new modular system has been redesigned down to the smallest detail, incorporating enhancements to camera movement, connectivity, power management, user interface, balance options, and product longevity. It is said to be a quick and easy upgrade to transform the purely mechanical ARTEMIS 2 into the hybrid TRINITY 2, which adds electronic stabilization for an even wider range of movements and angles. New camera moves are possible, including 360-degree rotation on the lens axis. Expanded LBUS connectivity enables the use of controllers designed for ARRI’s stabilized remote heads, opening up modern, digitally interconnected workflows. Additional accessory interfaces and 12G video connectivity increase rigging options and future-proof monitoring capabilities.
Around 80% of the new components for the second-generation system are shared by TRINITY 2 and ARTEMIS 2, illustrating ARRI’s modular approach. In addition to the standard center post, two new post lengths are now available for TRINITY 2 and ARTEMIS 2, as well as for both first-generation stabilizers. The longer Super Post allows more extreme camera positions and angles, either higher up or further out from the operator’s body. The Shorty Post is suited to fast, agile work or space-constrained locations, and will be especially useful with the compact ARTEMIS 2. To learn more about the second-generation stabilizers, please visit: https://www.arri.com/trinity2_artemis2