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ARRI TRINITY摄影机稳定器
拍摄MV “PON MY MIND”
“从做斯坦尼康摄影师开始，到成为最早一批采用三轴稳定器的人，TRINITY是必然的选择。它同时具备两种技术的优点：斯坦尼康的灵动和流畅，三轴稳定器的精确和灵活，这股潮流是你无法回避的。”
—— 掌镜摄影师 查理•瑞泽克
导演梅吉•阿拉比和摄影师欧兰•科拉迪的MV拍摄任务需要在一个封闭的空间里进行复杂的运镜，预算不高，拍摄日程却非常紧张，只有一天时间。两人急忙请查理•瑞泽克带着他的ARRI TRINITY来救火。
这支MV是英国音乐人马利克•贝瑞（Maleek Berry）的“PON MY MIND（漂浮我的心）”。“这首歌有一种催眠的感觉，”导演梅吉•阿拉比（Meji Alabi）说：“所以和摄影指导欧兰•科拉迪（Olan Collardy）讨论之后，决定用多段长镜头的方式来表现。”
他们决定用ALEXA Mini搭配变形镜头拍摄，场景选在西伦敦的一所小公寓楼，因此能运动的空间有限。“我们希望摄影机能够捕捉到每个房间和空间感，再和马利克的表演结合在一起，”梅吉说：“要达成这个目标，TRINITY是我们唯一的选择。”
“我们的挑战在于，如何在一个狭小的空间内，在一个长镜头的拍摄中，一边变换机位高度，一边完成流畅的运镜，”摄影指导欧兰分析说：“从地板高度一路升高到过肩镜头，对传统的斯坦尼康来说太困难了，三轴稳定器倒是可以做到，但垂直高度的变化总是感觉不自然。TRINITY才是完美的解决方案，无论是平移还是垂直高度的机身动量都被缓冲掉。”
于是，查理•瑞泽克（Charlie Rizek）出现了。
掌镜摄影师查理•瑞泽克对ARRI TRINITY是“一见钟情”
“摄影指导欧兰打电话给我说他要拍一个一镜到底的长镜头，想用TRINITY，我告诉他‘让我给你拍！’因为我喜欢和欧兰合作：我知道他的喜好，也欣赏他的用光方式，他很少对摄影机运动施加种种限制，愿意给你自由和空间。”
“我对TRINITY算是一见钟情，”查理说：“从做斯坦尼康摄影师开始，到成为最早一批采用三轴稳定器的人，TRINITY是必然的选择。它同时具备两种技术的优点：斯坦尼康的灵动和流畅，三轴稳定器的精确和灵活，这股潮流是你无法回避的。”
TRINITY是“完美的拍摄设备”
这支MV的拍摄对查理来说也是有趣的挑战。“我们全挤进了西伦敦的一间小公寓，空间不大，演员倒是不少。美术指导花了很大工夫装点这个地方，想出各种方法把灯架、电线、镜子、反射光都隐藏起来，拍摄实景就是这么复杂。”
查理相信，TRINITY是完美的拍摄设备。“无论高低、快慢，还是连续的构图和角度变化都没问题，”他说：“我可以缩进角落，也可以模拟轨道车的运动，完全不用管地面是不是平整，中间有没有障碍物。一个按键，所有控制功能都在手边，意味着给整个工作带来更多选择和灵活性。”
“TRINITY是一套强大的工具，革命性的多用途设备，可靠、迅速、高效，是现场工作难得的宝贝。”
欧兰•科拉迪完全认同他的说法。“作为一名摄影指导，TRINITY给我信心去做一些大胆的决定，提升视觉效果。同时，它也为我们节省大量时间，让我们即刻改变视角或位置，不用一个一个镜头去调整现场布置。”
而对于导演梅吉•阿拉比，一切都关乎创意选择。“归根到底，TRINITY是一个妙不可言的设备。当它握在正确的人手里，比如说查理的手里，简直是超现实的工具。它给予你的灵活性，镜头的多样性，过去只敢想想而已，因此TRINITY是我的首选。”
照片提供：1&2 Matt Farrant；3 Eyyaz Chisty
关于TRINITY认证培训信息：
ARRI学院将于10月18日到19日，在北京开展为期两天的培训课程，涵盖了TRINITY产品的全部功能的详细解析。您将会获得扩展创作手法的技能的机会并深化实战技能。经验丰富的专业讲师会带领您细化ARRI摄影机稳定器系统的各种使用可能，并提供更专业的建议和上手操作机会。
报名网址：
http://arri-trinity-certifiedtraining.eventdove.com/
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· 9月20日前注册，使用优惠码EarlyBird85享受8.7折
了解更多关于该培训的信息，请点击以下链接：
ARRI TRINITY摄影机稳定器用户认证培训（10.18-10.19，北京）
了解更多关于ARRI摄影机稳定器TRINITY的信息，请点击以下链接：
稳定摄影的运动创作力
ARRI TRINITY "only option" for PON MY MIND
Director Meji Alabi and cinematographer Olan Collardy were commissioned to shoot a music video requiring complicated camera moves, in a confined space, with tight budgets, and only one day to shoot. They turned to Charlie Rizek and his ARRI TRINITY for help.
The project was a video for a UK musician, Maleek Berry, to illustrate his song PON MY MIND. “The song itself has a quite hypnotic feel to it,” director Meji Alabi says, “so with DP Olan Collardy I decided to focus on interesting long takes for the video.”
They decided to shoot on an ALEXA Mini and anamorphic lenses. The location for their filming was a small flat in West London, which meant limited room to maneuver. “We wanted to let the camera really feel the spaces and rooms, and tie all of Maleek’s performances together,” says Meji,”and the TRINITY was really the only option that could give us what we were looking for.”
“The problem we had was getting a camera which could float through a tight space during long takes where we were tracking movements which were happening at differing heights,” Olan explains. “This would have posed a challenge for the traditional Steadicam going from low mode while tracking feet movement all the way to shoulder height. While a gimble provides us with the flexibility, the feeling you get from a gimbal is somewhat unnatural due to the bobbling vertical movement. The TRINITY was the perfect solution because it absorbs both rotational and vertical forces on the camera.”
Which was where Charlie Rizek came in.
The ARRI TRINITY was “love at first sight” for operator Charlie Rizek.
“Olan, the DP called me and said he’d like to use the TRINITY—‘we’re after a one-shot sequence’, he said… ‘You had me at one-shot!’ I told him. I always enjoy operating for Olan: I know what he wants, and I love his lighting setups. He offers freedom and space allowing the camera to move with minimum restrictions.”
“The TRINITY was love at first sight for me,” says Charlie. “Coming from a Steadicam background and being an early adopter of stabilized gimbal technology, TRINITY was the obvious choice. It offers the best of both worlds: the fluidity and organic motion of a Steadicam, combined with the precision and flexibility a stabilized gimbal can offer. It’s a force to be reckoned with.”
The TRINITY was “perfect for the shoot.”
The PON MY MIND shoot posed some interesting specific challenges for Charlie. “We found ourselves packed into a little gorgeous flat in West London, full of character yet short on space. The art department worked extremely hard to dress the set and offer solutions from hiding and blocking light stands, cables, mirrors, reflections... all the challenges you'd expect from filming in a real location.”
He believes the TRINITY was perfect for the shoot. “I can go higher, lower, faster, and offer endless frames and angles,” he says. “I can look around corners, simulate a dolly shoot regardless of what ground surface I’m walking on or obstacles I have to glide over. I have full control with a push of one button. That translates to more options and flexibility to the production.”
“The TRINITY is a powerful piece of kit, revolutionary, versatile, reliable, quick, and efficient. It’s an incredible asset to have on set.”
