The two versions of ARRI’s camera stabilizers have been around for quite some time. The original ARTEMIS, a Steadicam-style stabilizer rig, has been around for almost two decades, while the five-axis TRINITY has only a quarter of that.
Now both have received an upgrade with the TRINITY 2 and ARTEMIS 2, bringing forth new technologies and efficiencies to allow creatives the ability to achieve any compositions they can imagine.
Designed to be more modular, ARRI has updated nearly all facets of these two products. From camera movement and balance options to UI and connectivity, ARRI hopes the new stabilizers will offer more longevity for the same high-paced production environments.
ARRI ARTEMIS 2
As the purely mechanical version, the ARTEMIS 2 may look like a plain Steadicam rig, but there is so much more under the hood as it is the foundation upon which both systems are built.
Three components make up the new ARTEMIS system—a top and bottom stage, and a post that connects the entire system together. All three components have been redesigned for the new iteration.
The main design focus of the second-generation top stage was to make it more compact and rigid. Lighter weight and added stiffness allow for more camera options and less strain on the operator.
Credit: ARRI
But with this new top-plate design, ARRI has moved away from the dovetail plates in favor of their new SAM plate standard with a new top-loading mechanism.
The new plates offer incredible modularity not only for ARRI cameras but also for boxy broadcast cameras and smaller compact designs that have become widely popular in both narrative and non-narrative projects. Variable weight modules can also be added, both in height and width, to compensate for any lighter camera bodies.
Credit: ARRI
Two built-in 12G ports sit right under the plate, along with a new power out socket that provides high-capacity 12V and 24V output with battery data.
A new standardized 16-pin main connector, as well as an engraved docking ring, connects the whole top plate to the rest of the system.
The new bottom plate is on the other end of the system, which looks very similar to the top plate, with the same video and power connections, but offers expanded connectivity to the battery hanger and 19mm rail system.
Credit: ARRI
Combining the top and bottom plates are the posts, which now come in several different lengths, from super short to super long and everything in between.
The short post allows for the configuration of the shortest Steadicam ever, especially when in use with ARRI’s standard-sized cameras. It allows for fast and dynamic moves that weren’t achievable before.
The compact design allows for more agility with reduced inertia even with long camera setups.
Credit: ARRI
The largest post, which ARRI is calling the super post, is a telescopic post that shares the same diameter but offers increased length for new compositions that were unattainable with the standard posts.
Building upon the modular concept of the entire system, an ARTEMIS 2 system can be transformed into the TRINITY 2 five-axis hybrid stabilizer with a quick upgrade.
ARRI TRINITY 2
Since around 80% of the new components for the second-generation system are shared by TRINITY 2 and ARTEMIS 2, only a few additions are needed to swap between the two systems.
The second-generation TRINITY Pendulum is even more compact than the first iteration. New threads allow for free weight customization. Much like the weight distribution of the top plate, weights can be added on two axes, which gives you much more inertia on the rotation axis.
TRINITY PendulumCredit: ARRI
The next addition is the TRINITY Master Grip, which controls the TRINITY head via L-bus. A joystick with three buttons on the top and a copy of the same controls on the bottom allows for limitless control options and configurations.
All the controls are assignable, giving all the power to the operator. This is further seen in the rotatable brackets, letting users set their preferred configuration.
TRINITY Master GripCredit: ARRI
Finally, the new TRINITY 2 head is the cherry on top. Balancing becomes more efficient with its completely symmetrical design as the weight distribution is equal on both sides.
Redesigned structural rods have more clearance for the camera, both in width and height, and allow for ease of use with long camera setups. More interfaces along the outer ring offer connectors for more accessories and weights.
TRINITY 2 HeadCredit: ARRI
The motors were also repositioned to the bottom, giving operators better access to their cameras, while the sockets were moved to the back of the system. The motor housings have also been redesigned, and the bottom section has a new bubble level, along with a slew of new connectors such as 12G SDI that future-proofs the system for years to come.
To top it all off, a new display and UI offer access to all of the TRINITY head’s controls and presets, while the Gen.2 monitor brackets take the whole system to another level. It offers toolless adjustability and compatibility for SmallHD and Transvideo Starlite monitors.
These little quality-of-life changes elevate the system from a workhorse to an extension of the camera itself.
Battery Hanger
The second-generation battery hanger is shared between the TRINITY 2 and ARTEMIS 2 systems. It builds upon ARRI’s new 24v standard, with three battery inputs and one main output for regulated camera and system power.
The hanger acts as a battery management system and will provide whatever output your current rig requires. Operators can even combine 12v and 24v batteries, and the system will handle the management on its own, even if you have a 24v camera and 12v accessories.
Battery HangerCredit: ARRI
Another nice touch is the digital screen, which adapts to how your system is configured. The screen will flip into the correct orientation while in use with the ARTEMIS 2, but will disengage when used with the TRINITY 2 in order to minimize distractions to talent or reflections on your set.
Different pages on the screen will display amperage for each battery and allow operators to manage how the batteries are used.
A USB port will also allow the hanger to be updated for use with new modern batteries that have yet to be released.
Like the stabilizers themselves, the battery hanger is also modular, allowing operators to balance their batteries any way they see fit while also providing swappable plates for B-Mount, Gold Mount, and V-Mount systems.
Battery PlatesCredit: ARRI
Final Thoughts
Our “should you buy it?” question doesn’t really apply here, unfortunately.
The ARRI TRINITY and ARTEMIS stabilizer systems have always been the standard that everyone else has striven to copy. With the second generation now on the market, ARRI has set new goalposts.
Camera operators build entire careers around these systems, so it’s not something you can pick up at your nearest camera store. If you’re thinking about buying this new stabilizer, you’re either dreaming or already have your gigs planned for the next few years.
Let us know what you think.
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