"TRINITY has renewed my faith"
Steadicam operator Ari Robbins, known for his work on “La La Land,” the film that won the 2016 Academy Award for Best Cinematography, praises ARRI’s TRINITY stabilizer.
“I have been working TRINITY for a good amount of time now. I'm in love with it. Since doing La La Land, I have felt less enthusiastic about working Steadicam®, but now with TRINITY, it's like I get to start all over again. TRINITY has renewed my faith in the tools we harness. I get to feel again like the Steadicam operator I once dreamed of becoming and that feeling of returned passion for my craft is unbelievable. TRINITY has created a new chapter in the history of cinema and in the lives of the operators who make those dreams come true.
Everybody is a little fearful of change and new things, but with TRINITY, you know the tools and the resources are up to speed because they are ARRI products. We all know that ARRI is going to provide not only a good tool, they are going to provide an amazing tool; it's going to work, it’s going to function, it's going to be smooth and easy. With the TRINITY, within 12 hours of having it, I already felt comfortable enough to manipulate it the way I needed to. I can’t say that’s true of any other highly-technical tool that I know. I think with the TRINITY, at least for Steadicam operators, it’s an immediate understanding.
Photo: Wesley Knapp 2017
Every day I’ve been working with my Steadicam, I’ve found directors asking for shots that the Steadicam can't get to, but where the TRINITY just maximizes being in the space. Directors always want to go a little higher or a little lower, or more to the left or to the right, and with the TRINITY you can just say, 'Yeah, no problem.' A lot of the DPs I've worked for have realized that there was no other way they could have gotten these shots; with TRINITY they really have a shot that is unique and one of a kind. There is nothing that pulls me away and says I cannot use the TRINITY for this. In fact, I’ve had nothing but the reverse—literally every day I run into situations where I think the TRINITY would have been a better solution for the job and as a Steadicam operator that is the most amazing feeling, knowing that right around the corner, everything is going to become a little bit easier and the quality of what we can do is going to become better.
Photo: Dale Robinette
It’s neat to see that renewed interest in our profession, to see people excited and curious about seeing what they could do with a tool like TRINITY, and I think that is what we need in our industry, to push the envelope. It’s priceless for me to know that growth can continue—that we can have new ways of looking at things. The expectations of going into a job and then exceeding those expectations, to show people we will deliver, that to me is the vital point. I love that there is a tool that eliminates some of those no-fly zones. I get to be riding the wave of the future and I think that is what you crave as an operator, to become timeless. As filmmakers we get to, in a sense, change the world for people; to have a tool that helps us do that makes me a happy guy!”
Other Top Stories >>
- Weightless control with ARRI Master Grips
- DP Adrian Cranage on the ARRI Look Library
- DYING TO SURVIVE hits big in China with ARRI
- ARRI behind the scenes on WRATH OF SILENCE
- Beethoven in China with AMIRA Multicam
- Spotlight on DP Christian Sprenger
- ARRI LED lights shine at Callaway Golf studio
- DP Jerome de Gelache’s AMIRA Investment
- ARRI takes part in Volucap Volumetric Studio
- ARRI makes ARRIRAW available for AMIRA