Stabilized Remote Heads
Outstanding stabilization in a compact design
The SRH‑3 and SRH‑360 are three-axis, fully stabilized remote heads that allow cameras to go where no other heads can with incredible flexibility and ease. Whether it be on a cine set, in a TV studio, or at an event, the SRH‑3 and SRH‑360, together with digital controllers such as the DRW-1, DEH-1 and Master Grips have the full force of ARRI technology behind them and can be combined with all ARRI CSS accessories like the SAM plates and external radio modules. Upgrade your existing SRH‑3 to the SRH‑360 and get a 360-degree range of motion with the newly designed pan axis with slip ring.
Features
Smart and adaptive system
To provide outstanding stabilization, the motors inside the ARRI Stabilized Remote Heads can compensate for external centrifugal force by adding extra motor power. SRH‑3 and SRH‑360 can also be remote controlled with ARRI's joystick based control board with optional wheels.
High payload, low weight, compact design
The ARRI SRH‑3 and SRH‑360 are extremely compact and lightweight. However, the low weight does not equate to lower support capabilities: each Stabilized Remote Head is capable of handling payloads in excess of three times their own weight (up to 30 kg / 60 lbs.), which represents the best weight-to-payload ratio available on the market.
Future-proof workflows
The ARRI Stabilized Remote Heads are perfectly compatible with other ARRI products and workflows, but can also be used with a variety of competing brands. ARRI stands behind its products, continually offering years of service and updates to users.
Budget-friendly
When working with high-end image capturing systems, there is no sense in compromising on a stabilized remote head due to the price tag. The ARRI Stabilized Remote Heads have taken expense into consideration. Despite their premium features, the SRH‑3 and SRH‑360 are budget-friendly.
Quotes
The ARRI SRH‑360 packs a huge amount of performance into a compact build. Being able to run up to 30 kg payload in a lightweight head keeps the weight of our whole system down. This makes an enormous difference when creating dynamic shots at high speed.
UK-based commercials DP Sam Meyer (left) with arm operator Louis Vella
Modern cinema production is dominated by tight budgets and even tighter schedules. The SRH gives me the ability to carry a 3-axis stabilized remote head as part of my weekly grip package due to its cost effectiveness. Its high level of stabilization excels at capturing dynamic action. With its sleek, lightweight build, I can very quickly mount it on other platforms such as a dolly or a crane in a studio, with a minimum of fuss. It really is a very versatile and reliable piece of kit, and has rapidly phased out other remote options we’ve worked with in the past.
Kim Worthington (Known for: King Kong, Jojo Rabbit, Bridge to Terabithia, and many more)
We were very proud to be the first to bring the SRH‑360 in the air on our eco-friendly aerial solution, to capture outstanding footage of the Alps and the Mont Blanc. The SRH‑360 is lightweight, very easy to install and intuitive to use. Equipped with an ALEXA Mini and a 250 mm zoom lens, we were amazed that even at full zoom, and at more than 160 km/h, the SRH‑360 provides rock-solid stabilization.
DP Christophe Pottier, Pilot Jason Barrault, Producer Damien Schneider from NoGravity Films, a Paris-based production company specialized in aerial filming, using ultralight aircrafts.
The SRH‑3 is such a versatile bit of kit and I’ve used it regularly on boats and vehicles. But for me its real benefit is that it’s so light. As primarily a location documentary DoP, I know I can if need be rig it on my own. It’s also pretty much plug and play but with access to as many layers of fine tuning as you need. Integration with the ALEXA Mini cuts down the cabling and gives me all the control I need on one desk. And of course it has the ARRI badge on it which gives a real sense of reassurance in a remote and maybe challenging location.
DP David Baillie (Known for: Year of The Tiger, Made of Stone, Beowulf and many more)
The SRH‑3 is definitely another step in the right direction – just like the MAXIMA and the TRINITY, it’s robust and very user friendly. The stabilization is particularly good, and it holds the horizon rock solid. You always have good control of the image, whether you are using the joystick, or the wheels. It’s a premium product.
Cinematographer Eberhard Schedl (Known for: The Mistery of Sintra (Steadycam Operator), Technoboss (Steadycam Operator) and many more)
Cinematographer Eberhard Schedl
I simply love the ARRI SRH‑3, it’s a must-have. I never thought it would be possible to film on a race track at speeds up and over 120-MPH and hold a perfect stabilized image thorough. With its unsurpassed stabilization system and its superb interface, the SRH‑3 has made it possible to withstand unbelievable speed and G-force without a single glitch. It brings creative visions to new levels and has encouraged me to explore unknown territory, allowing me to capture shots with utmost confidence.
Cinematographer Onofrio Nino Pansini (Known for: Black Panther (Camera Operator), Captain Marvel (Camera Operator), Venom (Camera Operator) and many more)
SRH‑3 on set
The SRH‑3 was absolutely reliable in a very challenging broadcast setup: the images were totally stable and the head was easy to handle.
SRH‑3 Operator Jan Karabasz (Known for: Die drei ??? und der seltsame Wecker (camera technician: black cam) and many more)
Video room
Step 1: Basic sets
Step 2: Mandatory joystick sets
Downloads
