First Chinese delivery of ARRI SRH-360

The ARRI SRH‑360 is a fully stabilized three-axis remote head that is compact and lightweight, but can support heavy payloads. An update of the SRH‑3 model, it is currently available to order with a production time of around two weeks.

In late August of 2020, ARRI China sold its first SRH‑360 to the rental house Xing Gunag Heng Yi in Beijing. Having previously tested the remote head at the ARRI China facility, Xing Gunag Heng Yi general manager Jia Hongwei and grip manager Guo Guorui set it up at their own offices as soon as they took delivery. With them was ARRI China sales manager Yu Liang, who demonstrated the SRH‑360’s exceptional abilities prior to it being taken on set by its new owners.

Speaking about their reasons for investing in an SRH‑360, Mr. Jia said, “Our rental company didn’t have many stabilized remote heads, but recently productions have been expressing a need for them, so we realized we didn’t have enough. High-end remote heads that are heavy and expensive are not popular, because productions are very strict with their budgets at the moment. Smaller remote heads are gaining in popularity, but there were not really any options for a head that is compact but still very high quality. I had been interested in the ARRI SRH‑3, but when the SRH‑360 came along, as well as this new level of market demand, we decided it was a great time to get one.”

Mr. Jia continues, “Our main business areas are TV shows and films on streaming platforms. Usually the size of these productions requires a grip department to do some camera movements, but not a huge one, so this product is perfect. The best part is that it’s light, convenient, and very smooth to use, so cinematographers love it. Plus, ARRI always offers very good customer service, with a really detailed explanation of the product, and if we ever ran into any issue

Mr. Jia continues, “Our main business areas are TV shows and films on streaming platforms. Usually the size of these productions requires a grip department to do some camera movements, but not a huge one, so this product is perfect. The best part is that it’s light, convenient, and very smooth to use, so cinematographers love it. Plus, ARRI always offers very good customer service, with a really detailed explanation of the product, and if we ever ran into any issues, they would respond right away. After today’s test, our SRH‑360 is going straight out on its first production, a Tencent project called “The Society of Four Leaves.” It’s a long shoot, so will be a great challenge for the SRH‑360.”

Echoing his colleague’s positive comments, Mr. Guo says, “The fact that the SRH‑360 is small and light is a major advantage. We have many shots where the camera has to go through narrow openings, like windows, or navigate narrow spaces. In these situations the larger remote heads were too big, and the smaller ones were not stable enough. Being small, the SRH‑360 can be adapted to a crane or stabilizer rig quickly and easily, and it is stable enough to use in other ways as well. For example, one DP we work with wants to place it on a dolly, without tracks, and follow the actors around.”

s, they would respond right away. After today’s test, our SRH‑360 is going straight out on its first production, a Tencent project called “The Society of Four Leaves.” It’s a long shoot, so will be a great challenge for the SRH‑360.”

Echoing his colleague’s positive comments, Mr. Guo says, “The fact that the SRH‑360 is small and light is a major advantage. We have many shots where the camera has to go through narrow openings, like windows, or navigate narrow spaces. In these situations the larger remote heads were too big, and the smaller ones were not stable enough. Being small, the SRH‑360 can be adapted to a crane or stabilizer rig quickly and easily, and it is stable enough to use in other ways as well. For example, one DP we work with wants to place it on a dolly, without tracks, and follow the actors around.”

For Mr. Guo, the SRH‑360 offers a unique combination of advantages: “It’s smooth to operate and to move around, and it’s fast to balance,” he says. “We don’t have much time to balance remote heads on set, so this one totally solved the issue. Additionally, it has a panel on the side, so you can add accessories like an image transmitter, or a wireless control system. I was very happy about these details; ARRI really thinks about things from the user’s perspective. Last but not least, it has great power to hold the big cameras. I tested the SRH‑360 with an ALEXA LF and quite a large lens, and it didn’t have any issues – it was still fast to balance. We’ll even be able to use big zoom lenses on it, once we have the right accessories. In short, I’m really looking forward to using it on set.”