THE SEVEN ADVANTAGES OF THE SHOTOVER SYSTEM

After more than a decade of development, there are SEVEN key reasons why the inventors of Cineflex went back to the drawing board to create a superior and more flexible stabilised camera platform.

Glass free operation at any focal length.

Unmatched control of composition – up, down, sideways, upside down…

Make water sparkle, blue sky more rich, and forests more green.

Unsurpassed lens choice.

Use better cameras – almost any camera.

Uncompromised stability at focal lengths exceeding 1000mm.

Reduced VFX costs thanks to advanced metadata features.

After more than a decade of development, there are SEVEN key reasons why the inventors of Cineflex went back to the drawing board to create a superior and more flexible stabilised camera platform.

Glass free operation at any focal length.

Unmatched control of composition – up, down, sideways, upside down…

Make water sparkle, blue sky more rich, and forests more green.

Unsurpassed lens choice.

Use better cameras – almost any camera.

Uncompromised stability at focal lengths exceeding 1000mm.

Reduced VFX costs thanks to advanced metadata features.

GLASS FREE OPERATION AT
ANY FOCAL LENGTH

Vibrating flares and reflections that ruin the shot are totally eliminated.

Many of the most memorable and powerful shots are backlit. Or, circumstances may demand a composition that incoporates the sun.

You can only achieve these reliably with a glass-free system where the lens itself is directly exposed to the outside elements.

Glass-free systems significantly reduce the potential for lens flare, and where lens flare does occur (or is desired) it is rendered as authentic, stable cinematic flare.

[wp_lightbox_prettyPhoto_video link="http://vimeo.com/122505379" width="1024" height="576" source="http://aerialfilmaustralia.com.au/wp-content/uploads/2015/05/glassless.jpg" description="SEE THE BENEFITS OF GLASSLESS OPERATION" title="SEE THE BENEFITS OF GLASSLESS OPERATION"][wp_lightbox_prettyPhoto_anchor_text_video link="http://vimeo.com/122505379" width="1024" height="576" text="SEE THE BENEFITS OF GLASSLESS OPERATION" description="SEE THE BENEFITS OF GLASSLESS OPERATION"]

GLASS FREE OPERATION AT ANY FOCAL LENGTH

Vibrating flares and reflections that ruin the shot are totally eliminated.

Many of the most memorable and powerful shots are backlit. Or, circumstances may demand a composition that incoporates the sun.

You can only achieve these reliably with a glass-free system where the lens itself is directly exposed to the outside elements.

Glass-free systems significantly reduce the potential for lens flare, and where lens flare does occur (or is desired) it is rendered as authentic, stable cinematic flare.

[wp_lightbox_prettyPhoto_video link="http://vimeo.com/122505379" width="1024" height="576" source="http://aerialfilmaustralia.com.au/wp-content/uploads/2015/05/glassless.jpg" description="SEE THE BENEFITS OF GLASSLESS OPERATION" title="SEE THE BENEFITS OF GLASSLESS OPERATION"][wp_lightbox_prettyPhoto_anchor_text_video link="http://vimeo.com/122505379" width="1024" height="576" text="SEE THE BENEFITS OF GLASSLESS OPERATION" description="SEE THE BENEFITS OF GLASSLESS OPERATION"]

UNMATCHED CONTROL OF COMPOSITION – UP, DOWN,
SIDEWAYS, UPSIDE DOWN…

Six axis of rotation

Using Shotover systems we reliably achieve highly finessed shots which have previously been impractical or impossible.

Thanks to their unique design, Shotover systems can be positioned to compose a greater variety of shots with a speed and level of precision never before possible.

That means we will get better, more dramatic shots more quickly than any other system. And that saves both time and money.

UNMATCHED CONTROL OF COMPOSITION – UP, DOWN,
SIDEWAYS, UPSIDE DOWN…

Six axis of rotation

Using Shotover systems we reliably achieve highly finessed shots which have previously been impractical or impossible.

Thanks to their unique design, Shotover systems can be positioned to compose a greater variety of shots with a speed and level of precision never before possible.

That means we will get better, more dramatic shots more quickly than any other system. And that saves both time and money.

MAKE WATER SPARKLE,
BLUE SKY MORE RICH AND FORESTS MORE GREEN

Option to fit remotely controlled polarising filter

Water shots in particular can take on richer tones and textures.

Distracting reflections on shiny surfaces like metallic vehicle paintwork and car windscreens can be significantly reduced.

Bouncing light can be filtered from the leaves of forest trees to render a wider range of shades and textures.

Sky blues and fluffy cloud can take on a richer quality.

MAKE WATER SPARKLE,
BLUE SKY MORE RICH AND FORESTS MORE GREEN

Option to fit remotely controlled polarising filter

Water shots in particular can take on richer tones and textures.

Distracting reflections on shiny surfaces like metallic vehicle paintwork and car windscreens can be significantly reduced.

Bouncing light can be filtered from the leaves of forest trees to render a wider range of shades and textures.

Sky blues and fluffy cloud can take on a richer quality.

USE BETTER CAMERAS –
ALMOST ANY CAMERA

Large sensor cameras are engineered to deliver better pictures

Aerial Film Australia’s Shotover gimbals are ready to carry all the key cameras used in production. ARRI, RED, Sony, Phantom, Canon and more.

Even if the Shotover is run with an “entry level” large sensor camera, the picture performance and feature flexibility will surpass that of most Cineflex V14 systems.

Resolution: – 4K and above? No problems.

Exceptional low light performance: – see detail you’ve never seen before.

Dynamic Range: – More detail in the brightest and darkest parts of the picture = better pictures.

Colour Rendering: – cinema cameras are designed to deliver better, more accurate colour.

Recording Codecs: – whatever you need. From RAW down to compressed broadcast codecs.

Vary your frame rates with ease.

USE BETTER CAMERAS –
ALMOST ANY CAMERA

Large sensor cameras are engineered to deliver better pictures

Aerial Film Australia’s Shotover gimbals are ready to carry all the key cameras used in production. ARRI, RED, Sony, Phantom, Canon and more.

Even if the Shotover is run with an “entry level” large sensor camera, the picture performance and feature flexibility will surpass that of most Cineflex V14 systems.

Resolution: – 4K and above? No problems.

Exceptional low light performance: – see detail you’ve never seen before.

Dynamic Range: – More detail in the brightest and darkest parts of the picture = better pictures.

Colour Rendering: – cinema cameras are designed to deliver better, more accurate colour.

Recording Codecs: – whatever you need. From RAW down to compressed broadcast codecs.

Vary your frame rates with ease.

UNSURPASSED
LENS CHOICE

Whether you need feature film quality, or broadcast flexibility, Shotover delivers

Shotover can run traditional broadcast lenses, or cine lenses. The choices are so varied, we can accommodate the very best lens choices available for every shooting challenge.

Fish eye to ultra telephoto.

Here are just some of the lenses that will run in the Shotover systems:

  • Panavision Zooms – Spherical and Anamorphic
  • ARRI Master Primes
  • Angenieux Optimo 24-290
  • Angenieux Optimo Style 25-250 DP
  • Angenieux Optimo 15-40 / 16-40 / 28-67 / 17-80
  • Angenieux Rouge 16-42
  • Angenieux 25-250 HR
  • ARRI Alura 18-80 / 45-250
  • ARRI UWZ 9.5-18
  • Fujinon Premier 18-85 / 14.5-45
  • Fujonon Cabrio 19-90 / 85-300
  • Fujonon 42x 9.7 / 42x-13.5
  • Fujinon HA 14x 4.3, 22x 7
  • Fujonon 25-300
  • Canon CN 20x 50
  • Canon 30-300
  • Canon 14x 4.3
  • EF Fish Eye

AND a whole lot more…

UNSURPASSED
LENS CHOICE

Whether you need feature film quality, or broadcast flexibility, Shotover delivers

Shotover can run traditional broadcast lenses, or cine lenses. The choices are so varied, we can accommodate the very best lens choices available for every shooting challenge.

Fish eye to ultra telephoto.

Here are just some of the lenses that will run in the Shotover systems:

  • Panavision Zooms – Spherical and Anamorphic
  • ARRI Master Primes
  • Angenieux Optimo 24-290
  • Angenieux Optimo Style 25-250 DP
  • Angenieux Optimo 15-40 / 16-40 / 28-67 / 17-80
  • Angenieux Rouge 16-42
  • Angenieux 25-250 HR
  • ARRI Alura 18-80 / 45-250
  • ARRI UWZ 9.5-18
  • Fujinon Premier 18-85 / 14.5-45
  • Fujonon Cabrio 19-90 / 85-300
  • Fujonon 42x 9.7 / 42x-13.5
  • Fujinon HA 14x 4.3, 22x 7
  • Fujonon 25-300
  • Canon CN 20x 50
  • Canon 30-300
  • Canon 14x 4.3
  • EF Fish Eye

AND a whole lot more…

UNCOMPROMISED STABLITY AND PERFORMANCE AT
FOCAL LENGTHS EXCEEDING 1000mm

The most stable glassless cinema camera system – without compromise.

The Shotover F1 and K1 can run cinema lenses with focal lengths of 1000mm and more.

Even shots using ultra telephoto broadcast lenses – like those used in the cineflex v14 with a 35mm equivalent focal length of around 2000mm – remain rock solid.

All that without encasing the camera and lens behind protective glass. (See 1 above…)

[wp_lightbox_prettyPhoto_video link="https://vimeo.com/128554972" width="1024" height="576" description="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm" source="http://aerialfilmaustralia.com.au/wp-content/uploads/2015/05/Ultimate-Stibility.jpg" title="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm"][wp_lightbox_prettyPhoto_anchor_text_video link="http://vimeo.com/128554972" width="1024" height="576" text="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm" description="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm"]

UNCOMPROMISED STABLITY AND PERFORMANCE AT
FOCAL LENGTHS EXCEEDING 1000mm

The most stable glassless cinema camera system – without compromise.

The Shotover F1 and K1 can run cinema lenses with focal lengths of 1000mm and more.

Even shots using ultra telephoto broadcast lenses – like those used in the cineflex v14 with a 35mm equivalent focal length of around 2000mm – remain rock solid.

All that without encasing the camera and lens behind protective glass. (See 1 above…)

[wp_lightbox_prettyPhoto_video link="https://vimeo.com/128554972" width="1024" height="576" description="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm" source="http://aerialfilmaustralia.com.au/wp-content/uploads/2015/05/Ultimate-Stibility.jpg" title="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm"][wp_lightbox_prettyPhoto_anchor_text_video link="http://vimeo.com/128554972" width="1024" height="576" text="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm" description="ULTIMATE STABILITY, FOCAL LENGTHS TO 2000mm"]

REDUCED VFX COSTS THANKS TO
ADVANCED METADATA FEATURES

Designed to deliver detailed metadata that streamlines even the most demanding VFX tasks. 

The Shotover system records relevant metadata needed to improve the efficiency and accuracy of VFX work. On request we can deliver the following types of data on a frame by frame basis:

  1. Pan angle
  2. Tilt angle
  3. Roll angle
  4. Altitude
  5. Latitude and Longitude
  6. Lens focus point
  7. Lens focal length
  8. Lens aperture

As an example to Shotover’s commitment to the very best systems for VFX work, the K1 also supports the Shotover Hydra system. This array of six Epic Dragons fitted with 24mm lenses delivers a final 14.3 megapixel image with an horizontal field of view of about 150 degrees and a vertical field of view of about 65 degrees.

REDUCED VFX COSTS THANKS TO
ADVANCED METADATA FEATURES

Designed to deliver detailed metadata that streamlines even the most demanding VFX tasks. 

The Shotover system records relevant metadata needed to improve the efficiency and accuracy of VFX work. On request we can deliver the following types of data on a frame by frame basis:

  1. Pan angle
  2. Tilt angle
  3. Roll angle
  4. Altitude
  5. Latitude and Longitude
  6. Lens focus point
  7. Lens focal length
  8. Lens aperture

As an example to Shotover’s commitment to the very best systems for VFX work, the K1 also supports the Shotover Hydra system. This array of six Epic Dragons fitted with 24mm lenses delivers a final 14.3 megapixel image with an horizontal field of view of about 150 degrees and a vertical field of view of about 65 degrees.

“With Shotover you’ll get shots not possible to achieve with any other mount”