ARRI has announced the TRINITY Live, which is defined as a new system, that offers a lightweight rig with stable communication. The goal is to bring a cinematic aesthetic to broadcast applications (what we call Cinematic Broadcasting), The TRINITY Live is an upgrade option for TRINITY Gen.1 which improves the camera stabilizer’s functionality within the ARRI Multicam System and third-party broadcast camera applications.
ARRI TRINITY Live
As stated in the press release: “ARRI launches TRINITY Live, continuing its commitment to providing specialist tools that bring a cinematic aesthetic to broadcast applications. Rather than a standalone product, TRINITY Live is an upgrade option for TRINITY Gen.1—the first generation of ARRI’s flagship, body-mounted camera stabilizer system. Comprising new hardware, wiring, and connectivity, the upgrade kit optimizes the TRINITY Live system for live productions and improves its functionality within the ARRI Multicam System and third-party broadcast camera applications. Main features and highlights:
- Improved TRINITY Gen.1 camera stabilizer performance for live broadcasts
- Optimal integration with the ARRI Multicam System and third-party broadcast applications
- Extends the life of TRINITY Gen.1 and allows operators to expand into new markets
- Repositioned wireless video link to off-camera lightens the entire system by up to 4 kg / 8.8 lb and provides a more stable signal
- Further upgrades, like the 24 V camera power and Master Grip TRINITY are available for the TRINITY Live system
Expanding broadcast capabilities for ARRI cameras
At the NAB Show in Las Vegas, ARRI announced its Camera Control Panel CCP Live and Tally System Gen.2, which expands the broadcast capabilities of existing ARRI cameras and camera stabilizer systems. ARRI says that “The new TRINITY Live complements both of these products and provides the ideal way to seamlessly integrate stabilized ARRI cameras into live, multi-camera broadcast environments”. TRINITY Live allows the wireless video link that is required for broadcast work to be mounted at the bottom of the system instead of being attached to the camera, as is normally the case. Positioning a wireless video link such as the Vislink system at the bottom of the center post allows it to be used as a counterweight when balancing the rig, reducing its weight by up to 4 kg / 8.8 lb. The new position also results in a more stable wireless signal because the antenna rotates within a smaller radius and fluctuates in height less than it does when attached to the back of the camera.
Enhanced connectivity
]ARRI mentions that enhanced connectivity is at the heart of the TRINITY Live upgrade, with four new 4G video lines and a 10 Gbit shielded Ethernet line facilitating the new wireless video link position. The connectors for these new video lines necessitate a completely new center post, post connection, top-stage junction box, and wiring loom, all of which are included in the upgrade kit. In total, TRINITY Live offers five 4G video lines. The four new lines feed the wireless video link with up to four quad link signals (4 x 3G) or two video lines when Dual SDI (2 x 6G) is needed. The fifth video line serves as a playback line, allowing the operator to see the program image on a second monitor, transmitted wirelessly from the OB van to the TRINITY Live. Meanwhile, the additional internal 10 Gbit Ethernet line provides the OB van full camera control and communication.
ARRI launches TRINITY Live, continuing its commitment to providing specialist tools that bring a cinematic aesthetic to broadcast applications. Rather than a standalone product, TRINITY Live is an upgrade option for TRINITY Gen.1—the first generation of ARRI’s flagship, body-mounted camera stabilizer system.
ARRI
More options
Two further TRINITY upgrade options are also available for specific TRINITY Live use cases. The ARRI Master Grip TRINITY upgrade gives operators simultaneous control of a zoom lens and the stabilizer’s tilt axis via a common LBUS controller. The 24 V upgrade for TRINITY Live allows the system to provide reliable 24 V camera power when operators need to fly an ALEXA Mini LF, ALEXA 35, or Sony Venice. TRINITY Gen.1 rigs previously upgraded to 24 V must still be fitted with this new 24 V upgrade as part of a TRINITY Live conversion.
How to upgrade/buy
ARRI says: “For operators who want to expand into broadcast applications with TRINITY Live but don’t already own a TRINITY Gen.1, the best place to buy a used rig is the ARRI Certified Pre-Owned program. However, if one is found elsewhere, it can be taken to any local ARRI service center where all the checks will be made to make sure the equipment is in good working order for the upgrade before purchase”. Additionally, the TRINITY Live, Master Grip TRINITY, and 24 V upgrades are available to order now. Watch the demonstration below:
Final thoughts
ARRI TRINITY Live was developed to allow a cinematic approach in broadcast missions. As explained, the TRINITY is a hybridization of gimbal and steadicam. Cinematographers have been utilizing the ARRI TRINITY especially when long takes are desired. The most notable implementation was in 1917 (explore the highlights of the Roger Deakins podcast with 1917’s TRINITY operator). The structure and design of the TRINITY allow to craft of unique long shots with heavy cinema cameras and lenses. The downside is that it’s not an easy task to operate one properly, as it demands the discipline of Steadicam operation and beyond. If you want to be a TRINITY operator, you must practice a lot. The 1917 operator used his own TRINITY on set, as this stabilizer must be perfectly adapted to the operator’s body. A professional operator can do marvels with the TRINITY, and now, all this camera kinetic goodness comes to broadcast.
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