Balancing the Arri Trinity 2.

There's a few steps to ensure the Trinity 2 is balanced correctly. An experienced operator will have gone through a lot of trial and error to get this right.

Arri rental in Los Angeles, were incredibly kind to me during the 2023 writers and actors strike and let me come in and balance up the whole range of Arri cameras and lenses. From zooms to spherical and anamorphic primes. This experience was invaluable, as I learned without the set pressure how to balance efficiently.

1) First thing is to balance the bottom stage of the sled. Batteries, RCP (control unit), Pendulum, and if you choose to place it here the Teradeck.

The Trinity 2 uses 19mm bars to mount all these items. The Arri skater tool is super helpful to ensure this section is balanced and inline. You use a second stand and place the bottom stage on it, then move items until it's neutrally balanced. Doing this first makes the final balancing step much more efficient and prevents you chasing your tail.

2) Next make sure the internal Arri head ring is correctly balanced (without a camera), it's a simple formula of adding some top weights and ensuring you have the head cable attached.

3) Balancing the Camera within the internal ring. This is the most time consuming and hardest part!

You need to ensure all the accessories are on the camera i.e. Lens, Matte Box, MDR (if using Preston system), Follow focus motors, Zoom and Iris motors, Cinetape or Light Ranger, TAB 1 (Arri bracket to pin the camera from 15mm bars to avoid vibrations), don't forget the media and all the cables.

The best option is to do this with your 1st AC so they can build the camera and assist you with this process. Balancing the Trinity 2 is a partnership with your 1st AC so get them on your side, if them like coffee, buy them one!

A Trinity build will likely differ from how the 1st AC would build for studio mode or even Steadicam, e.g. I prefer to keep the Teradeck (video transmitter) off the camera and also power the camera from the Trinity instead of using a battery, which would cause extra length and weight to the camera build.

3) Once the camera is built and you have the right Arri SAM plate on the camera, you need to find the Fore and Aft balance (back and fourth) then several other points of balance. It's very similar to balancing a remote head. The points of balance Include, placing the camera on either side, up and down, upside down etc.
Before adding additional weights, it's best to move what's on the camera first i.e. can the lens motors be moved up or down? Or placed on the left and right side instead of two on the same side. Lots of variables that you can use to make it work. Then if you need to, you can add additional weights to ensure a fine balance in all positions.

The more the Trinity operator performs this balancing process like anything the quicker they get at it. The first time I got the Trinity 2 it took me ages around1.5hours to balance an Alexa 35 with Prime lens, Matte Box, MDR 3, two lens motors, media and cables, now from scratch I can probably balance the head fully including building the camera in under 30mins.

4) Now the head is balanced, you need to balance the sled, just like you would a regular Steadicam.
Put it in the balancing pin, now you will probably need to move the bottom stage slightly to get the fore and aft correct. A little trick is to use 3D printed clips on the 19mm rods, that way the pendulum stays in the same central position.

5) Set your gimbal and extend/ contract your post so the sled is neutral, double check the sled sits perfectly straight/90 degrees and left and right is centred and Voila your Trinity 2 is balanced.

If i'm doing this in prep, I like to mark up all the positions, take pictures and notes so when I'm on set I can have the build up and running as quickly as possible. I also go through all the lenses so I know what adjustments I need to make on the day and how quickly I can do them. Production is paying you for prep, so I want to give them value for money and make my life way less stressful on set. Plus I love a latte in the morning and would rather be drinking that knowing I'm ready to go, not scrambling to figure out the balance.

I like to use Justin Browne's SOS plate for both Steadi and Trinity work. This means you keep your Steadicam or Trinity (Arri Sam) plate on the camera and SOS (a receiving) plate on the head of whatever mode your in Studio, Sticks etc and means no time is spent screwing and unscrewing plates.

Most Trinity operators will refuse a job without a prep as there's lots to get right. Without a prep some insist on a 3hour pre call, but you are putting yourself at risk incase things don't line up, have a large zoom lens that needs extra attention with the balance. If you need to rotate the head 360 degrees plus, there other factors to keep in mind.

Your 1st AC is your best friend! Having lots of additional brackets and different weights, will be your 'get out of jail free' items!

Now you're balanced you're ready for the real work to begin!

If you're looking for a Trinity 2 Operator or Steadicam in the USA please reach out harvey@panup.io