We just had the pleasure of testing out some great products from Australian tripod manufacturer Miller. Here is the story in full. See below for a link to the story on their own website….
I started out in the film business over twenty years ago, shooting wildlife documentaries for Oxford Scientific Films (OSF). From the 1960’s on, they had been at the forefront of developing specialist equipment to shoot stories that always pushed the limits of technical and creative innovation. This gave me exposure to the best and newest technology in the film and documentary business from around the world. One of the many talented people I had the pleasure of working with during this time was Australian filmmaker and lens designer Jim Frazier, who won many awards for his innovative inventions.
After four years working as a staff cameraman at OSF, I had the opportunity to move to Australia to work on a wildlife series that would see me taking adventures to shoot stories all over the continent. I soon realized what great contributions Australia had, and continues to make, to both creative and technical developments in filmmaking. It became obvious that from the Outback cattle stations that became the base for many of our shoots, to the highest levels of high-tech industry, this was a country where geographical isolation gave birth to a culture that demanded creative engineering skills. It didn’t matter whether it was using fencing wire to mend a broken down truck in the Outback or to have the imagination required for Jim Frazier to create his pioneering lens designs, this was a culture that values innovative solutions.
After selecting the appropriate camera and lens combination (at that time the Aaton LTR Super 16 film camera / Zeiss and Nikon glass), the next crucial part of the filmmakers kit is selecting a good tripod and fluid head system. This decision combines a need for smooth camera moves, a steady platform, but not so heavy that it restricts your ability to be mobile in the field.
Back at OSF I had been using solid Germany technology, an Arriflex camera and Sachtler tripod, both at the top of their field in terms of build quality, but to my mind, not designed for use in the extreme conditions that we often encounter shooting wildlife and adventure stories. When I went freelance and headed to Australia, this led me breaking the mould and to selecting the Aaton camera system. It was designed by a cameraman with an engineering skills, as opposed to a brilliant engineer, that had never spent long hours in the field with a camera in their shoulder. I wanted a tripod built with similar design sensibilities.
Soon after arriving in Melbourne, I was quickly exposed to one of Australia’s greatest technical contributions to the film business, Miller tripod systems. Originally built with wooden legs and uncomplicated fluid heads, these products were ideal for the independent filmmaker requiring a reliable and mobile system. Twenty years later, they have stayed ahead of the times, trading wood for carbon fibre and fluid heads capable of carrying anything from a video enabled DSLR to the heaviest of digital cinema cameras. For the last two decades, when given a choice, I have hardly used any other tripod system. This has included working on flagship TV series including BBC’s “Life”, “Life in Cold Blood” (featuring Sir David Attenborough), “Frozen Planet” and recently Emmy Award winning National Geographic series, “Untamed Americas”.
Today, I combine shooting stories for networks that include the BBC, Discovery, and National Geographic, with teaching digital storytelling workshops for the world’s premiere expedition travel company Lindblad Expeditions, and their partner National Geographic Travel. My first adventure with Lindblad was in the Arctic outpost of Svalbard, a place I had called home for two years while shooting a story on polar bears. We sailed on the ship Explorer, along with other top National Geographic contributors that were invited to share their experiences of shooting films and magazine articles from all over the globe. I was lucky enough to travel husband and wife team, Sisse Brimberg and Cotton Coulson. They have shot over forty magazine articles during their careers. With many common interests and a shared love of wild places, Cotton and I soon decided to collaborate on future projects, culminating in Expedition Workshops. Currently based onboard the Lindblad / National Geographic fleet of ships, we offer dedicated digital storytelling classes to a small group of guests in some of the world’s most remote wildlife and cultural locations. These cover everything from video shooting techniques to editing a finished film.
For my broadcast work I still use a 100mm bowl Miller DS25 with double stage carbon fibre legs and Cotton uses a Miller 20 tripod system. But we both needed a light solution for the small camera and DSLR shooting we do for the workshops. The ideal solution was the Miller Solo DV and DS10 head. Both Cotton and I have the same camera support systems which we have tested everywhere from the Tropics to the Antarctic. In addition, for shooting human interest stories (as well as when shooting stills), we also both employ Miller carbon fibre monopods.
The DS10 heads have withstood the rigors of every environment we have thrown at them, from the muddy banks of the Amazon to the sea ice of the Antarctic’s Weddel Sea. Recently while shooting the king penguins in South Georgia, Cotton and I both spent many hours on our stomachs shooting images of the molting adults and growing chicks, as well as the many elephant seals populating the beaches. To make this possible we each used one of our favorite features with the Miller Solo DV, its ability to spread the legs out quickly so we can shoot just above ground level.
Capturing images at just 12” from the ground, it places you at the eye level of the subject enables you to better convey the environment in which they live and better enter their world. At other times you can extend the Solo DV to almost 6’, enabling you to capture high angles when that is more appropriate. It is truly a very versatile set of legs.
The tripod always holds fast in the high winds that sweep down from the glacial ice. These catabolic winds can appear in minutes, raising wind speeds from zero to gale force without warning. We also walked many miles up and down the high mountain slopes and thick tussock grass, and weighing in at less than seven pounds, the light carbon legs and compact head made our treks much more manageable.
The head is equipped with a simple but very effective counterbalance control which neutralizes the effect of the camera’s weight when it is tilted. The pan and tilt provide smooth movements and are each easily locked, plus the quick release plate allows the camera to be removed instantly from the head, as well as positioned to make ensure the whole system is balanced. The DS10 head is ideally suited to cameras weighing in at between 5 and 11lbs, with smaller or larger heads available to suite other camera systems. All simple, but very effective designs that you would expect from an Australian engineer! One of the other features that immediately sold me on Miller tripods was the placement of the levers for adjusting the height on my larger DS25 / Sprinter combination. Unlike other popular European designs, the double set of leg extensions can all be controlled from the middle of legs, making it very easy to adjust height without having to bend down…. something that save valuable seconds when capturing a scene.
The monopod has many advantages for the kind of shooting we are doing, which includes everything from old style street shooting of people, to shooting wildlife from the deck of the ship, where there is often no room for a tripod or the vibration of the engines cancels out the steadiness of the Solo / DS10 system. The quick fix to stop the vibration while shooting from the deck is to place the base of the monopod on your foot. This absorbs the motion and allows you to capture a steady shot. I also use the monopod much as you would a Steadicam system. When walking with the camera to track with moving subjects, you keep a bent arm, the monopod hangs down and acts as a counterbalance making it easier to keep a level horizon and more effectively track you subject.
Our students often arrive on the ship with more economical tripod and fluid head systems, but after demoing our Solo / DS10 units, order a Miller system as soon as the get home. After years of field testing many Miller products, I would definitely recommend them to everyone from the beginning filmmaker to seasoned cinematographers working on features or television projects.
David Wright is an award winning director of photography and producer, with recent accolades including an Emmy for cinematography. He works on high profile television series, features and commercials, also specializing in shooting high speed / slow motion imagery. He is a regular contributor to National Geographic, the BBC, Discovery and PBS
Cotton Coulson is an award-winning photographer who began his career shooting for National Geographic at age 21. He was the Director of Photography at “The Baltimore Sun” and Associate Director of Photography at “U.S. News & World Report.” Cotton was Senior Vice-President at CNET Networks where he managed the Creative Design and Product Development teams. Cotton is also a Contributing Photographer for National Geographic Traveler magazine. Today his photographic and video work is focused on contemporary environmental issues.
View the story as posted on the Miller website