ARRI gimbal with mechanical 3-axis stabilization; 8.5 kg payload capacity for cameras up to ALEXA 35; 0.02° precision via brushless motors with 32-bit encoders.
The Trinity weighs 8.5 kg ready for operation and features a mechanical gimbal with precision-engineered carbon arms. Stabilization is achieved via three brushless motors with 32-bit encoders, reaching an accuracy of 0.02°. The system supports ARRI cameras from ALEXA Mini to ALEXA 35, as well as RED, Sony, and Canon models of comparable weight class. The integrated Wireless Video Unit (WVU-1) transmits 1080p video latency-free over 5.8 GHz. The interchangeable battery provides 2.5 hours of runtime, and the system achieves movement speeds up to 200°/s with an operating range of up to 100 meters.
ARRI introduced the Trinity at NAB in 2018 as a response to the growing demand for more versatile stabilization solutions. Development began in 2015 under the leadership of ARRI engineer Marc Shipman-Mueller, who had previously worked on the ALEXA series. In 2019, the Trinity 2 followed with improved motor control and expanded camera compatibility. The current Trinity 2 Stabilized Remote Head from 2021 additionally integrates functions for crane and dolly mounting, through which ARRI expanded the system into a modular platform.
The Trinity was prominently used in "1917" (2019), where it enabled the famous one-shot sequences through trenches – a shooting technique that would not have been feasible with Steadicam or conventional gimbals. In "The Batman" (2021), cinematographer Greig Fraser used the Trinity for dynamic tracking shots where the operator starts on foot and seamlessly hands off to a vehicle. The workflow requires a two-person crew of operator and focus puller, with remote control enabling precise camera movements even in inaccessible areas.
Compared to Steadicam, the Trinity offers higher payload capacity and remote functionality, but is less inconspicuous and heavier. Purely motorized gimbals like the DJI Ronin 2 are cheaper but do not achieve the mechanical precision of the Trinity during rapid movements. The MōVI Pro competes directly but lacks comparable integration into ARRI's ecosystem. For camera rental budgets under 100,000 Euros, productions typically opt for Ronin alternatives, while high-end projects prefer the Trinity for technically demanding sequences.
Als DoP schätze ich beim Trinity die mechanische Grundstabilisierung, die auch bei Motorausfall funktioniert – das gab mir bei den komplexen Oners in unserem letzten Thriller die nötige Sicherheit. Die präzise Gewichtsverteilung ermöglicht mir organische Handheld-Bewegungen ohne das typische Gimbal-"Floating", und der latenzfreie Monitor lässt mich auch bei Remote-Fahrten die Bildkomposition kontrollieren.
Mit dem Trinity kann ich fließend zwischen intimen Handheld-Momenten und kinematischen Crane-Bewegungen wechseln, ohne die emotionale Kontinuität zu brechen. Die Möglichkeit, den Operator durch unmögliche Räume zu schicken – unter Autos hindurch, durch enge Fenster – eröffnet mir narrative Perspektiven, die das Publikum direkt in die Handlung hineinziehen.
Das Trinity kostet 2.800 Euro Tagesmiete plus Operator, rechnet sich aber durch Zeitersparnis gegenüber aufwändigen Dolly-Setups. Bei unserem 40-Drehtage-Projekt sparte es uns geschätzt fünf Drehtage ein, da komplexe Bewegungen in einem Take möglich waren statt in drei separaten Einstellungen mit unterschiedlichen Rigs.
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