Telescopic pole with spring mechanism that tension-locks between floor and ceiling. Supports up to 25kg for lights or cameras without drilling or stands.
Autopoles consist of two nested aluminum tubes with inner diameters of 32-48mm and wall thicknesses of 2-3mm. The integrated spring creates a constant pressure of 80-120kg against the ceiling and floor. Rubberized end caps with 80-100mm diameter distribute the load and prevent surface damage. Standard autopoles support payloads up to 15kg, while heavy-duty versions support up to 25kg. The tubes feature 5/8" spigots or 1/4" threads for mounting lights, reflectors, or camera supports.
Avenger developed the first Autopole in 1985 as an alternative to heavy C-stands in low-ceilinged spaces. The Italian company recognized the demand for quickly deployable solutions in TV studios and tight shooting locations. In 1992, Manfrotto introduced competing models, followed by Matthews Studio Equipment with American variants in 1998. Since 2010, modern autopoles have integrated cable management and quick-release mechanisms.
DoPs use autopoles for low background lighting as they disappear in the camera's shadow. In "The Crown" (Netflix), autopoles enabled precise light placement in historical rooms without ceiling mounting. They often carry LED panels (Aputure AL-M9, Litepanels Astra) for eye light or background separation. In confined vehicles or aircraft, they replace impossible tripod setups. Disadvantage: Risk of vibration during camera movements, as the spring tension transmits oscillations.
Autopoles differ from Magic Arms in their greater reach but less flexibility in positioning. C-stands offer higher load capacity (up to 40kg) but require floor space for sandbags. Ceiling mounts require structural modifications but provide absolute stability. Suction-cup mounts only work on smooth surfaces but are quicker to position. For ceiling heights over 4 meters or uneven floors, autopoles fail – truss systems or overhead rigs dominate in these situations.
Ich nutze Autopoles hauptsächlich für subtile Background-Separation mit LED-Strips oder kleine Kicker-Lights, die außerhalb des Kameraradius stehen. Die Federspannung überträgt aber jede Erschütterung auf die Leuchte, weshalb ich sie nie für harte Schatten oder präzise Lichtschnitte verwende – da sind C-Stands unverzichtbar.
Autopoles ermöglichen mir spontane Lichtstimmungen in intimen Szenen, ohne dass schwere Stative die Schauspieler einschränken oder im Bild auftauchen. Besonders bei Nahaufnahmen kann ich gezielt Augenlicht setzen, ohne den Kameraoperateur zu behindern – das schafft mehr Intimität zwischen den Darstellern.
Ein Autopole kostet 180-350 Euro und spart täglich 30-45 Minuten Auf- und Abbauzeit gegenüber C-Stands mit Sandsäcken. Bei 20 Drehtagen amortisiert sich die Anschaffung durch eingesparte Arbeitszeit, außerdem reduziere ich Transportvolumen um etwa 40% gegenüber vergleichbaren Stativ-Setups.
1. Zu welchem Department gehört „Autopole"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.