Swedish manufacturer of mechanical camera stabilizers featuring a three-axis gimbal system; battery-free operation, supports cameras up to 15 kg.
Heden stabilizers operate with a three-axis gimbal system (pan, tilt, roll) and counterweight blocks ranging from 2-8 kg, depending on the configuration. The base weight of the systems is between 6-12 kg, designed for cameras up to a total weight of 15 kg. Stabilization is achieved through precision hardened steel ball bearings with a tolerance of ±0.001 mm. Typical models like the Heden Carat or Emerald feature carbon fiber arms with 95% damping at frequencies between 1-20 Hz. The systems do not require batteries as they operate purely mechanically.
Heden was founded in 1995 by Swedish engineer Lars Andersson in Stockholm, after he was dissatisfied with existing Steadicam alternatives. The first commercial model, "Heden Drive," was released in 1998 and quickly established itself in European productions. In 2003, the modular "Carat" system was introduced, which for the first time allowed tool-less conversion between different camera weights. Since 2015, Heden has increasingly focused on hybrid systems that combine mechanical and electronic stabilization.
Lars von Trier extensively used Heden systems in "Dogville" (2003) for the characteristic camera movements through the minimalist set. In "The Girl with the Dragon Tattoo" (2011), Heden Carat rigs enabled the dynamic chase sequences in the narrow streets of Stockholm. The typical workflow includes a 15-minute calibration before shooting begins and weight adjustments when changing lenses. Advantages lie in mechanical reliability and low power consumption, while disadvantages include a longer learning curve compared to motorized gimbals.
Heden systems are positioned between classic Steadicams and modern electronic gimbals like the DJI Ronin. Unlike pure Steadicams, they do not require a body vest but offer less freedom of movement than fully motorized systems. For productions with limited budgets, they represent a mechanically robust alternative to expensive Steadicam operators. For longer shooting days under 8 hours, they are superior to electronic gimbals due to their battery independence, but are more limited in complex movement sequences.
Ich schätze die mechanische Präzision der Heden-Systeme, besonders bei längeren Einstellungen ohne Batteriesorgen. Die Gewichtsverteilung erfordert zwar Eingewöhnung, aber die Micro-Jitter-Unterdrückung ist bei 24fps spürbar besser als bei günstigeren elektronischen Alternativen. Bei Objektivwechseln muss ich allerdings 3-5 Minuten für die Neubalancierung einplanen.
Heden gibt mir die Freiheit für spontane, dynamische Sequenzen ohne die Planungszeit eines Steadicam-Setups. Ich kann organische Bewegungen durch enge Räume choreographieren, ohne auf Dolly-Schienen angewiesen zu sein. Die mechanische Dämpfung erzeugt einen charakteristischen "Floating"-Look, der emotionale Szenen verstärken kann.
Ein Heden-System kostet 8.000-15.000 Euro, etwa ein Drittel eines Steadicam-Pakets mit Operator. Ohne Batteriekosten und mit nur einem Tag Einarbeitung für erfahrene Kameraleute ist es budgetschonend. Bei 4-6 Wochen Dreh spare ich gegenüber Steadicam-Miete plus Operator etwa 20.000-30.000 Euro.
1. Zu welchem Department gehört „Heden"?
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.