Loumasystem : our last shootings

par Loumasystems La Lettre AFC n°271

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From the biggest camera package to the smallest - The Louma 2 on Passengers.

The Louma 2 crane has been used at the Paris Palais des Congrès for the shooting of the musical "Notre-Dame de Paris". The production (Keystone productions) was looking for a 32’ telescopic crane able to carry their biggest 3D rig (the TS-2-Studio 3ality Technica). The TS-2 was equipped with Sony F55 and Fujinon 19-90 zooms. The weight of the rig is 47 kg (104 lbs) and its height is 2’8’’.

The Louma 2 has been the solution thanks to its important camera package load capacity and to its special kit of head bulk extension for 3D rigs. The great stability of the Louma 2 arm and head has allowed to achieve fluid and sophisticated movements despite the huge 3D rig weight without having to rent an additional stabilized head. Spectacular camera moves have been achieved deeply into the Palais des Congrès stage area.

From the biggest camera package to the smallest
The Louma 2 can carry huge and heavy 3D rigs but she can also be made very slight when necessary. It has been the case for a Pantene commercial. The production was RSA and the DoP Erik Sohlstrom. The challenge in this case was for the camera to telescope through a succession of rings which were getting smaller and smaller.

The smallest ring was just barely big enough to let the camera (an Alexa with a prime lens) get through it. To achieve this shot, the Louma 2 has been equipped with a special platform which allows to place the camera in front of the arm, still keeping it in balance by the use of counterweights. The shape of the platform carrying the camera and the counterweights is such that it does not stop the arm to be tilted up and down.

The Louma 2 on Passengers
The Louma 2 continues to be much appreciated by the Anglo-Saxon crews. It has been used most notably in Atlanta on the entirety of the latest Morten Tyldum’s feature film Passengers with Jennifer Lawrence and Chris Pratt in the lead roles. The DoP was Rodrigo Prieto and the camera was an Arri Alexa 65 with Panavision Primo 70 lenses. Due to the great stability of the Louma 2 arm and head, the production has not been obliged to use a stabilized head.