When cinematographer James Neihouse shot the Kennedy Space Center footage for the recently released film Hubble 3D Imax it was on a non-interference basis so Neihouse and his team had to be able to pick up and move quickly. He says his strongest support was the OConnor 2575 head. “We chose this head because it is stable enough to handle the 90 pound weight of the Imax 30 perf 3D camera that was developed for the International Space Station film shot in 1998-2001 yet light enough to be easily manageable when shooting with a small crew ” says Neihouse. “Other heads while capable of supporting the 90-plus pound Imax cameras are heavier and more cumbersome than the OConnor’s.” Besides serving as director of photography for the Imax film’s ground shooting which consisted of launch preparation footage the launch and crew training Neihouse was also responsible for training the astronauts in all aspects of shooting in space during the mission. “Even though they didn’t use tripods in space we had to have a reliable support system under our space cameras when we were shooting training footage in the NASA simulators. That’s where the OConnor 2575s and tripods came in.” Hubble 3D Imax is an Imax and Warner Bros. Pictures production in cooperation with National Aeronautics and Space Administration. Leonardo DiCaprio narrates it. The documentary takes moviegoers on an unprecedented voyage through distant galaxies to explore the grandeur and mystery of space. It began showing in theaters in the United States in March 2010. The project will be released worldwide later this year. “The continuous adjustments on the 2575 make it easy to make quick changes as the shot dictates ” Neihouse says. “Working around the orbiter and other parts of the Shuttle you have to have confidence in your equipment. Switching between cameras is quick and straight forward as well as going to a long lens – a quick change of counterbalance tension and I’m good to go.” “I really like the tilt range of the head as well ” he continues. “Very seldom do I get into a situation with the OConnor where I have to add a wedge or tilt plate to get a shot such as tracking the shuttle during either launch or landing. You don’t get any second takes around the space program so smooth operation is very important – and the 2575 delivers. Even with Imax 30 perf 3D the 2575 was incredibly smooth and light to the touch. When you are working in and around a billion dollar spacecraft and millions of dollars of flight hardware it’s good to know that your equipment is the best it can be.” A long-time fan of OConnor equipment Neihouse has used his 2575 on everything from elephant tripods (12-foot high custom-built tripods that are elephant height) while filming wild tigers in the jungles of India to Imax productions. When he’s not shooting Imax he teaches at Full Sail University in Orlando Florida. “And I use the OConnor 2575 in all my 35mm classes ” he says. “My students really love working with it because it is so reliable and consistent.”
