SpaceCam News

Only SpaceCam’s stability can provide the most beautiful images captured from the air with the RED ONE Camera. // Read More

Los Angeles, CA – SpaceCam Systems, Inc., the world leader in high-end gyro-stabilized cinematography, has created an unprecedented periscope lens system called SnakeHead, which represents a unique new level of capability in aviation cinematography.  SnakeHead, a horizontally-oriented, fully-articulated, computer controlled, gyroscopically-stabilized periscope that protrudes from the nose and tail of fixed wing aircraft provides unparalleled visual flexibility // Read More

SpaceCam Systems Inc. has now formally introduced the DCAM 65-15, its new 65mm 15perf film camera specifically designed for installation on the SpaceCam Large Format Gyro Stabilized System.  The system recently completed filming on MacGillivray Freeman Film’s “Hurricane on the Bayou”, “The Alps-Giants of Nature” and “Water Planet”.  It has also contributed special effect images for the Hollywood feature, “Stranger than Fiction”, and presently engaged on another major Hollywood project. // Read More

SpaceCam Systems, Inc. has joined the arena of high definition television by modifying its gyro-stabilized camera platforms to accommodate HDTV cameras. Working closely with Plus 8 Video, SpaceCam President and System Designer Ron Goodman and his engineering staff have successfully adapted Plus 8′s Sony HDW-700 HDCAM to the SpaceCam system.  Since its inception in 1989, SpaceCam has provided a wide variety of applications and specialized camera options for film, but not video. // Read More

After extensive testing SpaceCam has equipped its 35-8 perf VistaVision camera with a Panavision lens mount to accept a wide variety of Primo and other Panavision lenses that cover the 8 perf format. The testing was carried out in conjunction with the visual effects unit on the recent Rob Cohen film “Stealth”. This ability further accentuates the value of the SpaceCam VistaVision equipment. The SpaceCam unit has been non-stop recently with “Stealth”, “The Aviator”, “Constantine” and the latest “Batman” installment. // Read More

A revolutionary new design approach for SpaceCam’s helicopter nose mount application has received STC approval from the Federal Aviation Administration for use in the United States and STC approval from Transport Canada for use in Canada. The R.A.M.S., a “roll augmented mounting system,” provides for the first time, complete maneuvering freedom for the camera helicopter. // Read More

SpaceCam Systems, Inc. has, since its inception in 1989, set the pace for design of helicopter mounting bracketry for gyro-stabilized camera systems. SpaceCam was the first gyro-stabilized system to provide helicopter nose mount bracktery which allows for many creative options in aerial filming. With the newly developed SpaceCam Helicopter Omni Mounting System, SpaceCam has once again taken the lead in creativity, versatility and innovation. // Read More

The SpaceCam Laser Auto Focus System is a fully automatic laser focusing system incorporated directly into the SpaceCam Gyro-Stabilized Camera System. It is the first automatic focus system in the film industry to successfully utilize laser technology for airborne and specialized gyro-stabilized applications. // Read More

It’s no secret to anyone on the planet, let alone in the film industry, that the name Steven Spielberg is synonymous with artful and innovative cinematography. It’s no surprise then that his current directing endeavor, A.I. (Artificial Intelligence) is filled with plenty of another sort of a.i. – artful and innovative ways of shooting. // Read More

Aerial cinematography is action cinematography – it’s daringly creative and creatively daring. It’s about speed and adrenaline, and is fast, furious, flashy and exciting. It’s the highly sophisticated camera systems mounted to the nose of helicopters, to the belly of Lear jets and to the tail of B-25 bombers. It’s the images that put the sizzle in Twister, Air Force One, Con Air, Armageddon and Mission: Impossible 2. It’s what moviegoers expect and what producers and directors demand. It’s all that plus one added caveat – aerial cinematography can be deadly. // Read More