Testimonials
 


Some of our more difficult shots and sequences for `Hugo` were designed with the Louma 2 in mind. Not only could the crane capture the most difficult foreground action but with it's full encoding capability we were able to preview the CG background action and extension in real time over our green screen set. In essence it became both a real time previs and live action plate photography simultaneously.`

Rob Legato VFX Supervisor / 2nd Unit Director 'Hugo Cabret'
   
 

I just wanted to drop you a line in writing this time about how we got on with your Louma2 yesterday. The main shot involved an approx. 30`x20` oval helix camera move around and estate car at a very slow pace. Falling from an 8` to 18` lens height in the first half of the move. I held the crane-nose in one hand, the wand in the other and had a totally intuitive response from the system throughout. Particularly impressive at the change in direction point, mid-move.We had a couple of fine-balance issues through the day, but nothing that wasn`t quickly resolved by Munkeh. The action of the arm about it`s pivot feels great - a balance of inertia and ease of movement that suited me ideally. The move also involved simultaneously tracking the base approx. 20`, in-line with the car - again totally smooth.

Another note on tracking. Detail shots of the car, using the telescopic arm, no discernible vibration at any point. Fantastic soft-start and stop. We had a `fixed-wing` shot at full `stick` that involved tracking the camera at a 5` distance from the subject at the long end of our zoom (approx. 70mm) down a swage-line detail for 12`. Jess was initially dubious (most cranes are awful on track as we know) but again, absolutely perfect.

In 2 sentences: (OK - 3) In my opinion, we could not have achieved the complex, tight lens, slow moves required with any other crane/head combination. And, that was without using it`s planing functions. The Louma 2 is now my 1st choice, sub 30`, telescopic crane, full stop. The planing functions are the icing - not the cake.
Best regards, David McAnulty Key Grip B.Eng(Hons)
   
 

The first ever production to use Louma 2 was the second unit of Harry Potter & The Order of the Phoenix.
( DOP: Mike Brewster ; Operators: Dave Morgan / Peter Versey ; Focus: John Ferguson ; Loader: Ray Meere ; Grips: Dave Rist, John Fleming and Derek Russell )
   
 

I used the new Louma 2 on the latest Harry Potter on 2nd Unit with Key Grip Dave Rist and found the arm very smooth. The option to feather the end and start stops I found very useful, also being able to fine tune the weight carriage with a button. The Smart Pan will aid shots for grip as well as operator. All in all a welcome addition to our arsenal of camera cranes.
John Flemming - Grip
   
 

I thought that the crane was very stable given the fact that the shot involved a very fast retraction of the telescopic arm coupled with a track of the base. We shot on a wide lens and then on a long lens, which was very stable. I am pleased to have been the first to use Louma 2 and look forward to using it in the near future.
Dave Morgan - DP/Operator
   
 

The 2nd Unit of Harry Potter and The Order Of The Phoenix were privileged to use the Louma 2 for some of it`s first, if not the first official booking on a production. We used it on the huge Atrium set on a complicated racking, tracking and jibbing plate shot then rebooked it for a series of shots in the famous Hogwarts Courtyard. It is immediately apparent that the Louma 2 has been designed by a team of people who knew what they wanted and are intent on taking crane design and performance to a new level. The Louma 2 seems to be incredibly user friendly. The chassis is well designed to manoeuvre into difficult positions and it is easy to adjust the height of the central column. The command console for the operator is well presented and the computer interface is clear and coherent. The racking speed in and out of the telescopic arm is faster than any of it`s competitors and it`s stabilization formidable. These benefits are important to me because the set-up time and ease of operation are directly transferred to me as more shooting time and the overall enhanced performance opens up more creative possibilities. The fully recordable and nodal head set-up is an important feature which will make the Louma 2 an attractive proposition for use on Visual FX-heavy shoots. I look forward to using the Louma 2 in the future and wish the team all the best for it`s future development and success.
Stephen Woolfenden - (2nd Unit Director - Harry Potter and The Order Of The Phoenix)
   
 

I have recently had the pleasure of using the telescopic Louma 2 on its maiden outing on the Production of 'Harry Potter - Order of the Phoenix'. Not only does it look good to the eye, it also performs very well. Its rapid (and I mean rapid!) 24' of travel on the rack is ultra smooth, combined with software enabling you to set stops. You are therefore guaranteed to stop at exactly the same point, whatever the speed of the rack, an obvious advantage! Another advantage is the fact there are no cables running down the arm from the head, minor as this may seem it certainly helps to have a clear view of the arm. The software (which is far too advanced for me to fully understand!) gives many options to alter the feel and control of the head and arm as required, to achieve the shot you are attempting. From my point of view it does everything I expect it too and considerably more!

Its been a long time coming and now, having used it, I can understand why. My congratulations go out to Adam Samuelson and the boys of Louma for a job well done. It was worth the wait. Cheers!
Dave Rist - Grip