New TRINITY 2 and ARTEMIS 2 ARRI camera stabilizers

New TRINITY 2 and ARTEMIS 2 ARRI camera stabilizers


  • Unprecedented creative camera moves
  • Wide-ranging camera compatibility via SAM plates
  • Interchangeable battery systems (B-Mount, V-Mount, Gold Mount)
  • Durable and future-proof for a long return on investment
  • Quick and easy upgrade from ARTEMIS 2 to TRINITY 2


April 4, 2022; Munich – ARRI introduces a second generation of its TRINITY and ARTEMIS camera stabilizers. The new modular system has been redesigned down to the smallest detail, incorporating enhancements to camera movement, connectivity, power management, user interface, balance options, and product longevity. A quick and easy upgrade transforms the purely mechanical ARTEMIS 2 into the hybrid TRINITY 2, which adds electronic stabilization for an even wider range of movements and angles.

Designed and built in Germany, the new-generation ARRI stabilizer system enables versatile, creative, and perfectly steady camera moves. Many new features have been implemented, based on customer feedback, making this the most sophisticated camera stabilizer system ever developed. Durable and upgradeable, it offers the longest, most secure return on investment for owner-operators. ARRI nurtures career-long working relationships with stabilizer operators, supporting them with future-proof technology and global service.

For more than 20 years, the original ARTEMIS has been a reliable tool, trusted by the industry. Now the ARTEMIS 2 continues that success story and expands on it through new features and a simple upgrade path to TRINITY 2. Between them, these two rigs cover all applications and on-set requirements, from feature films and TV series to commercials and live broadcasts. Around 80% of the new components for the second-generation system are shared by TRINITY 2 and ARTEMIS 2, illustrating ARRI’s modular approach.

Wide-ranging compatibility is assured through the use of ARRI’s precision-engineered SAM plates, enabling cameras from different manufacturers to be securely and rapidly mounted to the stabilizers. The SAM standard permits fast, tool-free camera switching from either the TRINITY 2 or ARTEMIS 2 to a tripod or ARRI’s stabilized remote heads.

The second-generation battery system has been completely redesigned. A new, modular battery hanger facilitates the most flexible, efficient, and dependable power management ever seen on a camera stabilizer system. Users can choose batteries from any manufacturer, anywhere in the world, and no matter what their choice, they will experience intelligently regulated 12 V and 24 V high-capacity power delivery. It is even possible to mix 12 V and 24 V batteries in any combination, using B-Mount, Gold Mount, or V-Mount, with power efficiency holding steady at an industry-leading 95%.

In addition to the standard center post, two new post lengths are now available for TRINITY 2 and ARTEMIS 2, as well as for both first-generation stabilizers. The longer Super Post allows more extreme camera positions and angles, either higher up or further out from the operator’s body. The Shorty Post is suited to fast, agile work or space-constrained locations, and will be especially useful with the compact ARTEMIS 2.

The new sled, consisting of a rock-solid bottom stage, battery hanger, 19 mm rods, and the new battery mounts, makes the lower section of the second-generation ARRI stabilizers more versatile and much sturdier. Rods are available in carbon, aluminum, or steel, giving operators additional counterweight opportunities when balancing their rigs. As well as accepting a wider range of monitors, the new monitor bracket is also rod-mounted and can slide in and out to provide even greater balancing freedom.

Both ARRI and long-time valued technology partner FoMa Systems have drawn on operator feedback to set a new high standard for body-mounted stabilization with TRINITY 2. New camera moves are possible, including 360-degree rotation on the lens axis. Expanded LBUS connectivity enables the use of controllers designed for ARRI’s stabilized remote heads, opening up modern, digitally interconnected workflows. A new LBUS-based Master Grip TRINITY allows fingertip control of key functions, while the super-fast processor in the new touchscreen remote control permits standalone system startup and on-the-fly adjustments. Additional accessory interfaces and 12G video connectivity increase rigging options and future-proof monitoring capabilities.

TRINITY 2 and ARTEMIS 2 are career investments for industry professionals. As ARRI products, they are tested to extremes and built for a lifetime of reliable service. As creative tools, they equip filmmakers with unprecedented visual dexterity and progress the language of cinema.

To learn more about the second-generation stabilizers, please visit:

About ARRI:

“Inspiring images. Since 1917.” ARRI is a global player within the motion picture industry, employing around 1,200 staff worldwide. Named after its founders August Arnold and Robert Richter, ARRI was established in Munich, Germany, where the headquarters is still located today. Other subsidiaries are in Europe, North and South America, Asia, and Australia.

The ARRI Group consists of the business units Camera Systems, Lighting, and Rental, all dedicated to connecting creativity and future technologies for moving images. ARRI is a leading designer and manufacturer of camera and lighting systems as well as system solutions for the film, broadcast, and media industries, with a worldwide distribution and service network. The portfolio includes digital cameras, lenses, camera accessories, archive technologies, lamp heads, and lighting accessories. Along with offering exclusive technologies, ARRI Rental’s first-class services and equipment provide camera, lighting, and grip packages to professional productions around the world.

The Academy of Motion Picture Arts and Sciences has recognized ARRI’s engineers and their contributions to the industry with 19 Scientific and Technical Awards.

For locations and more information, please visit


Related Articles


Broadcast Industry Network