Kessler does sell the Hercules 2.0 head, but the KC-8 Package only includes one Hercules 2.0. A second Hercules 2.0 head would be needed for mounting the camera as the first should be used for mounting the crane. They also do sell a motorized “AXIS System” which gives the user a full range of movement, but the AXIS System will set you back another $1,000.) In lieu of using one of these options, I mounted my Bogen/Manfrotto 503 fluid head to the end of the crane. This gave me some extra mobility in configuring my shots that was much appreciated later. Without the fluid head attached, the camera was limited to pointing only in the direction in which it was mounted. With the fluid head, my camera angles were limitless.
Finally, with everything fully assembled, I set out to work. The crane performed flawlessly. Everything worked just as it was supposed to. I took the crane apart and reassembled it to see how long it would take me from start to finish. Elapsed time: five minutes. This crane is so simple to assemble and use!
Depth of Options
The thing I loved about this crane was that (with the addition of my Bogen/Manfrotto 503 fluid head) it could turn in literally any direction. I actually found I liked using the crane better than my regular tripod. It was extremely useful for low shots, which was something I never considered. It is tough to set a tripod so that the camera is one foot off the ground, but with the Kessler Crane this was extremely easy.
The caster wheels were a huge help. With them attached, I was able to move this rather heavy crane with ease. I actually filmed on a smooth surface and was able to use the crane as a dolly for a few shots.
An exerpt from a music video using the Kessler.
Performance
I was extremely pleased with the overall performance of the crane. I was able to get fantastic high/low angles and sweeping motion shots that would never have been possible before. I was also pleased with the stability of the shots. They weren’t 100% smooth, but they were very close. I found that by running the footage through Final Cut’s “Steadicam Filter,” I was able to achieve the level of perfection I desired. I honestly believe that with just a little bit more practice I could have gotten the shots completely smooth without any post magic.
