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On set

Directors of Photography take us behind their productions, discussing their decisions, challenges and success with OConnor.

Ben Wilson

Ben Wilson

“During productions, directors tend to jump on to cameras to have a look, with OConnor they know where the locks are, it’s all about familiarity in this business and the head is undoubtedly well established in the industry.”

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Amin Oussar

Amin Oussar

Director of photography, Amin Oussar began work on his latest project, a feature film based on the true story of a Tibetan protester who died after setting himself on fire in India in 2012 during a demonstration against a visit by the Chinese president.

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Evan Prosofsky

Evan Prosofsky

“OConnor’s 2575 fluid head is the gold standard,” he says. “It handles the weight of the camera effortlessly and performs reliably – it just works the way it’s supposed to.”

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David Connell

David Connell

"I have always relied on OConnor for my support. The system is consistent, easy to use and stands up to the rigors of episodic television. The ultra-smooth pan and tilt fluid drag gives me consistent control and stability."

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Philip Hurn

Philip Hurn

"I have been a loyal fan of OConnor heads since my early documentary days when I bought my first OConnor 50 in 1982 to support my Aaton LTR 54 Super 16mm camera."

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Jim Matlosz

Jim Matlosz

"We both agreed that we have tried so many other heads but always seem to return to the OConnor and, honestly, it is the most versatile and useful fluid heads - hands down."

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Michael McDonough

Michael McDonough

"With a limited Indie budget, I knew that our production package had to be tight, strong and dependable. I worked with Mark Pederson’s team at OFFHollywood, New York, to put together the best possible support."

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Bruce Melhuish

Bruce Melhuish

"I always work with OConnor heads and I’m a big fan of the 2065; it’s lightweight and has such great balance and reliable movement that it really has become an extension of my arm, I always know what I’m going to be able to do with it."

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Bruce Melhuish

Grigorij Richters

"The OConnor 120 EX fluid head was particularly helpful for our green screen shoots as it can handle a heavy payload and offered our camera men efficient and precise performance."

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James Bagdonas

James Bagdonas

"We use the OConnor 2575 because no other fluid head has such great balance through a wide range of motion. I prefer to use the new 120 EX head at times, especially with some of the heavier zooms."

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James Neihouse

James Neihouse

"We had to have a reliable support system under our space cameras when we were shooting training footage in the NASA simulators – and that's where my trusty favorite camera support – OConnor came in."

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Ivo Nörenberg

Ivo Nörenberg

"OConnor is one of those brands that you don’t need to think twice about. I chose to use the 2560 because it literally offered me everything I expect of my camera equipment when traveling: lightweight, durable, and most of all, flawless performance in the harshest environments and at the most critical moments."

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Alex Buono

Alex Buono

"OConnor does a good job of identifying what actually is going to work in the field and what we need and don't need. I've used a lot of different fluid heads, but OConnor is just so far above and beyond the performance of every other fluid head in the market."

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Richard Blanshard

Richard Blanshard

"In our industry, we know that OConnor is the industry standard. There were three cameras for The Man who Knew Infinity and we were all on OConnor and that says everything. It delivers what you want – plain and simple. Whatever you want to achieve, OConnor enables you to do it. You just can’t beat that amount of flexibility."

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