Production support is the rest of the kit — magazines, fluid heads, geared heads, follow focus systems, matte boxes, sliders, gimbals, and the rack-mounted gear that lives between the camera and the playback monitor. Most of it is heavy, precision-machined, and intolerant of impact in transit.
Innerspace builds custom transport for film magazines (Aaton, ARRI 416, 435, 535, Arricam, Moviecam Compact, Panavision 65), fluid and geared heads (Vinten Vector 75/90/950/950i, Sachtler Cine 30/90, O'Connor 1030B and 2575, Cartoni Master, Ronford-Baker, Miller Solo and 75-Cine), Steadicam rigs (Pro, Tiffen Master, M-1, with Volt and accessory rails), follow focus systems (Preston FI+Z, Arri WCU-4 and cforce motors, Bartech, Heden, Chrosziel, Tilta Nucleus), matte boxes (ARRI LMB, Chrosziel, Vocas, Bright Tangerine, Tilta MB-T15), and the supporting kit — sliders, jib arms, head-and-tripod combinations.
Build choices for production support hinge on the gear's geometry. Film magazines need foam wells that support the feed and take-up chambers with separate sub-wells for cores, mag caps, and changing bags. Fluid heads need cradles that protect the pan/tilt mechanism from any side-impact. Follow focus systems need wells that hold the motor, handset, lens gears, and rod brackets in their wired configuration so the AC isn't re-rigging on set.
Rack-mounted cases (2U, 4U, 6U, 8U, and larger Roto X format) protect the playback, video assist, and DIT equipment that travels in fixed-rail rack interiors. Shock-mount rack interiors are available for sensitive electronics, and ATA 300 construction is the standard for the rack cases that need to fly.
If your production support kit has a specific configuration — particularly anything with sub-assemblies that need to stay rigged in transit — that's a routine custom build for our shop. Request a quote.