Game-Changing Stability: My Experience With the Vinten Versine 36
Tripod head enhances camera operator’s ability to capture fast-paced sports action

IPSWICH, England — As a freelance sports camera operator, I’ve worked on everything from the FA Cup to motorsports, tennis, netball, the Olympics, and horse racing. No two shoots are ever the same, and each brings its own set of challenges. That’s why when I was introduced to the Vinten Versine 360, I was both excited and intrigued. Vinten has long been the leading name in our industry, and when I was invited to test out the Versine 360, I knew it was going to be something special.
One thing that stood out to me immediately was how much thought had gone into the design. Vinten didn’t just release a new tripod head; they made something better. They listened to operators like me—people on the ground who deal with real-world problems daily. The result? A system that not only improves my setup but also enhances my ability to capture the action with precision and ease.
Designed for Users
From the first time I set up a camera on the Versine 360, I noticed the difference. Its adaptability is one of its biggest strengths—working across multiple venues means encountering different gantries, tight spaces, and unique mounting requirements. The ability to quickly change between a 150mm bowl and flat base or even 100mm bowl has made my life so much easier.
The multistandard bowl system eliminates the need for multiple heads and gives me the flexibility to adapt to any shoot, whether it’s a tight football gantry, a horse racing event, or a motorsport setup. There’s no scrambling for adapters or struggling with incompatible gear—it just works.
In live sports, reaction time is everything. Whether it’s a sudden sprint down the pitch in football, a crash in motorsport, or an unexpected fall in horse racing, I need to be able to move quickly and smoothly. With other systems, there’s often a slight delay or a jerk at the start of a pan, but with the Versine 360, it’s like the head anticipates my movement. I can follow a player, horse, or car seamlessly without that initial stiffness or hesitation.
A great example of this happened at Gillingham’s football stadium—a venue with an extremely challenging gantry setup. There, I had to mount my camera on a railing using a Hague clamp system. Without the Versine 360’s ability to adapt to different mounting standards, I wouldn’t have been able to secure my setup properly. That day, it genuinely saved the shoot. The multistandard bowl meant I could make the switch seamlessly, ensuring I could get the shot without delays.
Compact But Strong
I’ve had the opportunity to use the Versine 360 across various sporting events, from EFL football matches to horse racing. No matter what camera setup I throw at it—from OB-style sports cameras with heavy lenses to my Fujinon UA24—it handles everything effortlessly.
The increased payload capacity is another remarkable achievement. Despite being in a smaller, more compact form, it can take on even heavier setups with ease. In an industry where efficiency, precision, and adaptability are paramount, the Versine 360 has set a new benchmark.
Vinten’s commitment to real-world operator feedback is evident in every detail of the Versine 360. They didn’t just design a product—they engineered a solution that improves the daily lives of camera operators like me. Whether it’s the perfect balance, the superior TF drag, or the sheer adaptability, this system allows me to focus on capturing the best possible shots without worrying about my gear holding me back.
It’s rare that a piece of equipment changes the game for sports broadcasting, but the Versine 360 has done exactly that. I can’t imagine going back to anything else.
More information is available at www.vinten.com.
Get the TV Tech Newsletter
The professional video industry's #1 source for news, trends and product and tech information. Sign up below.
For more than 14 years Steve Cole has been enjoying life in live broadcast, starting as a camera operator and shortly after, adding PTZ/remote camera operation, RF/handheld ENG camera, lighting camera and racks operator to his skill set. He covers music festivals and large concerts, FIFA World Cup, Premier League and Championship Football, Olympic and Wimbledon, touring cars, British GT, horse racing, news, etc. Steve works with reputable OB companies and broadcasters such as NEP, Gravity Media, Cloudbass, ITV, BBC, and Sky Sports.