Digital Video - September 2008 - (Page 12)

BIRD’S-EYE VIEW BY CHUCK GLOMAN V ery few people think of using jib or crane shots in their videos. It isn’t the type of equipment that normally comes to mind, but the use of a simple Jimmy Jib may be all you need to get the elusive shot that makes your production stand out from the pack. The Jimmy Jib may be as small as a 6’ crane or as large as you desire. Sectional pieces may be added until you achieve the desired length. On a recent shoot, we had a Jimmy Jib with a 34’ arm to get the shots we needed for the production. A jib is a tool unlike any other — you can swoop in, fly out, glide across the surface and still have all of the functions on the camera (zoom, pan and tilt). The camera balanced at the end may be something as small as a Panasonic DVX100 or Sony Z1 HDV camcorder, something larger like a Betacam SP, or a real HD camera. The camera of choice is underslung on the mount, and all of the controls (zoom, pan, tilt) are accessible at the operator’s end. With the Jimmy Jib, it’s best to determine what type of shot you need before you begin erecting the crane to the appropriate size. This obviously requires a little pre-thought. The owner of our jib, Ray Hoover, has used his rig on student productions at DeSales University and at the Super Bowl halftime show, recording legends such as the Rolling Stones and Prince. Ray normally arrives on a shoot in a minivan with the rear seats removed. Everything from the wheeled dolly base, extension arms and camera platform to remote controls and monitor comes in a neat package. Never knowing exactly what to expect on a shoot, he has to be prepared for any eventuality. Once on location, the Jimmy Jib is erected close to the area of the first shot. Although everything rests on a sturdy tripod, wheeling the behemoth should be kept to a minimum because it takes more than one person to steer this beast. When in position, the wheels should be locked and sand bags placed at each tire to keep it from moving. Quite often, I’ve been on shoots where I did not chock the wheels with sand bags — only to have a wind storm start the jib moving on its own. Although it may not look like it, the jib is a rather large sail. The center portion of the tripod’s spreader is an excellent loca- tion to house the AC power supplies for the monitor and, if necessary, the camera. The bracket on the top of the tripod connects to the arm extensions and the monitor holder. The monitor should be strapped securely to its shelf and black foil wrap used as a monitor shade. We also have several large black flags on hand to help block the sun. The monitor can be almost impossible to see in the middle of the summer, so use anything at your disposal to help stop the sun’s rays. The operator has several controls at his or her disposal. A joystick controls the pan and tilt of the head, allowing the camera to point directly up or down and still spin in both directions. The camera’s zoom control is also remotely operated from this point. The speed of any movement may be dialed in, so the amount of pressure used can be adjusted. The one critical item is the up, down and side-to-side movement of the jib’s arm. Barbell weights are hung on the back end to counterbalance the camera up front. The two factors that determine the amount of weight used are the length of the arm (longer means more weight) and the girth of the camera. Ideally, you want light pressure to move the jib arm without fatiguing the operator. The key to an effective jib shot is that it does not call attention to itself — but it may be the only means of recording the event. Rehearse the movement several times before recording the image. Is the lateral or vertical movement the correct speed? Perhaps speeding it up or slowing it down works better. With so many different variables to contend with, only the strictest storyboards have every minute movement planned in advance. Have the director watch the shot on the monitor to see if it replicates his or her vision. Even the best storyboards can be changed once on location because a slightly different move may work better. Safety needs to be your highest priority. Make sure every connection on your jib is tight and no cables are twisted or pinched or inhibiting the movement of anything else. Ensure that there are no overhead obstacles that might interfere with the operation of the jib arm. Because the jib is metal, be especially aware of power lines (if your jib is extended that high) and lightning during storms. No one wants a shocking incident. The most expensive part of your jib may be the camera at the USING A MINI CRANE ARM MAY GIVE YOU THE RIGHT REACH FOR A GREAT SHOT. 12 dv september 2008 www.dv.com http://www.dv.com

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Digital Video - September 2008 Contents Discproducer PP-100 Frameforge 3D Studio 2 First Cuts Expodisc Bird's-Eye View Instant Expert Inside Outsource Red in Combat Tools & Technology My Studio DV101 Production Diary

Digital Video - September 2008

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