Let’s be real, sometimes technology doesn’t work perfectly and you need to make the best out of a tricky situation. All too often I find myself on live broadcasts where I can barely hear the director and this has happened with all makes/models of com systems. It happens more often with cheaper com systems such as those wonderful Eartecs with the flip up mic. What happens is your fellow crew members aren’t aware of the need to always keep the com channel closed as this is just pumping tons of ambient noise into the party line. I’ve jibbed boxing events where the entire crew has their mics open and are chatting away thru the event, leaving me unable to hear the director at all! With higher end systems such as the older wired clear com boxes, you have all kinds of dip switches in the box to change settings. I’ve been stuck plenty of times with my volume on Ch A turned all the way up, barely able to hear the director with the cross talk from Ch B louder….no love from audio engineers to figure it out sometimes. You can’t be mad, sometimes there just isn’t enough time to fax every problem and you need to make the best of a difficult situation. Here’s my process! First, I explain the situation to the director and make sure they are fully aware there’s an issue which not much can be done about. Next, I try to be familiar with the director’s shot sequences to help get us on auto pilot. If I have tally support, that’s a huge help. If I can see program on live screens in the room, even better! If I get a program return feed, that’s icing on the cake as I can see how I interact with graphics and how the director is cutting with cameras. However, when you have shows where there’s a few things left to be “faxed” before go time, don’t expect your program return to work! This is where you need to make the production team look good, not find excuses for being mediocre. You need to be very aware of what shot sequences are happening, do conservative moves that you can segue in an out of, and have an eye on where the event is going as no one is telling you details on a headset. Live events are all about rolling with problems and technology not working perfectly. How you roll with problems and how good you can make a team look despite them is a great talent to have. We are working for a production team, we are a service to a production team, we always want to make the production team look good!
Jimmy Jib Rentals NYC on Broadway!
Last month we had the amazing opportunity to work with the broadway show, Maybe Happy Ending! We supplied a 12’ Jimmy Jib Triangle rental, jib operator, jib assistant, and flew an Alexa with a Angeniuex 22-60. It was a fast paced shoot, many marks to hit with the leads, and lots of cool lighting elements. IATSE 1 set up an awesome and super solid platform above all the seating so the jib was free to fly. The cast and crew (especially IATSE 1), were beyond amazing to work with! The show recently posted this behind the trailer which features out NYC Jib Operator team quite a bit :). Check it out!
Dual NYC Jib Operator Experience! Two Jimmy Jibs for Basketball!
This past March we had a unique event at Basketball City in NYC. We got to provide two Jimmy Jib rigs for a 1 vs 1 basketball tournament. We supplied the NYC Jimmy Jib Rentals, the NYC based Jib Operators, assistants, and Sony FX9s for this marathon event. The show kicked off at noon and the winner was declared around 9:30pm. What a day of swinging jibs! Here’s a small highlight reel of the action!