The perfect jib vehicle for being a NYC JIB operator

Jib Operators around the country have it so easy compared to here in NYC! Being jib op in NYC is a little cut throat with loading. Forget the paralyzing traffic, most venues are super old and were never designed for modern load ins. Loading docks are very small and sometimes you can only street load into a stage door. THEN, what do you do with vehicle?? I honestly have no idea what people do with their box trucks OR trailered vehicles! For me it’s super simple, I can fit a 30’ JJ Triangle, many cameras, tripods, and lighting right into a Toyota Sienna minivan. Productions that have reserved street parking love it b/c they think you’re coming with a truck and that means you take up way less space! Parking garages never turn you away and you can street park a whole lot easier than a sprinter van!

When this jib op takes a camera crane rig down to newer buildings in the DC area, I’m always amazed at how intelligent venues are set up! NOT the case in NYC!!

Jibs vs Drones Part 3: Practicality

Another installment of jibs vs drones! This time, let chat about the practicality of both. Say you want to do live sweeping shots a parade and be connected to a live switch. That seems like it’s a slam dunk for a jib right right? However, it’s surprising the number of people that are trying to turn to drones for this. Of course, the drone can soar far about the parade lending views a jib could never do! But is this practical? First of all, let’s forget the legality issues with doing that as it’s sort of obvious there would be loads of them. Let’s focus on work flows. A drone needs frequent battery changes, is not as weather proof, and only get you a handful of shots. Jibs can run off AC and don’t burn thru battery power nearly as fast, so that lets us provide much more sustained coverage. With proper rain gear, jib rigs are impervious to torrential rain that would make a drone crash almost instantly. The drone would be locked into some kind of blimp camera angle. That’s an amazing shot, but it’s not nearly as versatile as a jib would be. When I’m jibbing a parade for example, I position the end of my arm to come within a few feet of the floats. This lets me very high and wide but still maintain an eye angle to the people on the ground. It also lets me zoom right into close ups of people on the float and give the effect of flight within that space. Doing this with a drone would certainly be an amazing skill set, but those propellors can slice a person up very easily so it’s just too risky. Even the smallest contact with a tiny branch can knock an sUAS out of the sky. For now and years to come, it’s simply not technologically feasible to do this kind of camera work with a drone. This doesn’t mean a drone shouldn’t be considered for some grandiose high and wide shots, they will look amazing!

Why jib ops love wide angle lenses?

Why are always asking for super wide lenses when we get a say in lens choice? This tends to apply most to events, cool spaces, or epic scenes. The jib has a role of establishing the space BUT also taking you into it. You don’t need much zoom to achieve this b/c the tight camera angles will capture those details. I have two polar opposite situations where wide angle lenses are super useful to me. The first one is MMA and the second is orchestras! In MMA, you want to position the end of the jib so it comes just over the cage bar. With a solid 2/3” 14x4.3 or a 4.5x13, you can usually fit the entire cage in your shot when flying around it. When it’s time to take viewer into the cage, you can boom out from the crowd, go super high over the cage, and then drift down INTO it for quite an experience if you’re watching it on a big TV at home. For orchestras, a lot of clients love the jib right on the stage to get the perspective of flying over the musicians. A super wide zoom lets you get the entire stage in the shot and zoom right into close ups of fingers on instruments or bows moving on violins! On top of that, you can start doing jib moves zoomed in while booming in the opposite direction to create a pretty trippy effect!

Jib Vs Drones Part 2: Legal

The saga continues, Drone or Jib?? They both have their uses but this series is more about considerations which may not always be obvious and that leads up to the legal subject. Not all drone operations are legal to do in the eyes of the FAA. Furthermore, the rules of Part 107 gave communities the go ahead to make their own laws and ordinances on the subject. Flying within the rules of the FAA may actually be violating some kind of local regulation. For example, there are plenty areas within New York City that are not Class B controlled airspace but the city still has banned drones everywhere except AMA fields. Other towns in NJ have made it illegal to fly a drone anywhere other than the lateral limits of private property. It’s getting intense nonetheless! Jibs are still a very handy resource in red tape situations like these.

What is helpful is that an automatic authorization system for surface level class B, C, D, and E airspace has gone live around many airports in the country. This changed the authorization process massively as it may only take a few moments on an app vs 90 days with the FAA. However, what do you do if you can’t get an authorization OR you get an authorization but local regulations prevent you from flying?? If you can’t get authorized, it’s game over. Then it’s jib time. If you do get authorized but it’s still illegal to fly? You may be dealing with red tape, more asking for permission, or going back to the ole reliable camera jib.

Drone flights directly over people are still NOT allowed by the FAA or by local governments. You can fly “around” people but the flight path can’t go directly over anyone. Some cities have restricted this even further by creating specific regulations to keep drones away from people. For massive shots directly over people, jibs still are the best and safest option.

If you think airspace may cause an entanglement for a shoot you a planning, please feel free to reach out to me at steve@Universaljibs.com to discuss options!

Rain Gear - Protect the Jib

I’m probably way to excited about this subject, but having proper rain gear has really saved me from having to replace parts on the Jimmy Jibs. Being a NYC based jib rental operation in the summer months means it can be sunny one minute and pouring rain the next. I found wrapping electronic components with garbage backs to do well except for certain potentiometers on the zoom/focus handles would die and occasionally there’d be trouble inside the control box. Shooter Slicker makes amazing rain covers for Jimmy Jibs and can customize anything for your particular needs. https://www.shooterslicker.com Since investing in these easy to use covers, I haven’t had to do a single repair following a gig in a monsoon. They have a great control box cover which I have modified to seal around an israeli arm mount for my monitor. Being a jib operator in New York City also means shooting in the freezing weather! The control handle covers come in handy in the winter as well b/c you can put pocket heaters in there to help keep your hands warm on a cold day! I’m still in search of warm gloves that give you full function on touch screens and tactile touch on controls. For now I layer up latex gloves with pocket heaters in the control covers.

Jib and Drone Footage: Fun with Slow Mo!

In my spare time I’ll get out into more secluded areas in NJ and break out the drone. Slow mo helps capture the true beauty of natural elements. They often happen way too fast to take them in so seeing them from angles you can’t be in or at speeds that don’t exist is a great way to change things up. Check it out. I promise this waterafall is much bigger in real life. It’s approximately 25’ from the base to the top!

Canon CN-E 17-120 on a JIB

What a wonderful lens! Many times a year the client springs for the Canon CN-E 17-120 F2.8 and they never regret it. When shooting live content and with large sensor cameras, it’s always tricky keeping up with focus. It gets especially tricky if the jib is swinging around aggressively. Cine servo lenses such as the Canon CN-Es or Fuji Cabrios help solve this issue as they are fully parfocal servo zoom lenses. They blend the functionality of a 2/3” broadcast zoom lens with the super35 world. The CN-E 17-120 is a lens I particularly like to use….I know who doesn’t like a $25k+ lens?! The servo motor is extremely clean and accurate. I can start jib moves and at any point sneak into a super subtle push. You should expect this kind of quality from high end ENG lenses, but I haven’t quite experienced a lens that was THIS accurate with its servo. A good measure of quality is how easily you can start and stop a zoom from it’s beginning and end points. With lesser quality ENG lenses or simply beat up ones, I find the starts/stops aren’t perfect. When completely wide, you sometimes get that dreaded zoom bump when starting a push. I work around this by tapping on the zoom control to get the lens slightly off the starting point. It does not give any noticeable amount of push, but it allows me to comfortably sneak into a push without having to think about it. On the 17-120 this is never a worry!

Jibs Vs Drones Part 1: AUDIO

It’s a common question DPs often have for me and unfortunately the answer isn’t always clear cut. Big swooping wide shots are very important tools for editors as they transition scenes together and connect you into a larger space. But what is better when you need to consider audio?

Jibs make very little noise and often the fans on larger sensor cameras are far louder than anything electronic on a Jimmy Jib. This means all of the swoops and establishing shots can be accomplished capturing live audio! Drones are very loud and even the smallest and quietest ones will sound like a landscaper is out to drive your field recordist crazy. If audio capture is important, then jib is the way to go.

There is a gray area here though. What if it’s an outdoor wedding and you’d like some big shots? The drone flying 400’ off the ground may not interfere with audio if it’s a small unit, but you lose a lot of perspective and intimacy of the shots. That being said, maybe you want a few of those big shots to show off the surrounding? However, if you are flying low enough so the subjects don’t look like ants, you are probably ruining the audio a well as making all of the guest listen to a drone! A large format jib such as an 18-30’ Jimmy Jib Triangle, paired with a wide angle lens, will get an impressive height perspective and also allow you to zoom close up to the subjects without disturbing audio capture or the event itself!