Universal Jibs is excited to announce adding a SmallHD 1303 HDR monitor to the equipment roster! This monitor is amazing and has been something I’ve been wanting to punch on for a while. Being a jib operator in New York City (NYC) means we can be outside in all kinds of weather, including the sweltering heat and humidity you’d think was only reserved Florida. The SmallHD1303 has a brightness of 1500 nit which makes seeing the monitor with the sun right over your shoulder easy as can be. Prior to acquiring this unit, I used a combo of a Marshall MDVLCD9 and SmallHD702 Bright for outdoors. The Marshall monitor is an early model daybright, but no where near the screen power as SmallHD. It was however, a bigger screen size so it was easier on the eyes and I could just have the SmallHD unit set to the side incase the sun really started to obstruct my view for pulling focus or framing. As luck would have it, I was on a job where the 3 Phase power was set up incorrectly for the whole production, which was a live dinner event for about 5,000 people. The event literally kept going in to darkness over and over again while they tried to figure this out!! My Marshall became a victim of circumstance so I was suddenly in the market again for a monitor. I was torn between Boland and SmallHD Daybrights but ultimately I was just on set filming a few days for the PBS Series “Breakthroughs” and the directors monitor was a smallHD 1703. I was blown away by EVERYTHING on it…..2 weeks later I finally got enough guts to punch it : )
Using Jib on IMAG: Part 1
So why use something that typically does wide shots on IMAG? Usually IMAG is used to show something you can’t see which is far away right? Jibs have an amazing way of connecting all of the production elements in space to give the viewer a much better experience of of what’s going on in there. Sitting in audience, you don’t usually notice things like the uplights on walls, lighting gobos on ceilings, light beams going thru haze, the lighting grid, or just sheer size of the space. Since jibs have an ability to fly thru the air and often feature wide angle lens, they can connect all of these elements and show them off as a whole work of art vs noticing them one at a time. Jibs connect the viewer into an exciting environment, even if that person is sitting in a chair right there! A jib can start off a shot that is super wide showing all these elements and fly right into a close up of someone on stage, what’s cooler than that?? Watching that on the big screens is far more exciting to see than a placeholder graphic dissolving into a person at a lectern finally ready to speak. That graphic is really there to hide the person walking up, doing the fake move to the lectern but getting caught with hand shakes, shuffling papers out, putting reading glasses on….dropping the reading glasses, A2 running up to the stage to adjust the mic for someone having trouble…. Why not have some awesome jib shots to pace this all out OR just show off the crowd?? : )
Check out the shot below. This is great b/c you can see the program feed on a big screen! As I fly in, you can see how it’s a little bit chaotic around the lectern. There’s a few hand shakes in the speaker switch off, not everyone is sure where to go, etc. If you just be a little bit wider and fly in, you can hide some of this and cut right back in when the speaker is fully ready.
The video above shows off all of the amazing lighting at this wedding event space. This gives you a view you cannot get sitting in a chair in the audience!
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!
