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Operating a jib

From: DSLR Video Tips

Video: Operating a jib

Rich Harrington: We've got the jib built. I see that it's attached with a ball head,

Operating a jib

Rich Harrington: We've got the jib built. We've got it balanced, and now it's time to operate. And, I have no idea how you do this. I've always been impressed with good jib operation. Jim, give folks a couple of practical pointers, once it's built correctly, on how you get those shots that just look so great, and keep getting you rehired. Jim Ball: Okay, well first of all, practice, practice, practice, right? Practicing on your own, if you, especially if you own some gear, or you can get your hands on it, is always preferable to trying to learn on the job.

Preparation, that's part of preparation that makes, a), shoots go more smoothly, and b), you'll have more fun. All the, if all the work goes into the prep, like practicing and knowing how to build things fast, it'll make everything better on the day of the shoot. Rich Harrington: So, you don't get to the extreme of like we see in the military movies, where you get blindfolded and you spread the pieces out and you put it together in the dark. Jim Ball: That's not a bad idea, I might, I might not be as extreme as somebody that needs to put something together to save his life, or his buddy's life. Rich Harrington: Right. Jim Ball: But, for me anything that can be learned through routine, Is just going to be so much better in this sense.

It allows you then to focus on the creative and storytelling aspects and the people aspects of your shoot. This stuff is second nature. So, there's nothing worse than having to concentrate on your tools so much so that you can't even concentrate on what you've been hired to do. Rich Harrington: Alright well show us a few moves, up and down and how you adjust the tripod head to really pull this off. I see that it's attached with a ball head, same sort of one you put on a normal tripod. I mean in fact, this could move from here to here if it needed. But just show people how you operate. Jim Ball: Okay. Well, in this particular case of this jib arm, it's a manually operated jib arm, so you're not somewhere else with electronic controls.

So because of that you're trying to reduce the amount of human touch in these move. You want, you want them to feel as smooth as possible. So one of the ways to do that is to take out this pan and tilt factor as much as you can. I know it's, it's, it seems kind of strange that you'd put this head on here and then not use, use that, that feature. But the thing is, if you can use the jib arm for the move, and not have to introduce these other human movements, it just is a better move.

So if you can do your framing and place the base where it wants to be to minimize human elements. And so, just ups, and I may have to do a bit of a correction. And with practice, you can correct a little bit. But one of the worst things you want to do is to show someone that a person is operating this, this thing, you know. Rich Harrington: So, ideally, the camera just appears to be floating? Jim Ball: Ideally. You want people to focus on what's happening before the camera, not the guy behind the camera. If that happens, you're kind of not doing your job.

Rich Harrington: Alright, well, Jim, this is some great practical advice. And, you know, with the DSLRs, we've actually attached a cam ranger. We'll explore this in a later episode, but if you had the camera all the way up, we could actually remotely trigger or adjust the camera, which works well. Do you often keep a ladder around as well, in case you have to make adjustments? Jim Ball: Right, one of the disadvantages of a manually operated jib arm is that, you know, it puts your body in some situations that might not be ideal. Rich Harrington: You don't want to be standing there on set all day trying to do this overhead. Jim Ball: And if you're not comfortable, it adds the very thing I just talked about, which is that human element that takes people out of the story.

So the idea is, to find a sweet spot in the range where you're the most comfortable. And then build out your operating ranges with a ladder, a stool, sometimes some boxes that I need to, that I'll step on during the take. And also, your monitor, whatever you're seeing the shot with, sometimes I'll use a monitor off to the side, sometimes I use something on the camera. That needs to be also set up for the sweet spot in your move so you can see what you're doing throughout most of the shot. But, there's always going to be that situation where you, you know, it won't be optimal.

But sometimes they'll set up two monitors, one for the top of the range and the bottom of the range. So, again I'll build boxes, so, I can always put my body in the most comfortable position. Like, if this was a longer concert or a longer performance, I might have to do this for An extended period of time, in which case I want to be comfortable, cause if my knees start buckling and my hands start shaking, it's unusable. Rich Harrington: Right. Jim Ball: It's unusable stuff. Rich Harrington: Excellent. Well, Jim, very practical advice and thank you so much for walking us through how to use a jib. There's lots of brands out there, this is not necessarily a piece of equipment you have to buy.

Right, a lot of grip houses will rent these, or you know, you could, or your DP that you work with might have one. Is that correct? Jim Ball: Yeah, I mean the disadvantages of the manually operated jib arm actually can be offset by the advantages, which is the low cost. So it can add a huge amount of production value to your, your low budget project. So it's entirely affordable, within relatively speaking. But, however, a lot of grip lighting and grip houses and camera rental houses will very often have several versions of this, some lighter than this, and more portable, and some bigger.

So, a lot of times, if you, you just decide what the throw needs to be, if it's just a small throw, like five or six or eight feet there are relatively inexpensive models, both to purchase and to rent. And then the bigger ones require a bit more skill, but they're available too, and they will get you up to 30 feet, 40 feet, I mean, the sky's not the limit, but you can, you've got a lot of choices. Rich Harrington: Very cool, very cool. Well, Jim, this looks awesome, and I also just want to point out one last thing, that if you needed something to work like a slider or a dolly, you could actually do some similar type moves with this, right? Swinging the camera, moving it in and out? Jim Ball: Yes, it has, you know, the possibilities of, of ranges and camera angles are, are, are very versatile with this.

You obviously can't pick it up and move it, but the other thing you can do is put this on a dolly. And so that horizontal movement that you don't, that you're limited to with a base like this, you can extend that. So the possibilities are, are great. Rich Harrington: All right, excellent. Well be sure to check out using a jib for your next production. I really think you'll like the types of shots and creativity it adds.

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This video is part of

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DSLR Video Tips

350 video lessons · 102046 viewers

Richard Harrington and Robbie Carman
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 23s
    1. Welcome
      2m 23s
  3. 3m 36s
    1. Frame size recommendations
      3m 36s
  4. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  5. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  6. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  7. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  8. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  9. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  10. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  11. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  12. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  13. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  14. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  15. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  16. 4m 44s
    1. Shutter speed explained
      4m 44s
  17. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  18. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  19. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  20. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  21. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  22. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  23. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  24. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  25. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  26. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  27. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  28. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  29. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  30. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  31. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  32. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  33. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  34. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  35. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  36. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  37. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  38. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  39. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  40. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  41. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  42. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  43. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  44. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  45. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  46. 23m 8s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 14s
    4. Performing a wet sensor cleaning
      4m 11s
  47. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  48. 14m 53s
    1. How do I import into Final Cut Pro X?
      59s
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  49. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  50. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  51. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  52. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  53. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  54. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  55. 13m 57s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 14s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  56. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  57. 10m 29s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 30s
    4. Evaluating the result
      4m 16s
  58. 31m 22s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 51s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  59. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  60. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  61. 9m 8s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 19s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  62. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  63. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  64. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  65. 15m 48s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
      45s
    3. Adjusting aperture
      2m 14s
    4. Evaluating the shots
      9m 20s
  66. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  67. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  68. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  69. 19m 27s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 21s
  70. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  71. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  72. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
      36s
    4. Recording with a click track
      53s
    5. Syncing in post
      6m 8s
  73. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
      48s
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
      55s
  74. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
      56s
  75. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  76. 28m 47s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 12s
    6. RAW Workflow
      4m 38s
  77. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  78. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  79. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  80. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  81. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  82. 21m 56s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 13s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  83. 15m 58s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 22s
  84. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  85. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  86. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  87. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  88. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  89. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  90. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  91. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  92. 14m 46s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      3m 46s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  93. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  94. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s
  95. 2m 30s
    1. Goodbye
      2m 30s

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