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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich Harrington: Jim, we have a pretty big jib here with lots of pieces. I know I'd be intimidated on how it all went together. Can you just give someone a high level overview of what are the major components of the jib, and how you put this puzzle together? Jim Ball: Okay, so the components of a jib arm are your base, which is sort of the fulcrum point of where the rest of the arm will move around. And this is, of course the first thing I would want to set when I'm finding a position. Also knowing the length of your arm will also help you figure out where to put this base.
Rich Harrington: And I notice you have a lot of weight on the base to cut down any unwanted movement. Jim Ball: Sure. I'll put this stuff on last. The sand bags here. That just keeps the thing from tipping over. Especially if you're you're working with limited resources, and maybe there's not somebody always around to to watch that for you. Rich Harrington: Okay.So we've got the solid base, then what comes next? Jim Ball: Okay, once you've established the base and the turn radius and, oh, by the way, I'll often use a tape measure if I don't want to pull all this out yet to actually simulate the length of the arm and make sure I'm not running in to walls and into camera, the camera, where it wants to be, will be, I can imagine what that is in advance.
Rich Harrington: Yeah, because the last thing you want to do is actually rotate the arm and put a hole in the drywall of your location, right? Jim Ball: Right. Or, set it all up and then realize it's in the wrong place. This is not easy to move around. You need three people usually. One at each end, and somebody in the center so the thing doesn't kick out on you. Rich Harrington: ' Kay. So, we've got this attached. Once that's all done, I see sort of telescoping arms here. So how do you know how far to extend this end and how much weight to put on the other? Jim Ball: Right. So all of these guys start very small for affordability and travel and then you extend them out once you get, get it up on the base.
And usually you want to extend the arm out to its full reach. The back end where you put the weights to counter the balance the camera on the other end. Requires less weight if you're able to extend it out the furthest. Rich Harrington: So this is almost like the teeter totter at school. Like the bigger the two kid, the difference of kids on each end, the more you have to put or move the weight out. Jim Ball: That's right. Move up and down. And if you ultimately balance it correctly, it shouldn't move. Now, in this case, I have it weighted a little more positively on the camera end, because the move that I was making predominantly was from up to down motion.
So if you can let gravity work for you, It'll be smoother, right? Rich Harrington: The movie's a little smoother. Okay, so, it's not so much off-balance that it's crashing to the floor, but you have a slight emphasis so that it would gently flow. Jim Ball: Yeah. So on your weight end you always have this little guy that's a little fine tuned and this is how I use, this is how I fine tune where I want the gravity to help me. If I want to have more on the, on this end to help an upward move, I'll push it all the way to the end.
Or I'll add a little weight. And then this part, an up move will be much easier for me. If I want to have that negative on this end, I'll just let go, and you'll see that it'll, it'll actually do the move for me. And all I have to do is help it along. Rich Harrington: Very cool. Jim Ball: And then, if I want it totally neutral, I just find that sweet spot. An this is good when you want to walk away from it. You want this thing to be as neutral as possible, so it's not going to endanger anybody. I don't have to do anything. It's totally safe. Rich Harrington: Very cool.
Very cool. Alright, well let's drop that on down. An that looks really cool. An when we come back we'll talk about just a couple of operation tips.
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