HD100 on Jib Arm -- Problems? Tips? at DVinfo.net

Jack Walker · June 22nd, 2006, 10:31 AM

Has anyone used the HD100 on a Jib arm? I specifically have the Cartoni M100.

Are there any special considerations, problems, successes?

I am going to be doing a ballet instructional video, mostly barre work.

The purpose of the jib is for a gentle, floating feeling, moving from one person to another of different heights, moving from the instructor to the demonstrator, moving to aspects of the demonstrator while the instructor is talking, and to add some interest when the full length exercises are done just with music. Again, this is mostly fairly static barre work.

The camera has not arrived yet, so unable to test yet, but looking for guidelines based on experience. The current plan is to shoot in 30p, with possibly some 50p for slo-mo that is up-ressed.

The goal is a video in this class that is the next notch above what is currently available. The look is simple, clean and high class. We have excellent sound setup, dance studio with a high ceiling and a lightling grid, black duvotene curtain to cover the mirrors as needed... etc.

I believe the HD100 is the right camera for this. I want the 16:9 frame in SD now, then will redo it in HD when the delivery is available.

Manny Rodriguez · June 22nd, 2006, 10:55 AM

try Pro HD rentals, They got me a 24 ft crane, as far as the zoom controls and focused, they pulled a miracle and were able tu use the hd100.

Contact this guy

(818)450-1115 Aram

they are located in Burbank

good luck

Manny

Nate Weaver · June 22nd, 2006, 12:55 PM

I've done a number of shoots with the HD100 on a jib. Not so much "problems", but a number of things you have to concern yourself with on this camera that you don't with say, a DVX.

1-Remote zoom. Higher end jibs like a Jimmy Jib have built into their wring harness a connection for broadcast style remote zoom controllers, just like the HD100 has connection for. All you need to make sure is that you have the correct end connector for 8pin Fujinon.

If you're using a lower-end jib meant for MiniDV work, often they are not pre-wired for broadcast style zoom remotes. You'll have to find an extension cable for Fujinon 8pin. Varizoom sells these...I found that even in Los Angeles I couldn't find one to rent easily.

2-Remote Focus. Again, a breeze on the higher end jibs as they often sell kits for broadcast style lenses. You can always just shoot wide without remote focus, but be careful.

3-Monitoring. If you're doing the remote focus thing and plan on doing reasonably tight shots on the jib, make sure you have an HD monitor handy for the operator. Any cheap LCD HD monitor with COMPONENT inputs will do. If it's not connecting via component, it's not HD and therefor you're monitoring in SD. Not a good idea for critical focus.

Jack Walker · June 22nd, 2006, 12:58 PM

Thank you for the suggestion and phone number.

At the moment, I have the jib, though your source would be good for future use of a high jib.

I am also curious to know if there are any interesting observations peope have made why using a jib with the HD100.. in relation to different frame rates, movements that work/don't work, etc.

Nate Weaver · June 22nd, 2006, 01:19 PM

Quote:

Originally Posted by Jack Walker

I am also curious to know if there are any interesting observations peope have made why using a jib with the HD100.. in relation to different frame rates, movements that work/don't work, etc.

Mmm, nope. The HD100 isn't THAT special.

Steve Oakley · June 23rd, 2006, 12:03 AM

on a short jib - 3-5ft, you often operate from the camera end, not the back end as with big cranes.

bottom line is that you need a head with a light touch and good counterbalance. the head friction level needs to match the friction level of the jib or you will never get smooth compound moves without jerks. Running a jib like this is a lot like steadicam, it takes a lot of practice to get good and repeatable with shots once you really get into taking real shots.. it takes a very careful touch, you just can't whip it around and expect good results

with an instructional video, I'd not worry about fancy moves, its ALL about the content, NOT how cool you move the camera, its not what the customers are buying... nice camera work is a bonus, not a requirement. they are buying the video for its content, not its cool camera work.

Jack Walker · June 23rd, 2006, 11:21 AM

Steve,
Thank you for the comments. I have a cartoni jib, head, legs and dolly, with a fairly short jib set up. I will be operating the jib from the head. The Cartoni jib and head are very smooth, well-balanced, and it also locks off well. The dolly and jib make it very fast to change and setup shots. The purpose of the jib is as much to change shots as for camera moves... etc.

In the past I have used a PD150 with excellent results. However, the HD100 requires different handling. Handheld stuff is pretty much out as far as I can tell. The HD 100 isn't as easily taken off the tripod and quickly set on a bean bag on the floor or chair, put on a monopod, etc.

I don't have the HD100 here yet, but I have tried one and it seems like it will be easy to handle. The focus assist is amazing, and I have a lot of years of using manual lens on a 35mm still camera that makes the operation of the lens on the HD100 feel normal and comfortable to me. But we'll see....

June 22nd, 2006, 10:31 AM	#1
Jack Walker Trustee Join Date: Jun 2006 Location: Burbank Posts: 1,811	HD100 on Jib Arm -- Problems? Tips? Has anyone used the HD100 on a Jib arm? I specifically have the Cartoni M100. Are there any special considerations, problems, successes? I am going to be doing a ballet instructional video, mostly barre work. The purpose of the jib is for a gentle, floating feeling, moving from one person to another of different heights, moving from the instructor to the demonstrator, moving to aspects of the demonstrator while the instructor is talking, and to add some interest when the full length exercises are done just with music. Again, this is mostly fairly static barre work. The camera has not arrived yet, so unable to test yet, but looking for guidelines based on experience. The current plan is to shoot in 30p, with possibly some 50p for slo-mo that is up-ressed. The goal is a video in this class that is the next notch above what is currently available. The look is simple, clean and high class. We have excellent sound setup, dance studio with a high ceiling and a lightling grid, black duvotene curtain to cover the mirrors as needed... etc. I believe the HD100 is the right camera for this. I want the 16:9 frame in SD now, then will redo it in HD when the delivery is available.

June 22nd, 2006, 10:55 AM	#2
Manny Rodriguez Regular Crew Join Date: Nov 2005 Location: San Pedro, California Posts: 108	try Pro HD rentals, They got me a 24 ft crane, as far as the zoom controls and focused, they pulled a miracle and were able tu use the hd100. Contact this guy (818)450-1115 Aram they are located in Burbank good luck Manny __________________ Manny Rodriguez

June 22nd, 2006, 12:55 PM	#3
Nate Weaver Wrangler Join Date: Oct 2002 Location: Los Angeles, CA Posts: 2,100	I've done a number of shoots with the HD100 on a jib. Not so much "problems", but a number of things you have to concern yourself with on this camera that you don't with say, a DVX. 1-Remote zoom. Higher end jibs like a Jimmy Jib have built into their wring harness a connection for broadcast style remote zoom controllers, just like the HD100 has connection for. All you need to make sure is that you have the correct end connector for 8pin Fujinon. If you're using a lower-end jib meant for MiniDV work, often they are not pre-wired for broadcast style zoom remotes. You'll have to find an extension cable for Fujinon 8pin. Varizoom sells these...I found that even in Los Angeles I couldn't find one to rent easily. 2-Remote Focus. Again, a breeze on the higher end jibs as they often sell kits for broadcast style lenses. You can always just shoot wide without remote focus, but be careful. 3-Monitoring. If you're doing the remote focus thing and plan on doing reasonably tight shots on the jib, make sure you have an HD monitor handy for the operator. Any cheap LCD HD monitor with COMPONENT inputs will do. If it's not connecting via component, it's not HD and therefor you're monitoring in SD. Not a good idea for critical focus. __________________ My Work: nateweaver.net

June 23rd, 2006, 11:21 AM	#7
Jack Walker Trustee Join Date: Jun 2006 Location: Burbank Posts: 1,811	Steve, Thank you for the comments. I have a cartoni jib, head, legs and dolly, with a fairly short jib set up. I will be operating the jib from the head. The Cartoni jib and head are very smooth, well-balanced, and it also locks off well. The dolly and jib make it very fast to change and setup shots. The purpose of the jib is as much to change shots as for camera moves... etc. In the past I have used a PD150 with excellent results. However, the HD100 requires different handling. Handheld stuff is pretty much out as far as I can tell. The HD 100 isn't as easily taken off the tripod and quickly set on a bean bag on the floor or chair, put on a monopod, etc. I don't have the HD100 here yet, but I have tried one and it seems like it will be easy to handle. The focus assist is amazing, and I have a lot of years of using manual lens on a 35mm still camera that makes the operation of the lens on the HD100 feel normal and comfortable to me. But we'll see.... Last edited by Jack Walker; June 24th, 2006 at 12:30 AM.

June 22nd, 2006, 12:58 PM	#4
Jack Walker Trustee Join Date: Jun 2006 Location: Burbank Posts: 1,811	Thank you for the suggestion and phone number. At the moment, I have the jib, though your source would be good for future use of a high jib. I am also curious to know if there are any interesting observations peope have made why using a jib with the HD100.. in relation to different frame rates, movements that work/don't work, etc.

June 23rd, 2006, 12:03 AM	#6
Steve Oakley Trustee Join Date: Apr 2006 Location: United States Posts: 1,158	on a short jib - 3-5ft, you often operate from the camera end, not the back end as with big cranes. bottom line is that you need a head with a light touch and good counterbalance. the head friction level needs to match the friction level of the jib or you will never get smooth compound moves without jerks. Running a jib like this is a lot like steadicam, it takes a lot of practice to get good and repeatable with shots once you really get into taking real shots.. it takes a very careful touch, you just can't whip it around and expect good results with an instructional video, I'd not worry about fancy moves, its ALL about the content, NOT how cool you move the camera, its not what the customers are buying... nice camera work is a bonus, not a requirement. they are buying the video for its content, not its cool camera work.