Articulated crane with camera mount on the jib head — delivers sweeping vertical and lateral moves from a fixed pivot. Faster setup than dolly, essential for opening sequences.
On set, you quickly notice where the jib arm plays to its strengths: a rigid or slightly sprung boom with a camera head at the end, controlled by two people via a counterweight and precise ropes or motors. You position the base once, and all vertical and sweeping horizontal movements originate from a single pivot point. This is the crucial difference from a dolly — no tracks, no time for reassembly, no uneven ground to sabotage your movement.
In practice, it works like this: for the opening shot of a scene — perhaps an orbit around an actor or a slow approach from above onto a tableau — the jib arm saves you valuable setup time. You need 20 centimeters of space for the base, a balanced counterweight (often with sand or lead weights), and two experienced grips to control the ropes or operate the motorized head. The radius of movement is precisely calculable — ideal for tight interiors, hallways, staircases, where a crane is impossible. I've used the jib countless times in interview situations to transform a static head-and-shoulders shot into a subtle, dancing camera movement without compromising depth of field.
Technically, you need a feel for balance and spring tension. A counterweight that's too light and the camera will nod disproportionately; too heavy, and the movement becomes sluggish. Modern motorized jibs have electronic damping that solves this problem — for which you need an additional operator and a power generator. Hand-controlled jibs are cheaper, faster to set up and dismantle, but require two strong grips with a steady hand. Vertical movement is achieved via ropes with a pulley system; the pan around the vertical axis is a simple rotation of the entire base — or with long arms, a guided arc.
Where the jib arm reaches its limits: it cannot follow and reposition itself simultaneously. Once the base is in place, the radius of movement is geometrically defined. For long, continuous push movements or organic camera dances, you still need a dolly or Steadicam. But for openings, transitions between shots, and architectural reveal shots? The jib arm is your first choice — fast, elegant, and the viewer won't notice the camera is hanging from an invisible line.