Camera movement using a telescopic crane arm enabling arc motions from 0.1 to 22 meters high. Chapman Hustler reaches 9.1m, Technocrane up to 22m range.
Standard jibs consist of a telescopic or fixed arm with a counterweight system, mounted on a tripod or dolly. The Chapman Hustler Jib achieves maximum heights of 9.1 meters with 360° rotation, while Technocrane systems offer a reach of up to 22 meters. Remote heads (like the Libra Head) enable simultaneous pan, tilt, and roll movements of the camera during the jib movement. Precise movements require hydraulic damping or motor control with speeds of 0.1-15°/second. Modern systems integrate encoder sensors for repeatable motion sequences.
The first documented camera crane was created in 1929 at Universal Studios for "Broadway." Allan Dwan had already developed primitive crane setups in 1915 for wide-angle shots. Chapman-Leonard introduced the standardized Titan crane in 1960, followed by the more compact Hustler Jib in 1975. Technocrane revolutionized precision crane movements in 1985 with the telescopic SuperTechno 50. From 2000 onwards, remote head systems like the Gyro-stabilized Flight Head enabled complex movement combinations without a cameraman at the end of the crane.
Martin Scorsese used a 3-minute jib shot in "Goodfellas" (1990), moving from street level to a penthouse terrace in a single continuous shot. Paul Thomas Anderson combined jib movements with Steadicam in "Boogie Nights" (1997) for seamless transitions between spaces. Typical workflow: Keyframe programming of crane positions, rehearsal with video assist, final shot with focus puller monitoring. Jibs require at least three operators: crane operator, remote head operator, and focus puller.
Jib movements differ from crane shots due to limited reach and arc-shaped movement patterns. Cable cam systems offer greater flexibility but require complex rigging points. Drones are increasingly replacing low jib positions up to 5 meters in height but do not achieve the precision of motorized crane systems. Russian Arms enable similar movements with less setup effort but are limited to handheld camera weights under 8 kg.
Ich kalkuliere bei Jib-Setups 45 Minuten Aufbauzeit für Standard-Konfigurationen und teste vorab kritische Fokuspunkte, da Remote-Pulling bei extremen Brennweiten über 100mm problematisch wird. Die Bildstabilisierung erfordert bei Kranfahrten mindestens 1/125s Verschlusszeit, um Mikrovibrationen zu eliminieren, besonders bei Wind über 15 km/h.
Ich setze Jib-Bewegungen gezielt für emotionale Wendepunkte ein – die aufsteigende Kranfahrt verstärkt Triumph-Momente, während absteigende Bewegungen Niederlagen oder Bedrohungen visualisieren. Die Bewegungsgeschwindigkeit programmiere ich bewusst: langsame Fahrten von 2-4°/Sekunde für dramatische Momente, schnellere bei 8-12°/Sekunde für Actionsequenzen.
Jib-Tage kosten 800-1500 Euro Gerätemiete plus drei zusätzliche Crew-Mitglieder, reduzieren jedoch Drehtage durch effizientere Coverage komplexer Szenen. Setup-Zeit von 45 Minuten erfordert Pufferzeit im Drehplan, während Technocrane-Systeme 2-3 Stunden Vorlaufzeit und LKW-Anlieferung benötigen – Location-Zufahrt muss 3,5 Meter Breite haben.
1. Was beschreibt „Jib-Bewegung" am besten?
2. Zu welchem Department gehört „Jib-Bewegung"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.