Camera Movement Gear — Tripods, Sliders, Dollies, Gimbals, Steadicam, Jibs, Vehicles and Drones

• Fluid head — A viscous fluid inside creates resistance so pans and tilts move smoothly at a steady speed. Adjust the drag to suit the pace of the scene.
• Counterbalance — Set it to the camera’s weight and the camera stays put when you let go mid-tilt. Reset it when you change lenses or accessories.
• Leveling — Center the bubble on the head’s level before you shoot. If it’s off, the horizon tilts as you pan.
• Low positions — For shots near the floor, use baby legs or a support that sits right on the ground.

• Slider — Glides just the camera along a short rail. Good for adding small moves in tight spaces or on product and insert shots.
• Dolly and track — A wheeled platform carries the camera and operator along rails. Level the track with wedges and blocks, and roll the dolly along it to check the joints are smooth.
• Floor dolly — On a smooth floor the dolly rolls on its wheels without track. Even a small bump shows up as shake, so check the floor first.
• Hitting marks — The dolly grip marks start and stop positions on the floor and rehearses them several times with the focus puller.

• Gimbal — Motors on three axes correct the camera’s tilt. Setup is quick, but it only corrects rotation, so the up-and-down bob of walking remains. Balance the camera’s center of gravity precisely so the motors don’t strain.
• Steadicam — Reduces shake without motors, using a vest, a spring-loaded arm and a long post (the sled). Weight spread above and below reduces the tendency to rotate, and the arm absorbs the shock of each step. It takes a skilled specialist operator.
• Handheld — A shoulder rig puts the camera’s weight on the shoulder. The shake itself becomes immediacy and urgency. Heavy cameras are tiring to hold for long, so have a rest stand ready between takes.

A jib holds the camera at the end of a long arm, balanced by counterweights at the other end, so you can change height to reveal the space. The camera pans and tilts on a remote head operated while watching a monitor. There are also large cranes that carry people.

• Swing radius — Keep people out of the area the arm and counterweights pass through.
• Balance — Lock the arm before mounting or removing the camera, and follow an order that keeps weight from shifting to one side.
• Ground and wind — Set up on firm, level ground, and outdoors check that wind isn’t pushing the arm.

• On public roads, first check with the local authorities whether you need permits and traffic control
• Have an experienced team install the camera car and car mounts, with a safety line on every mount
• For scenes where the actor needs to focus on the performance, consider towing the picture car instead of having the actor drive
• Agree on radio calls between vehicles (go, stop, reset) in advance
• Seat belts for everyone on board, and stick to the agreed speed and route

Flying a drone for filming may require flight approval and aerial filming permission depending on the area, altitude and aircraft. Rules vary by country, so check the required procedures and lead times with the local aviation authority, and arrange pilot certification and insurance in advance. On set, split the roles of pilot, camera operator and a spotter watching the surroundings, and plan routes that don’t fly over crowds. Keep checking the wind and battery levels.

A zoom and a dolly in both make the subject bigger, but they look different. A zoom only magnifies from the same spot, so perspective doesn’t change; a dolly in physically moves the camera closer, so the space in front and behind shifts. Dolly in while zooming out, and the person stays the same size while the background stretches or shrinks, creating a distinctive image.