Keeping a Stable Picture (MMM, Episode 12)

Hey everyone,

Madeline here, back with another entry in The Movie Minute, and this week’s topic will be the use of run-and-gun videography vs. using tripods, monopods, gimbals and other devices which we fix our cameras to. Using a good tripod, which can come from many brands such as Manfrotto or SmallRig, ensures that the cameras used will remain in place, helping to prevent sudden, shaky pictures that could negatively affect the production. However, tripods can often take time to set up, and they’re not always 100% practical for all situations.

On the other hand, shooting projects with the run-and-gun method can be less cumbersome, especially when certain situations require fast, quick movement. However, there is also the risk of having an end result with a picture that is too shaky and unstable. While many modern camera bodies and lenses have stabilizers built-in, they are not always enough.

That’s when various accessories and attachments come in handy, such as a monopod, which has one leg as the name suggests. Monopods, while smaller in size compared to tripods, can be quite versatile and useful, either acting as a way to hold the camera to the ground when fully extended, or as a pendulum when going handheld.

Another great option that has emerged in recent years is a camera gimbal. While gimbals are more pricier and complex compared to monopods, they are also more advanced in that it maintains the camera’s balance even when the handle is moving side to side, and it can also provide for the ability to pan and tilt. Gimbals such as the Zhiyun Crane series have been incredibly helpful for run-and-gun photography at Poor Bear Stories, especially for producing tracking shots or following a moving subject. If we feel a shot needs more of a polished or steady look with added movement, the gimbal is a great selection.

For more formal and structured settings, such as professional interviews, having the camera mounted onto a tripod is a must. The three legs on the tripod provide stability for the camera to sit still, and many modern tripods also come with an arm for panning or tilting the camera.

It’s important to know that tripods come in various shapes, sizes and build quality and all solve specific and, at times, very unique problems. For example, fluid head tripods work best for videography, compared to ball head tripods so that any camera movements will be more smooth and less jerky. However, ball heads come in lightweight and small form factors – making them ideal for travel and run-and-gun situations.

Here at Poor Bear Stories, we use tripods, monopods, and gimbals regularly, depending on the situation and what type of content we’re producing. In addition to the stabilization solutions when shooting, certain tools in post-production can help as well. One such effect is warp-stabilizer, though it isn’t one size fits all and often needs fine tuning depending on the type of shot.

Overall, there are a variety of options to choose from when planning for your production and aesthetic requirements. Nevertheless, it’s vital to get a stable picture as much as possible to ensure a smooth end result to work with.

That is all for this week’s entry in The Movie Minute. I wish you all the best, and stay tuned for next week’s entry! -Madeline

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