Whip Pan Using a Video Monopod
One of the best low-cost support rigs for small video cameras is the monopod with a small stabilizer tripod base. These are incredibly light in weight, easy to travel with and offer videographers some interesting tricks. One of those is whip pan and snap focus.
Whip pan and snap focus, when done well, can convey a sense of excitement, urgency and anticipation within a scene. The technique introduces movement into the footage with a relatively small amount of effort. Whip pan can also be used as an in-camera method for creating a transition between scenes.
To execute a whip pan with a video camera mounted on a monopod, pan from one scene or subject to another as quickly as possible. You want the image to blur during the pan. Then snap the new subject into focus as the camera movement stops. It takes a bit of practice to execute correctly, but the effect is excellent.
Having the right kind of monopod can help. A good model for whip panning is Benro’s S4 Video Monopod ($199.00). It’s articulating three-foot base and compact fluid head provide the right amount of support regardless of the monopod's position.
3 Legged Thing Monopod
Monopods have caught on and keep getting lighter. For example, 3 Legged Thing’s new Alan Carbon Fiber Monopod with DOCZ Foot Stabilizer weighs only 1.3 pounds and costs $199.99. It can support 130 pounds yet closes down to 17.7 inches.
Many videographers now believe that using a monopod for video is the single best tool available for a shooter to improve production value. Though sometimes a bit risky, many videographers use monopods with larger bases as stand-alone tripods. Just be careful that no one knocks it and the camera over.
In addition to techniques like whip panning, a monopod offers inexpensive way of creating stable footage while on the go or in tight spaces. That’s especially important when shooting with a small SLR or micro-four thirds video camera. A pivoting ball in the base can allow the camera to be moved in any direction while remaining stable.
By sheer virtue of their size and weight, small HD cameras are difficult to hold by hand without stabilization. While a tripod can provide support, it’s often too large and cumbersome for fast moving news events that video crews must cover.
The latest video monopods are now small and light enough go in any camera bag. They are quick and easy to deploy. Videographers can work unobtrusively while remaining unnoticed. The right monopod/base combination can be life changing for any working videographer.
You might also like...
NDI For Broadcast: Part 2 – The NDI Tool Kit
This second part of our mini-series exploring NDI and its place in broadcast infrastructure moves on to exploring the NDI Tools and what they now offer broadcasters.
HDR & WCG For Broadcast: Part 2 - The Production Challenges Of HDR & WCG
Welcome to Part 2 of ‘HDR & WCG For Broadcast’ - a major 10 article exploration of the science and practical applications of all aspects of High Dynamic Range and Wide Color Gamut for broadcast production. Part 2 discusses expanding display capabilities and…
Great Things Happen When We Learn To Work Together
Why doesn’t everything “just work together”? And how much better would it be if it did? This is an in-depth look at the issues around why production and broadcast systems typically don’t work together and how we can change …
Microphones: Part 1 - Basic Principles
This 11 part series by John Watkinson looks at the scientific theory of microphone design and use, to create a technical reference resource for professional broadcast audio engineers. It begins with the basic principles of what a microphone is and does.
Designing An LED Wall Display For Virtual Production - Part 1
The LED wall is far more than just a backdrop for the actors on a virtual production stage - it must be calibrated to work in harmony with camera, tracking and lighting systems in an interdependent array of technology.