One of the most impressive ways to open or close a scene is by moving the camcorder up or down past a tall foreground object to your subject. You do this by using a jib or crane. Sometimes you hear these names used interchangeably, but a jib usually consists of a long arm with the camcorder on one end and counterweights on the other. The whole rig mounts to a tripod base. A crane can be a larger version of this, but it also includes designs that allow the camera operator and even a director to sit on the same moving platform as the camcorder. Consequently, cranes are normally something you rent. Like dollies, jibs have undergone recent retooling to make them affordable and usable by even a single operator. Less expensive jibs will fix the camcorder at a constant angle to the ground throughout its range. More expensive designs give you the ability to tilt and even pan the camcorder as you raise or lower the arm. If you are thinking of getting a jib in the future and have not purchased your tripod yet, be sure to account for the additional weight when ordering your head.

Perhaps the most exotic and flexible way to move a camera is by using a motion stabilization system. Steadicam has become practically a generic term, though wrongly applied, for all such systems. This category has exploded with innovative contraptions with a wide price range. If you need to move while shooting and can't be encumbered by laying track, then a motion stabilizer may be right for you. Motion stabilizers can be broken down into two main categories: those you support with your arms and those you support by wearing a special harness. If you have a relatively light camcorder (one that won't fatigue your arms when you hold it at odd angles for extended periods), then any one of the smaller handheld devices may suit your needs. They are certainly less expensive and are often easier to set up and balance. Harness-style systems are usually for larger prosumer and professional camcorders, and they tend to have the widest price range. Most of the systems on the market today are capable of providing very fluid-looking video, but all require moderate to significant amounts of practice.

So if your pans are still a bit shaky, your tilts are a little jerky and your general camcorder movement is less than fluid, then you might be in the market for a new stabilization device. We hope you'll use the information we've given you here to research your next equipment investment, one that will make all of the shots in your next video rock-solid and silky-smooth.

Contributing editor Brian Peterson is a video production consultant, trainer and lecturer.

Fluid heads use hydraulic pressure to regulate the resistance (drag) of both tilt and pan movements. But you'll hear the oft-touted phrase, "fluid-like motion," used to describe heads that rely on lubricated friction fittings, so it can be confusing. This is one of those features that probably is determined by price and need. Consider a fluid head if you are an advanced shooter who will be doing a lot of tilts and pans on medium to extended zooms, can afford a head that may cost more than your camcorder and have an audience that will notice the higher quality.