The Four Types of Camera Rigs

Before we zoom in on object rigs, here’s the full picture:

• Vehicle Rigs – Mounting to cars, ATVs, motorcycles, go-karts, etc.

• Body Rigs – Mounted to talent (chest, knee, helmet, etc.)

• Moving Camera Rigs – Move the camera in a pre-defined movement on a rigid structure

• Object Rigs – Attached to props, furniture, tools, bottles, etc.

I love doing object rigs. The stakes are low, the shots usually turn out pretty cool, and the components don’t cost a lot of money. There is so much room for creative freedom and alternative methods when building them.

The 4 Traits of a Solid Rig

Grips love to say there are 25 ways to do anything. Gear preferences are personal, and everyone’s got their own method to get the same result. If every rig can be built 25 different ways (exaggeration) then what’s our north star? Every rig lives somewhere on this matrix:

A perfect rig balances all four. Some builds need to be bulletproof. Others need to be tweakable. But we don’t live in fairytale land - each quadrant is a matter of priority. Short on time? Lose any adjustability and piece it together with items on hand. It might not look cool but hopefully it’ll be rigid and easy to use.

You’ll rig based on the object, shot, camera, and production needs. But once you know your priorities, the next step is thinking in systems.

Build With a System, Not Just Parts

The best object rigs come when thinking about systems, not individual components.

Now when I say system, I’m talking about the core of a rig. Two 5/8” rods on either side of the camera that shoot out to attach a water bottle aren’t going to get the job done. Talent starts interacting with the bottle, swinging it around, drinking from it - it’s not a rigid system. Your rig will probably shift with only those 2 attachment points.

So what would work better than this? A few things:

Triangulation

Triangulation is always a good place to start when it comes to any grip rig - car rigs, body mounts and object rigs. Here’s another rig where we could have just sent out two 5/8” rods on either side of the camera to attach the barbell but instead we implemented triangulation.

Over Unders

Over unders work well when you want to keep things small but want extra reinforcement. We’ll use over unders on goalposts all the time - two pipes coupled together will deflect less than a pipe on its own.

Cheeseplates

Cheeseplates give you the most rigid surface to rig from. They have the added bonus of also providing solid grab points for operation. Operating from the camera in this instance wouldn’t have worked, so having a solid system allowed the operator to grab from the cheeseplate.

Operation is also difficult because the operator is confined to holding the camera only. Holding the camera exclusively in this instance doesn’t provide any support closer to the object, which is going to be handled by talent. Some sort of support option for an area that is closer to the object being rigged balances your load more evenly - support the camera and the object simultaneously as opposed to just the camera. This gives the operator more stability and also the option to better micro-control the product movement. Let’s dive even deeper.

Object Rigging Isn’t Just Mounting a Camera

Well, sometimes it is - throw a camera on the neck of a guitar or another large object. The object operates the shot, with the camera attached. What I’m really talking about are handheld camera rigs where the object doesn’t necessarily support the full weight of the camera.

Let’s imagine that you can live right in the middle of the chart above for every build. Let’s talk about the ideal handheld camera rig.

You're not just taping stuff down or clamping a GoPro to a fan. You’re building a system that supports both the object and the camera in relationship to the shot. The operator needs to be able to either operate the rig and direct the camera movement or take a secondary role and support the camera while the actor moves it. The nuance here is subtle but it makes a difference.

My definition of a “system” builds out available operating points and adds rigidity to the rig with a central skeleton

I used to get caught up thinking about how the DP / operator would operate the rig with this heavy object attached to the camera. But most of the times that was the wrong approach. It’s not binary — operation can shift between talent and operator. What I really needed to think about was how to build a system that supports both the camera and the object and then who would be the one to direct the movement. The rig’s “operation” points may not even be on the camera when all is said and done. Is talent going to control the camera motion or is the camera operator? I find when one person doesn’t have the majority of control on most rigs then it doesn’t work as well.

When using an object rig the operator may find that the talent directing the rig movement might work better than the primary assumption that the camera operator directing movement would work. But if you’ve built a system that has a core skeleton it makes operating the whole rig anywhere off the skeleton much easier. It’s a balance between providing options while simultaneously not adding unnecessary bulk to your rig. Plus a solid system (skeleton) helps keep the whole rig rigid and usually also improves adjustability. Win win.

This camera rig was build as a system and gives operation points

That mindset shift changes everything. Your job isn’t just to “attach” things — it’s to design rigs that:

• Join the object and camera together on a system

• Allow for various operation points

• Allow for adjustability

• Collaborate to define who will be controlling camera movement

If you do these you’ll get a smoother shot and you’ll provide more options for rig operation. This is just general theory - we’re talking ideal world here. Sometimes you just have to cobble together a rig that works and that’s fine too. That’s gripping.

Core hardware for Object Rigging

The real backbone of object rigs isn’t a mystery. Here’s what I commonly use:

• 5/8” Rods – Strong, adaptable, and modular

• Cheese Plates – In every shape: flat, long, L-brackets

• Baby Pins + Gags – Male/female, stubby/long, threaded. 9.Solutions, LA Rag House, Mayberry knobs

• Hose Clamps (various sizes) – The $2 MVP (seriously)

• Armature Wire – For lightweight or flexible floating builds

• 3/8” Rods – When you need a lower profile or VFX-safe option

• Clamps – Cardellinis, Mini Cardellinis, Python clamps

• Bolt Kit – You can easily built your own Grade 8 bolt kit with 1/4-20 and 3/8-16 hardware

The key is implementing them all perfectly together to form your rig.

More Examples from Set

These are real-world object rigs that held up under pressure:

Credit card top down

All built with 5/8” and 3/8” rods and hardware. The operator is operating from the rig and not the camera body itself.

Hair dryer POV

5/8” rig - hose clamp attached bicycle starters to the hairdryer.

Xbox controller

Centered the controller and built in front to back adjustability using 5/8” rods and hardware.

Cocktail glass

Used a cheeseplate, a hose clamp, bolts, and baby pins. Allows for cheeseplate operation.

Can you identify where each of these rigs fall onto the matrix chart?

Final Thoughts: Rig Like a Problem Solver

Object rigging is where problem-solving meets creativity. You’re working fast, mounting to weird shapes, and making impossible shots happen — all without drawing attention to how it’s done.

The rigs that actually hold up? They aren’t just cobbled together. They’re built on a system — a backbone that joins the object and the camera into one solid structure. That structure gives you rigidity, flexibility, and a way to control the shot from wherever it makes the most sense — whether that’s the operator, the talent, or both.

The best object rigs are built with intention.

And sometimes, you only get five minutes to make it happen. That’s where this mindset pays off.

Start with the system Build in adjustability Make it look good And solve it like a grip

So the next time someone points to a prop and says, “Can we rig to that?”

You already know the answer:

“Yeah. Give me five minutes.”