rig breakdown

rig breakdown

Title:

Title:

Counterbalanced Guitar Rig

Commercial

Commercial

Commercial

Commercial

about the rig

Counterbalanced guitar rig with auto-tilt.

The goal was to rig the camera to the end of the guitar to see the tuning knobs and the neck. We couldn’t drill into the guitar at all which left very limited options for rigging. Couldn’t bite onto anything on the neck because we’d see the clamp.

To rig a shot like this traditionally you would rig a few points off the neck or body of the guitar to the camera and support the weight of the camera. This makes it hard to operate the shot because you need to support the camera and awkwardly maintain the angle as the guitar moves around. Controlling the movement of the guitar is tough in this instance.

For this rig we created an inner ring and an outer ring both built out of speedrail. Almost like a dumb version of a gimbal with no motors. The inner ring was free to pivot on the x axis to allow the camera to tilt up and down independent of the rig’s vertical movement. This meant that as the rig got higher, the camera would tilt down. If the rig got lower the camera would tilt up. The tilt was in relation to the angle of the guitar - it wasn’t something the operator had to control.

You could raise and lower the rig by holding onto the outer ring without having to worry about whether you were aiming the camera straight down the neck of the guitar - it did it for you.

Ran a pulley from the top of our rig up and over to some counterbalance to make up and down movement effortless.

Camera Rigging

Tips & Tricks

Behind the Scenes

key grip

the crew

DP:

Franklin Ricart

Grip Crew:

Connor Colby, Josh Smith, Logan Alesso, Stephen Change, Vic Roca, Thorn Shaffer, Jordan Hodges, Mike McKinnon

built with

Speedrail, Hollaender Fittings, 5/8 Rods

by:

Brendan RIel

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Brendan Riel

My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.

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Brendan Riel

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Brendan Riel

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We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.

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Brendan Riel

8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.

We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.

We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.

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Legacy Grip 2025 All Rights Reserved

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Website Links

Upcoming

Shows

coming soon

Shop

coming soon

Podcast

coming soon

community

coming soon

Join our newsletter & stay up to date

By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.

Legacy Grip 2025 All Rights Reserved

Consent Preferences

Website Links

Upcoming

Shows

coming soon

Shop

coming soon

Podcast

coming soon

community

coming soon

Join our newsletter & stay up to date

By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.

Legacy Grip 2025 All Rights Reserved

Consent Preferences