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What is Black Dog Jibs?
Black Dog Jibs is a New York City–area rental house for camera movement gear: jibs, Technocranes, drones, rail rigs and cable systems, aimed at film, television and live multi-camera production. The site presents it as a specialist rather than a general rental shop — the kind of vendor a producer calls when a shot needs a crane arm, a moving rail or an aerial unit, and the crew needs equipment that is ready for live television.
Its scope, based on the categories listed on the page (heads, rails, MagTrax, cranes, drones, jibs, cables), covers both classic grip-style camera support and newer motorised rail and drone options. The stated 33 years of experience and its New York/New Jersey focus suggest the practical value is local knowledge: permitting, tight city locations, and the pace of live or multi-camera work.
Who it suits
- Producers and directors of photography planning a crane, jib or rail shot in NYC or NJ.
- Live television and multi-camera teams that need gear configured and rehearsed, not just delivered.
- Aerial crews needing drone coverage alongside ground-based movement equipment from one vendor.
What to weigh
- A specialist jib and crane vendor is worth it when the shot is the point; for simple handheld or tripod work, a general rental house may be cheaper and faster.
- Combining drones, rails and cranes with one supplier can simplify logistics, but confirm crew, operators and insurance are included or arranged separately.
- For live TV, ask specifically about multi-camera readiness and rehearsal time rather than assuming it.
Next step: send a short brief — dates, location, shot description, camera package and whether it is live or recorded — and ask what they would recommend and what the crew requirements are. You can start from Black Dog Jibs.
How much does it cost to rent a jib in New York City?
Jib rental pricing in New York City isn't published as a single rate — it depends on the jib's reach, the camera package, the crew required, and the shoot's duration and location. Most NYC rental houses quote per day, often with a multi-day or weekly discount, and the quote typically bundles the jib itself plus the operator and grip needed to run it safely.
What drives the price
- Size and type of jib. A small portable jib that one operator can manage costs far less than a large crane or Technocrane with a dedicated crew. Longer reach means more counterweight, more setup time, and higher labor.
- Crew. A jib rarely travels alone. An operator plus a grip (and sometimes an assistant) is standard for anything beyond the smallest setups, and labor is often the largest line item.
- Camera package. If the jib must carry a heavy broadcast or cinema camera, you'll pay for a heavier-duty rig and more setup time. If you bring your own camera, that cost drops.
- Duration and logistics. Day rates fall for multi-day bookings. NYC-specific factors — permits, parking, loading access in Manhattan, and travel between boroughs or into New Jersey — add cost.
- Specialty mounts. Rail systems, MagTrax dollies, drones, and cable rigs are separate line items from the jib itself.
How to get a real number
Contact the rental house directly with your shoot date, location, camera weight, and the shot you need. A vendor like BLACK DOG JIBS lists jibs, Technocranes, rails, MagTrax, cranes, drones, and cables, and advertises multi-camera live television readiness — useful if you're producing broadcast or live-streamed work rather than a single-camera film shoot.
Practical next step
Write a one-paragraph brief: date, borough or NJ location, camera model and weight, desired jib height or reach, and whether you need the vendor's crew or just the equipment. Send it to two or three NYC rental houses and compare quotes on the same terms — ask each to break out equipment, labor, and any permit or travel fees so the numbers are actually comparable. If your shot is simple and low, a small jib with a two-person crew will usually be the economical choice; if you need a long, sweeping move over a crowd or a live multi-camera setup, expect a Technocrane-class rig and a larger crew to dominate the budget.
What is the difference between a jib and a Technocrane for live television production?
A jib and a Technocrane both put a camera on a moving arm, but they solve different problems. A jib is a fixed-length, counterweighted arm: the camera moves in a smooth arc, and the operator controls pan, tilt, and boom by hand. A Technocrane is a telescoping arm whose length changes during the shot, usually driven by motors and controlled remotely, so the camera can push in, pull out, and rise or descend along a much wider path.
For live television, the practical difference is speed and repeatability. A jib is simpler, faster to set up, and cheaper to operate, which suits studios, press events, and stages where the shot stays within a predictable arc. A Technocrane covers more ground and can start wide and end tight without cutting, which is why it appears on awards shows, sports, and large live broadcasts where the action moves across a big space. The trade-off is cost, crew size, setup time, and the need for more rehearsal to keep live moves safe and repeatable.
BLACK DOG JIBS lists jibs alongside Technocranes, rails, drones, and cable systems, which suggests a useful decision rule for a live production: match the arm to the shot, not the other way around. If the director needs one clean arc over a stage or a fixed studio position, a jib is often enough. If the show needs a long traveling move across a large venue, a Technocrane is the more capable tool, provided the schedule and budget allow for its setup and rehearsal.
A concrete example: a nightly studio news program may use a jib for a smooth opening sweep because the set is fixed and the move repeats every night. A live awards show may use a Technocrane to follow a host from the back of the room to the stage, because the distance is too long for a single jib arc and the shot must stay live.
Do I need a licensed drone operator for aerial filming in New Jersey?
Yes, for most commercial aerial filming in New Jersey you need a licensed drone operator. The FAA governs all US airspace, and New Jersey does not replace that with its own drone license — so the practical requirement is a remote pilot with a current FAA Part 107 certificate, flying a registered drone under the rules that apply to the shoot location.
That matters for filming because "licensed" usually means two separate things:
- FAA Part 107 remote pilot certificate — the federal credential for commercial flight. This is what a production should ask to see.
- Local permission — New Jersey has state parks, county parks, municipal ordinances and private property rules that can restrict takeoff, landing or flight even when the pilot is federally certified. NYC and the surrounding region add their own layers, which is why operators working this market tend to know the permit terrain as well as the aircraft.
A concrete scenario: you are shooting a commercial in a New Jersey park with a client watching. A Part 107 pilot handles the flight legally, but if the park requires a film permit or bans drone takeoff, the certificate alone will not save the day. Build the permit check into pre-production, not the morning of the shoot.
If you are also working across the Hudson, or need jib, Technocrane or rail work alongside aerials, it helps to use a local specialist who already coordinates multiple camera systems. BLACK DOG JIBS describes 33 years of jib, Technocrane, drone and rail-rig work in New York City and New Jersey with multi-camera live television readiness — useful when one crew has to cover both ground and air.
Next step: ask any drone operator for three things before booking — their Part 107 certificate, proof of drone registration, and a short written note on the local permits or restrictions for your specific location. If they cannot answer the permit question, treat that as a gap in the plan, not a detail to sort out later.
How long does it take to set up a MagTrax rail rig on location?
Setup time for a MagTrax rail rig depends on the run length, floor conditions and how the rail is anchored, so treat any single number as an estimate rather than a fixed figure. For a short, straight run on a hard, level floor, an experienced crew can typically have the rail aligned, the dolly mounted and the camera balanced in well under an hour. Longer runs, curves, cable management and re-levelling on uneven floors add time.
BLACK DOG JIBS lists MagTrax among its rail and crane offerings, so the practical answer is to ask them directly for a setup estimate for your specific location and shot list.
What actually drives the clock
- Run length and layout: every extra track section needs joining, aligning and checking for level.
- Floor surface: carpet, cable ramps, expansion joints and sloping stages slow levelling.
- Rig weight: a heavier camera package means more careful balancing and counterweighting.
- Power and cabling: routing video, power and data cleanly along the rail takes time, especially for live multi-camera work.
- Access: stairs, freight elevators and tight doorways affect how quickly gear reaches the set.
How to get a reliable number
- Send the rental house a floor plan or photos of the location, plus your intended rail length and camera package.
- Ask whether a pre-rig or tech rehearsal is included.
- Confirm whether setup time is billed separately from shoot time.
- Build a buffer into your schedule for the first setup; subsequent moves on the same rail are usually much faster.
As a rule of thumb, plan for at least an hour for a first-time MagTrax setup on a new location, and treat that as a starting point to confirm with the vendor.
Can Black Dog Jibs support multi-camera live broadcast shoots?
Yes. BLACK DOG JIBS is positioned around multi-camera live television readiness alongside its jib, Technocrane, drone, and rail rig rental work in the New York City and New Jersey area.
What that means for a live broadcast Multi-camera live work is less about the camera mount alone and more about whether the whole chain behaves predictably under pressure. A jib or crane on a live show has to hit repeatable marks, move quietly and smoothly on cue, and integrate with the rest of the production without introducing delay or risk. The page evidence lists heads, rails, MagTrax, cranes, drones, jibs, and cables — a gear range that suggests support for both the movement side and the cabling/infrastructure side of a live setup.
Who this suits
- Broadcasters and live sports or entertainment producers needing crane and jib movement within a multi-camera gallery.
- Production companies that want one vendor covering jibs, cranes, drones, and rail in a single booking.
- Crews working in NYC or New Jersey who value a local supplier with a long track record — the listing cites 33 years of experience.
Decision criteria before you book
- Ask how many cameras the jib or crane can support simultaneously and whether the operator has live broadcast credits.
- Confirm cable runs, comms, and power are included, since those are usually the failure points on live shoots.
- Check whether drone or rail coverage is needed as a complement, and whether the same team can supply it.
- Verify insurance, permits, and site access for your specific venue, especially outdoors or in dense urban locations.
Next step Send the production a short brief: shoot date, venue, camera count, required moves, and whether the feed is live or recorded. That gives them enough to confirm availability and recommend the right rig. If you are comparing options, Technocranes is another name in the crane and jib space worth checking for a second quote.
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