How To Build a DIY Car Camera Rig

DIY Camera Car rigging makes all the difference between average and memorable camera movement with your mobile cinematography. In the video above, we demonstrate DIY camera rigging solutions with a Flowcine Black Arm.

I’m Brendan Riel, owner of Legacy Grip and an IATSE Local 80 Key Grip in Los Angeles. While I enjoy all aspects of gripping, I have become known for my vehicle/object rigging capabilities. 

Over the years I’ve rigged cameras, people, and lights to hundreds of vehicles, and I’m here today to demystify the vehicle rigging process. 

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Just real quick. Before we go further, I want to first share my Grip Cheat Sheet with you. I know how much it has helped me over the years, so I figured it might be something that would come in handy for any grips reading this article. And it’s absolutely free. 

Just download the ultimate Grip Cheat Sheet to quickly view when determining things like stand heights, wind speeds, load limits, and everything in between! 

And make sure to save it to your favorites to easily reference. 

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HOW TO BUILD A DIY CAR CAMERA RIG

As grips, we perform a wide multitude of tasks. We set flags, diffuse light, help facilitate camera movement, and set up any overhead rigging. 

On top of all that, we’re also always supportive of different departments and enjoy helping come up with practical solutions. 

At the end of the day, grips are really just problem solvers. Almost all grips, however, will agree that there is one problem that is the most fun for us to solve.

Setting flags is fun and all but car rigging really draws a crowd — and for good reason. Car/vehicle rigging always presents a new challenge mainly because we’re working with a different vehicle almost every time. 

Whether that be various car manufacturers or rigging to vehicles that aren’t cars, it keeps the process fun and exciting. 

Even though attachment points and rig placement can change from rig to rig we can apply the same principles of rig building to each setup. 

Below I’m going to run through the steps of planning out a successful vehicle rig for a DIY camera rigging solution. 

As a professional grip, I’ve done a variety of vehicle rigs and have put together a system that works no matter what vehicle you’re rigging to. 

Here’s what we’ll cover:

• Scoping out your vehicle
• Setting your camera position
• Finding your rigging points
• Thinking about adjustability needs
• Building the rig
• Safety and final checks

Let’s dive into it…

SCOPING OUT YOUR VEHICLE

As I said, every vehicle is different. As grips, we will very rarely rig the same vehicle again and again. There are exceptions, such as on a TV show or movie when you have a recurring picture vehicle. For commercials and music videos, it’s usually always something new. 

Memorable vehicles Brendan Riel has rigged over the years | Courtesy of Brendan Riel

It’s ok though! A new vehicle presents a challenge, and that’s what we love about the job. Our arsenal of tools and skill sets allow us to easily adapt to any situation. 

Here are a few of the things I’m looking for when I take a look at a vehicle for the first time.

INITIAL RIGGING CHECKLIST

Suction cups work on either flat glass or flat body panels. When even a slight curvature is introduced in either you won’t get the suction power for a sturdy point. Are those body panels sturdy enough?

Do we have room to rig under the vehicle if we need to? Some streetcars ride inches off the ground which makes it impossible. I’ve also worked with vehicles that had enough clearance for us to rig a 6” Modulus-X truss underneath. 

Sometimes the best attachment points are under the vehicle. Certain scenarios, such as when you see the vehicle in your shot or reflections of your rig, require you to build the structure of your rig from underneath. 

A trailer hitch provides the option to use a trailer hitch adaptor, which is an easy way to add mounting points to the back of a truck/SUV. Most trailer hitches are 2×2” so make sure it’s that standard size.

Every vehicle must be protected from scratches and dings, but vintage vehicles may require additional protection when using suction cups on the paint.

Safety is always on my mind especially when doing any overhead rigging or vehicle rigging. Will the finished rig inhibit driver visibility or present any unique challenges for driving? Is the driving route on a closed road or will you have a police escort? You may have to adapt your vehicle rig to meet any safety needs as those are always paramount.

Everything I’m thinking about above will help inform my rig build and decision-making process for setting the camera in position. 

SETTING YOUR CAMERA POSITION

Perhaps the most important part of any rig is making sure you get the camera exactly where your DP wants it. After you’ve checked out your vehicle to see what camera positions are possible, you’ll then do a walkthrough with the DP. 

The camera position process works best when I can physically be there with the DP and walk through the shot(s) we’re trying to achieve. Framing on the Artemis Pro app on a smartphone is a quick and lightweight process of finding the frame without holding your full camera build. 

What may initially look like a great camera placement to your eye or phone camera may look completely different with your specific camera and lens choice dialed into Artemis. 

A hood shot the DP thought would look good right up next to the windshield might actually look better lensed up further down the hood. This is the type of information you want to get before you even start the rig build. 

Here’s a pre-rig camera positioning photo I took of the DP holding up an Artemis frame he liked vs. the post-rig photo of the completed build.

(Left) Framing up the tire shot on Artemis | (Right) The end result tire shot

In addition to photos of the DP’s camera positions, we will also pull measurements. 

I want to know things like:

• How far out from the side of the car do they want the lens? 
• How high off the ground? 
• How far down the hood?  

I’ll open my Notes app on my phone and write down those measurements. Always write them down, you don’t want to forget. 

This method of planning out the camera position has always set me up for success. 

FINDING YOUR RIGGING POINTS

Some vehicle rigs can be straightforward and others require a bit of ingenuity. There are a few different methods of attachment for vehicle rigs and they all depend on your vehicle. 

RIGGING POINT OPTIONS

SUCTION CUPS

Suction cups work great on body panels, hoods & glass but you have to make sure the suction surface is flat. A suction cup on a curved surface will not work. 

Suction cups come in all different sizes. Some of the most common sizes we use are 3”, 4.5”, 6” & 10”. The 10s give you the most suction power and mounting options. 

PRO TIP: When using suction cups for your vehicle rigs, always use a ratchet strap or two for redundancy in case the suction fails.

HARD MOUNTS

Underbody hard mounts are a topic that demands a separate article. We utilize a variety of tools to create points for speed rail starters to then rig speed rail for hard mounts. 

The trailer hitch adaptor is a great hard mount option for vehicles with a trailer hitch.

RATCHET STRAPS

Oftentimes we will use a pre-built hood mount or hostess tray and ratchet that equipment right to the car. 

Hooked ratchet straps and endless ratchet straps work wonders in conjunction with gutter hooks. 

CONSIDERING ADJUSTABILITY NEEDS

So, you’ve pre-planned the camera position with the DP and everything looked good for framing on Artemis. 

Maybe you’ve spent an hour rigging the vehicle while they’re shooting something else. You’re ready for the camera, it gets mounted, and suddenly the frame is off. 

Or, it’s not exactly what everyone was expecting. 

Maybe you notice some reflections you hadn’t noticed before.

Or, the director wants to position the lead actor from the back seat to the front seat. 

I’ve seen it all. 

You can’t plan for absolutely every possible scenario but you can set yourself up for success if you need any micro adjustments. 

I get it, things change. Sometimes moving the camera 1” lower and to the right can make a big difference. 

EASY ADJUSTABILITY

Hood mount and hostess tray shots are two timeless classics for car rigs. They’re so ubiquitous that Modern Studio Equipment has built standalone components for both of those rigs. 

The Modern Studio hood mount and hostess trays are two great tools that exist as a system with built-in adjustability.

MORE ADVANCED ADJUSTABILITY

Advanced rig building moves beyond just rigging the camera locked into a specific spot. It’s all about building a rigging system that allows for planned adjustability. 

One thing I’ll commonly do is build my camera rig off a vertical support pipe. This allows me to both adjust height vertically and swing left or right. 

If you want to get even fancier — build your base support structure off components that also give you even more adjustability. In my eyes, the ultimate rig is one that takes 2 minutes or less to move the camera within a 4’x4’ area.

I worked on a Hummer commercial where we did 16 rigs in 2 days — a grip’s dream job. There was one specific shot the DP wanted to do where we saw the front tire and didn’t quite have time to do the back tire. 

I rigged up a system that allowed us to get the front tire shot and within 2 minutes flip the rig around, move it back, and reset it for the back tire. That sort of adjustability is what earns you some major points as a grip. 

BUILDING THE RIG

Alright, all of our prep is done and it’s time for the fun part — building the rig. Let’s make some gear choices based on our needs. 

Your attachment method:

• Hard mount
• Suction cup
• Ratchet strap

Or a combination of the above!

Start collecting gear. Here are the components I use most often for rigs:

• Speedrail in lengths ranging from 1’-5’
• Hollaender short barrel crosses & swivel tees
• Baby grid clamps
• Mini ball leveling head
• Dish leveling head
• Ratchet straps
• Gutter hooks
• Padding for ratchet or pipe protection
• Modulus-X truss
• Speed rail starters
• ⅝” kit with hardware 

You know the old saying, “There’s more than one way to cook an egg?” The same thing rings true for vehicle rigging. 

I needed to rig a black arm on the back of a vehicle for a follow shot where we didn’t have a trailer hitch. Traditionally, a trailer hitch provides the best option because you can use a trailer hitch adaptor and easily adapt speed rail for that vertical speed rail point. 

But we’re grips; if one option isn’t available we have another option. Or two. 

These types of options come with experience. It’s something you learn so that you can know how to adapt. 

When you’re first starting out, stick to what you know will work. If you are doing a black arm rig, make sure you have a vehicle with a trailer hitch so you can use an adaptor with some suction cup triangulation. 

SAFETY AND FINAL CHECKS

Safety is always a top priority. We’ve built the rig and before we send it off we need to do a few final checks. But first, story time. 

I’ve rigged quite a few roller coasters. I’ve done ones at Six Flags, Magic Mountain, a coaster in San Diego, the Santa Monica Pier, and Cedar Point, Ohio. Just like vehicle rigging, coaster rigging is always different. That’s why you come in with your arsenal of tools so that you have options. 

There are some major safety protocols for coaster rigging. The rig doesn’t get sent out just based on your approval. You need the approval of both the operations and safety departments. 

After we rig the coaster, the heads of both departments will check your work to make sure nothing is loose and everything is securely fastened. These are corporate entities and we have to remember that liability is also in their hands even if I was hired to do the job. 

After final approval, we will send the coaster around with the rig on it and no riders. It comes back, we check it for any deficiencies or weak points and make any adjustments. We’ll then add riders and start our cycles for filming. 

Each time that coaster comes back into the station we’ll check the rig to make sure every knob is tight, the ratchet strap is cinched, and the bolt is secured. We check every single component each time it comes back — sometimes for hours. 

Additional vehicle rigging precautions

This is what we also need to do for vehicle rigging. We take on that same sort of liability. When a vehicle rig comes back from filming, I check every suction cup, every ⅝ gag, nut & bolt for any loosening. If something has become overly loose then it’s time to improve the rig and come up with a better solution.

Sometimes safety checks and pivoting to alternative solutions due to the discovery of any loose gears lead to delays — that’s okay. The priority is safety. If something comes loose on a vehicle it could compromise the integrity of the rig or come flying off and harm an individual not even involved with the shoot. Or both! 

Diligence is absolutely key. Check the rig before you initially send it out and each time it comes back.

RECAP

I started off doing vehicle rigging under other key grips. I decided to purchase my own rigging cart and got that all kitted out. It was a Set Carts 7 crate with a pipe organ on the back. I still have that cart on my truck today!

I used to go out solo as a one-man grip team for vehicle rigging jobs. Production would come to pick up my cart at storage and transport it to set. I’d show up to set and just do vehicle rigs. It was honestly a lot of fun and a cheaper solution for production than having a whole truck and grip team. 

If you are looking to do something similar, I’d recommend you start investing in some quality grip gear and start small. We don’t like that cheap knock-off stuff. Invest in gear that will last. 

The steps we covered may be flip-flopped on any given job. A lot of the time I don’t even get to scope out the vehicle we’re rigging to. I just have to roll with the punches. 

Oftentimes the DP will jet off before I can grab accurate measurements. Sometimes I’ll talk about camera position before really looking at the vehicle for points. It all depends on what workflow works best and how much knowledge you have about vehicle rigging. 

However, if you’re just starting out, I would suggest following the steps above in order. 

FILMOTECHNIC CAMERA CAR MASTERCLASS

Just like algebra, one must understand the fundamentals to answer the complex equations. The Filmotechnic Camera Car masterclass takes you inside the arm car like never before, unpacking workflows from the perspective of the DP, 1st AC, Camera Operator, and U-CRANE Arm Operator. Then, they demonstrate two common stunts with the Porsche Cayenne Turbo — but they can also be applied to any high or low-budget project. 

The Filmotechnic Camera Car masterclass is for filmmakers of all levels as it demystifies all the key insights and nuances of mobile cinematography. At the end, Shane Hurlbut, ASC showcases a DIY camera car rig that they put together using a Filmmakers Academy member’s vehicle! 

Go inside the arm car today and master high-speed cinematography!

DOWNLOAD THE FREE GRIP CHEAT SHEET

Download the ultimate Grip Cheat Sheet developed by Brendan Riel to quickly view when determining things like stand heights, wind speeds, load limits, and everything in between! 

Just be sure to save it to your favorites to easily reference. 

FREE GRIP CHEAT SHEET

Brendan Riel

Brendan is an I.A.T.S.E. Local 80 key grip living in Los Angeles. He is the owner of Legacy Grip. Specializing in vehicle rigging and camera support, Brendan also continues to keep the art of shaping light alive.