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Often a mix of plain old handmade jib-arm shots and computerized motion control shots will work out better than using only one technique for an entire series of moves. Use the jib for the simple shots and moves because it's quick and easy. Use the motion control system for the shots that really have to be perfect, or complex, or repeatable over multiple passes.
Motion Control Trade Secret Number Two
Even with computerized motion control, simple, elegant moves, with a slight curve to them, usually work best visually.
An audience can get disoriented if a complex dance of rapid twists and turns bombards them. Sometimes, however, that very effect is exactly what you want, such as the F-16 fighter pilot's view of things.
Manually operated jib moves absolutely must be kept very simple. If you're using more than a light push with one finger to accomplish the move, chances are you'll be disappointed with the result. There will always be a pronounced "wander and wiggle" effect when moving more than one axis manually.
This is where motion control really comes into its own. A move in multiple dimensions, executed perfectly, that needs to be easily "edited", will always be done better by a computer. In advanced driver software, you can even introduce some deliberate wobble to make it look like it was done by an imperfect human. This effect may fit in better with other shots in your show that were done manually.
Very wide angles lenses--much wider than usual--usually enhance the effect of the motion. Often a 5mm or even a 3.8mm focal length (referenced to video or 16mm film) will be right for truly exciting, extreme close-tolerance flybys. The closer you appear to be to imminent disaster, the more exciting the shot. Naturally, to get the most bang out of this effect, these wide angle lenses must have very small entry pupils. (Overall diameter of the front of lens.)
A vital secondary benefit of using wide angle lenses is that they provide far greater depth-of-field with reasonable f-stops.
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