Drag Illustrated Issue 149, October 2019 | Page 52

D.I. COLUMNIST The Enders Elevation S omething this column has done for me is open my eyes to the unnoticed talents that make this circuit go ‘round while bringing light to a different area of the sport each month. The television team is an incredible group of eclec- tic talents and personalities. Being on the “inside” and working with these folks has been an eye-opening experience, to say the least. From Bruno and the boys in the booth, to Lauren behind the camera and Amanda on the top end, we get to see how much goes into the produc- tion that is NHRA Drag Racing on FOX. It’s 2019...a time where every- thing is automatic and immediate. When we turn on the television to watch anything, we just expect it to, “poof ”, appear without any thought of the logistics and manpower it may take to tie the whole program together. We all know the faces and voices that we see and hear each race, but what about the rest? From film crews to those in the trucks put- ting it all together, it’s a production like you’ve never seen. While there are so many talents we could magnify for this, I chose one that takes an athlete state of mind and body. We’ve all noticed the level-up in starting line views and angles on the TV program, yes? Well, meet Jerett Franklin: the artist and athlete behind the camera. You’ve probably even wondered a time or two how they got “that shot.” You have to follow the arm to watch Jerett work. Above the cars and crews on the starting line you’ll see the camera on what looks like some sort of crane arm. Meet “Jim- my Jib,” as Jerett called it when he introduced me to his 40-foot work partner. I had no idea the amount of physical and mental efforts and abilities this specific job required, so I was immediately intrigued. Jerett is a 35-year-old Marine Corps vet from Wichita Falls, Tex- as, whose résumé includes work in MMA, NFL, NCAA football, auto racing of many sorts and much more. Luckily for us, he’s found a passion in NHRA drag racing. His first solo drag race came in 2009 in Houston at the Pinks All Out race after his mentor and brother-in-law, Josh Bumgarner, returned to NASCAR. Before Bumgarner’s return to NASCAR, Jer- ett refined his craft by working alongside Josh and would use down- time to watch, practice and learn. Flash-forward to Epping of 2016, Jerett’s first NHRA race that turned into the Epping Monday Nationals. Ever since then, Jerett has been a staple on the starting line of every single NHRA race. (depending on the track and conditions) and controls the camera’s movements and zoom- ing with each hand like game controls. There is so much to getting the shot and staying out of the way of cars, crew, photog- raphers, etc. “I’ve worked many different types of sporting events, but NHRA drag racing is especially stimulating to me, mentally and physically, because of the condi- tions I have to work around while We know how he got here. Now what in the heck does he actually do? Jerett operates the starting line camera rig, aka Jimmy Jib, that ranges from 30-40 feet, depending on the starting line layout. Spot the camera, follow the arm and watch him work. Jerett stands at the base of “Jimmy” with counterweight ranging from 300-500 pounds having the shot come out flawless for the viewers at home,” says Frank- lin. “Crew, cars, wind, exhaust, zoom, angle – it’s all a dance.” I can personally speak to this on his account because as a member of the starting line crew for quite a few of the NHRA Mello Yello Series drivers, Jerett is very much a part of my mental checklist of variables and I use his location to make decisions on my location when on the starting line. This is actually how we “met.” I try to put my eyes on the cam- era, follow the arm and let him know I see him and will “dance” with him, but he always leads. We might not say actual words to each other through the entire weekend, but we communicate up there, and it blows my mind that he can bal- ance so much physical and mental work yet still be so aware of all of us. To say he is truly gifted would be a massive understatement. Believe me, after this interview, he let me try it and the TV truck told me I “made them dizzy.” It’s tough! Back to business. Being the fit- ness junkie that I am, and watching him work, naturally, I asked about his physical strengths that make him so good at his job. “I do stick to a pre- and post-day regimen. You have to be in shape and prepared mentally and physically to do this at the high level that is needed,” Franklin explains. “So many things are necessary from enough water, stretching, center of gravity, core strength, strong base muscles to fight weight and wind, hand-eye coordination, control and so much more. If I didn’t constantly work on all of these things, there is no way I could do this week in and week out.” Much like a crew chief, Jerett has to make calls on the starting line in time-sensitive, potentially danger- ous situations. Production has shot control most of the time, but when it comes to creativity, Jerett has de- scribed it as feeling like a painting and he is the artist. He has a guide of what needs to happen, but the finesse is all him. It’s hard to exhibit Jerett’s talents with words and photos. Next time you’re watching NHRA on FOX, do yourself a favor and watch it differ- ently. Watch each zoom, each glide, each angle of the starting line foot- age. When you’re at the track, take a few passes to actually watch Jerett work. Watch the crazy stances he takes to guide the camera up high as the Funny Cars explode off of the starting line while fighting wind, G- forces and exhaust. It’s absolutely incredible. DI DI DI DI DI DI DI 52 | D r a g I l l u s t r a t e d | DragIllustrated.com DI DI DI Issue 149 with Courtney Enders