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.
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52 | D r a g
I l l u s t r a t e d | DragIllustrated.com
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Issue 149
with Courtney Enders