Jump line
Also known as: jump trail, flow line
A trail built as a series of jumps in sequence, ridden as one continuous run and filmed either as a whole or feature by feature.
Updated
What it means
A jump line is a rhythm rather than a feature. Takeoffs and landings spaced so a rider carries speed through all of them, which means the interest is in the sequence rather than any single air.
That gives a filmer two completely different edits. One run covered from above or alongside, or one jump covered properly from several positions, and the two need different days.
It differs from a single Drop-off in exactly that way. A drop is one moment to get right; a jump line is a passage that either flows on screen or does not.
How it works in practice
Covering one jump well beats covering five badly. A single takeoff from a low side angle with the landing in frame produces a shot, where a pan following a whole run produces a record.
A worn camera carries the rhythm. A Chest mount run down the whole line conveys the pace and the spacing in a way no external position can, and it cuts against the close angles.
Lapping is the advantage here. A line ridden repeatedly lets a filmer move between features, which is what builds a sequence rather than a single repeated shot.
What to watch out for
Filming the whole run from one place shows nothing. A rider receding down a trail is a wide shot with no scale, and a High-angle shot of a jump line flattens every feature in it.
The gaps between jumps are dead on screen. A full run contains transitions nobody needs, which is why the edit is normally built from the airs rather than from the continuous pass.
Takeoff and landing rarely fit one frame. Choosing which one to cover is a decision, and most of the time the landing carries more, because the impact is where Peak action actually sits.
How RawClip handles it
Individual airs score as the peaks of a run, so a sequence assembled from a jump line keeps the jumps and trims the transitions between them. A full run recorded from a worn camera supplies the rhythm, and the close angles supply the scale.