1. For small dollies I prefer the Super Peewee 3 or 4. It's stable and versatile. This is just a preference but I (and most dg's I know)prefer it over the Fisher 11 for feature work. The Fisher tends to not be as stable especially with a heavier operator and the arm doesn't respond as well and tends to rush on the downs because of camera weight.
2. When you prepare to do a compound move, find the spot on the valve handle where the movement starts and back off just enough to stop movement. Lock it where it is with a finger on the steering column. When you start your move, crack it open and let her go. This way you always know where you are in the arm and can start your arm move immediately. On a side note, this doesn't work with a Fisher because of the spring action in the valve handle. On a Fisher, you just have to get used to the arm and where it starts.
3. When checking for flares, get in front of the camera on the opposite side of where the offending light is coming from (so you don't block it with your head) and look at the lens element or filter. You will see the offending light reflected there and get a better idea of where it is. To flag it, I generally get somewhere around 1/3 to half the distance to the light from camera. This way, if it's a backlight, you don't have to worry as much about accidentally flagging the actors out of it. Be aware if you're using 2 cameras not to get in the other camera's shot.
4. Most guys are now using precision track which is aluminum track with a "beam" built into the bottom of it for support. This track gives an exceptional ride but is fairly fragile and I've seen the way it's often treated (especially by pa's on commercials). You also will need to use more wedges than normal because it flexes more with the weight of the dolly and can be death on an especially tight shot. I love the stuff, but still tend to use good old fashioned steel track (partially for financial reasons).