"Indurberator" is what a DP I worked for many years ago called the "RO" or "rotating offset." This piece of equipment which we all take for granted goes a long way in saving our butts in a lot of situations. If you are against a wall and need that extra six inches to the left, just loosen a knob, or flip a lever if you're a Fisher guy, and BAM!, problem solved. It's really an ingenious idea that most of us never really think about. You just automatically factor it in when laying track or a floor and don't often even realize the stream of consciousness reference to it: "Ok, if I offset the RO to the right, I can set the track a little more to the left and get around that corner and still hit the number two mark. Now, where'd I leave my tape measure?" I usually set it at about 45 degrees to the right on the inside if I'm on the big dolly and the same on the Peewee, only to the outside, to keep the operator more centered over the dolly. I have, over the last few shows, however, had some camera operators complain about the Chapman ROs'. You know, the new style (not really so new anymore, just the "newest") Hustler 4 and Peewee ROs' with the center knob and the pin under the levelling head. I'll admit, they are a pain, and light years harder to deal with than simply flipping the lever on a Fisher RO. I've turned quite a few operators on to Chapman dollies in the past few years, but this is the one sticking point: they don't like the RO. I was at Chapman today loading in a show and spoke with an engineer about it (Leonard and Christine weren't there) and told him what I needed. He scratched his chin for a minute and said, "We'll take care of it for you." That's what I call service. So hopefully, we'll soon see a different option for the Hustler and Peewee in the Indurberator department. I'll keep you posted.
Dear Paul Maibaum, is it strange that I still remember this word after 15 years? You've coined a term!
The art of Dolly Gripping is like no other job in the world. It falls to us to work out the mechanics of a particular shot, as well as offer a smooth, aesthetically pleasing move which makes the shot work and delivers emotion to the scene. It's the ultimate blend of engineering and art. This website is a place for professionals in motion picture camera platform movement to meet and swap tips, stories, and gripe a little about the difficulties we often face, but rarely get to talk about among ourselves. It's also a place for aspiring Dolly Grips to learn a little something from the old pros. So, welcome. Look around and join our little community. The site is run by myself, D, and Azurgrip, two guys who have each spent the last 20 years moving cameras around film sets. But it also benefits from the readership and participation of hundreds of Dolly and Key Grips from around the world, men and women who have helped deliver some of the most memorable and beautiful moving shots on film. So if you have any questions, please ask. You can ask questions or make comments on our message forum, which is below, just above the photos, or email us at dollygrippery at gmail dot com. We, or one of the experienced grips who frequent this site will answer.
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What you won't find here: How to make a dolly out of plywood, info on the Wa11y Dolly, anything about how to move a boat.