Big vs Little

   For years I used the biggest dolly that would fit in the space. That's what we're taught, right? The majority of shows carry a two dollies, a big one and a little one. Naturally, the bigger dolly was the "A" camera dolly. "A" camera stayed on the big dolly and when the space was limited you switched over to the small dolly.It's been this way for years. I've recently changed my thinking on this.  I generally push a Chapman Hustler 4. This has been my dolly of choice for probably twenty years. It's a masterpiece of engineering. The arm is pristine. The sideboard system is well thought out. Back when every operator used an eyepiece, I could put them anywhere I needed to and they were comfortable. Then the film world went digital. Now, an operator using a monitor can be on either side of the camera. I rarely use sideboards and privately look disdainfully on operators who ask for one (just kidding, operators who know me will laugh at this) So this still went on for years. I tried to shoehorn the big dolly into any space it would fit into. Then, something happened. The film world went digital. Operators didn't use eyepieces as much so they were much more flexible on where they needed to be on a dolly. Then something else happened. I did a movie with a director who forbade me to use a big dolly. He insisted on the Peewee. He didn't like big dollies, they take up too much space, people lounge on them (he's British) and treat them like a big snack table that you can also sit on. I grumbled but, of course, complied. A few days into the show I realized something. I can do everything with a small dolly that I can with a big one, barring high offset shots or jib shots etc. But actual moves are the same. Even easier. It's lighter, It takes up much less space. I can get more move out of a given piece of track or floor. Stand ups, sit downs, compound moves, I could do them just as well on the Peewee as I could the Hustler. In reflection, a lot of this has to do with taking the eyepiece out of the equation. In any case, it worked fine. Then I did another movie that required long runs down hallways ducking into doors and through multiple rooms. Again, the Peewee did everything I needed it to. Now, I'm finding more and more that my primary dolly is the Peewee and my backup for certain shots is the Hustler. B camera uses it more than I do. The worm has turned. 

Let me know your thoughts. Has anyone else experienced this?

 Anyway, hope it's a good weekend for you all. 

Lay Of The Land

   Sometimes, you just have to go with the lay. Two instances have come up in the last couple of weeks. One, underslung following feet. Of course the director, location manager or whoever makes these decisions picked a huge slope on a street in a town that could have been anywhere. In this case, yes, I had to lay on a slope so that the camera doesn't get higher as I go. Also, yes, I could have done a steady boom down as i went to keep the camera at ground level. I've done it many times. I decided to save myself the dialogue of explaining that I could do it on a level track and just go with the lay. Same thing happened last night. Push in on a downward slope. I was worried about the track being too high at the end and seeing it, so I went with the lay. I will suggest that you cheat a little as you do it though. No one understands track laying, so always bring the low end up a little so that you aren't struggling. No one will know the difference and just throw out some explanation about "side to side" or something and they'll buy it. At the end of the day, I didn't pick the location and I have to manage a 300lb plus dolly. It'll be fine.

Stay safe, 

Cap                                                                                

Session Players

  I'm up in New England doing a TV series. It's lonely. It rains a lot. And it's still cold a lot of the time. I'm going to talk about something that's been on my mind for several years now, which may seem a little strange, but, I've had a couple, so hear goes:

  I have a huge respect for the old school studio guitarists. Stay with me, this does tie in to Dolly Grips. Steve Lukather, Dan Huff, Tim Pierce, I've watched endless numbers of Youtube videos on these guys. These guys showed up for any given session in the 60's through the 90's, often not even knowing who the artist was whose record they were making. And they had to be perfect. Every time. Or they were gone. Just about any record you heard in those days from Micheal Jackson to Boz Scaggs had these guys on it. And their parts were often made up on the spot. The mastery of their instrument assured that they would be called back for the next record. 

   This is something that I've recently tried to bring out in the classes I teach to young Dolly Grips. You have to learn your instrument. Moving a camera isn't about going from one mark to another. Especially now in the digital world where we often roll on the first take. You have to be able to interpret instructions on the fly and make the shot happen the first time you do it. "Move right, boom up, push into a fifty-fifty" with no rehearsal. That's your job often these days. In the last few years, I've often thought about myself as one of those old studio guitarists. Learn it so well you can do it on the fly. And nail it in the first or second take. You're making music. Visual music, but music just the same. Learn your instrument. Learn it.

In the meantime, go to Youtube and type in "Steve Lukather", or "Dan Huff" or even "Glen Campbell" and learn about people who mastered their instrument. Then master yours.

From rainy New England, the Captain has spoken.

  

 

Walk and Talks

   Here is a subject near and dear to my heart. I realized that after hundreds of posts and thinking I had covered just about everything, I never covered Walk and Talks.  I love them. It's a way to knock out three pages of dialogue in one shot ( unless they want tighter coverage). I did a movie last year, Saturday Night, where the first shot of the movie was a seven minute walk and talk on a Peewee with a Matrix head and we covered seven pages in about ten hours.  I love them almost as much as I love stand ups and sit downs. There are a few things to know however. Rule one, no matter what machine you choose to do it on,use a monitor. For years I have preached about becoming overly dependent on monitors. I stand by that. However, in this case they are a valuable tool and I've come to believe that they are really helpful for this particular shot. Before they were widely available, I did what most dolly grips did and locked into a space between the actor's feet and the front of the dolly and held it. And I was pretty good at it. For the last few years though, I have really relied on a monitor to help me hold a frame size. Now, I didn't use one for the shot on Saturday Night. The operator, Matt Moriarity, and I decided to use a combination of dead reckoning and headsets to basically talk our way through the shot. But it was a very unique shot that required a little more finesse than a standard walk and talk. But in general, for a rickshaw or dolly down a hallway, I use a monitor. The technique is simple. Pick a size, base a reference on the bottom frameline (belt buckle, first shirt button, knees) whichever you choose. And hold it. Be warned: these moves are almost always faster than you think they will be. Don't be too proud to ask for help.

Good luck and don't hit any of the extras.

The Captain.