"You shouldn't use the sun as a sightline. It will move."
- Day player to me earlier this year as I was working out a crane shot.
2010 was a big year both personally, and at work. Our family lost a Mother, and gained a son, both within a week of each other. Work- wise, it was very busy. I did two series and a feature. Here's what I learned:
1. Although I am philosopically against cup holders on the dolly (that's all I need, one less seat receptacle and something else to lose just so you can have a place to put your coffee), a bicycle style one zip tied to the push bar is fine and completely unobtrusive. I take mine black.
2. When it comes to technocranes, the right tech is the difference between pass and fail. I knew this already, but it was reiterated on a very long day this year)
3. Keep extra wheel clips in the work box. The Hustler cart does a number on them.
4. In cold climates, be sure to run out the arm, and plug in the dolly at wrap or in the morning it's "No boom for you!"
5. Having a list of good Dolly Grips in your phone is invaluable. Unfortunately, they are always working.
6. Computers should have breathalyzers that you have to pass before you can get on the internet.
7. I need bigger cabinets for all the metal water bottles I now get as wrap gifts.
8. 1x8 dance floor pieces come in handy. Always cut one.
9. Don't lock yourself onto track if you can help it, or get away with it. Again, reiterated.
10. Soap works as well on dance floor as powder, and doesn't leave a mess. In fact, theoretically, it should clean it!
11. Luvs and Huggies leak. Pampers don't.
12. I don't let my friends know enough how much I appreciate them. Aww.
13. Cheaper ain't usually better.
14. When in doubt, use the force. It's better than the monitor.
15. Don't let well-meaning DPs who are used to working with crappy Dolly Grips talk you out of what you know. I love ya, but let go of my ears. I know what I'm doing.
16. If you convince said DPs to do it your way, you better damn well be right. I was.
Thanks to all of you for a great year and your inspiration and suggestions. Have a great New Year!
Dollygrippery.
Sunday, December 26, 2010
Wednesday, December 22, 2010
Crane Do's and Don't's
Our last day on the show before we shut down for the holidays was a big crane day. We had a 17' Moviebird and the shots necessitated moving it around in a relatively small space among a lot of people. This always makes me a little nervous. Besides the obvious dangers of swinging an arm around, over, and among a crowd of actors, background, and the usual suspects (vanities, 2nd AC's and AD's) you have the added variable of quick extensions and retractions. And that's what a lot of shots boil down to.... the variables. You want to decrease the number of them as much as possible. A crane shot involves a lot of them. At the least, you have a Camera Operator, a Crane Operator, and an actor.With an extendable crane, you add in a pickle operator and now you've got four variables that all have to work safely together to execute the shot. A crowd of background actors increases the variables by that much more. Earlier this year, Greg Brooks did an excellent post on Crane Marking. As I was threading the arm through the crowd last week, it occured to me that we had never really done a post on crane ettiquite. I'm going to do it in list form, making it easier to read, and for me to keep track of the points:
1. Scout the location. If you're outside, know where any possible hazards are. This especially includes power lines. There are specific distances that have been set up industry-wide for crane operation. They are here: http://www.csatf.org/pdf/25ADDENDUM_A.pdf.
2. Know the space. Know how much room you have to operate. Don't forget to include room for the bucket swing.
3. When you are building a crane, it's the nature of the beast for everyone to want to pitch in. Don't let them. Most cranes can be assembled with two or three guys. The more hands that are on it increases the chances that something will get done wrong. A bolt won't be tightened or a piece will get left out or put on backwards. It's standard operating procedure to designate one of the guys as a wrench man, meaning it's his/her resposibility to tighten whatever bolts are used.
4. Inspect your handiwork. Once it's assembled, go over it piece by piece. Is everything tight? Are all the levelling arms connected properly? Are any pieces missing? A lot of times, a rigging crew will put it together for you before you get there. Always check the work. There are some cranes and jibs that have the connecting mechanisms inside the arm or obstructed from view (the Aerocrane Jib, the Phoenix Crane). The levelling arms on the Phoenix are connected in such a way that if you don't know what to look for, you can't tell if they are properly engaged. The AeroJib is the same way. The connections are inside the arm. Make sure they are tight and that you know how to put them together. This is one reason I like the Lenny Arm. There's no mistaking whether a nut is tight on a bolt. Support the crane as you build it. This means, don't build the arm and then attach the support rods last. Add them as you go, especially on the bucket end, until the arm is fully built. An unsupported arm can break or buckle.
5. When you are rolling a built crane into position, approach any curbs or bumps head on, square to them, never at an angle. A crane can quickly become unbalanced and flip.
6. Check the bucket latch. Fewer things can cause a cardiac arrest quicker than seeing all your weights sliding out of a bucket. It's happened to me. It ain't pretty.
7. Safety the camera. Most head techs will hard safety it anyway but always ask them if they need a safety or if they have their own. Sometimes they don't. A daisy-chain webbing and a carribeaner to the head does the trick. Don't forget to safety the matte box. Don't send a camera up on a remote head without a safety.
8. People rarely ride cranes anymore, but some do. Many operators just prefer to look through the eyepiece for focus, bogeys, etc. Buckle them in. It's not only for their safety, but also to keep them from absent-mindedly stepping off the crane and killing your bucket man. There's nothing like diving to catch an arm to get your blood flowing. When the platform reaches the ground after the shot, step on it. No one gets on or off without your say-so.
9. Know where your weight is. Stay in contact with the camera department and let them know when you are weighing in a camera or operator. I've had at least one AC take the camera off after it was weighed in. He won't make that mistake again.
10. Level your base. It's not only for safety, it keeps the arm from swinging on it's own.
11. If you're on track, it's a good idea to but a clamp or bag at the ends, especially if it's well off the ground. A dolly going off is one thing. A crane makes a much bigger, and more dangerous splash.
12. Don't let people absent- mindedly loiter under the arm while it's up. People love to stand under crane arms. I don't know why.
These are some basics. There are many more tricks to crane work which I'm sure I've left out. Please leave any you may wish to add in the comments.
Please have a safe and happy Holiday Season, a Merry Christmas and a Happy New Year. My year end round up is coming.
D
1. Scout the location. If you're outside, know where any possible hazards are. This especially includes power lines. There are specific distances that have been set up industry-wide for crane operation. They are here: http://www.csatf.org/pdf/25ADDENDUM_A.pdf.
2. Know the space. Know how much room you have to operate. Don't forget to include room for the bucket swing.
3. When you are building a crane, it's the nature of the beast for everyone to want to pitch in. Don't let them. Most cranes can be assembled with two or three guys. The more hands that are on it increases the chances that something will get done wrong. A bolt won't be tightened or a piece will get left out or put on backwards. It's standard operating procedure to designate one of the guys as a wrench man, meaning it's his/her resposibility to tighten whatever bolts are used.
4. Inspect your handiwork. Once it's assembled, go over it piece by piece. Is everything tight? Are all the levelling arms connected properly? Are any pieces missing? A lot of times, a rigging crew will put it together for you before you get there. Always check the work. There are some cranes and jibs that have the connecting mechanisms inside the arm or obstructed from view (the Aerocrane Jib, the Phoenix Crane). The levelling arms on the Phoenix are connected in such a way that if you don't know what to look for, you can't tell if they are properly engaged. The AeroJib is the same way. The connections are inside the arm. Make sure they are tight and that you know how to put them together. This is one reason I like the Lenny Arm. There's no mistaking whether a nut is tight on a bolt. Support the crane as you build it. This means, don't build the arm and then attach the support rods last. Add them as you go, especially on the bucket end, until the arm is fully built. An unsupported arm can break or buckle.
5. When you are rolling a built crane into position, approach any curbs or bumps head on, square to them, never at an angle. A crane can quickly become unbalanced and flip.
6. Check the bucket latch. Fewer things can cause a cardiac arrest quicker than seeing all your weights sliding out of a bucket. It's happened to me. It ain't pretty.
7. Safety the camera. Most head techs will hard safety it anyway but always ask them if they need a safety or if they have their own. Sometimes they don't. A daisy-chain webbing and a carribeaner to the head does the trick. Don't forget to safety the matte box. Don't send a camera up on a remote head without a safety.
8. People rarely ride cranes anymore, but some do. Many operators just prefer to look through the eyepiece for focus, bogeys, etc. Buckle them in. It's not only for their safety, but also to keep them from absent-mindedly stepping off the crane and killing your bucket man. There's nothing like diving to catch an arm to get your blood flowing. When the platform reaches the ground after the shot, step on it. No one gets on or off without your say-so.
9. Know where your weight is. Stay in contact with the camera department and let them know when you are weighing in a camera or operator. I've had at least one AC take the camera off after it was weighed in. He won't make that mistake again.
10. Level your base. It's not only for safety, it keeps the arm from swinging on it's own.
11. If you're on track, it's a good idea to but a clamp or bag at the ends, especially if it's well off the ground. A dolly going off is one thing. A crane makes a much bigger, and more dangerous splash.
12. Don't let people absent- mindedly loiter under the arm while it's up. People love to stand under crane arms. I don't know why.
These are some basics. There are many more tricks to crane work which I'm sure I've left out. Please leave any you may wish to add in the comments.
Please have a safe and happy Holiday Season, a Merry Christmas and a Happy New Year. My year end round up is coming.
D
Saturday, December 11, 2010
Dealing With Surge
I've done posts on choosing your surface before, but some of the work I did this week gave me the idea to do a refresher post. It was going to originally involve surging, the bane of all creep moves. The choice of what surface you roll on for a creep has a huge effect on the execution of the move. The more I thought about it, I decided to go ahead and include other moves as well.
As I've stated before, and every Dolly Grip knows, creeps are the hardest, most grueling moves you can do. There's nothing quite like trying to make two feet of push-in last for two pages of dialogue. It can be mind numbing. And one thing that can make it harder is surge. Surge is the point in your beautiful, dramatic push-in where you meet an imperfection in the surface you are rolling on that causes the dolly to pick up speed or stall. It can really draw attention to itself, especially if there is a prominent foreground piece that suddenly seems to move faster or slower in the frame. Do yourself a favor, pick your surface wisely. I always try to do a creep on track. A lot of Dolly Grips use planks (usually 1x12 clear pine for example) for simple moves. I'm not a big fan of planks. In fact, I rarely use them. They just have too many imperfections that can ruin or make a creep harder. I always try to go on track when possible for a creep. It eliminates the variable of steering, and has the least imperfections of your choices, cutting out surges and stalls and allowing you to concentrate on the move and your timing. Always try to use the surface that suits each move and what you're trying to accomplish. If a lot of actors are walking through my trajectory, I'll go with floor. If the existing floor is flat and even enough, I'll go with just plastic. If it's not in the way and is just a move on a fixed plane, I'll go with track. I did make a conscious decision on my current show to go with floor in almost every case on interiors. The shots just evolve too much to get locked onto a piece of track. Foreground actors move around too much and directors always want to change the shot a couple of takes in and go tighter or wider at one point and a floor allows me to accomodate this. If the shot is a "special," though, and I know it won't change, such as a push-in on an object, or a solitary actor doing a long speech, I'll almost always go with a rail. As I've said before, one of my favorite shortcuts is to use two of my 2x8 dance floor pieces as planks for shorter moves. They have lower surge, they are easier to get in and out of sets than a 4x8, and still allow for versatility if the shot changes a little bit.
I'm now three weeks into my show and it's been exhausting, so I haven't posted as much lately, but keep checking in. Stay safe. Till next time, and in keeping with our ongoing series of pretty actresses with dollies, this comes to us by way of Wick. It's European actress Justinia Sieniawka with a Fisher 11. Thanks Wick and Justinia! Keep 'em coming!
D
As I've stated before, and every Dolly Grip knows, creeps are the hardest, most grueling moves you can do. There's nothing quite like trying to make two feet of push-in last for two pages of dialogue. It can be mind numbing. And one thing that can make it harder is surge. Surge is the point in your beautiful, dramatic push-in where you meet an imperfection in the surface you are rolling on that causes the dolly to pick up speed or stall. It can really draw attention to itself, especially if there is a prominent foreground piece that suddenly seems to move faster or slower in the frame. Do yourself a favor, pick your surface wisely. I always try to do a creep on track. A lot of Dolly Grips use planks (usually 1x12 clear pine for example) for simple moves. I'm not a big fan of planks. In fact, I rarely use them. They just have too many imperfections that can ruin or make a creep harder. I always try to go on track when possible for a creep. It eliminates the variable of steering, and has the least imperfections of your choices, cutting out surges and stalls and allowing you to concentrate on the move and your timing. Always try to use the surface that suits each move and what you're trying to accomplish. If a lot of actors are walking through my trajectory, I'll go with floor. If the existing floor is flat and even enough, I'll go with just plastic. If it's not in the way and is just a move on a fixed plane, I'll go with track. I did make a conscious decision on my current show to go with floor in almost every case on interiors. The shots just evolve too much to get locked onto a piece of track. Foreground actors move around too much and directors always want to change the shot a couple of takes in and go tighter or wider at one point and a floor allows me to accomodate this. If the shot is a "special," though, and I know it won't change, such as a push-in on an object, or a solitary actor doing a long speech, I'll almost always go with a rail. As I've said before, one of my favorite shortcuts is to use two of my 2x8 dance floor pieces as planks for shorter moves. They have lower surge, they are easier to get in and out of sets than a 4x8, and still allow for versatility if the shot changes a little bit.
I'm now three weeks into my show and it's been exhausting, so I haven't posted as much lately, but keep checking in. Stay safe. Till next time, and in keeping with our ongoing series of pretty actresses with dollies, this comes to us by way of Wick. It's European actress Justinia Sieniawka with a Fisher 11. Thanks Wick and Justinia! Keep 'em coming!
Friday, December 03, 2010
Back to Work
I mainly wanted to get the Thanksgiving turkey off the top of the page, because the longer it's up there, the more neglected the page looks. I'm still in the midst of semi-invalid wife/ infant care, only now I've added the responsibility of work to the pile. My series started back this week. They always like to do an episode or two before the holidays to get a jumpstart on the year and provide us all with Christmas/ Hannukah (diaper) money. So I'm back in the land of dance floor and night exteriors for the time being until we shut down for the holidays. I've got some ideas for columns planned, I just need time to get to them, and maybe this coming year we'll get around to that podcast we've been planning forever. (and maybe even some t-shirts). Till then, I've got a 3PM call time and a baby screaming downstairs, so I've got to run, but I'll be back very soon. Thanks for still tuning in.
D
D
Tuesday, November 23, 2010
Happy Thanksgiving!
PS- Don't forget to use our forum on the right. Just click and start a conversation.
Thursday, November 04, 2010
A Brief Pause
I will be away from the computer for a few days to handle some family responsibilities. Talk among yourselves. Here's a topic to help you get started..."Luma Beam Levellers-Friend or Foe?" on second thought, that one's putting me to sleep already. Let's try "Beer- The Great Equalizer." Be back soon.
D
D
Thursday, October 21, 2010
Everybody Wants to Be a Dolly Grip
Including the lovely Laura Dern. Thanks Laura.
All right. Who's next?
Monday, October 11, 2010
The Indurberator
Dear Paul Maibaum, is it strange that I still remember this word after 15 years? You've coined a term!
Saturday, October 02, 2010
The Last Supertechno 100 Pics
Meanwhile, the series I'm presently working on is winding down. I'll have more to say about that later. I'm still debating whether or not to go back to my old standby series. They did come through with more (a lot more) money and it's 7 months of work, so I'm torn between wanting to leave myself open for feature work and the promise of a steady long run of paychecks, especially with a son due any day now. It's a great show to be on with a crew that I love, but if I gave you a list of some of the movies I turned down last year because I was committed to this thing, you would immediately write me off as a moron or a liar. Anyway, I'm tired. Bone tired. Tired of being on a movie set for as long as I can remember and in need of some time away from all of it. And I'm about to get it, thanks to the State of California and their paid family leave program (and we wonder why California is bankrupt). I hope all of you Sled Dogs out there are doing well and staying safe. (At this point in the post, I always look for some really cool, appropriate sendoff line, but I got nothing, so if you think of a good one, leave it in the comments).
Sunday, September 26, 2010
Friday, September 24, 2010
Another Techno 100 Pic
Sunday, September 19, 2010
What Supports You?
Pure and simple - we're on our feet all day. We aren't lucky enough to be able to come to set and plunk our set chair in a nice in the way spot and set up our magazines. We are running up and down stairs and gravel driveways - trying to find grip to start the 200ft running in parallel or Flintstoning a stop in an office hallway. I always feel it trying to do crane lock offs while trying not to move my feet from their planted spots.
I'm starting a new show this week and am trying to get into the tradition of purchasing new shoes with the start of each new show.
Generally I go through 3 - 5 pairs of runners a year. I'm a stickler. I've got wideish feet, so I've had to stay with a brand that I can get a 4E width. I've been wearing New Balance's 600 series for years. They're reasonable in price depending on where you shop. While I was waiting for the salesperson to return, I started looking around at other options (the buy one, 50% off the second pair was also tickling my wallet). I like the Merrell's, but once again, I get into an issue with finding my size and width - I've stopped wearing Nikes and Reeboks because of lack of widths - forcing me to buy larger sizes than I need (think Clown Shoes…).
Just in the last year, I've also come over to the Blunnie side. I finally plunked down the cash for a pair of Blundstones last year and have slowly been working my feet into them. I find depending on the store, the folks that sell Blundstone are a different breed of salespeople. Mind you, for the price I'd hope so, but it makes the purchase of the boot a lot easier on the pocket book, but they really want to see you happy wearing Blunnies and will do most anything to help - cleaning, stretching, footboards, etc.
All this opens another door to posture - the right shoe can go a long way to help with back trouble. Wrong shoe and you'll be in pain everyday.
What are you wearing to set?
Saturday, September 18, 2010
People You Should Visit...
I'm a little short on time and inspiration this week, so I'm going to try and send some business to some friends. These are all companies owned and operated by Grips throughout the world. They've put themselves and their talent on the line to build successful businesses. Check 'em out.
The Gripworks. Sanjay Sami has built one of the largest Grip shops in Asia. If you need it, he can make it. And he's a helluva nice guy. Visit him at thegripworks.com,
Grip411. If you need it, these guys know where to get it. Rick Davis has the info on anything grips use from clamps to cranes. Need answers? Visit grip411.com.
The Gentlemen Grips. I have been affiliated with these guys for almost my entire career, first as a hammer, then as a Dolly Grip. They're my family. Key Grip Alan Rawlins is one of the best in the business and can equip any size production. Check them out at gentlemengrips.com.
Solid Grip Systems. Onno Perdjic is a genius. Check out his Truss Dolly System and you'll know why. Visit them at solidgripsystems.eu
GI Track. Developed by Dolly grips for Dolly Grips, this innovative track system is generating a lot of interest. It's well thought out and extremely well-built. Check out Gil Forrester's company at gitrack.com.
The Gripworks. Sanjay Sami has built one of the largest Grip shops in Asia. If you need it, he can make it. And he's a helluva nice guy. Visit him at thegripworks.com,
Grip411. If you need it, these guys know where to get it. Rick Davis has the info on anything grips use from clamps to cranes. Need answers? Visit grip411.com.
The Gentlemen Grips. I have been affiliated with these guys for almost my entire career, first as a hammer, then as a Dolly Grip. They're my family. Key Grip Alan Rawlins is one of the best in the business and can equip any size production. Check them out at gentlemengrips.com.
Solid Grip Systems. Onno Perdjic is a genius. Check out his Truss Dolly System and you'll know why. Visit them at solidgripsystems.eu
GI Track. Developed by Dolly grips for Dolly Grips, this innovative track system is generating a lot of interest. It's well thought out and extremely well-built. Check out Gil Forrester's company at gitrack.com.
Monday, September 13, 2010
Life of a Fill-In B-Camera Dolly Grip
I arrive at the backlot at a large metropolitan studio at 6:30 am, tired because I worked a 60 hour week, slightly edgy because I know absolutely no one on the crew, and pissed because it's a Sunday. I take the waiting van from the parking structure to catering and quickly wolf down a bowl of oatmeal and a non-descript muffin. The air is slightly chilly this early and I shiver as I find the still-closed grip truck. I am a fill-in B-camera Dolly Grip.
My friend Jerry had called me last Thursday and asked if I could fill in for him on Sunday for a splinter unit he was pushing B- Camera on. As I am already in the middle of a rather difficult tv show, the last thing I wanted to do was take a B-Camera job, especially on a Sunday. Now, you have to know that Jerry is no ordinary B-Camera Dolly Grip. In real life, Jerry is a Key Grip who does very big movies with temperamental directors, DP's whose names sound vaguely European, and lavish catering. I have turned Jerry down for the last two jobs he's called me for because of previous bookings and my IMDB page is much the poorer for it. He is also a great guy and a truly phenomenal Key Grip. So, I told him if he couldn't find anyone else to do it, I would. I congratulated myself on my ability to be caring and selfless, as well as clever. Then, secure in the knowledge that in a town lousy with Dolly Grips, someone would take the call, I promptly forgot about it and went on about my business. Then Friday came and I noticed the text message recieved light blinking on my fantastically stupid Blackberry. "Couldn't find anyone to do it. Can you?" My heart dropped. But, I resigned myself to it. I couldn't turn this one down. If you turn down too many the calls stop coming.
First impressions: I knew absolutely no one on this crew. Ok, I did know the A- Camera Dolly Grip in passing and by reputation and we had mutual friends. Oh, I remember the Key Grip. Same deal, though I had worked with him before. A nice guy. The rest? Never seen 'em before in my life. I shake hands with the guys, mumble a "Nice to meet you" and unload my Peewee from the truck. Next came a whirlwind of track laying, over-holding, helping the A -Dolly Grip build a deck for a dance floor, and then, at the 8 hour mark, a company move. It went by in a long, harshly sunlit blur. It's always a little discomforting to work with a completely unfamiliar crew. They all know each other. They all know where the extra wedges and the turnbuckles are. They all have nicknames or call each other by their last names. I on the other hand feel a little lost and not a little addled. Between the long week, little rest, cumulative burnout from endless work, and just being tired of movie sets in general, I'm more than ready for this day to end, and not a little relieved when the last half of the day consisted of mostly A- Camera only shots. I had a 6:30 am call on Monday and wanted to get home in time to get at least 8 hours of sleep. At hour 16 I began to realize that tomorrow was going to suck even more than my most fevered dreams could even approach. Finally, they decided to cut the last scene and after thanking all the guys, exchanging phone numbers with the A- Camera Dolly Grip (I had lost his in a phone that I washed in a washing machine a while back) I wearily headed toward the parking structure.
The next day, running on three hours sleep I- yelled at the camera operator (twice), barely restrained myself from yelling at the DP and getting fired, drank too much coffee, and went through a whole tin of snuff. Was it worth it? Well, in the process I also- helped out a guy who needed it, hopefully earned myself a little more time in the boss' s phone list, met some cool people who are really good at what they do. Oh yeah, I made a little money in the deal too. One thing I've learned is that as bad as it sucks now, that check next Thursday tends to make it all a little more worthwhile. Thanks, guys for the opportunity. It was a pleasure meeting and working with you all. Now, I've got to go apologize to my camera operator.
My friend Jerry had called me last Thursday and asked if I could fill in for him on Sunday for a splinter unit he was pushing B- Camera on. As I am already in the middle of a rather difficult tv show, the last thing I wanted to do was take a B-Camera job, especially on a Sunday. Now, you have to know that Jerry is no ordinary B-Camera Dolly Grip. In real life, Jerry is a Key Grip who does very big movies with temperamental directors, DP's whose names sound vaguely European, and lavish catering. I have turned Jerry down for the last two jobs he's called me for because of previous bookings and my IMDB page is much the poorer for it. He is also a great guy and a truly phenomenal Key Grip. So, I told him if he couldn't find anyone else to do it, I would. I congratulated myself on my ability to be caring and selfless, as well as clever. Then, secure in the knowledge that in a town lousy with Dolly Grips, someone would take the call, I promptly forgot about it and went on about my business. Then Friday came and I noticed the text message recieved light blinking on my fantastically stupid Blackberry. "Couldn't find anyone to do it. Can you?" My heart dropped. But, I resigned myself to it. I couldn't turn this one down. If you turn down too many the calls stop coming.
First impressions: I knew absolutely no one on this crew. Ok, I did know the A- Camera Dolly Grip in passing and by reputation and we had mutual friends. Oh, I remember the Key Grip. Same deal, though I had worked with him before. A nice guy. The rest? Never seen 'em before in my life. I shake hands with the guys, mumble a "Nice to meet you" and unload my Peewee from the truck. Next came a whirlwind of track laying, over-holding, helping the A -Dolly Grip build a deck for a dance floor, and then, at the 8 hour mark, a company move. It went by in a long, harshly sunlit blur. It's always a little discomforting to work with a completely unfamiliar crew. They all know each other. They all know where the extra wedges and the turnbuckles are. They all have nicknames or call each other by their last names. I on the other hand feel a little lost and not a little addled. Between the long week, little rest, cumulative burnout from endless work, and just being tired of movie sets in general, I'm more than ready for this day to end, and not a little relieved when the last half of the day consisted of mostly A- Camera only shots. I had a 6:30 am call on Monday and wanted to get home in time to get at least 8 hours of sleep. At hour 16 I began to realize that tomorrow was going to suck even more than my most fevered dreams could even approach. Finally, they decided to cut the last scene and after thanking all the guys, exchanging phone numbers with the A- Camera Dolly Grip (I had lost his in a phone that I washed in a washing machine a while back) I wearily headed toward the parking structure.
The next day, running on three hours sleep I- yelled at the camera operator (twice), barely restrained myself from yelling at the DP and getting fired, drank too much coffee, and went through a whole tin of snuff. Was it worth it? Well, in the process I also- helped out a guy who needed it, hopefully earned myself a little more time in the boss' s phone list, met some cool people who are really good at what they do. Oh yeah, I made a little money in the deal too. One thing I've learned is that as bad as it sucks now, that check next Thursday tends to make it all a little more worthwhile. Thanks, guys for the opportunity. It was a pleasure meeting and working with you all. Now, I've got to go apologize to my camera operator.
Thursday, September 02, 2010
SuperTechno 100
Friday, August 27, 2010
One Piece At A Time
I can remember as a young Dolly Grip how nothing got my palms sweating more than a big dance floor move. It was hard enough doing one where all the points are known and you got a chance at a couple of decent rehearsals. But the really scary ones were the ones that evolved as you went through a rehearsal, with the director shouting out a new instruction at each point. "Tighten up when she leans in here" or "Boom down when he goes around" were added to the pile of instructions you already had in your head and before you knew it, the whole scene was a useless muddle while you broke out in a cold sweat wondering how you would ever remember it all, much less execute it. Over time I learned the secret: Take it one piece at a time. If you try to think about the move as a whole, it'll scare the hell out of you. Think of it in chunks, one building upon the other, until soon it all comes together. Here's another secret. The actors will tell you what to do and where you should be. No, I don't mean to go up to Robert DeNiro and ask him where number three is. I mean that if you understand the shot, and move with the actors, it's a lot easier to remember what happens when. It's all about understanding the actors movements in the scene in relation to the camera as opposed to a bunch of mechanical "okay, now I go here" movements. Generally, in Dollygrippery, the camera moves when someone in the scene does. Watching where they go will tip you off quickly to where your next mark is. Recently I did one of these moves that just builds and builds with every rehearsal. The director was Jonathan Demme, a great guy but not afraid to challenge you. What started out as a simple half-circle around a desk countering an actor turned into a five point move with a boom from the bottom to the top of the arm and a couple after that. As the move got more complex, the old sweaty palms started. Then, I took a deep breath and remembered to watch the actors and think of it one piece at a time. I nailed it on the first take, except for a minor blockage on a line, and by the third take I had it down. This is the secret that will save you these pregame jitters. Don't make the mistake of trying to shoehorn the whole sequence into your short-term memory all at once. It doesn't work. Watch the actors.
On a totally different note, I'm missing some of my old buddies I used to hear from pretty regularly. Where are you guys? GHB has been silent, as well as Wick and my old friend Megamoose. Just drop me a line and let me know you're still out there.
On a happier note, Dollygrippery would like to congratulate Sanjay Sami and his beautiful wife, Tara, on the birth of their baby boy. Mother and son are doing fine. Get some sleep, Sanjay. I'm not far behind you.
On a totally different note, I'm missing some of my old buddies I used to hear from pretty regularly. Where are you guys? GHB has been silent, as well as Wick and my old friend Megamoose. Just drop me a line and let me know you're still out there.
On a happier note, Dollygrippery would like to congratulate Sanjay Sami and his beautiful wife, Tara, on the birth of their baby boy. Mother and son are doing fine. Get some sleep, Sanjay. I'm not far behind you.
Sunday, August 15, 2010
Hit and Run
This post was suggested by my friend Larry, one of the best boom ops in the business. It refers to the unfortunate reality that sooner, or later, someone is going to be hit by the dolly. It's pretty much inevitable. You put several people, all concentrating on their own tasks in combination with a 500 lb machine careening around a small space, sooner or later it's going to happen. In all my years I can list as victims, several DPs, a few Boom Operators, countless extras, and, of course, myself, not necessarily in that order. Still photographers seem to be the most common victims. They're sneaky, they're focused, they're often oblivious to the world around them because they're looking through the eyepiece of a different camera as mine swoops (yes, it swoops) around the room during a scene. Let me say this right off the bat: I have a lot of respect for still photographers. They often have a thankless job. The crew never really quite knows where they fit in. They kind of come and go on their own schedule and are part of the publicity department, so are often seen as somehow not really part of the crew by other crew members. I myself am guilty of this train of thought, even though I know they are part of the camera crew. The best still photographers are like ghosts. You might catch a glimpse of one as you dolly in, but they quickly fade out of view only to appear on the other side of the room as you land. But there are those who just always seem to be in the way. They materialise directly on top of your number two mark as you race toward it, obliviously snapping pictures as you try to silently warn them of impending doom while your 500+ lbs of steel, camera, and operator races toward them. This type drives me nuts. I've got enough things to watch without having to worry about flattening someone who suddenly decides that the perfect shot can only be taken from the exact center of my trajectory as I bear down on them trying to execute a boom and a move while simultaneously watching some actor go through his paces. My rule of thumb is, warn them once. After that, it's every man for himself. As f
ar as actors go, I've only hit two in all my years: Forrest Whitaker and John Heard. Both were warned extensively before the shot where not to step. Both inadvertantly stepped right where they shouldn't have. Forrest was a complete gentleman and apologized profusely even as I apologized to him (though I knew it wasn't my fault). John Heard was a complete dipshit about it, howling in pain (the dumbass was wearing flip flops for off camera dialogue) like I had done it on purpose until the director walked up and told him, "You were warned. You have to look out for yourself at all times." The thing is, it's going to happen sooner or later, so it's best to cover yourself beforehand by warning all parties involved, "I'm pushing in/ moving left/ backing up, so be aware." After that, you can only do what you can do. If you happen to smack someone after duly warning them, it's their own fault and as bad as you may feel, you have to let it go. This feeds right in to the type of surface you choose for a particular shot. You want to avoid actors having to step over track as it is much more hazardous than dance floor. If you have to lead an actor as he/she walks directly in front of camera, offset the track and use a camera offset. If an actor has to walk across your surface, use floor when you can or ask the actor if he or she is ok with stepping over track. Most of the time they are fine with it, but always be aware of how your choices affect others during the shot. I once worked for a DP who didn't allow me to lay dance floor anywhere the actors walked. While noble, this is extremely impractical (and stupid). Needless to say, this adds hours to the day and compromises a lot of your work, trying to figure out how to do this. It's just a little over the top. Anyway, I digress. Just be aware of how your choices affect others and be sure all parties involved in the shot know what is going on. Keep your eyes open for potential disaster, and always CYA. This has been a public service announcement of Dollygrippery.
I have to add a second part to this post. I recieved an email from a reader concerning the correct way to top-mount a camera on a "Straight Shoot'r." Having not used one in years, I must defer to you guys. Here is the email:
"I'm currently working with a Straight Shoot'r jib on the Fisher10. It came with the camera mount under-slung, and we needed to top-mount it for a shoot the other day. We worked out a way to top mount it that didn't feel 100% right or slide as smooth, but worked well enough for what we needed. I have found pictures online of what it should look like top-mounted and it looks like what we had. I was just wondering if any of you had any experience with this jib and any pointers?"
ar as actors go, I've only hit two in all my years: Forrest Whitaker and John Heard. Both were warned extensively before the shot where not to step. Both inadvertantly stepped right where they shouldn't have. Forrest was a complete gentleman and apologized profusely even as I apologized to him (though I knew it wasn't my fault). John Heard was a complete dipshit about it, howling in pain (the dumbass was wearing flip flops for off camera dialogue) like I had done it on purpose until the director walked up and told him, "You were warned. You have to look out for yourself at all times." The thing is, it's going to happen sooner or later, so it's best to cover yourself beforehand by warning all parties involved, "I'm pushing in/ moving left/ backing up, so be aware." After that, you can only do what you can do. If you happen to smack someone after duly warning them, it's their own fault and as bad as you may feel, you have to let it go. This feeds right in to the type of surface you choose for a particular shot. You want to avoid actors having to step over track as it is much more hazardous than dance floor. If you have to lead an actor as he/she walks directly in front of camera, offset the track and use a camera offset. If an actor has to walk across your surface, use floor when you can or ask the actor if he or she is ok with stepping over track. Most of the time they are fine with it, but always be aware of how your choices affect others during the shot. I once worked for a DP who didn't allow me to lay dance floor anywhere the actors walked. While noble, this is extremely impractical (and stupid). Needless to say, this adds hours to the day and compromises a lot of your work, trying to figure out how to do this. It's just a little over the top. Anyway, I digress. Just be aware of how your choices affect others and be sure all parties involved in the shot know what is going on. Keep your eyes open for potential disaster, and always CYA. This has been a public service announcement of Dollygrippery.
I have to add a second part to this post. I recieved an email from a reader concerning the correct way to top-mount a camera on a "Straight Shoot'r." Having not used one in years, I must defer to you guys. Here is the email:
"I'm currently working with a Straight Shoot'r jib on the Fisher10. It came with the camera mount under-slung, and we needed to top-mount it for a shoot the other day. We worked out a way to top mount it that didn't feel 100% right or slide as smooth, but worked well enough for what we needed. I have found pictures online of what it should look like top-mounted and it looks like what we had. I was just wondering if any of you had any experience with this jib and any pointers?"
Thursday, July 29, 2010
This is What Dolly Grips in India Look Like.
*OK, just kidding. This is Priyanka Chopra, one of the most famous actresses in India (or probably the Eastern Hemisphere) and a former Miss World, posing with Sanjay's new Hybrid. She's beautiful ain't she? (I mean the girl, not the dolly). Thanks to Priyanka and Sanjay.
Monday, July 26, 2010
Business as Usual
There's not much going on right now, other than work and sleep. My hometown of Atlanta is slammed with feature work, while Los Angeles is sputtering along on TV. I'm working on a couple of post ideas, I just need time to write them. Hopefully this weekend I'll get a chance (unless I get a long turnaround). Stay safe.
D
D
Sunday, July 11, 2010
Where We Are
Every so often, I get a little fired up about our field. I (we) work a lot of thankless hours to deliver shots that really make or break a picture. We do it for much less pay than we're worth, and everyone but the producers generally know it. Since 2007, every year or so, I do a "state of the field" post. Usually it's after a few rum and cokes and often, I wake up the next morning in a mad scramble to correct whatever I wrote the night before. This year , I didn't really offend anyone, unless you're the kind of half-ass Key Grip who promotes your half wit brother or son to Dolly Grip because he needs a job. If you are, thanks for keeping us down. You are a big part of the reason our rates are what they are and why I have to demonstrate that I can do a compound move on each show.
I started this site (I hate, HATE the word blog) in 2007 to try and bring together the Dolly Grips of the world into some kind of community where we could all share our common gripes and also get a few tips from each other. Since then, I've made friends from all over the world. It's a strange thing about Dolly Grips, we have a profound impact upon the final image, yet we are often treated as less than important by production. Camera Operators know of our importance to the process. Believe me, I hear horror stories from them all the time of less than stellar "dolly grips" who can't hit a mark or have no concept of eyelines, timing, or blocking. You know the ones. They're bumped up by their Key Grip brother-in-law or father, but don't know a camera riser from a seat riser. It's a joke perpetrated by guys who should know better. Yet, those of us who work at our craft are still often thought of as somehow less than integral to the process by production. It's an endless source of fascination to me that some cretin who happens to be related to the Key Grip is suddenly a Dolly Grip, but it takes years of practice to become a camera operator. Here's the bottom line, dude. It's more than going from one to two. If you don't know that by now, you probably have no business being a Key Grip. I'm really happy you got your kid a job as a Dolly Grip, but he doesn't even know how to do a compound move or set up a dolly shot properly. Dolly Gripping is not an entry level position. It's like the old saying, " you never need a cop till there's not one around." Not that what we do is anywhere near as important as what the men and women of law enforcement do, but it's the same concept in our little world. I see it as my job day to day to keep production moving as quickly as possible. This means that I already know which side of camera the looks are on a turnaround, and have a plan for making it happen before the gate is checked. I make it my business to know where the camera is going to go before the DP tells me, how much track or floor I'll need, and any special equipment I'll need before it ever comes up. All of you know what I'm talking about. I had a dayplayer "B" camera "Dolly Grip" a while back who didn't know how to put the low mode on a Peewee 3. He promoted himself as a dolly grip but didn't know this most fundamental of tasks. This is what I've tried to help weed out with dollygrippery. I don't, by any means, count myself among the best, but I've spent years trying to become proficient in the basics of pushing dolly. And I'm pretty good at it. It ain't rocket surgery, but it is a craft. Just like bricklaying, or DPing, there are certain basics to the profession. Find the high point. Know your eyelines. Know your focal lengths. Know how to put the frakking low mode on a Peewee. These are things that we know as intuitively as our own names from doing it day after endless day for years. That's what dollygrippery is all about: knowing your craft. When I watch a movie and see a dolly move that takes my breath away, I say to myself, "nice work, brother*" and then I wait to see in the credits who did it. Because I know, as all of you do, what goes into it. More often than not, it's a friend or acquaintance of mine, which makes it that much more thrilling. I always lean over to my wife and say proudly, " I know that guy." This has no effect on her. She thinks I'm a nerd and rolls her eyes, but I'm proud for my friend because I know firsthand the artistry and discipline it takes to pull off a really difficult move. So I'd like to thank those of you who've become my friends on dollygrippery, and to those Dolly Grips whose work I so admire. You've made my life that much richer with your stories and comments. You all make it a little easier to do my own work knowing that you are all out there doing the same things all over the world. So the state of the craft, as I see it is, a little better than it used to be. I still run across operators and DP's who want to tell me every move to make, at least for the first day or two, but that's as it has always been. It has always seemed a little strange to me though that it seems to be taken for granted that Camera Operators and Focus Pullers are assumed to be competent from day one, but Dolly Grips spend the first week of a show auditioning. It's just this situation that I created Dollygrippery to help alleviate. To bring some sense of community to the Dolly Grip world and the Grip world in general. And here's another thing. There's a little story going around about certain members of a certain local being told they're, "Lucky to be working," when they call up the local to complain about the HBO rate or any number of things we should be protected from by our union each day. Here's a tip: I ain't "lucky" to be working. I work regularly because I sweat my ass off to do the best job I can, and like the other working Dolly Grips in this business, I deliver. Luck has very little to do with it and being told this by those I pay to protect my interests is an insult to those of us who are in the trenches every day and look to for our protection. So shut it.
Deep breath.
Anyway, this turned into a little more of a rant than I intended. Thanks to all of my readers. Stay safe and keep it between the ditches (after your 14 hour day).
*This doesn't preclude the contributions of sister Dolly Grips. Unfortunately, our sisters haven't made inroads into pushing dolly like I hoped they would. I know of several kickass female grips who I would put up against anyone. Alexa is the only sister Dolly Grip I know personally. I would love to hear from more of you, so write in and tell me your story.
I started this site (I hate, HATE the word blog) in 2007 to try and bring together the Dolly Grips of the world into some kind of community where we could all share our common gripes and also get a few tips from each other. Since then, I've made friends from all over the world. It's a strange thing about Dolly Grips, we have a profound impact upon the final image, yet we are often treated as less than important by production. Camera Operators know of our importance to the process. Believe me, I hear horror stories from them all the time of less than stellar "dolly grips" who can't hit a mark or have no concept of eyelines, timing, or blocking. You know the ones. They're bumped up by their Key Grip brother-in-law or father, but don't know a camera riser from a seat riser. It's a joke perpetrated by guys who should know better. Yet, those of us who work at our craft are still often thought of as somehow less than integral to the process by production. It's an endless source of fascination to me that some cretin who happens to be related to the Key Grip is suddenly a Dolly Grip, but it takes years of practice to become a camera operator. Here's the bottom line, dude. It's more than going from one to two. If you don't know that by now, you probably have no business being a Key Grip. I'm really happy you got your kid a job as a Dolly Grip, but he doesn't even know how to do a compound move or set up a dolly shot properly. Dolly Gripping is not an entry level position. It's like the old saying, " you never need a cop till there's not one around." Not that what we do is anywhere near as important as what the men and women of law enforcement do, but it's the same concept in our little world. I see it as my job day to day to keep production moving as quickly as possible. This means that I already know which side of camera the looks are on a turnaround, and have a plan for making it happen before the gate is checked. I make it my business to know where the camera is going to go before the DP tells me, how much track or floor I'll need, and any special equipment I'll need before it ever comes up. All of you know what I'm talking about. I had a dayplayer "B" camera "Dolly Grip" a while back who didn't know how to put the low mode on a Peewee 3. He promoted himself as a dolly grip but didn't know this most fundamental of tasks. This is what I've tried to help weed out with dollygrippery. I don't, by any means, count myself among the best, but I've spent years trying to become proficient in the basics of pushing dolly. And I'm pretty good at it. It ain't rocket surgery, but it is a craft. Just like bricklaying, or DPing, there are certain basics to the profession. Find the high point. Know your eyelines. Know your focal lengths. Know how to put the frakking low mode on a Peewee. These are things that we know as intuitively as our own names from doing it day after endless day for years. That's what dollygrippery is all about: knowing your craft. When I watch a movie and see a dolly move that takes my breath away, I say to myself, "nice work, brother*" and then I wait to see in the credits who did it. Because I know, as all of you do, what goes into it. More often than not, it's a friend or acquaintance of mine, which makes it that much more thrilling. I always lean over to my wife and say proudly, " I know that guy." This has no effect on her. She thinks I'm a nerd and rolls her eyes, but I'm proud for my friend because I know firsthand the artistry and discipline it takes to pull off a really difficult move. So I'd like to thank those of you who've become my friends on dollygrippery, and to those Dolly Grips whose work I so admire. You've made my life that much richer with your stories and comments. You all make it a little easier to do my own work knowing that you are all out there doing the same things all over the world. So the state of the craft, as I see it is, a little better than it used to be. I still run across operators and DP's who want to tell me every move to make, at least for the first day or two, but that's as it has always been. It has always seemed a little strange to me though that it seems to be taken for granted that Camera Operators and Focus Pullers are assumed to be competent from day one, but Dolly Grips spend the first week of a show auditioning. It's just this situation that I created Dollygrippery to help alleviate. To bring some sense of community to the Dolly Grip world and the Grip world in general. And here's another thing. There's a little story going around about certain members of a certain local being told they're, "Lucky to be working," when they call up the local to complain about the HBO rate or any number of things we should be protected from by our union each day. Here's a tip: I ain't "lucky" to be working. I work regularly because I sweat my ass off to do the best job I can, and like the other working Dolly Grips in this business, I deliver. Luck has very little to do with it and being told this by those I pay to protect my interests is an insult to those of us who are in the trenches every day and look to for our protection. So shut it.
Deep breath.
Anyway, this turned into a little more of a rant than I intended. Thanks to all of my readers. Stay safe and keep it between the ditches (after your 14 hour day).
*This doesn't preclude the contributions of sister Dolly Grips. Unfortunately, our sisters haven't made inroads into pushing dolly like I hoped they would. I know of several kickass female grips who I would put up against anyone. Alexa is the only sister Dolly Grip I know personally. I would love to hear from more of you, so write in and tell me your story.
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