Moving On?

I've been slogging it out on network TV this year. First a pilot for CW, now on a series for NBC. I've encountered a few things:

The pilot had a big name director / producer. I won't mention names, but let's says he's gotten a bunch of TV shows off the ground (all having three letter titles). I pushed B dolly and had him within three feet of me all at time - screaming all the way, thankfully not at me, but at the rest of the crew (DP included). Seems he doesn't really like the whole "film making process...". Nerve wracking to say the least. Oddly enough, this was the second time I've pushed for B camera. I've always pushed A camera, but acknowledge that B camera is certainly a place to cut your teeth and hone your craft. I tip my hat to anyone who is part of a crew and has stayed pushing B.

On my current job, we've brought in a new guy to the crew to push B. He's a competent guy but also new to concentrating on dolly pushing and to the B spot. We've been able to share experiences and I've been able to pass along tips to help him get through this project - number one - don't be bullied into something you can't pull off. Yes, operator comfort is a priority, but at the same time, you have to be able to physically be able to do your job.

The show we're doing is of a CIA agent - so you've got the offices and enclosed spaces to deal with. I'm a big of NCIS and have more respect for the dolly grips on that show for what they've pulled off episode to episode, season after season. Just the amount of coverage in the bullpen alone is mind boggling. I'm hating our set design so much. Lots of glass and reflections for me and the operator to contend with (my op is pulling his hair out!!) We're in "ninja suits" all the time.

Two mechanical things that have come up in our first four weeks of shooting: We've managed to tear off the front corner seat pocket cap on our Hybrid, not once, but twice. Seems the cap is screwed into only an 1/8th of an inch of metal (first time we shot screws into the ceiling). Yes, we were using an seat extension and no, the operator is not a heavy guy. I'm still working with our rental house on this and have put in an email to Chapman.

The replacement chassis groans more than I do. I dread doing dancefloor moves in our studio, as the floors of the warehouse aren't level and I don't always have all eight wheels on the ground. I thought it may have been a loose leg (once again, the front left), but after tightening it still sounds awful. Even now, if a seat is placed in that pocket, then the pocket creaks like a old wooden sailing boat.

We do alot of handheld work and I finally got around to assembling the Mitchell Tractor seat (only to discover two weeks later that Modern now has one). Its been a life saver and the operator loves it.

Goodbye

You were smelly.
You were filthy.
You cost me a fortune.
Like a lot of Good Dogs, you were an immense pain in the ass.
You loved us every day and we miss you more than we could ever say.
Goodbye Old Man. Safe travels. See you down the road.
I love you.

Moviebird Review and Something Cool

I had been hearing a lot lately about the Moviebird Technocrane and was curious to try it out myself. Last week I got the chance. We used the MB 35/45 over several nights and I must say that it performed admirably. We put it through several paces including a full speed extension matching a running actress and it held up well. We got the crane from Procam Rentals and Tech David Hammer came out with it and was a pleasure to work with. The crane will operate at 35' max, or, with the addition of an extension, at 45' max. Hammer explained that at full 45' extension it does get a little whippy but that this can be alleviated somewhat by dropping it back down to 35'. We used it at full extension and while there was a good bit of whip to it on a fast pan, it was possible to finesse a lot of it out after a couple of runs. I have to say that at the full 45', just shy of what a 50' Supertechno would offer, the arm is extremely responsive and not near as bulky or clunky as a 50' Supertechno. The arm balances extremely well and doesn't require a lot of babysitting. The tilt dampener on it also works well and holds it rock solid. Set up is pretty much just like the normal Technocranes we're all used to. Altogether, I would have to say it's a solid choice and wouldn't hesitate to use it again.
 Moviebird, and Procam also offer lengths of 17',  24' and 30'.
All in all, the only con that I saw at all was the whippiness at full stick at 45', but this is almost balanced out by the easier maneuverability of the arm. Of course you would have to pick a crane based on your particular needs.
I liked it and I especially like the responsiveness of the arm at full stick compared to a 50' Techno.
Pickle wise, it seemed comparable to the Technos we all know and love.

You can reach Procam Rentals at 818-717-0354 and Hammer will give you all the details. Their website is procamrentals.com . Tell 'em Dollygrippery sent ya.

Now, for the "something cool."  Those of us who favor the Hustler 4 know what a pain it can be in outdoor rural settings. It's just a little low to the ground and heavy to get over roots and hills etc. While I was away on my movie, the boys on my series came up with a set of big wheels that mount into the sideboard receptacles. They screw in and though they aren't steerable, the Hustler pops up easy enough to allow a lifting bar inserted in the back to pop up the front and turn it. It makes a big difference. Thanks to Chapman for making them up. Here's a pic.

Tomorrow at Fisher...

...I won't be able to make it after all. I have to go do a daddy thing in Atlanta. Please, those of you who can make it, take some pictures and give a report on how it goes.

Show Wrap-up

I'm back and all went well. A lot of free form work on this job and the operator pretty much let me have my head on this one. He would usually say, "Just do what you think is right" and it all worked out. A real pleasurable way to work. I must make mention of the increasing scarcity of decent Birch for plywood. We paid 90.00 a sheet for the best we could find- assured by the lumber company that it was the best available. Within two weeks it was cupping, bowing, chipping and warping. We made it through, but probably couldn't have gotten much more out of it. Someone has to come up with an alternative to Birch. Maybe some kind of fiberglass or plastic 3/4" sheets that interlock to make a decent surface that won't warp. It would be a big initial investment but would last for years and eventually make money in rentals. Let's investigate. Anyway, thanks for staying tuned during my frequent absences. We are planning some cool things in the future when we can get time to make them happen.
  Don't forget the JL Fisher Open House and Barbecue in two weeks, Saturday May 15th at Fisher in Burbank. As it turns out, I probably will make it and hope to give a full report. I'll be wearing the "Dollygrippery" nametag so please say "Hi" if you're a reader. I'll also take any suggestions for future posts or activities. Please visit the Fisher website for directions and info. It's always a great time to meet old friends and learn about what's going on in the Dolly Grip world.


Vote in the new poll on the right.

Crane Marking

Today's post is a guest post. I haven't been able to post as much, or prepare anything for a few weeks so I asked my buddy Greg Brooks to fill-in. Greg is a Dolly Grip's Dolly Grip. His credits include: the Showtime series Californication, and the Clint Eastwood films, Changeling and Gran Torino. He knows his stuff, you should listen to him.



CRANE MARKING

                                                                    "Good luck!"


A big part of what we do as dolly grips is operate camera cranes and jib arms. These too require the same soft touch and subtle corrections as a dolly but now you have to fight (or befriend) gravity and inertia. It can be quite challenging. Often times you are on a wide lens and you can wing it and get it close, but often times you are not and pin point precision placement is key and settling that crane into an over from thirty feet in the air is a skill like any other that challenges us as dolly grips. I've learned a few key tricks that can aid you immensely as a "bucket guy." This of course refers to the guy that is operating the crane and doing the primary arm movements from the handles at the rear of the crane. First thing I do is try to pick the back corner of the bucket that is between the action and the crane. Once a number one position is established by whomever is calling the shots, depending on the ground surface, I'll give myself a T-Mark (like the ones we use for actors) on the ground so I always come back and stand in the same place. Any mark will do, but the key is to have your feet in the same place every time because the camera can look like it's in the same place from thirty feet away from different foot positions. Secondly I look up at the camera which is where your eyes are going to be focused and match a vertical or horizontal line on the camera or the head with a vertical or horizontal line in the background. Sometimes it's the front of the matte box or the base of the head or anything like that. Then you just look beyond those two things and see what they fall in line with. The trick here is to not mark off objects that can move!! This is a mistake that we've all made a million times. Sometimes you'll mark off the top of a truck that you're sure will never move and then the 2nd A.D. comes out right before they yell, "Rolling!!" and asks for that truck to be backed up five feet!! Always stick with inanimate objects. I can't stress that one enough. I've been burned more times than I can think and my B-Dolly grip and I always tell stories about the times we've been burned by marks. The other thing you can do as a back up or as a primary mark is measure off your own body since sometimes the only thing to mark your first position off of is blue sky. So I make a note of where the back handle rubs against my side and remember the position. This is handy, but way less precise when you get into the very tight shots that your number two position is often establishing. So once your number one position is established, there will always be a number two and sometimes a three and four. I use the same procedure for all. The floor marks are really key for me because you can step into the mark as you are swinging around and then shift your eyes to the camera and land it in the exact place that you want and already have your feet planted so you can use your upper body strength to softly slide the camera to it's last mark. This system works pretty well for me. Again, I'd like to reiterate something that is stated on this site many times about being a good dolly grip. The most important part of all this is knowing what the shot is trying to achieve and knowing your lenses and what the shot will see at all your positions. I look forward to hearing some new methods from everyone.

Freeballing

In my experience, there are basically two kinds of shows. Those where the shots are meticulously planned out, and those where they aren't. On most sets, the director and DP plan out the shot with a finder. You get your marks. You know exactly what's going to happen and have a vague idea of where the camera needs to be at specific points during the shot. On others, the director or DP gives a vague wave of the hands and says, "Start here and go over here." You look at the Camera Operator and he rolls his eyes and mouths, "Good luck." Needless to say, the first kind are the easiest for me, although not always the most challenging. I'm presently doing the latter. It's a comedy with two high profile comedy directors (figure that one out). They are both great guys and the DP is a joy to work with. But there is a lot of vague hand waving and pronouncements of, "Start here and maybe we won't see the track." The Camera Operator, who is honestly one of the best in the world rolls his eyes and....well, you know the rest. The beauty of this system is the fun of not really knowing what is going to happen and having to adjust the shot as it unfolds. It gives the Dolly Grip more creative control over the shot and your skills really come into play. This style is affectionately known as freeballing. God bless my Camera Operator. He honestly asks  my opinion about shots and framing and gives me the freedom to make split second decisions as the scene unfolds. It can get a little frustrating sometimes, though, because I never really know what to set up because the rehearsals are so vague. What can be difficult is coming from a very rigid form of working to this freewheeling type of shooting. I've done movies where the camera placement was critical down to the inch. I was literally measuring the rooms to make sure I knew where the exact, symmetrical center was. You learn very quickly to look for clues as to where the camera should be- lighting fixtures or tiles in the floor are great indicators for lining up a symmetrical shot. It can be hard, though, to go from this style and be plunged directly into the less formalized one. I got a little testy today with my Focus Puller over a shot that we literally were making up as we went. I didn't mean to. I'm usually a pretty easygoing guy with my camera crews, but at one point I was just, like, "Dude, I don't know. It's the first time I've seen it and it was with second team." Now I'm a guy who prides myself on hitting marks. I don't miss often and if I do, I'll be the first to tell the focus puller that I was off by 2 inches or whatever. But when the actor is all over the place and you have to clear another actor and you are constantly booming up or down or adjusting left or right or in and out to hold the frame, things can get a little tense. I have to give it to our focus puller and operator. As challenging as my job can be on this movie, I can't imagine trying to hold focus or keep a nice frame with actors moving all over the place and the dolly constantly adjusting. All in all, although I do like the freedom to wing it, I am ready to get back to a more controlled style of working. The good side of all this is that it's very relaxed and mistakes are easily forgiven. It's a comedy, and comedies, in fact,  moviemaking in general should be fun. I once did a comedy years ago* in which we used the very rigid form of working which was not fun at all. The DP was a Jackass and everyone from the actors on down was tense and unhappy. Overall, I'll take freeballing any day.

*To this day, this was the most miserable experience of my career. Six weeks in Vegas and top rate and all I could think about was leaving. Someday, we will meet again, my friend.

2010 Fisher Open House

The Annual JL Fisher Open House is coming up on May 15. Fisher always pulls out all the stops and puts on a great event with Barbecue and Beer. It's a great opportunity to catch up with old friends and aquaintances, swap some stories, and see the latest that Fisher and several other equipment providers have to offer. The Moving Camera Seminar is also always interesting and it's our time, as Dolly Grips, to be front and center. I, unfortunately, probably won't make it this year due to a prior commitment (my daughter is in a play that weekend), but strongly urge all of you to go. I will need someone to represent Dollygrippery if I can't make it to report on the goings-on and take some pictures. If you are a working Dolly Grip, or just someone interested in the field, it's a don't miss. If you go, be sure to mention Dollygrippery.

Nerves

I can remember when I first started pushing "A" Camera. To say I was a little nervous is an understatement. Which way should I orient the Dolly? Should I use track or floor? I remember when working out a dance floor shot, the operator would keep adding positions and camera heights and I would begin to sweat. My anxiety increased with each new variable. How would I remember all this, much less actually execute it? As time went by, however, the anxiety began to dissipate as my confidence, and skills, improved. I would spend a little time before each show just practicing compund moves. I couldn't have imagined a time when a six point comound move with four camera heights wouldn't send me into the nervous sweats. Now, I don't even think about it. I even enjoy them. It's a little more of a challenge, and it makes us worth our money. Looking back, I think one thing helped me master this skill more than any other: TV. Episodic television is the perfect training ground for Dolly Grips and the older I get the more I believe it. The moves are consistently more complex, you're with people you know well from being around them for endlessly long days, and they're a little more apt to forgive mistakes. And you have to learn to be fast and accurate. You have to nail it by the third take, minimum. This is invaluable when you move to Feature world. Features move at a much slower pace (generally). By comparison, a TV dolly grip who knows his stuff looks like a whirlwind on a Feature set.  I try to go back and do a little TV every so often, and though it's a grind, nothing keeps you sharp like TV. So those of you who still get a little sweaty at the prospect of a seven point, five boom combo, stay with it. Believe it or not, there will come a day when you'll actually enjoy them. It just takes a little (OK, a lot) of time.

Different Scenarios

There's a scene in Die Hard where the FBI agent, played by Robert Davi, assesses the situation and says, "This is a standard A-7 scenario." or something to that affect. This line comes to my mind whenever a shot or setup that seems all too familiar comes up. Once you've done this long enough, it's hard to find a shot, or variation of a shot that you haven't done. There are also common dolly set-ups that you just have filed away in your head that you can pull up from the memory bank and slam together without too much forethought. The standard A-7 scenario. You know with a Lambda Head that you're going to need a camera offset . You know you'll need a sideboard if it's a moving shot. And you know how to orient the offset in such a way that the camera operator can do the shot in a reasonably comfortable way. I generally always use a 12" riser with a Lambda also. It helps get the dolly arm away from the operator and I can still hit the floor with the head. After a while, you have dozens of these different set-ups floating around in your database. That's what helps separate a part-timer from a full timer. It takes years to build up a catalog of different scenarios to draw from. Over-Under Camera Rig? Bam! Got it. Twin Dollies Tied Together? Boom! Get me some pipe, sideboards for the Peewee and chain vice grips. Need to mount an actor on the dolly with the camera looking at him as he moves back? Front board and a camera offset. This database is what will save you valuable time and double work when someone else would be looking down and scratching their head.
On a different note, the show is going well. Again, the Camera Operator, Jaques, Matt, the DP, and Jeff, the
First AC are all top notch and a pleasure to work with. Internet service is spotty here, so I may be a little infrequent, but keep checking in.

Road to Perdition

The late Conrad Hall delivers a Master Class on How It's Done. My friends, if you've never seen it, rent it. I saw it on the big screen, but you can get a taste. A gorgeously photographed movie the way they used to do it. They don't make them like this anymore. Shout out to Dolly Grip Mike Schwake. Gorgeous work my friend. This is the movie we all wished we'd worked on.

Hangin' At the Trade Show

Last week I had the pleasure of manning a booth for GI Track at Toronto's Feb Freeze. It's put on by one of the local's rental / expendable houses.

We had all sort of people come by, from students to producers. Of course our favorite people to talk with were grips and being able to show them the latest and greatest.

One of the downsides to the show was that it was during the week, but I understand the issues the organizers have to content with. Generally the turn out will be less on a weekend, and during the week people are working. Rough go either way.

Gil and I had a great time - lots of great stories shared and bunch of great new faces. I was my first trade show experience, Gil's second and our booth was placed between Mole Richardson and Yellow Jacket Cable Protectors. Those guys had been to all the shows before and were sharing stories with us. Hilarious!

What's New at Chapman

I spent the morning at Chapman- LA checking out dollies for my next show. Shafi, the tech who sets up my dollies, offered to take me around to see what's going on in the various shops there. I had been through it before a few years ago, but it's been a while and this was the first time I had been there on a Saturday, giving Shafi an opportunity to take me around at a more leisurely pace. The most interesting thing was the new 75' Hydrascope, which Sam, the man building it, was happy to show me. It's still in pieces (big pieces), but it's going to be a beautiful arm. It will mount on a Titan base as well as have a smaller motorized base for other applications. I am really excited to see the finished product.
 I also saw one more future dolly, which I can't talk about yet (Ok, I didn't see the finished product, just a hollowed out chassis with a label on it). It's something that's been talked about for a while and I know a lot of you will be interested in, but I don't know when it will be finished or when I can expand on it. So enough about that.
I met a lot of the guys behind the scenes at Chapman, and got a lot better insight into what goes into building a dolly, from material delivery to final testing. As an East Coast Dolly Grip for many years, I never really had an opportunity to deal with their West Coast facilities or people. My dollies all came out of a local rental house or from the Chapman facility in Orlando, so, other than talking to Christine or Hector, I never really crossed paths  with them. The dolly is the tool of our trade, though, and we depend on these people to make sure our machines do what we need them to do. So, I'm making an effort to be a little more involved with the people there. If those of you who use Chapman have never been through the shop, or met any of their talented technicians, I suggest you drop by on a Saturday and learn what goes into making these fantastic machines that we all depend upon. Give them some feedback. If they don't know what we need, they can't help us. As Dolly Grips we have to have a relationship with them. They've always gone above and beyond the call of duty to make sure my dollies were right and I rest easier knowing that they're only a phone call away.

Feb Freeze

If you're in the Toronto area and not working, come on down to Pinewood Studios' Mega Stage for the Cinequip White's Feb Freeze. Tuesday Feb 9th, Open 11am til 8pm.

I'll be there all day manning the GI Track booth with Gil. Come by and say hello and talk dolly turkey!

They Don't Know What We Do.

I wrote a post a couple of years ago about the fact that a lot of directors, and even a few DP's really have no idea exactly what it is that we do. I was going to repost it, but couldn't seem to find it, so I'll just add to it.
Our job is pretty deceptive. It looks pretty straightforward to someone who's just watching. We lay a track, put the thing on it, and go from one to two over and over.  A trained monkey could do it. Even a few Dolly Grips I've worked with over the years weren't sure exactly what  we do (or they were just really bad at it). They stand around and munch on doughnuts at crafty until someone calls them over and the operator tells them where to put the chassis and how to lay the track. Having not seen a rehearsal, they proceed to blow through about four takes until they finally hit one. I love those guys. As long as they're around, I'll always have a job. And we've all worked with the directors. You know the one who walks up after you've just completed a five point floor combo with three booms and a roundy into the end, and slaps the operator on the back, says, "great job but can you go a little faster?" and never even looks at you. He doesn't know what we do. Or the operator is setting up a shot with the finder and the director, looking on, asks, "can you do that?' You immediately speak up and say yes or "I can't get the camera quite that close to the wall." The director looks at you like, " Who is this guy?" and the operator looks at you and says, "How about here?"
We're there to solve the practical problems of setup, as well as deliver the movement, yet are often completely left out of the conversations concerning it.
I told this story once before but it bears repeating. I did a smallish feature a few years ago with a DP who had hundreds of music videos under his belt, but little or no feature work. Aside from being a dumbass, he also labored under the belief that he knew everyone's job better than they did. As a friend of the director, he had been given the DP slot on a studio feature. He proceeded to ignore every suggestion from the operator and myself, thus adding hours to each day. One day, after I had insisted on throwing down a piece of plywood to hold overs (I was tired of waiting for the young actors to magically hit their marks). We got it in a couple of takes and the DP walked up to the operator and said, "that was great. You held all those over the shoulders!" The operator said, "I didn't do anything, D did it!" The DP looked at me and said, "D did that?" This fracking DP on a 10 million dollar movie didn't even know what a Dolly Grip did. The operator said, "Yeah, he's the Dolly Grip." It's the same mentality that forces us to use a dolly that we are not as familiar with or simply don't particularly like as opposed to the one we've used every day for years just because the DP, inexplicably, likes a particular one. This makes no sense to me at all. If I do my job well, you won't notice or care which dolly you're on, and you might find that you like the one I use better. I've managed to turn several camera operators and at least one DP  on to my favorite. Generally, my job goes a lot smoother if they give me all the info, and then get out of the way. I often tell my present operator (an English chap) "Go get a cup of tea!" which is his cue to leave me to my business. I like to set it all up, and have them come back ten minutes later to a waiting camera, ready to go.
I will soon be leaving my show to go do a feature in Atlanta. Although I don't like doing this, the HBO rate just makes it more likely that a better offer will often result in people leaving. The Key Grip understands and was aware when I took the job that this would happen. Still, I'm leaving a great crew whom I love working with. I hope to come back afterwards to finish the season. So, for the next couple of months I'll be back at my home on the East Coast. My great B -Camera Dolly Grip will bump up and we've managed to get an old friend to come in on B. I hope it goes well. (But not too well ; ).

Going Live - Follow Up

Well, I got through it. It was a PBS concert special for the Canadian Tenors (with special guests Sarah McLauchlan and David Foster).

Thankfully not live to air, but was treated as such. 9 cameras - 1 jib on the balcony, 2 dollies, 3 handheld and the rest static.

Of the two dollies, one was at the back of the room and I was on stage left. This was a last minute change and really wasn't thought out properly. There wasn't enough space to get any proper angles and we had another camera shooting at us. I brought up the issues of hall beauty side lights that backlit both side camera positions to the director & DP. They agreed that the lights weren't required there. However, I tried to get the stage manager to clear "looky loos" in the wings, but that failed. I had a monitor to watch and cringed at the beautiful close ups of Sarah playing piano, but with three idiots in white shirts behind her. At one point there were so many people hanging about back there that I wished I could run around and get in the buffet line.

We didn't have any formal rehearsals, but did have a couple meetings to discuss what the director wanted. They band did go through the tops and bottoms of a couple songs - anything with choreographed parts. If I did anything like this again, I'd want and suggest to production to send out a head of time the album / songs that we were covering so the operators had an idea of the songs, timing and singers. In this case we had four roaming the stage with no real marks. Felt like two and a half hours of keeping overs.

I really felt crappy about the shots we were getting but I had to keep reminding myself that there were other angles to cut to. Thankfully, the director was pretty clear over the ClearComs and knew what he wanted.

Walked away with smiles and hope to do another concert like that.

Going Live

My background has been lodged firmly in feature film and television series - ok with commercials and music videos stuck in between.

I've been asked to work a live multi camera concert gig. It's working with a recording truck, director, headsets, etc.

I've never done anything like this before. Any suggestions? What should I be watchful for?

Repost of an Old Favorite: "Gripping Basics"

I'm a little short on time, and inspiration this week. 14 hour days, midnight company moves, wife out of town, and three dogs to care for (one is 15 and can no longer make it out the door, so he leaves me a little surprise every night), have all made finding time to post a little hard.  I went back through the archives and found this one. Since we've had some search hits for "grip description" it might be appropriate. My firm belief is that you have to put in a fair amount of time as a set grip before you can be an effective Dolly Grip. All of us on this site have spent many a night hauling sandbags and setting flags before we moved on to pushing dolly. A good Dolly Grip can work a set with the best of them. Here are a few tips to help those of you still in the trenches.

First posted 11/17/07. New comments added.

Someone contacted me recently and suggested I write a post on basic Gripping. Here are some tips:




Righty tighty, lefty loosey This one should be on a t-shirt. It's the Cardinal Rule. Learn it. It comes up a lot.



If they ask for a double, bring a single too.



When you set a 4x4 outside, use a combo stand.



When you set a flag, put the big leg under the weight.



When you set diffusion, fill the frame.



Put the diffusion at the angle of the light.



It will always start raining at wrap.



If you tie a 12x12 off to a sandbag cart, turn it sideways to the rag.



Gel closest to the light, then diffusion. In my original post, I got a comment from a grip who took offense at this one. He said he always puts the gel outside the diffusion and gave some lame ass reason for it. I took it easy on him. I shouldn't have. Gel goes before diffusion. Every experienced Set Grip knows this. So shut it. The other grips are laughing at you.



Bfl (big f#$%^g light), big f#$%g flag. One of the hardest things for me to figure out when I was a young grip was which sized flag to bring. In time, you'll get it. Generally, though, make the flag size correspond to the light size.



When laying track, level is good, getting the bumps out of the joints is better. If the track is consistent, the Dolly Grip can level it on the head. He can't correct for a huge bump in the seam though.



Always, ALWAYS bring everything. I'm guilty of breaking this one. It always bites me in the ass. Whatever you don't have is the first thing they'll ask for. To this one I'll add, Bring the Luma Beams.



If you bring a half-apple, also bring two quarters (and maybe a pancake).



Know your knots (clove hitch, bowline, truckers hitch, bohemian lesbian death hitch).



The "board stretcher" does not exist.



Neither does the "air hook."



"T-stops" are not in the jockey box (they are usually in the workbox, second drawer down).



If you keep two seats on the dolly, you are a chump. To this I'll add, to all you new Dolly Grips: If your focus puller needs to ride every shot, he's a moron. He's not the only one being taken for a ride. Miss your mark by six inches. Re-mark it.



The operator does not always need a sideboard. Don't just put it on there at the beginning of the day. Please.



Seat offsets are for the weak-minded. Apologies to certain Dolly Grips whom I really admire.



Always look at the set from where the camera is, it's all that matters.



Never fall asleep on an 8-step ladder. I did this one time. It wasn't pretty. I woke up on the way down.



Safety everything. It will fall. It will hit Katherine Heigle on the head. You will get fired.


Keep an extra jacket on the truck. It will always get colder than you think it will. Few things are more emasculating than wearing a fellow grip's jacket. Unless you're a female grip.


If you have a question, or don't know how to do something, ASK.  I get it. You're 22 and you don't want to look like you don't know something. I've been there. Trust me, everyone knows you're 22. They expect you to be respectful, keep your mouth shut, and your ears open. They will bury you. It will hurt.



As my friend Ted says, never be afraid to break something. Ted's a Rigging Key. He hangs thousands of pounds over poeple's heads.



Those are all I can think of for now...oh yeah, Murphy's Law applies more in this business than any other...if it can go wrong, it will. Never take anything for granted.

I still go back and set grip in between shows sometimes. It's good for the soul and makes me feel 22 again. (OK, it didn't hurt this much then, but you know what I mean).

Chapman Hydrascope- Short Review

I used the 32' Hydrascope last night and must say I was very happy with it's performance. I didn't have time to really put it through any paces or ask all the questions I had, but I can say that the techs at Chapman have worked really hard to deliver an exceptionally finely-tuned arm. I know there had been some problems with the telescoping as far as hitting exact marks, etc., but these have been ironed out and starts and stops are sweeeet. The action on the swings and booms is very smooth with no friction problems or "settling back" upon landing. It's easy to lock off at the end of a move (I did it with one hand and it was solid as a rock). The telescoping action was fine and I didn't feel any vibration or chatter. The arm is hydraulic rather than electric, so has to be "pumped up" from time to time but it's no more intrusive than having to do it on a dolly. The tech, James, tells me they are beginning construction on a 70' arm, which I can't wait to see.
 All in all, you can call me a fan. The added bonus of having it on the Raptor base for exterior work made the whole thing a very positive experience and I won't hesitate to push for it in the future. Don't forget that the Hydrascope is immune to water, so for rain or underwater work, it's the machine to get.
 For more info, visit chapman-leonard.com.

PS- I should qualify this review with the fact that I did not actually use the pickle. I just didn't have time to play around with it, so have no experience in how well it works. Anyone who does is welcome to comment.

Dolly Grip Job Description

This post is a case of catering to my search engine hits. I get a lot of hits from Google with the search title dolly grip job description. This inevitably leads them to my post Dolly Grips and the Camera Department. That post really doesn't actually describe the job, so I'm going to post this to lead prospective searchers here instead. Those of you who are regular readers may add to it in the comments or skip this post altogether. It ain't nothing you ain't seen before.
 The Dolly Grip is responsible for camera movement in the film world. We operate all moving camera platforms (except Steadicam) and are responsible for their maintenance and setup. We also work in conjunction with the camera operator to come up with the best way to do a particular shot, as well as what piece of equipment will work best. Dolly Grips are considered to be kind of a rough camera operator, in that it is our responsibility to have the camera in a particular place at a particular time during a shot in order that the camera operator can refine it and make it work. We do the broad strokes so the guy looking through the eyepiece can do the detailed work of composing the frame. To do this job properly you must have an innate sense of how shots are staged and know where the camera needs to be to make it work. You must develop a sense of split second timing and be able to repeat a shot from take to take as exactly as possible. You must also have a knowledge of many different camera platforms from various dollies to various types of camera cranes and be knowledgeable in their safe operation, keeping in mind that your primary responsibility is safety. As technology changes, so does the role of the Dolly Grip, and our skills are relied upon more than at any other time in the history of filmaking.
Aside from the technical demands,the Dolly Grip also adds emotion to a scene through camera movement. The "slow creep," the dramatic boom up, the quick push -in, have been used for decades to move the viewer and help tell the story. The Dolly Grip achieves this through absolute control of his machine, timing, and an understanding of the emotion the director is trying to convey. We've helped create some of the most memorable images in movie history through movement: The soaring crane shot in Gone With the Wind, the dramatic push-in on Brody in Jaws. These are just a couple of shots immortalized by the Dolly Grip.
The best Dolly Grips work as a team with their Camera Operators and make it their responsibility to assist them in any way they can to get the shot safely and smoothly.
There. I hope this helps those of you who have found this site through Google. Welcome to our little corner of the interweb. Comments are welcome.