Cold Weather Part Deux

 First of all, a congratulations to my old compadre Dolly Grip Frank Boone and Key Grip Eddie Evans on the success of The Walking Dead.  Arguably the best show on television, it is consistently compelling and, most importantly, the dolly work is top notch. I watched the second season in practically one sitting on Amazon and I save the third season episodes for my long turnarounds with the Captain. Nice job boys This is one of the shows I wish I'd worked on ( if I had it in me to do tv anymore). If you haven't watched this show, do yourself a favor and catch up. Nice work, Frank!
   Now, back to the job at hand. We have covered what to wear in cold climates, but now need to give some tips on how to keep your machine working when it gets cold. As I've mentioned, I have never worked in temps below 20 degrees or so, so I depend on those of you who regularly work in those temps to give us some tips on how to keep your machines working. For myself, I know that when Winter sets in, I let my Chapman rep know that I need a little special consideration. They will replace the normal hydraulic fluid with very thin fluid. The heaters on Chapman dollies are also helpful, but only until you are well into the day. They only work if you bleed the air, and plug the dolly in. Not much help past call on a brisk day. I know my friends in Canada have techniques they use for keeping the fluid warm during the day ( battery powered heaters etc) but I have never had to look for these products in the states. What other tips do those of you in cold climates have for us?

Cold Weather Work

  This post grew out of a conversation between Wick and Sanjay about an upcoming job Sanjay has in Poland and Germany. As I know very little about extremely  cold working conditions (anything under 15 degrees F or so, it's fortunate that Wick does. We have a few other readers and contributers who are used to this kind of cold. Please send in any suggestions or posts you have on the subject. Thanks, D.

I got to talking with Sanjay Sami today about working in the cold. He’s going to be on the German-Poland border in January and February, and is looking for tips on how to stay warm in that kind of winter climate. There are two things that really affect us on set in the winter. One is staying flexible enough under those layers of clothing to keep moving and doing the work that we do without sweating so much that when we do come to a standstill, we’re freezing in our own sweat. The other is of course staying warm while we’re just standing around waiting for anything to happen.

The main thing is to dress in layers, and adjust your coverage according to how hard you’re working. This can’t be stressed enough, and I think most of us understand it in the abstract.  This should extend to wearing double or even triple layers of socks, with the ones nearest your feet being thin and chosen for their ability to wick sweat and condensation away from your skin and into the next layers. Same thing for underwear, both tops and bottoms. I’m a fan of silk for those first layers. It seems to adjust best to the body temperature and exterior temperature changes, removes moisture quickly and dries quickly too. After that, I prefer wool over cotton for the next layer, and finally a wind-blocking outer shell, something like a Carhardt coverall or two-piece Thinsulate snow pants and jacket. Also always keep your head warm and your ears covered - wear a hat or a balaclava. I picked up an arctic expedition hood with a zippered face cover several years and that’s been my salvation several times.  It’s made with Thinsulate and so is an excellent wind block, and lets me adjust the amount of coverage I want or need pretty much as I please. It also doesn’t interfere with radios, and I can keep my nose covered without fogging my glasses.

Footwear is a tough one, especially for dolly work. Again, you have the “standing around vs moving around and controlling a dolly at the same time” problem.  I’ve settled on some regular insulated boots (Thinsulate again) that are big enough to accommodate the extra layers of socks, and for extreme weather, I got some LaCrosse “Frankenstein” boots that are supposedly guaranteed to –70 Celsius. I have never really been happy with any solution for footwear, and get chilly feet no matter what I do. Fortunately, once I  got the LaCrosse boots, they seemed to have the same effect as carrying an umbrella – once I had them with me, I didn’t worked outdoors in heavy snow or extreme temperatures again. Or at least for a few years, then the magic wore off in Poland.

Gloves are of course another weak spot.  I generally prefer some wool rock climbing gloves, with all five fingers open, and another glove or better yet, a mitten, over that.

Another thing is to be aware of the warning signs of hypothermia, frostbite and dehydration. Read up on them in any first aid manual, if you’re not sure what warning signs to look for in yourself and in others.

I never really had any experience with pocket warmers, or electric socks, or any other fancy gadgets, and am curious if anybody has recommendations or advice with that sort of stuff. The one thing I will say is that cold will suck the life out of batteries, like the one in your phone. Carry it on you, in an inside pocket, so it doesn’t freeze and dump all it’s data while sitting in your car or backpack in the truck. 

Sanjay’s looking for some serious input and advice. He’ll be in the middle of nowhere, and it can get nasty there (0° Celsius is the average high for January / February, and it can get much colder (-20° c. is not uncommon). Add in wind and snow, with the snow having started in December or late November, and as you can see, it’s not a fun place to be outdoors all day.  What do our brothers and sisters recommend, aside from calling in sick?

Some Thoughts On Handheld

   The movie I'm doing now is all handheld. When I say that, I mean ALL handheld. We don't even have a dolly. It's this director's style, I saw it coming. With an all handheld show comes the usual complaints, the biggest for me being that I literally have no creative input into the process. Where I'm used to being intimately involved in the making of shots, from design to execution, here I have no part. This is the most painful for me. My operator is great and, of course, I am responsible for his safety so he does defer to me on that note. Normally, as our friend GHB so eloquently points out, carrying the camera is a courtesy we provide as Dolly Grips. On an all handheld show, however, I have to justify my being there and if I want any part of the process at all, I'm always there to take the camera and make the operator as comfortable as possible. Boring, yes, but necessary. So, for the next eight odd weeks I will be wearing a backpack and clearing branches and other obstacles out of the camera operator's path while I long for the days of fifty foot dolly runs and complex Technocrane moves. There is an art to providing handheld camera support. Knowing how much or how little guidance an operator needs, knowing when to step in and point out a safety issue, even pointing out eyeline errors (my favorite), all require a certain amount of experience that is a little comfort when you are excluded from the little powwows you're used to being included in. So with that in mind, I've compiled a list of things to look for in handheld mode:

Safety is number one. You are the operator's eyes and ears when he's in the eyepiece. Take the initiative to head off any situations beforehand. Which side of camera is the gun firing? What's minimum safe distance? What does he do if something goes wrong? Have all this planned out before the shot gets hairy and you're all stumbling around in a hail of gunfire.

How does his path look? What obstacles can you remove or have removed?

What's the "Safe Word?" On our show there is a lot of gunfire and squib action. The operator is swathed in eye and ear protection and can't always communicate. I told him to just point the camera up in the middle of a take if he gets in trouble and I'll know something is wrong (or just drop it and run).

He's holding that camera for a long time, especially on an HD show. Make him comfortable. Take the camera when you can or give him a box to sit on when he can.

Know when not to be there. Sometimes it's just silly to be in tight quarters just so you can take the camera. In tight spaces, let the AC do it. He has to be there anyway. Make sure he's safe and comfortable, and then leave.

  As hard as it is, sometimes to stay involved in a show like this, remember that your camera operator is depending on you. You may not be providing the same input into the process, but you can damn well be sure that if you are vigilant and do your job well, he will appreciate you. Be professional. Stay alert.

Since I'm not dealing with the usual rehearsals, marks, track etc, I actually am able to become a second set of eyes for the Key Grip and help him out a little more.


  While it isn't much fun, a handheld show offers it's own challenges, although they are more physical than mental. I don't enjoy it. It's tedious. But at the end of the day, I'm still right in the middle of the action. I have to be. The operator might fall down if I don't.




Stay safe.

Learning Your Craft

   This is something that we have harped on time and again. I often get emails from young beginning dolly grips asking what they can do to improve their skills, and thus, their hireability. Many are just out of college and have decided that this is a career they want to pursue. I always tell them,"Be a set grip first." I don't think you can be as effective as a dolly grip if you don't know the fundamentals of set lighting and rigging. Aside from this, there are a lot of subtle rules of behavior to working on a set. Unwritten laws abound in this business and you can often offend someone or put your ignorance on display for all to see, and have no idea what you did if you don't take the time to immerse yourself in set life and learn it's rhythms. This is not fun to hear I can imagine, but believe me, it makes all the difference in the world. It will teach you endurance and discipline. It will teach you the correct way to work and how to be as efficient as you can. You will learn to immediately assess a situation, formulate a plan, and attack, all the while ignoring the pouring rain, pitch dark, and freezing cold in which you're expected to perform.. As a dolly grip, you have little time to mull over the situation. You can't stand there and "ummm" and "uhhh" with a vacant look on your face as the operator or DP, or both, wait for your solution. You are constantly thinking a step ahead, and set gripping teaches you all this. If you're young and just out of college, don't worry, you have time, and all the more reason to take the proper steps and learn the job from the bottom and inside out. Aside from this, I can't tell you how many times the dolly grip has to take over the set if the key grip has to step away (and he will sooner or later). Now you're the defacto key grip. Any minute now, the DP will look over at you and ask if you can rig a camera in the ceiling, or fly a 20x20, or flag the condor, or set a double off an actor, or "Hollywood" a lenser. If you haven't been a set grip, odds are you have no idea and fumble for your radio trying to whisper that you need help. If you were a good set grip, you confidently take a second and give an answer, then you start feeding orders on the radio. Believe me, this will happen sooner or later. Take the time.

   OK, now you've been working the set for a couple of years. It's time to move on. You've probably been working with a key grip pretty regularly and you let him know you'd like to push dolly. Now, he can start throwing "B" camera jobs at you. Maybe an operator you're friendly with has a low budget show and he's willing to give you a shot. All of this is an opportunity to learn. Go to a rental house. Familiarize yourself with the dollies. They are the tools of your trade and you should be intimately familiar with what they can and can't do. Learn approximate lens heights for any configuration. Learn what you need to do a Lambda shot off the side. How about straight off the front? It's about making the operator comfortable while achieving the shot. How far do you offset the track?. Do you need to offset the track? You have to be right the first time. You don't want to be relaying it while the DP checks his watch. Get all the accessories out and learn what they do and how to attach them. If you're a Chapman user or vice versa, you still need to learn the other dolly because sooner or later you will end up pushing it. As a set grip, you've probably helped put a crane together  so you are already ahead on that. What are the rules for operating it? What's a sightline? These are things you have to learn. I can't tell you how many thirds I work with who don't know how to lay track. While you are a set grip, pull the dolly grip to the side and ask him to teach you. I pulled out a couple of sticks at lunch one day and taught one of the thirds how to do it after she asked me. That's all it took. Learn how to mark the wheels. Learn how to do a compound move. Then two or three in succession. Believe me, the time will come when you're on a dance floor and the operator keeps adding boom and floor marks and the more he adds, the harder you'll sweat unless you've put the time in and have learned how to remember, and then execute them. Do you know how to lay a floor? Again, something you will pick up as a set grip. You don't want to be trying to figure it out on your first job as "A" camera. How do you lay a floor across a half-inch drop off? It has to be smooth and even. If you've been a third, you already know.

   As you can see, there's more to it than hitting your marks. These are a fraction of the things a dolly grip has to know, and a lot of them he picks up as a set grip. It's like taking the core curriculum in college. You have to have it before you can graduate.

Wubba Wubbba. Doodle doodle dee.

As an added bonus, here's a great article by camera operator Dan Gold SOC on the importance of the Dolly Grip to the process. http://www.soc.org/index.php?id=27&article=47

That's A Wrap: Show Round Up

 I apologize for being so sparse on the posts lately. I've been in the middle of a twelve week show and we just wrapped. All in all, it was a good one despite the problems we had early on with camera shake. We finally ironed it all out and it went smoothly from there. I had a fantastic camera and grip crew to work with (both in Atlanta and San Francisco). I give it a difficulty level of an even five. Almost every shot was a dolly or crane shot, but nothing really challenging, although I did have one fun dance floor move involving pulling through a set and timing the move to character dialogue. It was a lighthearted comedy and we spent a lot of time laughing. We did ten weeks in Atlanta and then moved cross country to San Francisco for the final two. Although I was the lone representative of the grip crew to travel, the guys in San Francisco were all great grips and great people. Now it's two weeks off and I start the next one.

Tools used: Hustler 4, Peewee3, and Fisher 10 dollies. 30', and 50' Technocrane from Cinemoves, and a 30' Moviebird as well as a Fisher 23 Jib. Remote heads were Libra and Scorpio. Cameras were Arri Alexas.

Now for two weeks vacation.....

Cables

I ran over one a few weeks ago and it actually derailed the dolly. It ran it the %^&* off the track. The fracking thing is as thick as a welding cable. Is this progress? It's like 1945 again. I used to bitch about the tiny BNC cable that I had to trail along. In comparison to this donkey d&*ck I'm dragging around now, the BNC is like a gossamer strand, almost lighter than air. What I would give to have it back. It's my first video show. Everything up to now has had a film mag with the name Panavision or Arri on the side of it. So now I'm dealing with a shaky camera (apologies to Arriflex. I know you guys are dealing with the issue. I have great love for you), a cable that rivals the one they strung across the ocean floor in the 40's, and you still have to reload the thing every twenty something minutes and it takes LONGER. I often wonder, if video technology had come first, would film be the new big thing? Would we all be rolling our eyes at this "new" technology with it's whirring cameras and quaint "gate checks?" Plus, the eyepiece isn't long enough. I now have to set the dolly up on the wrong side for a Lambda Head shot because the eyepiece isn't long enough to get the operator's head out from under the camera offset. I realize I sound like one of the old cranky Dolly Grips I used to laugh at and say, " I'll never turn into that guy." but I was young and stupid. Meanwhile, there's a concert at the amphitheater about four miles away from my house and I can hear it while I'm trying to sleep. So, excuse me, I've got to call the cops and ask them to turn down that awful rock and roll racket.

Drive

Every now and then, I see one I wish I'd done. Nice work, Sean.

The Searchers

  I am a huge John Wayne fan. One of my earliest memories is of seeing True Grit at the drive-in. I couldn't have been more than three or four, but the memory of the snakes and the big man with the eyepatch remains as an indelible image on my brain. Since then, I have voraciously read every biography of the man I could find, and seen as many of his movies as I could. In that vein, I recently read a biography of John Ford. Aside from all of the stories of his legendary venom towards his cast and crew, I learned a few things about composition and movement. Ford rarely moved the camera. He believed that it would disorient the audience. While this may be a quaint notion today, after watching  The Searchers again tonight (under the influence of The Captain, of course) I was amazed at how right he is. In my daily work life I long for challenging camera moves. I get bored with the same old drifts and pushes. Ford, however, believed that the action within the frame gave the movie interest. His compositions moved the story along without a lot of fancy camera moves. He rarely moved the camera. In fact, he hated it so much that when he finally did, it was much more effective. Today, we move the camera constantly. It swoops and glides and never stops just so that some former music video director can "make the scene interesting." John Ford would have punched him in the mouth and said, "If your story isn't interesting, moving the f&;$;*^ing camera won't save you." I did a movie years ago that was basically shot like a music video The camera swooped and pushed and drifted for no reason at all. We never blocked a scene, we just stood the actors in a room and swooped around them. As a result, when we reached a shot that would have benefitted from a dramatic push-in, the move had no power. Watch The Searchers. Watch the push-in on John Wayne as he leaves the asylum. It's like a punch in the gut because the camera has been mostly fixed up until then. Until you watch this film, you don't realize how much we over move the camera. This movie was made in 1958, and it holds up so well, unlike the crappy "remake" The Missing of a few years ago. John Ford would have punched Tommy Lee Jones in the mouth too. And Ron Howard.  So if you've never seen The Searchers, watch it. And learn.

Ironing Out The Bumps

  I often get asked about the importance of a level track vs a "lay of the land" one. My reply is usually that I'm more concerned with a track that has no bumps, than a level one. I had pretty much satisfied myself with my track laying and had rarely had a problem. Then along came the Alexa. This is my first feature that isn't film. Every show I'd done up to this one had been shot either on a Panaflex or an Arri 435, on back to the old BL (remember the coaxial mags?).  These old film cameras were as stable as anything you could ask for. Since the obsolescence of steel track, I rarely even had to use skate wheels anymore except for extremely long lenses (150mm or above). The first day on this show, I noticed something was different. I had a quick dolly move with an actor who stood up and walked briskly across a baseball field. We were on a geared head, on a relatively wide lens (I think around a 50mm on the 12:1). Take one, the director yells, "No, no, no!" He then yells that he sees a bump on the takeoff. Okay, I take a little steam off. Take two, the same thing. Over the course of the show, I begin to notice that I'm having to use the skates more often than ever, usually when we're on a long zoom. Complaints about the bumps become common from the operator and now I'm getting concerned. Finally, I've had enough and want to know what's going on. After looking at the camera, which I hadn't really bothered to do closely, I notice that it's supported solely by a tiny baseplate that's about 3" by 3". There's basically nothing supporting the huge lens or the back of the camera. It's all balanced on this tiny baseplate, an incredibly stupid design through which even the slightest of vibrations is transmitted. So, I've had to really go back to the basics on my track laying.  Now, I not only level with the whiskey stick (level), but sight down it afterwards and use shims to tune up the joints, even though it may not read exactly level afterwards, something I wouldn't necessarily have done if we had been shooting on a film camera. (As a matter of fact, I just finished a Panaflex show and rarely did this and never had a single complaint of a bump showing in the lens). I called some dolly grip buddies of mine who had done work with the Alexa and discovered that this was a common complaint, though maybe not as prevalent as on my show where we constantly use a long zoom and are also using the smaller diameter 15mm rods as opposed to the 19mm rods. We recently switched out to the 19mm and it seems to have helped, but it has been a pain up to now. My key grip finally told the DP that he can't redesign the camera in the field and the baseplate is an incredibly ridiculous design, so they tried the larger rods. Anyway, if you use the Alexa, be on the lookout for this. And lay it straight.

Product Review - CGE Tools' DollyMate MiniMate

For years I had an old ammo box that I had ripped the top off, and then velcroed it to whatever dolly I was using. As much as I liked having the storage space for all the "little things" - grease pencils for the Fisher Ten arm, pens for my crossword and shopping lists, etc - it was a little big and got in the way. I eventually stopped using it.

Like any good technician, I've been trying to up my water intake and with productions springing for water bottle alternatives, my dollies end up covered in water bottles - more stuff to fall off when "coming off the rails", etc.

Along comes CGE Tools' DollyMate MiniMate. As soon as I saw this little bag, I had to have one. I've been impressed with it's manufacture. I thought that the magnets wouldn't hold up to the weight of my larger water bottle, but it's been hanging on for a couple months now, without a sign of giving up. I asked CGE Tools John about the number of magnets sewn in the MiniMate and my concern, and get got back to me quickly saying that due to the price of the magnets themselves, it would have meant adding to the price. Fair enough. Works great as advertised!! I work day in / day out on a Hybrid and being able to slap it on the side of the dolly if I'm backed into a corner its incredibly useful.

CGE makes three sizes. The largest - the Archetype, is an apron that sized is appropriately for the back of a Fisher Ten and can carry almost everything and the kitchen sink. The medium is the MiniMate and carries two bottles, tape measure and any other little bits. The smallest (and not really) is the SaddleBag, with one main compartment, tape measure clip and a bunch of little pouches.

Thankfully I've been able to talk my local expendables store into carrying CGE Tools products (check out the website: http://cgetools.com) and have since bought four more MiniMates as gifts.

  It was interesting to read all the comments and emails from my last post. All the old-timers pretty much came up with the same answers, which were pretty much my own answers. The only one that they over-thought was the Fisher 10 question. I was looking for something along the lines of "ask if they are getting the round track wheels," but of course Sanjay and the others were correct. I did get a tweet asking about a question from the earlier post which was how the choice of head affects the Dolly Grip. The answer is that a fluid head requires you to be more careful in your starts and stops, especially on a tighter lens, as the operator is directly controlling the head with his own movements, rather than with a geared wheel. It's much harder to control the frame as the dolly accelerates or stops quickly. Everyone seemed to enjoy this post so I'll think of some more. Please send in some suggestions if you have any.
   Slate had a great article on the accident on Twilight Zone: The Movie, that took the lives of actor Vic Morrow and two children, as well as a helicopter pilot thirty years ago. Check it out here. Now, when you get those safety bulletins with your call sheets, you'll have a better idea why they're there. Check it out.

Next Day Sober Rewrite- A Week Later

Those of you who are regular readers may have briefly caught a post I did last week entitled So You Want To Be A Dolly Grip. It listed some questions that every dolly grip should be able to answer or situations that a good dolly grip should be able to think his way out of. It was written under the influence of several Captain Morgans and inspired by a situation that I was irritated about. After reading it the next day, I deleted it. I didn't like the tone which came across to me as a little smug and a lot obnoxious, which most of you probably didn't even pick up on, but sprung right off the page at me. I deleted it and got a lot of emails and a few comments asking where it went and when I would rewrite it. Everything I write comes from experience and long hours of doing things the wrong way until I figured it out, or someone showed me the right way. There's no substitute for putting in the time and you can't learn it all overnight. I still learn things every day and am still trying to be better. Dollygripping is a craft, like any other that requires you to develop specific skills and a base of knowledge to solve problems quickly. You can't learn it in school but if there was a final exam, these questions should be on it:


Director wants to boom up from the lens at ground level to roughly eye height (or as close as you can get), what do you need? (No, it's on a dolly not a jib).

What is the inherent problem with pie pieces in a dance floor?

What are some things you can do to eliminate a track that is squeaking?

Track is on a wooden floor, the floor is popping under the weight as the dolly moves, what can you do to help eliminate the noise?

100' of track on a 300mm. It has to be smooth. What do you need? (No, Sanjay)

Crane track should always be ________.

You're doing a commercial and the company has rented a Fisher 10. What question have to ask? (after, "What's the rate?")


Director wants to pull an actor down a sidewalk with the camera directly in front of him. He can't step in the track and the director doesn't want to use Steadicam. What do you suggest?


A camera is to be placed looking directly down on an actor lying on a bed. What do you need?



Doing a haul-ass move on track with another grip helping push. You rig up a push bar on the back of the dolly. What shouldn't you do? Hint: If you do it wrong, the dolly can go off the side of the track.)



All right. There are some basic questions that a dolly grip should know the answers to. Smugness removed.

Social Media and Miscellania

To help spread the word, you can also find us here:

https://www.facebook.com/dollygrippery

We've got a new Flickr page up for photos:

http://www.flickr.com/photos/dollygrippery



If you have a moment also check out the adventures of Rodger the sandbag (it's a laugh riot!) at:

http://thetonguedollyexercises.tumblr.com

So You Want to be a Dolly Grip? NDSR

This post is being rewritten. Those of you who've been coming here for a while are familiar with the NDSR, or Next Day Sober Rewrite. I wrote this post last night after a couple of Captain Morgans and was already irritated about something related to this topic and the end result was predictably obnoxious (at least to me). I read it three times and disliked it more each time I read it. So, I pulled it down to rewrite it. A little awkward, but I can't have something up that I'm not happy with because it will drive me nuts. Once I've taken some of the kinks out I'll put it back up.

New GI Track Update

  Gil over at GI Track has a beautiful track system and I thought I would give everyone a chance to see some highlights. For those of you who aren't familiar with GI Track, it's a heavy duty dolly track with one innovative difference. It's capped with a PVC cover that is easily replaced if damaged. Get a nick in it?, Just snap on a new cover and you're good to go. Your track can conceivably remain in like-new condition indefinitely. I've tried it out and it works great. He also has a line that expands to crane width and can hold up to 6500lbs if supported every two feet. That's a 30' Technocrane (and we all know how much fun Technocrane track is to work with). Here's a link to a video of his track under a Techno. And  here's a link to his website that has more in depth info on GI Track and how it works. If you're in the market for new dolly or crane track and want something with the smoothness but not the fragility of aluminum track, give GI Track a try.

Things I've Heard,

The following is a compendium of some things I've overheard over the years. I am responsible for a few of them, but most were said by others.*

I've got more time in the honeywagon than you do in this business.

Twenty- five year old juicer: "We're going to need a sider on this."  Friend of mine: "I've got shoes that have been in this business longer than you have, so shut the f^%$ up!"

Why is the word "bag" not funny, but the word "sack" is?

When you get all the extras out of the door, I'll lay the track. Til then, I'm going to sit here and play Angry Birds.


To gaffer who just suggested a dolly shot- " You just make sure everything's plugged in." He did not take it well.

It's not a magic vibration isolator."

Key Grip to DP: "You're a f^%$#ing amateur."

DP: "This looks really nice."   Operator: " And it only took three weeks." He didn't take it well either.

John Frankenheimer to Key Grip: " Look through the lens and make sure nothing stupid happens."

Dolly Grip to Tim Burton after he called for a huge crane shot at the last minute: " This ain't Batman!" (He thought it was funny).

Famous Actress: "Can I ask a stupid question?"  Operator: "Better than anyone I know."

"Pipe down, Bullock!"

Operator to DP: "Do you want to step outside?"

UPM to me: " Your ass is in a sling!"

Stunt Coordinator on an insert car: "We'll go a little faster around the on-ramp and maybe the car won't turn over."

"We don't have much money, but it'll be a lot of fun!"

UPM to me: " You don't get paid for wrapping."   Me: unprintable. (We got paid).

Twelfth grade English teacher: "Your ass is in a sling!"  What is it with this saying?


"Go Slower, start later, end sooner." What does this mean?

"Low, wide and tight." Ditto. Who are these people we work for?


Specular softlight.

"That had all the emotion of a truck pulling out of a parking space!"

On a parallel (scaffolding), "Give me a high hat." I shit you not.


DP on a boom and a move: "Can you do that?"  Dolly Grip: "Can you pour piss out of a boot?"


* This is a next day sober rewrite. I didn't like the title.

Being A Good Guest

 The idea for this post actually came from something that happened this week. We were shooting in a nice neighborhood in the heart of downtown. Our trucks were about a half a block away and I was pushing the Peewee to set. I reached the parking lot of the location and noticed one of our guys talking to a neighbor and apologizing to him for the locations guy. "What's going on?" I asked. "Well," he said," the juicers put all the gas bottles for the balloon (the lighting balloon for a night ex later) in front of his house and he's worried that his kids might knock them over and get hurt. We called the location guy over to deal with it and he says he's busy directing traffic and doesn't have time." I shook my head and trundled on to the staging area. On my way back, I noticed the neighbor still standing in the parking lot. "Did someone help you sir?" I asked. "No," he answered. "We weren't notified of anything and no one has been over to talk to me about this yet." I looked around and saw the Locations Assistant (about twenty-five years old) standing in the road waiting for a car to come by so he could wave it through. I saw the Location Manager on the phone laughing like an idiot about something while this guy fumed. " I also saw a row of about twelve huge gas bottles still lined up like soldiers in front of his house, just waiting to be knocked over like bowling pins by his five-year-old. "I apologize, sir," I said. "We are guests in your neighborhood and someone should be here to deal with this. I'll see if I can find someone to help you." Seeing that the crack locations team was still busy doing nothing, I went to the Second AD and brought it to her attention and she handled it. The guy later came up and thanked the other grip and myself for helping him out.
  In our business we are always in someone else's space (unless we're on stage). It's easy to forget that we don't actually "own" the location. We are guests and it's important to act like it. I could easily envision this guy calling his father-in-law, the state senator, and giving him an earful, and then the next day's cover story in the local paper, Film Crews Have No Respect For Our City. It wasn't really my place to deal with this guy. I could have easily shrugged and gone on about my business, but this is my town, and it's my responsibility, as it is everyone's, to make the experience of having a film crew in your neighborhood as painless as possible. The excitement of it lasts a while, but can quickly fade at two in the morning when condors are cranking up and grips and electrics are clanking around with equipment and shouting into radios. I'm as guilty as anyone of being disrespectful from time to time. In the heat of battle things happen, but we have to always remember that we are guests. As dolly grips, this can translate into cleaning your wheels before you go into a location, or even putting on the soft tires to help protect the floors. Put your parts down on a mat and lean dance floor on a wall only after you have protected it with a furni pad. I've actually taken over for dolly grips who were fired for not respecting the location. Yes, it's often a pain in the ass, but go the extra mile and people will notice.
I now step down from my soapbox. The Captain is calling.

Things That Don't Suck

In order to balance out the universe, it's only right to have a list of Things That Don't Suck.

In no particular order:

You know that perfect zone you get into when doing a boom up or down combined with a push-in and the speed of both match up exactly and the operator doesn't have to touch the tilt wheel? That doesn't suck, but it's a delicate balance.

Finding the one perfectly level piece of ground in the whole state. For a fifty foot run.

The director walking up and saying,"Thank you. Great shot."

A standing board that fits the first time.

Per Diem.

A UPM who actually understands how movies are made, not just how to read a balance sheet.

Seeing an old friend you last worked with over ten years ago.

Pulling off a very technical move on the first take.

Your family showing up at lunch.

fourteen hour turnarounds.

The familiarity of working with a camera and grip crew you know very well and with whom you've done several shows.

Having your B camera dolly grip walk up at the martini and saying, "The truck's loaded, just roll it in and we're done."

A really good wrap party. Not a snooty one with a jazz combo, but an open bar and a nasty funk band.

Finishing a show in December and knowing you have another one starting in January (Or even February).

A good stand-in.

Getting rained out on location, in a really cool city, early in the day.

Laundromats with bars in them.

Night exteriors downtown when you light up three city blocks.

Getting home while the sun is still up.

This is only a partial list. Please add your own in the comments.
D

Things That Suck

In no particular order:


Directors who actually look over my head to ask the operator to "Go faster," "Go slower," etc. You do realize that I'm actually here, don't you?

Actors, usually under the age of twenty-five, who don't understand how the camera works. If you can't see it it can't see you. If you completely change your action or speed out of the gate and veer off on some wild course, it's almost impossible for the camera operator and I to keep up, much less guess what cockamamie thing you're going to do next. If you go from sitting normally in one take to dropping into a chair and out of frame the next, it just adds a take, and everyone who knows anything knows it was your fault. Someone needs to teach these youngsters that there's more to it than just the acting.

DPs who pick the dolly for you without actually having a conversation with you. I do not understand why they care which dolly I push. They all do the same thing. Wouldn't you rather me have the one I am most comfortable with? It's not 1975. Many advancements have been made in dolly technology and I may actually be better able to use one rather than the other.

PAs who actually try to keep me out of the set while I'm doing my job. Dude, do you hear the DP calling my name? I've done five pictures with the first AD. I'll tell him you're an idiot.

Being shushed. I'm not five. If you shush me one more time I'll flick a booger on you when you're not looking.

Steel track.

DPs, Ops who want to keep the slider on for every shot. Who do you usually work with? Where's the trust?

People who kick the track accidentally and then just keep walking like it doesn't matter. Either replace the wedge you just kicked out or tell me you did it and apologize. Yes, I'm talking to you.

Having to look for a stinger on every shot. No, I'm not going to pump it manually. It's your job. Leave me a stinger and tell me where it is. Please.

Seat offsets.

People who stand in doorways.

People who stand in front of the coffee machine. What are you, guarding it? Get your cup and move on.

Fraturdays.



Cables. Someday someone will invent a way to send pictures through the air. We will call it "wireless."

Location Managers who habitually find locations that are either totally impractical ("You can put all your equipment in this five square foot space, but stay off the sidewalk!"), or take us 30 miles outside the zone for a nondescript house with a tree in the front yard.

To be continued.....

PA Juice

I don't normally plug other websites here. Other than Blood,Sweat, and Tedium, and The Hills are Burning, or other fellow industry bloggers. I get emails from time to time asking me to write about this film school or that website, but generally I just ignore them. I even get authors asking me to review their books. One was titled something along the lines of My Tight Firm Butt (yes, that really happened). I have to put in a good word for PA Juice, though. This is a great site written by below-the-line insiders for below-the-line insiders. Whether you are a grip, juicer, or PA, you'll find something here to smile at. Check it out!