It's that time of year again. Frank Kay of JL Fisher sent me the latest update about this year's festivities. I can't really say enough about this event. It is truly a day for Dolly Grips, and we don't get many. I've only been able to make it once over the years due to location work, etc. but there was beer, barbecue, beer, and good friends. Fisher pulls out all the stops and puts on a great show. If you are in Burbank on May 18th, do yourself a favor and drop in. Do me a favor and mention Dollygrippery. I won't be able to make it once again because I'll be in the middle of a show but represent for me and I may send you a t shirt (coming soon).
The details:
JL Fisher Open House
Date: May 18, 2013
Place: 1000 W Isabel St
Time: 9 AM til 4 PM
Don't miss the Moving Camera Seminar hosted by George Spiro Dibie ASC.
Moving right along, I just wrapped myself on my latest show. No, I didn't quit. I was always going to leave a week early to start the next job with my regular crew. As most of you know, I never use real names here, but I have to thank Mitch Lillian. I learned so much from you and understand why you are truly one of the great Key Grips.Words fail me. Best Boy, Paul Candrilli, you were a gem to work with and kept us laughing on those long rainy days. You are a real prick knocker. "A" Camera Dolly Grip Bruce Hamme, you're one of the best in the business and I'll be your guitar tech any day.To one of the finest grip crews I've ever been a part of: Sonny, Pat, Danny, and Jimmy, you made me proud. Finally, thanks to our DP, Mr.Robert Deakins. It was a pleasure to work with you. I never saw a man do so much with unbleached muslin. I hope to see you down the road.
D
PS- Stop emailing me. Yes, I know his name is "Roger."
Thursday, March 21, 2013
Wednesday, March 20, 2013
A Little Help From My Friends
I've been having a little, okay, a lot of trouble lately, coming up with good topics for posts. Over the last six years we've covered just about every imaginable aspect of the craft. A look back at previous posts lists everything from dance floor to track laying, safety to handheld support, car rigs to lens flagging. I've expounded long and drunkenly on various theories and philosophies of moving a camera. Frankly, the well is dry. Also due to the pressures of work and family, time has also been short. The writing has gotten sloppy and not up to my former standards. Thanks to a couple of friends of the site, I have some new ways to attack things and some good inspiration and encouragement. Michael from Blood, Sweat, and Tedium gave me a much needed pat on the back and some good advice, as did our friend Onno from Solid Grip Systems. Onno suggested that I revisit some of the older posts and give them a fresh perspective. Although I had loathed the idea of repeating myself, I think a lot of this stuff from a few years ago could certainly be updated and rewritten with the benefit of age and a little more wisdom. Mitch, the Key Grip I'm working with now has also given me some good ideas as has Danny, my frequent B Camera cohort. So hopefully over the next few weeks, I will have a little more interest in this little project and be better able to translate it to the page. My next job involves a lot of location work so I will also probably have more time to devote to it from my hotel room(s). As always, suggestions are welcome here from those of you who are old-timers, and also those who are the up and comers. Till then, I'm thinking. In between all the other crap.
Tomorrow is my last day on this job. I'm leaving a couple of weeks early (this was planned from the beginning, although back then it was only a week early). I'm taking a week off and then getting on a plane. You may not hear from me for a few days while I tie up loose ends. Hopefully Azurgrip will throw something up to keep you busy.
D
Tomorrow is my last day on this job. I'm leaving a couple of weeks early (this was planned from the beginning, although back then it was only a week early). I'm taking a week off and then getting on a plane. You may not hear from me for a few days while I tie up loose ends. Hopefully Azurgrip will throw something up to keep you busy.
D
Sunday, March 10, 2013
My 3D Experience
Wick recently suggested a post involving 3D and how it affects us as Dolly Grips. To be honest, I don't have that much experience with it. A couple of years ago, the powers that be on a series I was doing decided to that we should reshoot a scene we had already done from the current episode. Only we were going to redo it in 3D. So, all of us gathered on a Saturday to take a half-day seminar by the 3D techs (nerds) to better acquaint us with what was coming. I found the whole thing very interesting. We learned about "Convergence Points" and "Racking Convergence" and "Neutral Zones" and basically a lot of very compelling things with cool Star Trek names. I don't remember much of it at this point (let's be honest, my eyes started glazing over at the first mention of "points of convergence.") So we all learned a great deal about 3D, but I was concerned about the nuts and bolts, which would directly affect me.
I don't recall when exactly the shoot was, but I think it was after an intentionally short day. My first thought upon seeing the huge 3D rig was something along the lines of, "Oh $%&*." This thing was huge. It was a large red case of about 3' high by 2' wide. While interested, I was also wondering how I had suddenly stepped back into the 40's with blimped Mitchell cameras. I then began to consult with the director and operator about recreating the shots we had done in regular 2D a few days before. The first shot was a dolly through a doorway. And therein was the first snag. "Unless you want the lens at four feet high or take the top of the door out, we can't do it," I told the operator. So, we compromised. This was not the first compromise of the day. I then discovered that all the dance floor had to be double laid because the rig was so top heavy that every seam was transmitted through the arm, resulting in a dolly move not unlike what one would see while dollying on a dirt road or doing really bad handheld. So, we brought in more plywood. The next snag was when we needed to place the camera high and wide in a corner of the room. Again, the rig made it impossible to get high or wide enough to get the exact shot we needed. So we compromised. Later, we needed to go into low mode. I soon discovered that this doesn't work either without orienting the dolly the only way it will work, to the side, making the shot we wanted to do impossible because of the geography of the room. So we compromised. By the end of the day, we had spent at least seven hours reshooting a scene that took around four to shoot originally And I was exhausted from double laying everything and constantly redoing things which we discovered didn't work. "I don't know how anyone ever finishes one of these things," I thought. Then, I thought, it's just a different piece of equipment. You adapt. We've gotten so used to cameras and equipment that are streamlined for camera placement and movement, that you truly do have to put put yourself back in the age of Citizen Kane, when the cameras were huge, to make it work.
Again, this is only my short experience. After all the compromises, the final product, when I saw it, was extraordinary. It looked fantastic. But I don't think I would want to do it for four months.
Many of you have much more experience that I do with this technology. I know Gil has done at least one whole feature in 3D and many more of you probably have as well. What are your experiences? What tips can you give the rest of us?
I don't recall when exactly the shoot was, but I think it was after an intentionally short day. My first thought upon seeing the huge 3D rig was something along the lines of, "Oh $%&*." This thing was huge. It was a large red case of about 3' high by 2' wide. While interested, I was also wondering how I had suddenly stepped back into the 40's with blimped Mitchell cameras. I then began to consult with the director and operator about recreating the shots we had done in regular 2D a few days before. The first shot was a dolly through a doorway. And therein was the first snag. "Unless you want the lens at four feet high or take the top of the door out, we can't do it," I told the operator. So, we compromised. This was not the first compromise of the day. I then discovered that all the dance floor had to be double laid because the rig was so top heavy that every seam was transmitted through the arm, resulting in a dolly move not unlike what one would see while dollying on a dirt road or doing really bad handheld. So, we brought in more plywood. The next snag was when we needed to place the camera high and wide in a corner of the room. Again, the rig made it impossible to get high or wide enough to get the exact shot we needed. So we compromised. Later, we needed to go into low mode. I soon discovered that this doesn't work either without orienting the dolly the only way it will work, to the side, making the shot we wanted to do impossible because of the geography of the room. So we compromised. By the end of the day, we had spent at least seven hours reshooting a scene that took around four to shoot originally And I was exhausted from double laying everything and constantly redoing things which we discovered didn't work. "I don't know how anyone ever finishes one of these things," I thought. Then, I thought, it's just a different piece of equipment. You adapt. We've gotten so used to cameras and equipment that are streamlined for camera placement and movement, that you truly do have to put put yourself back in the age of Citizen Kane, when the cameras were huge, to make it work.
Again, this is only my short experience. After all the compromises, the final product, when I saw it, was extraordinary. It looked fantastic. But I don't think I would want to do it for four months.
Many of you have much more experience that I do with this technology. I know Gil has done at least one whole feature in 3D and many more of you probably have as well. What are your experiences? What tips can you give the rest of us?
Friday, March 01, 2013
Major Award!
Dollygrippery would like to congratulate my friend Brad Rea for receiving the Lifetime Achievement Award for Moving Camera Platform Operator from the SOC. Brad is truly one of the best Dolly Grips in the world with "A" camera credits like Memoirs of a Geisha, A Walk in the Clouds, Armageddon, Angels and Demons, and Star Trek: Into Darkness on his resume. And the list goes on and on. Brad is like a rock. Nothing rattles him and he's a great guy to boot. Congratulations, Brad! No one deserves it more than you!
Meanwhile back at the ranch, the show is going well. I spent today in the freezing rain (all man made) which, luckily I am used to since I've also spent much of the last month and a half in the freezing rain (both real and man made). Unfortunately I will be leaving a week or so early to start the next epic which I hate doing, but don't really have a choice in. This is truly one of the finest grip crews I've had the pleasure to be a part of. And we have our wrap times down to about fifteen minutes, tops. I have about three weeks left before I have to fly to Northern California to prep the next job, which is basically a remake of Cannonball Run without Burt Reynolds, and with $150,000 cars. I hope all of you are staying busy and staying safe. Try to remember that making movies should be fun. My first Key Grip told me many years ago that when it stops being fun, it's time to get out. Oh yeah, he also said never get in a helicopter. So I try to remember those two things, especially the fun part. We're blessed to be able to do the things we do and work with the people we work with.
'Til next time,
D
PS:
If I don't post often it's because I am having a problem coming up with ideas. Over the last six years of Dollygrippery, I've pretty much covered every aspect of this craft. Give me some ideas. Is there something you would like to suggest? Send it in at dollygrippery at gmail dot com.
Meanwhile back at the ranch, the show is going well. I spent today in the freezing rain (all man made) which, luckily I am used to since I've also spent much of the last month and a half in the freezing rain (both real and man made). Unfortunately I will be leaving a week or so early to start the next epic which I hate doing, but don't really have a choice in. This is truly one of the finest grip crews I've had the pleasure to be a part of. And we have our wrap times down to about fifteen minutes, tops. I have about three weeks left before I have to fly to Northern California to prep the next job, which is basically a remake of Cannonball Run without Burt Reynolds, and with $150,000 cars. I hope all of you are staying busy and staying safe. Try to remember that making movies should be fun. My first Key Grip told me many years ago that when it stops being fun, it's time to get out. Oh yeah, he also said never get in a helicopter. So I try to remember those two things, especially the fun part. We're blessed to be able to do the things we do and work with the people we work with.
'Til next time,
D
PS:
If I don't post often it's because I am having a problem coming up with ideas. Over the last six years of Dollygrippery, I've pretty much covered every aspect of this craft. Give me some ideas. Is there something you would like to suggest? Send it in at dollygrippery at gmail dot com.
Sunday, February 10, 2013
Too Many Options?
Like the Chapman vs Fisher debate, this is something that's totally a personal preference and may take a number of beers to convince other of which is best ("Taste Great! Less filling!" comes to mind…).
I had one rental house rep ask me what was my preference. I believe it depends on the shot. I tend to prefer the SuperTechnos. All though they are the heaviest of the bunch, I feel that they are not as fiddley to balance and keep in balance no matter the length. When I swing into the final position, I want it to stay there and not drift off. I'd like to be able to take my hands off for two second while I scratch my head or grab a swig of water and not have to worry if it's going to wander off on me.
The Scorpios is the finickiest. Lighter all around, but requires the most tweaking to keep in the optimum performance. The computer brain is very cool to take the arc out of some shots, I haven't played with the motorized lead sled for quickie compensation. Plus that's only a feature on my 23' here. Hoping they get around to getting on their 30+7'.
The MovieBirds fall in between. I had the opportunity to fool around with a 30' at open house and the latest generation feel a lot better than what came out a couple years ago. Peter Adamiec (the gent behind MovieBird) was on hand to explain all the nuances of the latest generations. Also note, that a lot of the MovieBirds are custom tailored to their market, so you may not come across the same machine in two different markets.
Ofcourse on top of all of this is the human element - the "pickle guy" - the crane tech. No matter what crane you have, the tech can either make or break your experience with that crane.
It all takes time to work on any machine. You might spend years on a Pee Wee, being able to pull off ten point dance floor moves with three booms but find yourself on a Fisher Ten and you can't stand an actor out of a chair.
What's your preference?
Saturday, February 09, 2013
The Micromanager
A colleague of mine recently sent me an email with an idea for a post. It concerned what you do when you work with a new operator who consistently thinks he has to micromanage your every move. We've all been there. You start a show with an operator you've never worked with before. As we all know, as a Dolly Grip you're already starting from behind. Most operators, especially the "A" list ones are fine. After a couple of shots, they realize you actually know what you are doing and before long you're working like you've been together for twenty years. Then there are the other ones. Usually they are the younger, more inexperienced operators, but not always.The first clue is usually the need to start asking for sideboards or offsets before you've even had a chance to decide the best way to do the shot. Next, they start telling you what surface to use, how to lay it, and how to orient the chassis. These are the same guys who say "Woof" when they want you to stop booming up during a lineup. You generally just grit your teeth and push on, until they get really obnoxious, or they realize you actually are serious about your craft and good at it. Luckily, these guys seem to be few and far between. I think there are a couple of things going on here. One is that there are an awful lot of horrible dolly grips running around out there. Men or women who have been bumped up to the position by the Key Grip even though they have no aptitude for the job. Guys who have been thrown into the position before they are ready for it just because no one else is available; or guys who are just lazy and have no interest in actually excelling at their craft. These operators have probably never actually worked with a good Dolly Grip and aren't aware of what one can do. These are the same guys who keep a slider on the dolly for the whole show because they've never had a Dolly Grip who can actually compose an over-the-shoulder. I've had these guys. I find that at some point I have a conversation with them in which I inform them that I can actually help them if they'll let me. Usually they begin to loosen up and are amazed that a Dolly Grip can actually do most of the work for them if they'll just let him. I find that I have to have this conversation before long. I just can't function for weeks on end not being allowed to practice my craft and being treated like an imbecile. Those of us who have spent twenty or more years working to perfect our skills tend to get used to being treated with mutual respect by camera operators. They depend on us and we enjoy being able to solve their problems. When you get one that immediately dismisses all that work and experience with a wave of the hand and a "Get me a sideboard," it rankles you. So that's what I do. I take it as long as I can. If it's a short job, I tough it out for the two weeks and just make it about the paycheck. If it's going to be a long haul, though, I have to pull the guy aside and have a talk with him along the lines of, "Look, we're a team. I'm here to help you. I can do that if you'll let me. Just give me a chance to do that and if it doesn't work I'll shut up, but I know what I'm doing and you don't need that seat offset."
This reminds me of a story I recently heard regarding a buddy of mine who was pushing on a big movie. He was working with an operator whom he had been with for a while but for some reason a new operator had come in and for some reason was working on a shot with him that day. My buddy missed a mark or a cue and the new operator barked at him. The regular operator, who was standing nearby said, "You realize that that guy is one of the best Dolly Grips in the world, right?" Apparently the new guy was soon gone.
For more on this subject, see my post here. Also see this. And every camera operator should read this.
This reminds me of a story I recently heard regarding a buddy of mine who was pushing on a big movie. He was working with an operator whom he had been with for a while but for some reason a new operator had come in and for some reason was working on a shot with him that day. My buddy missed a mark or a cue and the new operator barked at him. The regular operator, who was standing nearby said, "You realize that that guy is one of the best Dolly Grips in the world, right?" Apparently the new guy was soon gone.
For more on this subject, see my post here. Also see this. And every camera operator should read this.
Saturday, January 26, 2013
The Week in Review
This is how my week went (Stream of Consciousness):
12X's, 8X's, beams, track, rain, sleet, cold, night, splinter, dance floor, rope, hills, truck, jib arm, bounce, gold, candle, too many carts, Skoal, drink, boxes, doorway dolly, level, Guv', epk, twitter, dark, more dark, 250, Hampshire Frost, tent, "What are you guys doing?" move the truck, new boots.
In a nutshell, the previous list pretty much sums up most of what ran through my brain over the last five days. We have basically taken over an entire subdivision and are shooting in or around six houses there. None of them are close to the others. Great crew. Great DP. I spend most of my days in confusion switching between set grip, doing things I haven't done on a daily basis in at least fifteen years, and Dolly Grip, walking in and not really knowing what the shot is about before doing it. Still, we're having a great time and getting some really beautiful shots. I'll be back with more later.
D
12X's, 8X's, beams, track, rain, sleet, cold, night, splinter, dance floor, rope, hills, truck, jib arm, bounce, gold, candle, too many carts, Skoal, drink, boxes, doorway dolly, level, Guv', epk, twitter, dark, more dark, 250, Hampshire Frost, tent, "What are you guys doing?" move the truck, new boots.
In a nutshell, the previous list pretty much sums up most of what ran through my brain over the last five days. We have basically taken over an entire subdivision and are shooting in or around six houses there. None of them are close to the others. Great crew. Great DP. I spend most of my days in confusion switching between set grip, doing things I haven't done on a daily basis in at least fifteen years, and Dolly Grip, walking in and not really knowing what the shot is about before doing it. Still, we're having a great time and getting some really beautiful shots. I'll be back with more later.
D
Thursday, January 24, 2013
Answers to Questions I've Been Asked...
Here are some answers asked by various emails, search strings, personal experiences etc.
You can't buy a Fisher/ Chapman Dolly. They aren't for sale except under certain conditions involving those of you living outside the US.
If you're using a single sheet of plywood, you don't need a plastic top (unless the DP doesn't like the light bounce off the plywood)
Wedge the boxes first. Make 'em stable.
Please stop trying to wedge the crossties between the joints before I level the joints.
Don't fill in behind me until I ask you to.
No, I didn't bring the starter track. I have enough to keep up with. Pick the dolly up the four inches it requires to get the front on the track or get me some wedges. Sack up and be a grip.
No, I don't have a cupholder.If there is one in the hole I'm trying to put the seat in to set up your shot, I will throw it across the room.
Yes, I have a seat offset. You are now the subject of my next post.
No, I do not want a clamp on the end of the track.
Get me a clamp for the end of the track.
It's not a magic vibration isolator.
No, these wheels will not mark a wood floor.
I don't know how you can become an extra. Believe me, you don't want to.
No sir, you said fifteen seconds. I timed it on my watch.
I don't know where it is. I think it's over there.
Yes, I started when he did. (I really didn't because I was checking my Twitter page).
No, I can't get you a stinger.
You can't buy a Fisher/ Chapman Dolly. They aren't for sale except under certain conditions involving those of you living outside the US.
If you're using a single sheet of plywood, you don't need a plastic top (unless the DP doesn't like the light bounce off the plywood)
Wedge the boxes first. Make 'em stable.
Please stop trying to wedge the crossties between the joints before I level the joints.
Don't fill in behind me until I ask you to.
No, I didn't bring the starter track. I have enough to keep up with. Pick the dolly up the four inches it requires to get the front on the track or get me some wedges. Sack up and be a grip.
No, I don't have a cupholder.If there is one in the hole I'm trying to put the seat in to set up your shot, I will throw it across the room.
Yes, I have a seat offset. You are now the subject of my next post.
No, I do not want a clamp on the end of the track.
Get me a clamp for the end of the track.
It's not a magic vibration isolator.
No, these wheels will not mark a wood floor.
I don't know how you can become an extra. Believe me, you don't want to.
No sir, you said fifteen seconds. I timed it on my watch.
I don't know where it is. I think it's over there.
Yes, I started when he did. (I really didn't because I was checking my Twitter page).
No, I can't get you a stinger.
Friday, January 18, 2013
Day 48 out of 51
Hi all. I just finished my first week on the new job. As I said on Twitter earlier today, "They didn't fire me yet." So far, everything is going smoothly, minus the usual first week craziness as the company settles into a rhythm. This job is especially unusual for me. First of all, I'm not the "A" camera dolly grip, or the "B" camera dolly grip. I am the co- Dolly Grip under the "A" Dolly Grip and also the local Best Boy. Let me explain, because this is complicated. The DP on this movie (who is up for an Academy Award this year) has his own dolly grip who travels with him on every show and has for the last twenty or so years, including the movie he did last year in the UK for which he is nominated. This cameraman operates himself and mostly shoots off of a jib arm with a remote head. His Dolly Grip operates the arm while I operate the chassis. There is no "B" camera. The Key Grip, as well as his Best Boy, has also been with him for many years, and is a highly respected name. He is also old friends with my Key Grip, for whom I have been pushing for many years. This show comes to town. My Key Grips talks to the other Key Grip. I go to work for the new Key Grip who also asks me to put a crew together for him and act as kind of a local Best Boy. Cut to- now when I'm not on the chassis (we also carry a Fisher Eleven for tight quarters, of which there are many) I'm stringing up twelve and twenty-bys and helping coordinate equipment and manpower. And I really enjoy it. The Key and Best Boy are the absolute best, and I am honored to work with them. The crew we have is truly one of the best I've ever had the pleasure of working with. These guys know their stuff, they work their asses off, and never question or complain. And it's nice to not always be on set and also to re-acquaint myself with the nuts and bolts of gripping. It's exhausting and a little bewildering to switch back and forth from set grip to dolly grip as the need arises, but it's a great challenge. And it's also an honor to work with such a well regarded DP. I'm always up for learning new things, and I hope to learn some new skills from all these guys. Many of us tend to work with the same Key Grip or cameraman over and over, so it's always good to get out and see what the other guys are doing. So that's about it for now. The first week was spent in the pouring-down rain and mud, followed by a day of shifting twelve-bys around to block the sun. In between, I worked on some cool shots and had some laughs. I'll have another report in a week or so. Till then, stay safe and work smart.
D
PS- I have a tradition here of not really ever naming names. It's not that difficult to figure out who I'm talking about, though. Many people have asked how this DP is. Here is an indication: More than once after a shot I've heard him turn to his Dolly Grip, who has been with him for many years and is a great guy, and ask, "What do you think? How was that?" The guy is a gentleman, meticulous about his compositions, and respects his Dolly Grip's opinion.That's how he is. Think about that next time you work with some jackass who treats you like a mindless cog in his machine. This guy, roundly regarded as one of the best in the world asks his Dolly Grip what he thinks about the shot.
D
PS- I have a tradition here of not really ever naming names. It's not that difficult to figure out who I'm talking about, though. Many people have asked how this DP is. Here is an indication: More than once after a shot I've heard him turn to his Dolly Grip, who has been with him for many years and is a great guy, and ask, "What do you think? How was that?" The guy is a gentleman, meticulous about his compositions, and respects his Dolly Grip's opinion.That's how he is. Think about that next time you work with some jackass who treats you like a mindless cog in his machine. This guy, roundly regarded as one of the best in the world asks his Dolly Grip what he thinks about the shot.
Sunday, January 06, 2013
Date Night
An unfortunate, and somewhat ironic, by-product of working in the movie business is that you have little time to see any actual movies unless they're late night bleary eyed cable or Netflix offerings. I hadn't been to a theater in probably a year or more before my wife and I hired a babysitter and ran out to see The Bourne Legacy, which I actually liked. Not as much shaky-cam and a good performance by Jeremy Renner made it quite enjoyable. I still haven't seen The Dark Knight Rises, and only got out to see the incredibly disappointing and overblown Prometheus while I was on location and had a free Saturday afternoon to fill up. Luckily it was one of those theaters that also doubles as a bar, so after the first plot hole, I started downing gin and tonics. It's a shame, really, because I still love the movies. I've had the great fortune of working regularly with a DP whom I admired before I even knew what a dolly grip did exactly. I just knew this DP shot movies that I really liked looking at. That he later became a friend and frequent coworker is one of the coolest things that could happen in my career.
There's still nothing quite like a darkened movie theater when the previews come up. I still get a little excited and it also gives me a chance to see firsthand what my fellow dolly grips have been up to. My buddy Azurgrip, who helps me run this site, had been telling me about the movie he had been doing last year involving multiple Technocranes and miles of greenscreen. When I saw the trailer for Pacific Rim, I suddenly understood what he had been talking about. I like watching the results of my friends and colleagues' labor. Too often, our contributions to the final product are lost in a sea of red carpet events and award shows, so I like seeing their work and knowing what long hours and years of expertise went into it, because only those of us who do this every day really recognize it when we see it.
On the same note, I recently managed to hire the babysitter and take the wife out for a night at the movies again. We saw Jack Reacher. I had long been a fan of the books by Lee Child so was somewhat jealous of my friend Bill Wynn when I learned he was doing it. Bill is a veteran with such credits as Talladega Nights and The Town. Billy and I worked together once a few years ago when I came in and did B Camera on some reshoots (This very reshoot as a matter of fact). We have a lot of mutual friends and have kept in touch over the years. Jack Reacher was great. It totally captured the spirit of the books, and Tom Cruise was a great Jack Reacher, though he is physically not anywhere near the 6'5", 250lb Reacher of the books. He nailed it with attitude and an understanding of the character. Bill did a great job. I texted him soon after watching and told him what a great movie it was and what a great job he did. He probably hates this but that's what this place is for, to recognize good work. Great job Billy!
There's still nothing quite like a darkened movie theater when the previews come up. I still get a little excited and it also gives me a chance to see firsthand what my fellow dolly grips have been up to. My buddy Azurgrip, who helps me run this site, had been telling me about the movie he had been doing last year involving multiple Technocranes and miles of greenscreen. When I saw the trailer for Pacific Rim, I suddenly understood what he had been talking about. I like watching the results of my friends and colleagues' labor. Too often, our contributions to the final product are lost in a sea of red carpet events and award shows, so I like seeing their work and knowing what long hours and years of expertise went into it, because only those of us who do this every day really recognize it when we see it.
On the same note, I recently managed to hire the babysitter and take the wife out for a night at the movies again. We saw Jack Reacher. I had long been a fan of the books by Lee Child so was somewhat jealous of my friend Bill Wynn when I learned he was doing it. Bill is a veteran with such credits as Talladega Nights and The Town. Billy and I worked together once a few years ago when I came in and did B Camera on some reshoots (This very reshoot as a matter of fact). We have a lot of mutual friends and have kept in touch over the years. Jack Reacher was great. It totally captured the spirit of the books, and Tom Cruise was a great Jack Reacher, though he is physically not anywhere near the 6'5", 250lb Reacher of the books. He nailed it with attitude and an understanding of the character. Bill did a great job. I texted him soon after watching and told him what a great movie it was and what a great job he did. He probably hates this but that's what this place is for, to recognize good work. Great job Billy!
Tuesday, December 25, 2012
Merry Christmas!
Well, we've almost made it through another year. The 21st came and went without incident, so I've gone ahead and lined up my next job. I may as well go ahead and do my End of Year What We Learned Post because I will need to start sobering up soon.
Here are a few things the year taught me:
1. Handheld sux. But it sux much worse in tv than on a feature. I did one of each this year- a totally handheld pilot and a totally handheld feature. Though neither was a particular joy work wise, I did meet some cool people and a new camera operator whom I really like. After the pilot almost threw my back out, I had some trepidation about repeating the painful, dreary chore. The feature actually wasn't that bad. It's the pace that gets you in tv. It was one shot to another without much of a break, but the slower feature pace allowed me to rest a little between setups and saved my back. Of course the worst thing about handheld is that for a Dolly Grip it's simply monkey work. You have no real input into the process and nothing much to offer except a strong back. But, you can at least earn some respect if you know what you're doing which leads to my next post...
2. Experience wins out. Act like a professional. Stay alert and let your camera operator and DP know you are there for them. You may be a monkey but at least they'll realize that you're a trained monkey.
3. You're not 25 anymore. It's ok to let the younger guys take up some slack every now and then. It gives you a break and lets them get familiar with handling a camera. It also gives you an opportunity to teach them about things like keeping an operator safe, looking ahead to future obstacles, and paying attention.
4. Always use equal force when getting help on a chassis move, or when you have a couple of guys moving a crane chassis. I knew this already for dollies but it was brought home on a 50' Techno move in which more chassis guys were on one side than the other. The crane, all 6000+ lbs of it skipped off the track. No harm was done. A quick application of the Pettibone set things right, but it hammered home that you have to pay attention to everything.
5. Use more of everything than you think you need when it comes to safety. Again, this is something I generally practice anyway, but I was reintroduced to the concept when I had to harness in a camera op to the bed of a speeding pickup to do an actor POV over the cab of the truck as it careened down city streets. I had four points on him, but neglected to do the one extra that I thought of, but discarded, that would have pulled him into the back of the cab. Add one nervous actress behind the wheel and your omission quickly becomes apparent. Take the time. Do it right. Do more than you think you need. No one was hurt and I quickly added it on the second take but it was a painful learning experience.
6. I actually am not that bad on a Fisher Ten. A long time ago, a great dolly grip told me that I had to be good at both dollies. I, of course, knew this but if you use one dolly consistently over the other, getting behind the lesser used one can be uncomfortable. I filled in for a buddy of mine for one day on a very big movie earlier this year. I thought he was a Fisher user and dreaded it for a week before the day arrived. As it turns out, he was using my old friend the Hybrid, so it was a non-issue. But I did get pressed into service on a Fisher Ten on a couple of other shows, and you know what? It was fine. I tend to be very particular about the boom setup on my dollies and the Fisher just isn't comfortable for me personally, but after a couple of shots I got into the groove and soon began to enjoy the difference in timing. It's not bad, just different. I started out on a Ten many years ago on In The Heat of the Night (the tv show not the movie) and had not really been behind one more than a couple of times since. The timing for the action on the arm is a little different. You have to actually do everything a split second earlier, but my friend was right. It does make you a better dolly grip. I no longer dread the Fisher Ten.
7. It's not the destination, it's the journey. Enjoy the ride. We all end up in the same place anyway, so have fun, laugh, love, don't sweat the small stuff (and it's all small stuff).
That's about it for the list.
Everyone have a Merry Christmas and a Happy New Year. Life is good. I'm not rich, but I'm sitting in a cozy house having a cozy drink as the rain falls outside. My children are safe. My wife (inexplicably) loves me, and I've got it pretty good. And I have a lot of friends, including many of you whom I've met over the years on Dollygrippery. Some of you I've never met in person, but I feel like we're old friends just the same. I will one day have a drink and a laugh with you in some bar in Toronto, or Atlanta, or India, or Los Angeles, or wherever, but till then I thank you for your friendship and raise a glass to you. Stay safe and stay in touch.
D
PS
Azurgrip blew his own horn earlier for a show he did last year. Here's one of mine (although it's not as cool as his.) Check it out. Beautiful Creatures. And you get to see the back of my big head! More of the back of my head. And my actual hands. For about a half second.
I would like to reiterate that teenage witches can in no way compete with giant robots rising out of the sea, but you can see the back of my head. And a hellacious boom up. Which I F'ing nailed.
Here are a few things the year taught me:
1. Handheld sux. But it sux much worse in tv than on a feature. I did one of each this year- a totally handheld pilot and a totally handheld feature. Though neither was a particular joy work wise, I did meet some cool people and a new camera operator whom I really like. After the pilot almost threw my back out, I had some trepidation about repeating the painful, dreary chore. The feature actually wasn't that bad. It's the pace that gets you in tv. It was one shot to another without much of a break, but the slower feature pace allowed me to rest a little between setups and saved my back. Of course the worst thing about handheld is that for a Dolly Grip it's simply monkey work. You have no real input into the process and nothing much to offer except a strong back. But, you can at least earn some respect if you know what you're doing which leads to my next post...
2. Experience wins out. Act like a professional. Stay alert and let your camera operator and DP know you are there for them. You may be a monkey but at least they'll realize that you're a trained monkey.
3. You're not 25 anymore. It's ok to let the younger guys take up some slack every now and then. It gives you a break and lets them get familiar with handling a camera. It also gives you an opportunity to teach them about things like keeping an operator safe, looking ahead to future obstacles, and paying attention.
4. Always use equal force when getting help on a chassis move, or when you have a couple of guys moving a crane chassis. I knew this already for dollies but it was brought home on a 50' Techno move in which more chassis guys were on one side than the other. The crane, all 6000+ lbs of it skipped off the track. No harm was done. A quick application of the Pettibone set things right, but it hammered home that you have to pay attention to everything.
5. Use more of everything than you think you need when it comes to safety. Again, this is something I generally practice anyway, but I was reintroduced to the concept when I had to harness in a camera op to the bed of a speeding pickup to do an actor POV over the cab of the truck as it careened down city streets. I had four points on him, but neglected to do the one extra that I thought of, but discarded, that would have pulled him into the back of the cab. Add one nervous actress behind the wheel and your omission quickly becomes apparent. Take the time. Do it right. Do more than you think you need. No one was hurt and I quickly added it on the second take but it was a painful learning experience.
6. I actually am not that bad on a Fisher Ten. A long time ago, a great dolly grip told me that I had to be good at both dollies. I, of course, knew this but if you use one dolly consistently over the other, getting behind the lesser used one can be uncomfortable. I filled in for a buddy of mine for one day on a very big movie earlier this year. I thought he was a Fisher user and dreaded it for a week before the day arrived. As it turns out, he was using my old friend the Hybrid, so it was a non-issue. But I did get pressed into service on a Fisher Ten on a couple of other shows, and you know what? It was fine. I tend to be very particular about the boom setup on my dollies and the Fisher just isn't comfortable for me personally, but after a couple of shots I got into the groove and soon began to enjoy the difference in timing. It's not bad, just different. I started out on a Ten many years ago on In The Heat of the Night (the tv show not the movie) and had not really been behind one more than a couple of times since. The timing for the action on the arm is a little different. You have to actually do everything a split second earlier, but my friend was right. It does make you a better dolly grip. I no longer dread the Fisher Ten.
7. It's not the destination, it's the journey. Enjoy the ride. We all end up in the same place anyway, so have fun, laugh, love, don't sweat the small stuff (and it's all small stuff).
That's about it for the list.
Everyone have a Merry Christmas and a Happy New Year. Life is good. I'm not rich, but I'm sitting in a cozy house having a cozy drink as the rain falls outside. My children are safe. My wife (inexplicably) loves me, and I've got it pretty good. And I have a lot of friends, including many of you whom I've met over the years on Dollygrippery. Some of you I've never met in person, but I feel like we're old friends just the same. I will one day have a drink and a laugh with you in some bar in Toronto, or Atlanta, or India, or Los Angeles, or wherever, but till then I thank you for your friendship and raise a glass to you. Stay safe and stay in touch.
D
PS
Azurgrip blew his own horn earlier for a show he did last year. Here's one of mine (although it's not as cool as his.) Check it out. Beautiful Creatures. And you get to see the back of my big head! More of the back of my head. And my actual hands. For about a half second.
I would like to reiterate that teenage witches can in no way compete with giant robots rising out of the sea, but you can see the back of my head. And a hellacious boom up. Which I F'ing nailed.
Sunday, December 16, 2012
Pacific Rim was an all time mind blowing experience to work on and looks like it will be in the theatres. Working with Guillermo Del Toro was a blast and a half!
http://trailers.apple.com/trailers/wb/pacificrim/
Friday, December 14, 2012
Another One In The Can
We just wrapped our latest epic. Eight weeks of handheld work is over. I actually didn't think I would be able to bench press an Alexa for that long, but it actually wasn't that bad. We did have two crane shots, one was a 50' Techno and the other was a 35'-45' Moviebird, but other than that, it was all handheld. Over the last eight weeks I've been shot at multiple times, smoked out, blood spattered, and heard more incarnations of the "F" word than I knew were possible. I've met a former governor, stood in a lake in 37 degree weather at night, had the flu, laughed a lot, cussed a lot, and made a fair amount of money which is already gone. My impressions are that handheld sux, and the Moviebird is a great crane. I just like the thing. The bearings in the arm are so sweet that I marvel at the action on it every time I have to finesse an over-the-shoulder at forty feet .One handed. Overall, a tough show but possibly a good movie. Or a s&*%ty one. Hard to tell. Now for a few weeks off before the next one.
My heart breaks for those babies in Newtown tonight.Please keep their parents in your prayers. Those of you who are parents, hug your children and keep them close. The wolf is always at the door.
I got my .com domain back from the crazy lady. At some point in the coming days, you'll be able to use it. So at least there's that.
Look out for each other. There are some evil bastards walking the streets.
D
My heart breaks for those babies in Newtown tonight.Please keep their parents in your prayers. Those of you who are parents, hug your children and keep them close. The wolf is always at the door.
I got my .com domain back from the crazy lady. At some point in the coming days, you'll be able to use it. So at least there's that.
Look out for each other. There are some evil bastards walking the streets.
D
Thursday, November 15, 2012
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?
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?
Sunday, November 04, 2012
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.
Saturday, October 20, 2012
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.
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.
Sunday, September 30, 2012
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
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
Thursday, September 27, 2012
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.....
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.....
Saturday, September 01, 2012
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.
Saturday, August 25, 2012
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