Sorry the posts have been few and far between lately. Between getting my taxes done and commercial work and a freebie for a friend of mine I've been pretty worn out. I acted as camera operator on a festival short for a gaffer buddy of mine and it was three nights of work, but it was fun to be on the other side for a little while (and to leave at wrap). I'll be back with some more posts later this week. Please put up any ideas/questions you may have for posts in the comments section.
D
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The definitive site on camera movement.
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What We Do Here.....
The art of Dolly Gripping is like no other job in the world. It falls to us to work out the mechanics of a particular shot, as well as offer a smooth, aesthetically pleasing move which makes the shot work and delivers emotion to the scene. It's the ultimate blend of engineering and art. This website is a place for professionals in motion picture camera platform movement to meet and swap tips, stories, and gripe a little about the difficulties we often face, but rarely get to talk about among ourselves. It's also a place for aspiring Dolly Grips to learn a little something from the old pros. So, welcome. Look around and join our little community. The site is run by myself, D, and Azurgrip, two guys who have each spent the last 20 years moving cameras around film sets. But it also benefits from the readership and participation of hundreds of Dolly and Key Grips from around the world, men and women who have helped deliver some of the most memorable and beautiful moving shots on film. So if you have any questions, please ask. You can ask questions or make comments on our message forum, which is below, just above the photos, or email us at dollygrippery at gmail dot com. We, or one of the experienced grips who frequent this site will answer.
If you're looking for something in particular, please check out the "Links" section. Everything from equipment in India, to glamour shots of grips can be found there.
What you won't find here: How to make a dolly out of plywood, info on the Wa11y Dolly, anything about how to move a boat.
If you're looking for something in particular, please check out the "Links" section. Everything from equipment in India, to glamour shots of grips can be found there.
What you won't find here: How to make a dolly out of plywood, info on the Wa11y Dolly, anything about how to move a boat.
Followers
Links
- Film Toolkit
- William Demeritt's Blog -A lot of good stuff from a Camera Operator
- The Black and Blue
- Sarkell Society- for Colortran Owners
- Hurlbut Visuals
- Chapman- This is my machine of choice.
- Gripworks- Anything you need in India, or beyond
- The Gentlemen Grips- I've been with these guys for over 15 years
- Burnette Creative
- Blood, Sweat, and Tedium
- The Hills Are Burning
- Filmcast Live
- Crew and Review
- Lenses and Lights
- Chris Brow's Website
- Chapman
- GI Track- Great track system. Check it out!
- Grip411
- JL Fisher
- polybloggimous
- Danworx
- The Anonymous Production Assistant
- Supersliders
- Oliver Stapleton BSC
- Cranium
- Griplife
- Script Goddess
- Electric and Grip
- Solid Grip Systems
- Cinemoves
- Porta Jib- Get your Porta-Glides here. I recommend 'em!
- Local 80- Chris Hager Photographs. The members of Local 80 Grips like you've never seen them before. A really cool site!
- Hurry Up and Wait
- Burbanked
- totally unauthorized
- JL Fisher
- Seriocity
- Cinegrip
- Doggiecam- Problem solvers!
- Technocranes
- Skate Dolly
- hollywood Carts and Racks
- Backstage Web
- Willy's Widgets
- Cardellini
- Google News
- Edit-Me
Dolly History- page 106
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dollygrippery at gmail dot com
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 United States License.
6 comments:
couple questions if you dont mind...
Whats the transition like between dolly grip and camera operator?
How did you gain the necessary operating skills?
Thanks!
Traditionally, a lot of Dolly Grips transition to operating through Steadicam, which makes sense. To be an effective Dolly Grip you need to know lenses, have an idea of composition, blocking, and when to move the camera, which is a big part of the game. Over time, working with so many operators, you absorb a lot.
Having said that, I haven't acquired the necessary physical operating skills. It's something I'm starting to dabble in but I need a lot of practice. I know what the frame should look like, I just need practice getting to it and holding it. I practice the wheels whenever there's down time as well as the fluid head.
i was doing b dolly on a series a couple of years ago and the operator was a heavy smoker.
well wouldn't you know it the director calls out from video village.hey b camera roll on this see what you can get tighter.
it was just before lunch the first a.d was freaking to get the shot and not go into meal penalty.
buddy was out having a drag so the first a.c ran out to get a quick measure i jumped on the wheels.
we got the shot.
it was intense
Hey Guys, How about the B-Dolly Grip? What is the difference and what do you expect from this person as an A-Dolly Grip? I mainly Push A-Camera, however, when I do B-Cam I work the way I would expect a B-Dolly Grip to perform and this seems to suprise some Dolly Grips.
This is a great blog. Keep up the hard work.
I think that some people feel that B Dolly is just a pay upgrade and easier workload. In actual fact it's quite the opposite. B is always called in at the last second, there's no time to setup properly (or fight for space) and try to get the tougher shot (ie overs). I'll do either, but prefer A (but then again it also depends on the operator).
Good answer Azurgrip. Good idea for a post.
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