In cinematography, the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the "boom". If both axes are used simultaneously, this type of dolly shot is known as a compound move.
A dolly grip must work closely with the camera crew to perfect these complex movements (cinematic techniques) during rehearsals. Focusing the lens is critical to capturing a sharp image, so a dolly grip must hit his or her marks in concert with a camera assistant who pulls focus. It is a skill that experience can hone to a point, but the best dolly grips are known for their "touch," and that makes them highly sought-after talents.
A dolly grip is also employed when the camera is operated in handheld mode (on the operator's shoulders or literally in their hands). While the camera operator is moving with the camera, the dolly grip is responsible for the operator's safety, helping the operator to "blindly" negotiate sometimes complicated environments. The dolly grip silently directs the operator (through gentle touches, nudges, pulls and pushes) away from walls and other obstacles that the operator cannot see while concentrating on the image in the camera viewfinder. The same is true when the camera is operated with a Steadicam or similar body-mounted stabilization tool.
Grippin aint easy... Starring the Fisher 10
Key Grip - Alex Kuchera
Bestboy Grip - Julian Chapdelaine
Dolly Grip - Christopher Fisher
Grip - Will O'Brien
Grip - Cody Rusinko
LX shot out to Eric Scobie "Always got stingers on lock down!"
Music:
Rubber Spanner - Get Trashed
https://soundcloud.com/rubberspanner/rubber-spanner-get-trashed
Rubber Spanner - Supercrazysoundmachine https://soundcloud.com/jet-set-trash/rubber-spanner
published: 02 Nov 2013
Film & Video Grip Equipment: The Hybrid 4 Camera Dolly at Chapman UK
One of the most revolutionary and now essential pieces of camera support equipment, is the hydraulic camera dolly.
Chapman Leonard’s brand new camera Dolly, the Hybrid 4 continues the evolution of a design process that reflects the unique knowledge and experience, acquired by building class leading grip equipment for the film industry for over fourty years and it is now available from Chapman UK.
The Hybrid IV is the Swiss army knife of camera grip equipment. Adaptable to work in the studio or on location on any gauge of camera track, it can deliver amazing production value to the end user through its compatibility with small crane arms and it has the flexibility to work like a small Dolly or scale up to offer all the benefits of a large mobile camera platform. You’ll be amazed at what t...
published: 18 Sep 2014
Learning the Basics of a Fisher Dolly | PremiumBeat.com
http://bit.ly/2RUbjuJ - The Fisher dolly is an industry standard. It offers superior build quality and reliability. So why isn't there one on every set? The problem is that you can't buy or lease one — you can only rent it, and often, it's not cheap. This video will give you all the basics you need to know so when you do get your hands on one, you'll be ready.
MUSIC:
“In the Hills" by Marc Walloch from PremiumBeat.com - http://bit.ly/2uB8Mxr
"Dumpster Dive" by Marc Walloch from PremiumBeat.com - http://bit.ly/2vpsSeo
"Rumble" by Nicolas Major from PremiumBeat.com - http://bit.ly/2tZZYBb
"Baiker" by Sweetara Music from PremiumBeat.com - http://bit.ly/2UeZPVx
FOLLOW PREMIUMBEAT:
Facebook - http://bit.ly/2qlFv5K
Twitter - http://bit.ly/2rksBmv
Instagram - http://bit.ly/2rahI9C
MORE...
published: 29 Jan 2020
Popular Grip Rigs For Cinematic Camera Movement (Part 1)
The grip on a film set is responsible for the technical execution of camera moves using various rigs and pieces of gear which have become standardised across the film industry. In this video I’ll look at a few of the most popular grip rigs - the fluid head tripod, the dolly, the technocrane and the hostess tray.
MERCH:
Official IDC Merch: http://www.indepthcine.store/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: http://www.indepthcine.com/
My Website: https://www.graykotze.com/
Discord: https://discord.gg/pxP8Yzc
GEAR:
YouTube Gear I Use: https://kit.co/InDepthCine/youtube-gear
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
Stock Footage: https://bit.ly/3jZHBC0
Cinematography Gear ...
published: 25 Jul 2021
What A Key Grip Does On Set: Crew Breakdown
Milanote is available for free with no time-limit — you can sign up here: https://milanote.com/indepthcine1121
In this Crew Breakdown episode I’ll go over the head of department position in the grips department, key grip, a job which not everyone is familiar with but which greatly contributes to the look of many movies.
MERCH:
Official IDC Merch: https://www.indepthcine.shop/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: https://www.indepthcine.com/
GEAR:
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
MUSIC: https://bit.ly/3qCRt7u
Ottom - 'Winged'
Lance Conrad - 'Multitudes'
Ottom - 'Hold On'
Ottom - 'Yugen'
Ottom - 'Itai'
Jonny Hughes - 'Fortress'
0:00 Introduction
0:40 Role
3:2...
published: 28 Nov 2021
Dolly Grips in Action
Sometimes Dolly Grips get thrown into the fire!
Video by @thunder_grip
published: 06 Jul 2018
Setting Up a Circular Dolly Track - Professional Motion Picture Tech - Cinema Tools Pro Tip #1:
In this first of our Pro-Tip series Cinematographer Jim Ross shows you step by step how to set up a professional circular dolly track just like for a Hollywood movie or professional TV commercial.
Using equipment from PC&E in Atlanta Georgia, Jim sets up track from American Grip, utilizes a Doorway Dolly, and uses specialized Porta-glide wheels for curved track. He even demonstrates how to level the track using Mathews Grip Equipment Apple boxes.
TRANSCRIPT:
First things first. You'll need a truck. And a crew. A circular dolly setup takes eight pieces of curved track and it's pretty big. So get some help. And wear gloves. Typically the rails will be pretty filthy, and anytime you are working with metal there is a chance of getting cut by a sharp edge.
First we're going to lay the trac...
One of the most revolutionary and now essential pieces of camera support equipment, is the hydraulic camera dolly.
Chapman Leonard’s brand new camera Dolly, th...
One of the most revolutionary and now essential pieces of camera support equipment, is the hydraulic camera dolly.
Chapman Leonard’s brand new camera Dolly, the Hybrid 4 continues the evolution of a design process that reflects the unique knowledge and experience, acquired by building class leading grip equipment for the film industry for over fourty years and it is now available from Chapman UK.
The Hybrid IV is the Swiss army knife of camera grip equipment. Adaptable to work in the studio or on location on any gauge of camera track, it can deliver amazing production value to the end user through its compatibility with small crane arms and it has the flexibility to work like a small Dolly or scale up to offer all the benefits of a large mobile camera platform. You’ll be amazed at what the Hybrid IV can bring to your production.
In the Hybrid IV you’ll find a camera Dolly that gives you the precise control, ease of use and safe operation, expected in today’s film and television industry and it’s available to hire today from Chapman UK, the exclusive suppliers of the latest Chapman Leonard Grip Equipment in Britain and Europe.
Visit our website to find out more and download a technical brochure and follow us on Facebook:
http://www.chapmanleonard.com/
https://www.facebook.com/Chapmanleonarduk
One of the most revolutionary and now essential pieces of camera support equipment, is the hydraulic camera dolly.
Chapman Leonard’s brand new camera Dolly, the Hybrid 4 continues the evolution of a design process that reflects the unique knowledge and experience, acquired by building class leading grip equipment for the film industry for over fourty years and it is now available from Chapman UK.
The Hybrid IV is the Swiss army knife of camera grip equipment. Adaptable to work in the studio or on location on any gauge of camera track, it can deliver amazing production value to the end user through its compatibility with small crane arms and it has the flexibility to work like a small Dolly or scale up to offer all the benefits of a large mobile camera platform. You’ll be amazed at what the Hybrid IV can bring to your production.
In the Hybrid IV you’ll find a camera Dolly that gives you the precise control, ease of use and safe operation, expected in today’s film and television industry and it’s available to hire today from Chapman UK, the exclusive suppliers of the latest Chapman Leonard Grip Equipment in Britain and Europe.
Visit our website to find out more and download a technical brochure and follow us on Facebook:
http://www.chapmanleonard.com/
https://www.facebook.com/Chapmanleonarduk
http://bit.ly/2RUbjuJ - The Fisher dolly is an industry standard. It offers superior build quality and reliability. So why isn't there one on every set? The pro...
http://bit.ly/2RUbjuJ - The Fisher dolly is an industry standard. It offers superior build quality and reliability. So why isn't there one on every set? The problem is that you can't buy or lease one — you can only rent it, and often, it's not cheap. This video will give you all the basics you need to know so when you do get your hands on one, you'll be ready.
MUSIC:
“In the Hills" by Marc Walloch from PremiumBeat.com - http://bit.ly/2uB8Mxr
"Dumpster Dive" by Marc Walloch from PremiumBeat.com - http://bit.ly/2vpsSeo
"Rumble" by Nicolas Major from PremiumBeat.com - http://bit.ly/2tZZYBb
"Baiker" by Sweetara Music from PremiumBeat.com - http://bit.ly/2UeZPVx
FOLLOW PREMIUMBEAT:
Facebook - http://bit.ly/2qlFv5K
Twitter - http://bit.ly/2rksBmv
Instagram - http://bit.ly/2rahI9C
MORE TIPS, TRICKS, AND TUTORIALS:
PremiumBeat Blog - http://bit.ly/2qmbfr9
#fisherdolly #cinema #jlfisher #cinematography
http://bit.ly/2RUbjuJ - The Fisher dolly is an industry standard. It offers superior build quality and reliability. So why isn't there one on every set? The problem is that you can't buy or lease one — you can only rent it, and often, it's not cheap. This video will give you all the basics you need to know so when you do get your hands on one, you'll be ready.
MUSIC:
“In the Hills" by Marc Walloch from PremiumBeat.com - http://bit.ly/2uB8Mxr
"Dumpster Dive" by Marc Walloch from PremiumBeat.com - http://bit.ly/2vpsSeo
"Rumble" by Nicolas Major from PremiumBeat.com - http://bit.ly/2tZZYBb
"Baiker" by Sweetara Music from PremiumBeat.com - http://bit.ly/2UeZPVx
FOLLOW PREMIUMBEAT:
Facebook - http://bit.ly/2qlFv5K
Twitter - http://bit.ly/2rksBmv
Instagram - http://bit.ly/2rahI9C
MORE TIPS, TRICKS, AND TUTORIALS:
PremiumBeat Blog - http://bit.ly/2qmbfr9
#fisherdolly #cinema #jlfisher #cinematography
The grip on a film set is responsible for the technical execution of camera moves using various rigs and pieces of gear which have become standardised across th...
The grip on a film set is responsible for the technical execution of camera moves using various rigs and pieces of gear which have become standardised across the film industry. In this video I’ll look at a few of the most popular grip rigs - the fluid head tripod, the dolly, the technocrane and the hostess tray.
MERCH:
Official IDC Merch: http://www.indepthcine.store/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: http://www.indepthcine.com/
My Website: https://www.graykotze.com/
Discord: https://discord.gg/pxP8Yzc
GEAR:
YouTube Gear I Use: https://kit.co/InDepthCine/youtube-gear
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
Stock Footage: https://bit.ly/3jZHBC0
Cinematography Gear I Use: https://kit.co/InDepthCine/cinematography-gear
MUSIC: https://bit.ly/3qCRt7u
Ian Post - 'New World'
The Sound Keeper - 'How Could The World Contain You'
Trevor Kowalski - 'Katydid'
Nite Owl - 'Magic Carpet Ride'
Oliver Michael - 'Firefly'
0:00 Introduction
1:05 Fluid Head Tripod
3:51 Dolly
6:13 Technocrane
8:43 Hostess Tray
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you.
The grip on a film set is responsible for the technical execution of camera moves using various rigs and pieces of gear which have become standardised across the film industry. In this video I’ll look at a few of the most popular grip rigs - the fluid head tripod, the dolly, the technocrane and the hostess tray.
MERCH:
Official IDC Merch: http://www.indepthcine.store/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: http://www.indepthcine.com/
My Website: https://www.graykotze.com/
Discord: https://discord.gg/pxP8Yzc
GEAR:
YouTube Gear I Use: https://kit.co/InDepthCine/youtube-gear
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
Stock Footage: https://bit.ly/3jZHBC0
Cinematography Gear I Use: https://kit.co/InDepthCine/cinematography-gear
MUSIC: https://bit.ly/3qCRt7u
Ian Post - 'New World'
The Sound Keeper - 'How Could The World Contain You'
Trevor Kowalski - 'Katydid'
Nite Owl - 'Magic Carpet Ride'
Oliver Michael - 'Firefly'
0:00 Introduction
1:05 Fluid Head Tripod
3:51 Dolly
6:13 Technocrane
8:43 Hostess Tray
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you.
Milanote is available for free with no time-limit — you can sign up here: https://milanote.com/indepthcine1121
In this Crew Breakdown episode I’ll go over the ...
Milanote is available for free with no time-limit — you can sign up here: https://milanote.com/indepthcine1121
In this Crew Breakdown episode I’ll go over the head of department position in the grips department, key grip, a job which not everyone is familiar with but which greatly contributes to the look of many movies.
MERCH:
Official IDC Merch: https://www.indepthcine.shop/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: https://www.indepthcine.com/
GEAR:
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
MUSIC: https://bit.ly/3qCRt7u
Ottom - 'Winged'
Lance Conrad - 'Multitudes'
Ottom - 'Hold On'
Ottom - 'Yugen'
Ottom - 'Itai'
Jonny Hughes - 'Fortress'
0:00 Introduction
0:40 Role
3:22 Sponsored Message
4:19 Average Day On Set
7:04 Tips
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you.
Thank you for supporting my channel so I can continue to provide you with free videos!
Milanote is available for free with no time-limit — you can sign up here: https://milanote.com/indepthcine1121
In this Crew Breakdown episode I’ll go over the head of department position in the grips department, key grip, a job which not everyone is familiar with but which greatly contributes to the look of many movies.
MERCH:
Official IDC Merch: https://www.indepthcine.shop/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: https://www.indepthcine.com/
GEAR:
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
MUSIC: https://bit.ly/3qCRt7u
Ottom - 'Winged'
Lance Conrad - 'Multitudes'
Ottom - 'Hold On'
Ottom - 'Yugen'
Ottom - 'Itai'
Jonny Hughes - 'Fortress'
0:00 Introduction
0:40 Role
3:22 Sponsored Message
4:19 Average Day On Set
7:04 Tips
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you.
Thank you for supporting my channel so I can continue to provide you with free videos!
In this first of our Pro-Tip series Cinematographer Jim Ross shows you step by step how to set up a professional circular dolly track just like for a Hollywood ...
In this first of our Pro-Tip series Cinematographer Jim Ross shows you step by step how to set up a professional circular dolly track just like for a Hollywood movie or professional TV commercial.
Using equipment from PC&E in Atlanta Georgia, Jim sets up track from American Grip, utilizes a Doorway Dolly, and uses specialized Porta-glide wheels for curved track. He even demonstrates how to level the track using Mathews Grip Equipment Apple boxes.
TRANSCRIPT:
First things first. You'll need a truck. And a crew. A circular dolly setup takes eight pieces of curved track and it's pretty big. So get some help. And wear gloves. Typically the rails will be pretty filthy, and anytime you are working with metal there is a chance of getting cut by a sharp edge.
First we're going to lay the track out roughly where we want to use it. If you are circling a product or set remember that you can't drive over the track so have the product inside the circle like we do here. I'm choosing where to lay the rails based upon the best spot for the track, and not worrying about the mower. I knew I could move the mover.
Once you get the track roughly laid out you can start locking it together. It's fairly simple and may remind you of your model train you had when you were a kid. Once the ends are flush you can snap the locks to secure the track. We're laying out boards both to protect the lawn, and to make a flat surface.
Once you have assembled the track its time to start leveling it. Using my eye and reflecting on the experience doing this before I can gauge how much we are going to have to level the track. If the surface is very flat you can get away with wedges and cribbing. Not so here, so we've gotten a good supply of apple boxes as well.
First we flush out a rough level with the boxes. When you see low spots you build them up with apple boxes. For smaller spaces use blocks and use the wedges to build height in increments. In places you'll use all three. Then, I use use two techniques to fine tune the level. I use an actual bubble level to test if the rails are level, and I use the Portaglide wheels themselves to make sure there are no low spots. Literally you let gravity do the work to fine tune your track. As you can see it's very much trial and error. And you'll find as you fix one part you might create a problem elsewhere. So you will be going back and forth quite a bit. However, the success of your shot depends upon the track being level. Otherwise the camera angle will rise and fall even though the track ride seems very smooth.
How much support your track requires depends on what you are using to film. If you are using a cinema dolly like a fisher or chapman and you will need to support hundreds if not thousands of pounds so you'll need to support every one of the cross ties on each side. Here we are only using a doorway dolly supporting just the camera. So we can get away with less support to save time.
Once I'm happy with the track I'll add the dolly. Because the added weight will affect the level of the track you will find yourself fine tuning the track yet again. Here you can see Chris tapping the track to see if there is space under the track tie. This will result in a dip when the dolly rolls so he then fills the spot with a wedge. Meanwhile I continue to look for places that need adjustment, using the added weight of the doorway dolly to flush out soft spots. And it's a good excuse to go back to being a kid again and go for a ride on my very own man sized train set.
A circular dolly shot is great for products that you want to show in 360. As with most production equipment it's best to rent than to buy. We picked up our setup at PC&E in Atlanta. Our setup today would cost over 12 grand if we bought it. Instead we rent it only when we need it for a fraction of that.
I hope you enjoyed this HDPros tip on setting up a circular dolly track. I'm cinematographer Jim Ross with CinematixHD in Atlanta. Thanks for watching and we'll see you next time.
www.HDPros.net
www.cinematixhd.com
770-938-7077
In this first of our Pro-Tip series Cinematographer Jim Ross shows you step by step how to set up a professional circular dolly track just like for a Hollywood movie or professional TV commercial.
Using equipment from PC&E in Atlanta Georgia, Jim sets up track from American Grip, utilizes a Doorway Dolly, and uses specialized Porta-glide wheels for curved track. He even demonstrates how to level the track using Mathews Grip Equipment Apple boxes.
TRANSCRIPT:
First things first. You'll need a truck. And a crew. A circular dolly setup takes eight pieces of curved track and it's pretty big. So get some help. And wear gloves. Typically the rails will be pretty filthy, and anytime you are working with metal there is a chance of getting cut by a sharp edge.
First we're going to lay the track out roughly where we want to use it. If you are circling a product or set remember that you can't drive over the track so have the product inside the circle like we do here. I'm choosing where to lay the rails based upon the best spot for the track, and not worrying about the mower. I knew I could move the mover.
Once you get the track roughly laid out you can start locking it together. It's fairly simple and may remind you of your model train you had when you were a kid. Once the ends are flush you can snap the locks to secure the track. We're laying out boards both to protect the lawn, and to make a flat surface.
Once you have assembled the track its time to start leveling it. Using my eye and reflecting on the experience doing this before I can gauge how much we are going to have to level the track. If the surface is very flat you can get away with wedges and cribbing. Not so here, so we've gotten a good supply of apple boxes as well.
First we flush out a rough level with the boxes. When you see low spots you build them up with apple boxes. For smaller spaces use blocks and use the wedges to build height in increments. In places you'll use all three. Then, I use use two techniques to fine tune the level. I use an actual bubble level to test if the rails are level, and I use the Portaglide wheels themselves to make sure there are no low spots. Literally you let gravity do the work to fine tune your track. As you can see it's very much trial and error. And you'll find as you fix one part you might create a problem elsewhere. So you will be going back and forth quite a bit. However, the success of your shot depends upon the track being level. Otherwise the camera angle will rise and fall even though the track ride seems very smooth.
How much support your track requires depends on what you are using to film. If you are using a cinema dolly like a fisher or chapman and you will need to support hundreds if not thousands of pounds so you'll need to support every one of the cross ties on each side. Here we are only using a doorway dolly supporting just the camera. So we can get away with less support to save time.
Once I'm happy with the track I'll add the dolly. Because the added weight will affect the level of the track you will find yourself fine tuning the track yet again. Here you can see Chris tapping the track to see if there is space under the track tie. This will result in a dip when the dolly rolls so he then fills the spot with a wedge. Meanwhile I continue to look for places that need adjustment, using the added weight of the doorway dolly to flush out soft spots. And it's a good excuse to go back to being a kid again and go for a ride on my very own man sized train set.
A circular dolly shot is great for products that you want to show in 360. As with most production equipment it's best to rent than to buy. We picked up our setup at PC&E in Atlanta. Our setup today would cost over 12 grand if we bought it. Instead we rent it only when we need it for a fraction of that.
I hope you enjoyed this HDPros tip on setting up a circular dolly track. I'm cinematographer Jim Ross with CinematixHD in Atlanta. Thanks for watching and we'll see you next time.
www.HDPros.net
www.cinematixhd.com
770-938-7077
One of the most revolutionary and now essential pieces of camera support equipment, is the hydraulic camera dolly.
Chapman Leonard’s brand new camera Dolly, the Hybrid 4 continues the evolution of a design process that reflects the unique knowledge and experience, acquired by building class leading grip equipment for the film industry for over fourty years and it is now available from Chapman UK.
The Hybrid IV is the Swiss army knife of camera grip equipment. Adaptable to work in the studio or on location on any gauge of camera track, it can deliver amazing production value to the end user through its compatibility with small crane arms and it has the flexibility to work like a small Dolly or scale up to offer all the benefits of a large mobile camera platform. You’ll be amazed at what the Hybrid IV can bring to your production.
In the Hybrid IV you’ll find a camera Dolly that gives you the precise control, ease of use and safe operation, expected in today’s film and television industry and it’s available to hire today from Chapman UK, the exclusive suppliers of the latest Chapman Leonard Grip Equipment in Britain and Europe.
Visit our website to find out more and download a technical brochure and follow us on Facebook:
http://www.chapmanleonard.com/
https://www.facebook.com/Chapmanleonarduk
http://bit.ly/2RUbjuJ - The Fisher dolly is an industry standard. It offers superior build quality and reliability. So why isn't there one on every set? The problem is that you can't buy or lease one — you can only rent it, and often, it's not cheap. This video will give you all the basics you need to know so when you do get your hands on one, you'll be ready.
MUSIC:
“In the Hills" by Marc Walloch from PremiumBeat.com - http://bit.ly/2uB8Mxr
"Dumpster Dive" by Marc Walloch from PremiumBeat.com - http://bit.ly/2vpsSeo
"Rumble" by Nicolas Major from PremiumBeat.com - http://bit.ly/2tZZYBb
"Baiker" by Sweetara Music from PremiumBeat.com - http://bit.ly/2UeZPVx
FOLLOW PREMIUMBEAT:
Facebook - http://bit.ly/2qlFv5K
Twitter - http://bit.ly/2rksBmv
Instagram - http://bit.ly/2rahI9C
MORE TIPS, TRICKS, AND TUTORIALS:
PremiumBeat Blog - http://bit.ly/2qmbfr9
#fisherdolly #cinema #jlfisher #cinematography
The grip on a film set is responsible for the technical execution of camera moves using various rigs and pieces of gear which have become standardised across the film industry. In this video I’ll look at a few of the most popular grip rigs - the fluid head tripod, the dolly, the technocrane and the hostess tray.
MERCH:
Official IDC Merch: http://www.indepthcine.store/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: http://www.indepthcine.com/
My Website: https://www.graykotze.com/
Discord: https://discord.gg/pxP8Yzc
GEAR:
YouTube Gear I Use: https://kit.co/InDepthCine/youtube-gear
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
Stock Footage: https://bit.ly/3jZHBC0
Cinematography Gear I Use: https://kit.co/InDepthCine/cinematography-gear
MUSIC: https://bit.ly/3qCRt7u
Ian Post - 'New World'
The Sound Keeper - 'How Could The World Contain You'
Trevor Kowalski - 'Katydid'
Nite Owl - 'Magic Carpet Ride'
Oliver Michael - 'Firefly'
0:00 Introduction
1:05 Fluid Head Tripod
3:51 Dolly
6:13 Technocrane
8:43 Hostess Tray
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you.
Milanote is available for free with no time-limit — you can sign up here: https://milanote.com/indepthcine1121
In this Crew Breakdown episode I’ll go over the head of department position in the grips department, key grip, a job which not everyone is familiar with but which greatly contributes to the look of many movies.
MERCH:
Official IDC Merch: https://www.indepthcine.shop/
SOCIALS:
Instagram: https://www.instagram.com/indepthcine/
Patreon: https://www.patreon.com/indepthcine
IDC Website: https://www.indepthcine.com/
GEAR:
Editing Software I Use: http://bit.ly/2LZ60Lo
Music I Use: https://bit.ly/3qCRt7u
MUSIC: https://bit.ly/3qCRt7u
Ottom - 'Winged'
Lance Conrad - 'Multitudes'
Ottom - 'Hold On'
Ottom - 'Yugen'
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0:00 Introduction
0:40 Role
3:22 Sponsored Message
4:19 Average Day On Set
7:04 Tips
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In this first of our Pro-Tip series Cinematographer Jim Ross shows you step by step how to set up a professional circular dolly track just like for a Hollywood movie or professional TV commercial.
Using equipment from PC&E in Atlanta Georgia, Jim sets up track from American Grip, utilizes a Doorway Dolly, and uses specialized Porta-glide wheels for curved track. He even demonstrates how to level the track using Mathews Grip Equipment Apple boxes.
TRANSCRIPT:
First things first. You'll need a truck. And a crew. A circular dolly setup takes eight pieces of curved track and it's pretty big. So get some help. And wear gloves. Typically the rails will be pretty filthy, and anytime you are working with metal there is a chance of getting cut by a sharp edge.
First we're going to lay the track out roughly where we want to use it. If you are circling a product or set remember that you can't drive over the track so have the product inside the circle like we do here. I'm choosing where to lay the rails based upon the best spot for the track, and not worrying about the mower. I knew I could move the mover.
Once you get the track roughly laid out you can start locking it together. It's fairly simple and may remind you of your model train you had when you were a kid. Once the ends are flush you can snap the locks to secure the track. We're laying out boards both to protect the lawn, and to make a flat surface.
Once you have assembled the track its time to start leveling it. Using my eye and reflecting on the experience doing this before I can gauge how much we are going to have to level the track. If the surface is very flat you can get away with wedges and cribbing. Not so here, so we've gotten a good supply of apple boxes as well.
First we flush out a rough level with the boxes. When you see low spots you build them up with apple boxes. For smaller spaces use blocks and use the wedges to build height in increments. In places you'll use all three. Then, I use use two techniques to fine tune the level. I use an actual bubble level to test if the rails are level, and I use the Portaglide wheels themselves to make sure there are no low spots. Literally you let gravity do the work to fine tune your track. As you can see it's very much trial and error. And you'll find as you fix one part you might create a problem elsewhere. So you will be going back and forth quite a bit. However, the success of your shot depends upon the track being level. Otherwise the camera angle will rise and fall even though the track ride seems very smooth.
How much support your track requires depends on what you are using to film. If you are using a cinema dolly like a fisher or chapman and you will need to support hundreds if not thousands of pounds so you'll need to support every one of the cross ties on each side. Here we are only using a doorway dolly supporting just the camera. So we can get away with less support to save time.
Once I'm happy with the track I'll add the dolly. Because the added weight will affect the level of the track you will find yourself fine tuning the track yet again. Here you can see Chris tapping the track to see if there is space under the track tie. This will result in a dip when the dolly rolls so he then fills the spot with a wedge. Meanwhile I continue to look for places that need adjustment, using the added weight of the doorway dolly to flush out soft spots. And it's a good excuse to go back to being a kid again and go for a ride on my very own man sized train set.
A circular dolly shot is great for products that you want to show in 360. As with most production equipment it's best to rent than to buy. We picked up our setup at PC&E in Atlanta. Our setup today would cost over 12 grand if we bought it. Instead we rent it only when we need it for a fraction of that.
I hope you enjoyed this HDPros tip on setting up a circular dolly track. I'm cinematographer Jim Ross with CinematixHD in Atlanta. Thanks for watching and we'll see you next time.
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In cinematography, the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the "boom". If both axes are used simultaneously, this type of dolly shot is known as a compound move.
A dolly grip must work closely with the camera crew to perfect these complex movements (cinematic techniques) during rehearsals. Focusing the lens is critical to capturing a sharp image, so a dolly grip must hit his or her marks in concert with a camera assistant who pulls focus. It is a skill that experience can hone to a point, but the best dolly grips are known for their "touch," and that makes them highly sought-after talents.
A dolly grip is also employed when the camera is operated in handheld mode (on the operator's shoulders or literally in their hands). While the camera operator is moving with the camera, the dolly grip is responsible for the operator's safety, helping the operator to "blindly" negotiate sometimes complicated environments. The dolly grip silently directs the operator (through gentle touches, nudges, pulls and pushes) away from walls and other obstacles that the operator cannot see while concentrating on the image in the camera viewfinder. The same is true when the camera is operated with a Steadicam or similar body-mounted stabilization tool.
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