On-Set Production – Creative Exercise 1
On-Set ProductionAs part of our first creative exercise for On-Set Production, we were tasked with the following briefs:
Part 1 – Film Project
Above is the 1-minute film I created as part of our first project. The brief was to shoot 8-10 photographs, or a 1-minute short film, in black and white and pertaining to the themes of home and place. I wanted to focus on improving my videography skills and camera operation so I opted for the film.
I chose to explore the relationship between home and place, including both shots of places nearby to my flat – a local park, canal, road, and school – and the interiors of my flat. Through focus on habits, sentimental objects, and people in these spaces, I sought to show that home is not a place. Instead home is something you cultivate out of material items, moments, and memories.
I hadn’t shot in black and white prior to this project and gained a greater insight into exposure by doing so – some of my shots that wouldn’t have appeared overexposed in colour looked blown out in black and white. I found it useful even to figure out how to switch to shooting in black and white on my camera.
Part 2 – Magazine Excerpt and Notes (ASC Magazine)
Shot Craft by Jay Holben – “The Dolly Grip” (February 2023)
The dolly is something I am not overly familiar with at this stage of my filmmaking career. It’s often overlooked, or only booked out if we have a particular shot in mind, but is never the deciding factor in composing shot lists. I reckon a significant contributor is the lack of understanding about the creative possibilities provided by the dolly and the role of the dolly grip.
Below are my notes and learnings.
— N O T E S —
The dolly grip assists the camera department, but is part of the grip department. Oftentimes the role of the dolly grip requires so much equipment and transportation it could be considered its own department.
Who is involved in the grip department?
- Key grip – head of the department
- Best Boy – administrative manager
- Grips
- Dolly grip
What does the dolly grip do?
The dolly grip is responsible for any way in which the camera moves – not just via the dolly.
Selecting Tools
It’s the responsibility of the dolly grip to manage and operate the dolly, which come in many different types, sizes, and configurations.
Different tools involve:
- Butt dolly – a seat/stool with wheels
- Doorway dolly – a platform with wheels carried onboard large grip trucks
- As elaborate as a 400-pound, wheeled platform with a hydraulic boom arm and multiple rigging/seating positions
The dolly grip needs to select the right tool for purpose + manage the configuration, operation, and support of that tool. This can involve either dolly tracks or ‘dance floor’ – smooth, finishing-grade plywood which can be topped with plastic to create a smooth surface when laid over existing flooring.
What are the different types of wheels attachable to a dolly?
- Skateboard
- Air-filled
- Hard-rubber
- Track wheels (for square/rounded track)
What about cranes?
A dolly grip is often responsible for the positioning, configuration, and if trained, the primary operation and safety of a crane.
What comes next?
After tracks are placed or dance floor is laid down and there’s no bumps, seams, or elevation changes, the camera department will bring the ‘head’ to the dolly so they can mount the camera on top. Dolly grips are responsible for maintaining a safe and stable platform for the camera and camera department.
How has dolly operation changed over time?
Recently it has become popular to mount on the dolly a stabiliser head that can be operated remotely. The camera operators and assistants won’t be near the dolly and instead be referencing a monitor. The dolly grip will drive the dolly along its marks or move according to instruction via a headset.
A Stable Base
With the dolly on track, the dolly grip will communicate with the cinematographer, camera operator, and director regarding the position and length of track needed – in addition to any curves in the track needed.
After discussions, a stable, level base will be built for the dolly tracks – which can require rigging and costly construction. Especially if it’s required to move over uneven terrain, which could involve constructing bridges, railroad-like trestles, steel-deck platforms, etc.
What is the process of ensuring the dolly track is level?
Careful and thorough fine-tuning of the dolly track with wedges and confirming it is level with a bubble/spirit level.
What additional accessories are involved in the configuration of a dolly track?
Platforms, seats, extensions, camera offsets and risers, sliders, jib arms, or small cranes.
Executing Shots
The dolly grip works closely with the camera operator and is responsible for getting the camera into the right position at the right speed so that the operator can frame correctly.
The dolly can often move to compensate for actors missing their marks and save the shot with subtle adjustments and movements.
What if an actors sits or stands in the shot?
The director or cinematographer will often request a boom or jib move to rise or drop with the actor instead of tilting the camera up or down. This is the job of the dolly grip, who will incorporate a hydraulic boom arm for this scenario.
What if a crane is needed?
The dolly grip is the primary controller of a crane if they have the necessary experience and training. Controls might be at the back of the crane for large, sweeping moves or at the front of the crane if the camera needs to start or end near to the talent.
Hands-On Support
The dolly grip will also support the camera in handheld or Steadicam mode. Even if there’s no dolly present on-set or for a shot, it is still the responsibility of the dolly grip to ensure safety of the camera movement.
What does it look like to ensure safety of the camera’s movement?
Acting as a spotter, a guide for handheld or Steadicam operator moving through a set or location, stay behind the operator to guide around obstacles, translate the creative vision of the director/cinematographer/operator into a mechanical process.
What is important for a dolly grip to do?
Remember they are not the camera operator, to be mindful of on-set attitude, know your tools, adapt to what works best in the moment and embrace constant change.
What do people not know or realise about the role of a dolly grip?
They are not involved in lighting, bouncing, cutting, and rigging lights and sets. They stay with the camera most of the time. If you start a scene with a certain tool, even if the rest are static shots, it’s often easier to stay on the dolly or crane to finish off the scene. There is a set of gestures and touches shared between the operator and dolly grip to communicate when to ‘step up’, ‘step down’, ‘duck’, etc.
How do you communicate to the operator that an obstacle is approaching?
The dolly grip will often place their hand on the centre of the operator’s back and increase the pressure the closer they get to the obstacle. They can also bring the operator to a complete stop if needed.
What else goes into the relationship between the camera operator and dolly grip?
When ‘cut’ is called, the dolly grip will remove the camera from the operator’s shoulder to relieve tension and weight, which is more of a courtesy than actual duty. When the shot is reset, the dolly grip will carefully lower the camera back onto the operator’s shoulder.
What does a typical day look like for a dolly grip?
Arrive at set – seeing the location for the first time as they are often not involved in tech recces – and consult with the key grip, operator, and cinematographer. First steps are to observe the floor, note down major obstacles, and watch a crew rehearsal of the blocking. Similar to a camera assistant, the dolly grip will follow the actors and set up marks for camera placement.
How does the dolly grip prepare for a shot?
By working with the grips to set up their tools and rehearse the shot with the actors before they start rolling.
“Understanding the storytelling, the shots and where to put the frame is a very important part of the job. You need to understand what the camera is supposed to be doing. In essence, you’re guiding the audience through the story, translating whatever is in front of you into what they will see — and accentuating, visually, what the story calls for emotionally.”
Ralph Scherer