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Tech Tips
Tips And Tools
ICG Takes A Look At The Latest Dollies
By Pauline Rogers
As Dave Knox points out in “Strike the Baby and Kill the Blonde:
An Insider’s Guide to Film Slang,” a dolly is “not
at all like the furniture dolly you might use to move the refrigerator.
The German word describes it perfectly: Kamerawagen. It’s the sofa-size
[sometimes] heavy rolling contraption that supports the movie camera
and camera operator and is pushed by the dolly grip…. The dolly
usually rolls around on carefully placed track or a plywood dance floor.”
With ever-changing refinements in technology, the dolly now does a lot
more. This month’s Tips and Tools focuses on five different “Kamerawagen” and
the tools that make them work harder, faster, better and easier.
J.L. FISHER
BEAM CONTROL
 J.L.
Fisher has developed a new fluid-damped beam control for all their model
10 and 11 Fisher dollies. This new control can be requested in lieu of
the “cue box” and allows for more precision when raising
or lowering the beam. It also provides an adjustable stop so the speed
of beam movement can be duplicated on subsequent takes.
With fluid dampening, the dolly operator can actually release the control
knob and the lift beam will feather itself to a smooth stop. The feathering
rate can be adjusted or turned off completely. When turned off, the lift
beam control knob responds similar to the original control.
“It’s a lot easier on the dolly grip,” says key grip
Terry Ruffner, who just used the new beam control for an Orbitz commercial
with cameraman Eric Treml. “It’s a great tool for features
and even better for commercials because the cameraman is often the operator
on these mini-features. He’s already on the dolly. Not only will
he have better communication with the dolly grip, he also ‘rides’ a
lot easier. On commercials, with the camera operator moving, the stop
is critical. By controlling the arm going up and down, you are helping
the operator and the first AC who is concentrating on focus.
“When most dolly grips ’stop the arm,’ movement usually
comes to a jarring stop. With this new tool, we are able to ‘feather’ the
stop. We cannot only set the tension, we can also set top and bottom
marks. Now the camera will float rather than jerk. It helps both the
shot and the shooter.”
“One of the hardest things is booming up and dropping down,” says
Ruffner. “This addition to the Fisher dolly is good for the seasoned
dolly grip but also gives a boost in confidence to a new grip who isn’t
used to pushing a dolly.”
www.jlfisher.com
DOGGICAM
THE POWER SLIDE
 The
Power Slide is a high-tech track and dolly system that provides precision
camera movement in situations where standard dolly equipment can’t
do the job. Operating the camera and dolly through the Sparrow Head control
system, the Power Slide is capable of wireless control from up to half
a mile away as well as hard-wire operation. The precision design and
construction of the mechanism provides smooth operation even in the most
extreme conditions.
“It was exactly what we needed recently for a Target commercial,” says
key grip Josh Rich. “To get a combination of a repeatable camera
move, at constant speed, in a vertical format up to 32 feet, we would
have had to invent something, and with the limited time and resources
available, it would never have been as good as the Power Slide.
“The lightweight track meant the rig was less top-heavy and easier
to maneuver into position. The strength and design of the track made
for incredible rigidity, even when we were—under the circumstances—not
able to reinforce it. The clamps that mount the track to the truss are
pre-made and adjustable. That saved us rigging time. The counterweight
system is incredibly compact, fitting as it does on the underside of
the track, which gave the whole rig a lower profile. The fact that one
tech could set it up in a relatively short amount of time meant the rest
of my crew was able to proceed with the prerig.”
The Power Slide has provided wireless dolly shots while mounted to NASCAR
racecars at speeds up to 120 mph. The digital control offers precision
setting of start and stop points, speed, and acceleration and deceleration.
Used in conjunction with the Doggicam Systems MoCap motion capture unit,
the system provides the ability to repeat dolly, tilt and pan as well
as all lens functions with motion control accuracy.
The track sections come in four, six and eight-foot lengths that may
be joined to make moves of any required length. Track may be over-slung
or under-slung and run at any angle, including vertical—the configuration
used on the Target spot. The track utilizes aerospace construction techniques
and is extremely strong and rigid while remaining lightweight. An eight-foot
section weighs just 24 pounds. Due to its patent-pending construction
methods, the precision track is so stiff and strong that it may be used
as part of the rigging structure. The track is even capable of being
cantilevered without support.
Exact start and stop marks, as well as speed and acceleration/deceleration
rates, can be electronically set so executing remote moves may be done
with precision and finesse. The top speed of the Power Slide is three
feet per second while Doggicam’s high-speed dolly system, the Super
Slide, can reach speeds of 36 feet per second and is able to execute
a 100 foot dolly move in four seconds.
www.doggicam.com
CHAPMAN-LEONARD
THE HUSTLER IV
 One
of the most popular dollies from Chapman-Leonard is the new Hustler IV.
It features a new sliding sideboard system with both high and low positions.
This allows for a wider range of movement without removing or changing
the boards. The system incorporates seat and/or light pockets for convenient
placement of seats or lights.
The built-in heater system enables a constant arm speed, even in cold
weather conditions. In addition, a rain house cover protects the dolly
and user from the elements.
Recently added to the Hustler IV are new 12-inch extensions for the
built-in tracking bar, when the dolly is on a track. Designed to work
on the standard 24 1/2 inch dolly track, the new track wheel design improves
performance. Because the Hustler IV was redesigned to carry a greater
payload, it can accommodate a variety of jib arms.
The new bearing system makes the arm more rigid. Selectable, adjustable
single, double or triple detent systems on the main valve control make
for a more responsive control of the arm.
Dolly grip John Busch recently used the Hustler IV on a Pepsi commercial
for Traktor with Matty Libatique, ASC. “It’s an amazing piece
of equipment with a very strong arm and great height,” he says. “It
can be used in ‘regular mode’ and ‘low mode’ at
the same time—great for shooting two cameras. There is plenty of
room on board the chassis for all the camera department’s needs.
The brake release lever is designed so that there is limited unauthorized
camera dolly movement. The boom arm control has a locking mechanism,
which is helpful for that ‘locked-off shot.’
“The first thing I do when I arrive is put on a mixed set of tires—a
tracking tire on the inside and a pneumatic on the outside. Putting the
pneumatic tire on the outside makes it a breeze to ride over cables and
such and it helps to protect the tracking tires. I almost always use
my set of U-channel speed wheels when doing a dolly move. The tracking
tires make it easier to get on the track.
“From the dolly accessories cart, I load the pouch of the dolly
with the following: one set riser, one handle bar extension, one of those
seat post-to-sideboard adaptors, and my last copy of ICG Magazine. We
all read it. A call sheet and shooting schedule ride there as well. Also,
I throw in a handful of wedges and a can of mold release spray (keeps
the wheels nice and quiet on the track). The days of ‘Pledge’ and ‘Baby
Powder’ are over!
“Usually, I put the sideboard, in high mode and in the middle
of its sliding capability, on the ‘operator friendly’ side
of the Hustler—the right side of the dolly if you are standing
at the rear of the dolly facing the four-way leveling head. Next I load
the seats into the appropriate receivers on the boom arm. Then I make
sure the operator gets the rotating seat. That is usually the grey one.
“There is a manual pump on board the chassis of the Hustler. First
thing in the morning, I usually give it a couple pumps so I can get the
arm to a comfortable height to receive the camera. At this point in the
day, the electricians are usually running power cables, so power still
may be a few minutes away. It’s a good workout.”
www.chapman-leonard.com
PANTHER
THE EVOLUTION
 A
favorite of cinematographers such as Michael Ballhaus, ASC (The Departed)
and Florian Ballhaus (The Devil Wears Prada), the new Panther Evolution
is said to have a special “style,” featuring a center-based
column and electro-mechanical controls.
The Evolution is made of light aircraft aluminum and high-strength plastics.
The column has been designed as a compact unit together with the body.
Because of its relatively low weight of 210 pounds, the dolly does not
need to be disassembled to be transported.
The Evolution’s steering is a combination of what worked in the
past and improvements for the future. The Crab+Steer steering gear switches
between 4-wheel and 2-wheel either manually or by remote. The steering
geometry ensures that during longer straight drives the dolly keeps in
line. All chains are inside, protecting them from the elements. Evolution
features soft and hard studio wheels as well as air tires that are mountable
without a tool. H-wheels are available for fast tracking.
Screw connections steady the height-adjustable steering rod. The rod
may be used in a short steering configuration.
The Evolution adapts to all round tracks. Neither the thickness of the
track’s tube diameter nor the size of the track radius matters.
Compared to the Super Panther III, the weight and the rolling resistance
of the new V-wheels has been considerably decreased while improving the
handling. The double support of the track wheels enables maneuvering
on track circles of the smallest radius.
The Evolution was designed with a completely new drive technology, including
a brushless, maintenance-free motor. The doubled performance influences
both the drive speed and a smooth column movement.
Panther attached great importance to safety when designing this Evolution.
Slack rope switches, now integrated into the column, automatically stop
a downward movement in case of danger.
This newest dolly from Panther also features a digital hand-control
set and is easily handled with software-supported operator guidance.
All dolly functions may be comfortably controlled and checked from the
steering rod.
www.panther.us
MATTHEWS
“ROUNDY-ROUND” DOORWAY DOLLY
 It
was supposed to be a low-key equipment show this year’s Cine Gear.
That is, until Matthews Studio Equipment premiered their new “Roundy-Round” Doorway
Dolly (DWD). It soon became a race of cinematographers, operators, studio
representatives from as far as Japan, and grips of all sorts to use the
first new “grip friendly” doorway dolly that had just come
off the assembly line.
Matthews introduced the first DWD in the early 1970s. For over 30 years,
this hard-working tool has serviced every type of production around the
world.
“As production changes, the equipment must stay up-to-date,” says
Matthews’ VP of Sales and Marketing, Robert E. Kulesh. “The
new dolly does the same thing—it fits through doorways! With an
added extra feature: the ‘all wheel’ steering allows the
industry’s first production-manufactured doorway dolly to take
corners in a tighter radius, enabling continuous tight circling of the
dolly around a subject and is much more maneuverable in tight quarters.
“As with the original DWD, the Roundy-Round DWD provides a low-cost,
easily-maneuvered camera platform as well as a sturdy vehicle to haul
equipment across a lot or on location.”
The new Roundy-Round Doorway Dolly will move through a full range of
tight curves and will form circles as small as a six-foot diameter using
the push bar, the pull bar, or a combination of both.
www.msegrip.com
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