circling dolly

utibay · February 22, 2004

Hi everyone,

For my student film, I would like to get circling dolly shots around a person. However, I won't be shooting in a studio, but rather on location. It's also in New York City, so there isn't a lot of space, and it's a student film, and we're strapped for cash. It's going to be shot on an Arri SR, and I'm still debating on other cinematography issues, but does anyone know a cheap, compact way that can get relatively smooth dolly shots like this? It's ok if it's a little jittery since I expect to cut it with haldheld shots. The best I could think of right now is a wheelchair, but even so, I would like to know the best way to get this.

Sincerely,

John

David Mullen ASC · February 22, 2004

IF the ground is smooth, a simple doorway dolly would work, although there might be some noise as those rubber tires turn on smooth concrete, for example. I did a cool 360 degree move in film school with a doorway dolly rolling on the hardwood floor around a concert piano.

Shooting handheld from a wheelchair would work too.

Using wide-angle lenses helps a lot.

Although if there's enough space, circular pipe track isn't THAT expensive and you could run a skateboard dolly on it.

Mitch Gross · February 23, 2004

An eight-section (45 degree) circular dolly takes up about 22' from side to side. I forget the exact measurement of for the four-section (90 degree) circle, but I think it's about 16' edge to edge. So that's the minimum sized room you'd need. Renting the track and a flattop dolly for the day to run on it will cost around $125-$150. If you get 90 degree track you need to make sure that the dolly you use can handle the tight turn You also should remember that the area inside the circle will be relatively small; big enough for a single person or maybe two standing close together.

Tony Brown · February 23, 2004

To help 'confuse' the image (viewer?) you could place the actor (if static) on a small turntable. You can then rotate them in the opposite direction to the track accentuating the effect without having to travel as far or hold the shot for as long. Most people will never spot the foreground / background differential - I've done it a few time and it works well. You can also move them in the same direction as the camera, just a little slower or faster. That can be interesting also.

Good luck

Phil Rhodes · February 23, 2004

Hi,

Not to start a storm of controversy, but if you're shooting 16 you're not THAT strapped for cash. Maybe you should consider shooting it on tape so you can afford the equipment do do the shot properly (and safely) as opposed to pissing away the entire production budget on the silver-plated plastic.

Phil

utibay · February 24, 2004

Well the thing is Phil, is that this short is for my experimental class-- I'm currently in Film School, and part of the assignment is the get the project on film. We have an allotment for it, plus I really, really like the look of film and would like to shoot on it for as long as I can. I guess I'm a bit of a romantic in that sense.

The whole thing isn't going to be on film, however. It will be a mixed media fest: there will be some video segments and some super 8. But that particular scene is the most important, and if there was a part for 16mm, that would be it.

Zeroseven, that turntable idea sounds like an awesome idea, and I would like to try it out sometime, but this particular film doesn't call for that. Also the circling shots are going to be half a circle-- the table is going to be next to the window. I will keep that idea in mind though for the future.

I guess I'll go with handheld on a wheelchair -- it only costs 5 dollars a day to rent and I trust that my camera operator will do a good job. Thanks everyone.

Randy Havens · February 24, 2004

You could also try the Glidecam (its no steadicam)

It wont be smooth and fast like the dolly, but it works well especially

with a wide angle.

I think you could rent it for 200 from Duall.

good luck

Bob Hayes · February 25, 2004

I've had good luck doing 360's hand held from a wheel chair or sitting on a doorway dolly. If you have smooth ground you are good to go.

Bob

Mitch Gross · February 25, 2004

When working from a wheelchair, I'll often put the camera on a highhat and rest it on my lap with a funiture pad or sound blanket in between. This can make for very smooth and stable operating. If you have a videotap than an LCD monitor on your lap means that you can take your eye away from the viewfinder (make sure to close it!) and pan the camera more than 200 degrees.

Matthew Poliquin · February 26, 2004

When freestyle dollying (dolly without track), and especially with a wheelchair - it is important to keep your dolly path circular. It is very easy to drift slightly off course, and correcting the dolly path is hard to do smoothly. What I do in situations like this, is determine the proper camera distance, then using my fiberglass tape measure as a compas (math class, not orienteering) draw out with chalk the path of the dolly. The dolly grip just has to keep the wheels on track, and the rest is smooth sailing.

Matthew Poliquin

DP/AC

Los Angeles