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My Gear


Found 25 results

  1. After the 2024 Olympics in Paris, we will have 26x our 'Foldable TDT' crane package available. This package consists of a 5.4m crane/jib (operational length), remote head, dolly, column, and all necessary cables and controls. As it's used for a few weeks and not 'brand new' anymore, we sell it with a big 30% discount.After discount, the price will be $38000. We only have 26 available, and work on a first come, first serve basis. Reservations are possible through down-payment.Feel free to email me: jb@egripment.nlOr give me a call: +31627461156Check out our other products on www.egripment.com .The price is subject to change due to EUR/USD exchange rate.
  2. Dolly track for sale- Grip Factory Munich stainless steel and aluminum construction. 9 x 2.3 lengths, plus one 30cm and one 90 cm. Excellent condition, no bumps or dings. Surplus to requirements these days and I'm based in EUROPE. Looking for 400 euros per length sold individually or 3000 euro as a complete lot.
  3. Dimensions L x W15.2 x 17.2 inch Height including wheels2.83 inch Mounting height with 20° rocker2.0 inch Mounting height with 30° rocker2.8 inch Weight incl. 20° rocker8.38 lbs Max. load66 lbs Size of flight case19.7 x 16.7 x 4.53 inch Allows precise movements in almost no prep time Operator has full control over camera movement. Extremly low camera angles Lightweight Includes leveling kit for on the go use. The kit is like-New with custom made flight case for the leveling support with P+S Technik case for the skater kit Contact for more detailed photos $3,600 USD
  4. Alien is a great go-to when talking about effective handheld work, but it really uses about every technique you can think of, brilliantly, I might add. I recently read Derek Vanlint's ASC magazine article about shooting the film and he mentioned they were offered a Panaglide, but refused because he and Ridley wanted to be the sole operators and couldn't learn the rig in time. Upon watching it the other night for the billionth time, I noticed I never gave much thought to one of the first shots. In the opening sequence, when the Nostromo receives its special order, and the camera is giving us an ominous tour of the ship's interior, it's all dolly work, of course, until the final slow push through the white hallway, settling on the door that opens to reveal the cryopods, before we push all the way to the threshold of that room. Was the camera underslung on some rig? Maybe a crane? the crane seems hard to fathom with the cramped four wall sets
  5. Looking for a pre-owned doorway dolly. US only.
  6. Hey guys , I have Panther Classic Dollies and Foxy Crane ( 8.5MT) - Thoma Head for sale. All of them are in great condition and anyone who interested in is welcome to visit me , Turkey. What i can offer is ; S.Panther Classic ( with high-low turnstile or without it ) Lightweight Dolly Foxy Crane Thoma Head TR3 – 2axis with panbar You can also check : https://www.corsafilmistanbul.com/sale tariksizmaz@corsafilmistanbul.com I want to change some of the equipments either for selling or mainly trading for gimbal and camera equipments.
  7. Hello there everyone, for an upcoming project we are required to move a 4kw HMI on some sort of dolly approximately 10-12m to simulate the sun moving across the room. The caveat is, that our location is on the first floor. Which means I need some sort of a smart solution to secure a wind-up stand (extended all the way to approx. 4m) against tipping over, whilst at the same time begin able to move it along the tracks. Ive been thinking about constructing a larger platform for a GFM Quad-Dolly made out of wood or similar material with extendable aluminum struts so we could tie the lamp down to the platform in order to prevent it from moving. Not too sure if this will work though. Maybe one of has had a similar issue in the past and would like to share her/his approche. Thanks in advance and stay healthy, Montell
  8. Hello everyone, very soon I am going to tackle my first well budgeted movie as a camera op and I was looking for some tips from professionals on the matter. Its not the first time I operate but I am accustomed to small projects with little complications. This time I will be working with an experienced director who is going to rely on me a lot and with new gadgets for me such as the dolly magnum etc. We are a 2 cameras unit and although we run the same sensor I am stuck with the heavier camera. I expect some handheld action as well so any tips with that would be very much appreciated as well. Thank you all in advance!
  9. Hi All, Ebay auction for my trusty Dana Dolly is up now! Shipping within the lower 48 US or local pickup in Los Angeles. Bid with confidence: https://ebay.us/KelYrD
  10. I will be shooting a music video in Los Angeles at the end of the month where the director wants to film a series of push ins on the artist sitting in different locations. These shots will be in a variety of terrains: indoors, outdoors and some in a forest location. Our budget is under $1500 for this specific tool. The desire is to be on wider lenses – likely a 35mm anamorphic. The shot should move straight in towards the subject. My current thought is to use a doorway dolly on track, but I want to give the director the greatest length of movement possible and I'm afraid I will quickly see the track in the shot if I pull back too far. I'm wondering if some type of arm / jib that extends forward from the dolly could buy us some distance?I'm really not too familiar using dollys and not sure what to be looking for. I also don't want to over complicate the setup. Thanks! Drew
  11. I have a shoot coming up where the director wants to do a timelapse of a brick wall being built. It's a pretty tight shot but he wants a lot of movement (probably close to 90 degree turn). We will be shooting on a stage with a green screen and there will be a lighting change going from sunny to overcast to rain to sunny again. Now we aren't going to be building an entire wall just a small section. The director's plan is to have the builder work for about 10 or 15 minutes while the camera dollies on a curve around him and the lighting change happens. The camera will be moving very slowly and then he is going to speed the shot up considerably to get the timelapse look. I will be experimenting with actually shooting timelapse as well and my guess is that will work better. This will be a one take shot so motion control isn't absolutely necessary. We are looking at a Kessler option but I think the move it's capable of will be too short. So, has anyone done a dolly move like this for timelapse? I've done some hyperlapse stuff and it almost feels like that. However, I'm worried the speed will be too inconsistent and once sped up it will look dumb. Any help is appreciated.
  12. Hey everyone! Wanted to open up a discussion of the subliminal effects on an audience/contrasted moods that are conveyed in a push in versus a pull out. I've been thinking a lot about them lately, and of course there's the typical application of these shots opening/ending scenes in a very traditional matter. What does everyone think about these shots from a mood building and emotional point of view?
  13. First time poster here. I just purchased a Dana Dolly rental kit (dana dolly, travel case, two lowboy combos, 5' of EMT track, and a Benro fluid tripod head). It's my first big purchase and I'm renting it out for the first time for an indie short film. It cost me $1,900 total and my plan is to rent it out enough to make money off of it, and eventually have it be passive income. If anyone has any tips for renting it out as far as websites to list it on, or any other ideas to expand my market, I'd greatly appreciate it. I plan on renting it for $100 a day. I live in the DC area, so if you feel like sharing what rental prices would look like in your area that would be great as well. My main concern is keeping it in the best condition that I can so that I'll be able to rent it out over the course of a few years, if it's not made obsolete by something else. What would you recommend for keeping all of my gear in good condition?
  14. Hey Guys, This is my first post so forgive me if my format is incorrect or if I am missing information. My name is Chris and I’ve been working in film for a few years now. I started of by volunteering my time to a local production house here in Kansas and eventually I was able to turn that into profit. Being in the industry for the amount of time that i have been I have learned that the game is supposed to be sold and not told. I understand this however, I am doing my best to continue the learning process. being in a smaller market the gigs tend to reflect as such. To a degree I feel like there is no teacher like experience but where I stand is that I want to be prepared for these experiences. That being said I am considering branching of into different markets to see if there is more official training available. I already understand a lot of the basics like names of equipment, stands, how to operate stands and things of that nature but that is not to say that I’ve come across everything nor do i know each markets terminology for items. My question to you all is do you know of any official training, courses, seminars, or workshops being offered that I may be able to attend? Book recommendations would be appreciated as well. I would be interested in learning things like rigging, dolly operation, and most importantly safety. I do live in Kansas but I am willing to travel anywhere to help advance my career. Thanks! -Chris P.S. I understand the thought of working up under people and soaking up what they have to offer (thats what I have been doing). My problem with this is that people will only tell you either what they want you to know or what you need to know to get the job done.
  15. Sequenceshots The great Orson Welles used to say :”A long-playing full shot is what always separates the men from the boys. Anybody can make movies with a pair of scissors and a two-inch lens.” And as usual, the master was totally right. Thanks to movies such as “Children of men”, “Gravity” or “Birdman” (and a lot more) the sequence shots are once again very popular and with the help of digital cinema that removed several limitations we previously had (such for instance the time limitation of 10 minutes due to the size of 35mm film magazines), this kind of shot has become RELATIVELY easier (or at least possible even for small and medium-sized productions). The capital letters are on purpose, since shooting a one-shot sequence is still an extremely complicated thing to do, the longer the harder... More info here.
  16. I’m in New York from Sept 16 - 21 demonstrating a new AC / DIT cart which I've designed. I would like advice on where to show the cart to DITs and ACs in person! Any suggestions would be greatly appreciated. Bill Kerrigan Montreal, Quebec, Canada 514 486 8456 - Office 514 238 9775 - Mobile bill@kerrigan.ca http://www.kerrigan.ca
  17. Hi, I will soon be shooting a handheld chase scene at night on the RED Epic. One of the shots involves tracking backward, while staying relatively close on the actor's face as he runs forward (35mm, possibly even 50mm lens). The scene happens on a street and I have a flatbed dolly with pneumatic wheels available, so this could be used as a platform to stand on while shooting handheld. But, I am worried about balance on a moving dolly, over relatively uneven terrain and no tracks. The dolly does have a bazooka riser and base, but if I lock the camera into the bowl, will it still look handheld, or just like a bumpy track?
  18. Kessler Cineslider excellent condition 5ft No crank handle Soft bag All terrain outrigger feet Motor Mount Retail price $1900 For Sale $1500, free shipping in the USA
  19. Im up to DP my third feature and we are shooting for 20 days. Its pretty ambitious for the budget but we arent doing anything super crazy - it is very much like the movie Prisoners in tone, story and cinematography. The Producer is wanting to shoot single camera, as to not have to spend money on the extra B camera, crew and post costs that come with more footage, and instead is in favor of getting more gear to make a better A camera. My initial thought was that we would need two cameras to make our days (I shot two cameras on my last feature, which was a comedy, and being able to leap frog with setup/shooting and get extra shots in when needed I felt saved us alot of time, and that is what I am pretty comfortable with. my first feature was single camera, but it was all handheld and a much much smaller scale.) This show is 100 percent sticks and dolly, some jib with occasional steadicam. Another thought was to shoot single camera mostly from a small technocrane (thinking the mini 6'-12' technocrane ,moviebird 17 or chapmans Hydrascope 15', I want to use it for interiors and my thought was anything larger might be too large for int scenes.) now I have never used a technocrane, but from what I have read and talking with my Key grip, I have heard they can save alot of time on set, and much are faster than dolly and sticks because I could get most if not all all my shots from a single setup. but they are expensive for sure.. Something to consideration is that I am working with an awesome first time director, but for his sake I thought single camera might be easier for him so he can focus on the one frame and not have his(and my own) attention shift between two cameras, so I feel the end product could benefit from single camera. And making him as comfortable as possible is high on my priority list (I normally operate, but Im choosing to get an operator so I can be with him at video village and support him the best I can) Another idea is having a remote head on a fisher 23 Jib arm on the Fisher 10 dolly in place of a technocrane like deakins does. I have my own thoughts, but in yalls opinion, how would that compare to the technocrane approach? I would love some opinions and advice! Getting a 2nd camera package and crew for it, or single camera on a small technocrane or remote head on jib? The producer is pretty open and trusts me, and I know if I make my case for either one, there is a good chance I'll get what I ask for. Thank you all so much! Chaz
  20. Dear Cinematographers Here is a rare opportunity to own a Real Hydraulic camera dolly as seen in many Hollywood Making OF. This camera dolly is a rare one of a kind JL Fisher 10 replica, it mounts a jib that smoothly lifts your camera in the air for stunning Boom Up/Down camera movements. The jib is hydraulic driven. It comes fitted with outdoor wheels and it features three steering modes: forward wheels, back wheels, crab mode as the professional ones. The steering mode is easily handled by a push/pull system on the steering bar, again as the professional ones. It is suitable for Sync Sound production since it runs extremely quiet, it is fitted with an electric pump driven by a common 12V Battery car that stays in a box over the dolly itself. It has also two valves to adjust/limit the Up/Down speed movements. One charge is suitable for about 5/6 up/down movements (depending on speed limits also) The dolly weights about 300Kg, so it is perfectly smooth and stable, perfect for professional use with either light or complex heavy camera set up. This baby comes to you ready to handle your next movie project, it has served me very well over the years but i can't reach to stock it any longer due to new upcoming devices, so time to look for a new house for it. Asking a figure around € 16.000,00# but willing to consider your best offer for this. Shipping all over the world. (shipping costs included crate to be estimated based on address delivery) Buyers are welcome to visit us in Milan area (Italy) to inspect and try it out. Please feel free to get in touch for any further information. Adv placed also on different website.
  21. Kessler Shuttle Pod, Excellent condition 6 - sections of track for a total length of 12ft 1 - Shuttle Pod cart w/ Wheels 2 - Cross Brace 1 - End Clamp set of 2 1 - Keeper Grabber Wheels set 2 - Outrigger Feet set 1 - 100mm bowl insert 1 - Pedestal feet set 1 - Motor Mount Set Retail Price 2735.45 For Sale at 2200 Free Shipping in the USA
  22. Hi everyone, Again with some fundamentals about storytelling, with no doubt camera movements have a lot of effects on storytelling (dolly, Truck, panning, tilting, sliding, steadycam,..) or Handheld, how does camera movements effect the storytelling, what are the meaning of all those movements ? whats the difference for example between moving the camera toward the subject face in a fast way or in a slow way? when we use the camera steady on a tripod and when we slide it slowly ? what the difference between for example shooting an OTS handheld or steady on tripod or Sliding it ? there is a lot of camera movements does any one can advice on a book or an article discuss all those movements with their meanings please. Attached is screen shot from United 93, a very realistic movie from Paul Greengrass when he shot most of it handheld.
  23. I'm new in the grip world and I'm eager to work close to the camera. I know that grips often operate dollys, cranes, and lifts but I'm wondering if you have to be certified to have that position? Could someone provide me more information about this? Thanks!
  24. Hi all, Looking for a track dolly that's portable with a fast setup time for News Magazine/doco...trying to add some production value with not a great deal of setup time. Also need to fly with it... A couple of guys have suggested the http://www.wallydolly.com which looks interesting, invented by an Aussie cameraman and they now have a US dealer. Also the Spider Dolly which can curve, but doesn't look great if the ground is not 100% flat. Any ideas? Wondering what others are using.
  25. Hello there, I have a Kessler 40.5 Stealth Slider I'm looking to sell. I've had it recently refurbished and checked out by Kessler. My kit is a little more unique because I have the All Terrain Legs and the Flat Top Plate on the Slider for Mounting Manfrotto Heads. I'm asking $900 OBO Thanks for looking http://newyork.craigslist.org/mnh/pho/3693222548.html
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