WHAT DOES A DOLLY GRIP DO? (In the Entertainment industry. What Does a Dolly Grip Do?)

Dolly Track / Photo Credit: The Black and Blue

WHAT DOES A DOLLY GRIP DO? (In the Entertainment industry. What Does a Dolly Grip Do?)

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What Does a Dolly Grip Do?

The dolly grip is not the designated Barbie wrangler, but a specialist member of the grip department. 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.

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.

Although dolly grips are hired by and under a key grip, they are paid the same as (or more than) a best boy grip, who is the second-in-command.

Dolly grips may also push a wheeled platform holding the microphone and boom operator.

Crane operators in the film industry are specially trained film crew. They are normally grips.

Some shots require the camera to move. This can be done several ways, one of which is to use a camera crane. There are many types of camera cranes, most being a counterbalanced arm on a pivot, whilst others are hydraulic. Cranes can be used to lift the camera, and often the camera operator and assistant also, quickly into the air. The crane operator sets up and operates the camera crane so that the camera arrives at the right spot. This can be difficult since the camera may be a long distance from the operator.

Duties

A track similar in appearance to a train track is built and laid on the ground to convey the camera dolly, a hefty cart that holds camera and operator for moving/tracking shots. The dolly grip’s job it is to build that track and push the dolly during filming of a scene. When a designated crane operator (also a grip) is not on staff, the dolly grip is also responsible for the build and movement of the camera crane. This person works under the supervision of the best boy grip and key grip, and is ultimately responsible to the director of photography.

Skills & Education

A college degree in film and television production is recommended, though not required. Specific training on grip equipment, dollies, and building the track is necessary, as you are playing with very expensive equipment that if not operated properly can cost thousands of dollars and hold up production on set. This job is well-suited to someone who is mechanically inclined, has a thorough understanding of lighting and photography, and doesn’t mind strenuous physical labor.

What to Expect

You’ll find that many professional grips have stumbled upon the career after experience as a commercial or residential construction worker, though this is not the standard path. Operating the dolly is a step up on the grip career ladder, and experience as a set grip in either film or television is necessary. On set, you can anticipate a hectic pace, long hours and a lot of schlepping. If you see someone carrying something, you had better be following them carrying something heavier. The environment and working conditions are always changing: Today you might be building a short track in an air-conditioned soundstage, tomorrow you’re laying out pallets to keep the 100-foot track run from sinking into the sand on a sweltering desert shoot. You must be flexible, have a strong work ethic, and be most fulfilled when working with your hands. Grips are eligible to become members of the International Alliance of Theatrical Stage Employees, the union that represents technicians in film, television, and theater.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures,

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Dolly Track / Photo Credit: The Black and Blue