Dolly Film

[Lorna Schildt]

Acamera dolly is a wheeled cart or similar device used in filmmaking and television production to create smooth horizontal camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to push the dolly back and forth. The camera dolly is generally used to produce images which involve moving the camera toward or away from a subject while a take is being recorded, a technique known as a "dolly shot". The dolly grip is the dedicated technician trained to operate the dolly by manually pushing it back and forth.[1]

The camera dolly may be used as a shooting platform on any surface but is often raised onto a track, to create smooth movement on a horizontal axis known as a tracking shot. Additionally, most professional film studio dollies have a hydraulic jib arm that raises or lowers the camera on the vertical axis. When a dolly grip operates a dolly on perpendicular axes simultaneously, it's known as a compound move.[2]

Dolly moves may also be executed without track, giving more freedom on the horizontal plane and with it, a higher degree of difficulty. These are called dancefloor moves and may either be done on the existing surface (if smooth enough) or on an overlay designed for dolly movement. The ground overlay usually consists of thick plywood as a bottom layer and masonite on top.[3]

Camera dollies have several steering mechanisms available to the dolly grip. The typical mode is rear-wheel steering, where the front wheels remain fixed, while the wheels closest to the operating handle are used to turn. A second mode, round steering, causes the front wheels to turn in the opposite direction from the rear wheels. This mode allows the dolly to move in smooth circles and is frequently used when the dolly is on curved track. A third mode, called crab steering, is when the front wheels steer in the same direction as the rear wheels. This allows the dolly to move in a direction diagonal to the front end of the dolly. Dolly moment.

Studio dollies are large and stable and can feature hydraulics. These are the first choice for studio, backlot and location shoots when using professional cameras. A studio dolly usually needs a specialized operator called a "dolly grip", and many are built for the camera operator to ride on the dolly with the camera.

Lightweight dolly systems are more simple and affordable, and are best used with lighter-weight cameras. Lightweight systems are usually favored by independent filmmakers and students because they are easier to carry and operate. These dollies support only the camera, and the operator needs to move alongside. Some lightweight dollies are small enough to be carried in a backpack.

In TV production, remote controlled camera dollies are often used for fast but discreet camera movement. A metal rail is laid out for example in front of a stage and a remote controlled dolly is moving the broadcast camera horizontally, where a cameraman would obstruct the view for the audience behind the camera. A common[according to whom?] remote dolly system with camera stabilization is a Blackcam dolly[4][better source needed] with a Newton stabilized camera head.[5][better source needed]

Dolly tracks used for heavy cameras have traditionally been constructed of steel or aluminium. Steel, although heavier than aluminum, is less expensive and withstands heavier use. Longer track segments, while heavier to transport, allow track to be laid straighter with less effort. Curved track is also available. Plastic versions of track have been used with lightweight dolly systems. In the 2000s, flexible rubber track allowed quicker set up and easier transportation for use with light cameras.[citation needed]

Anything shot with a camera dolly can also be considered a tracking shot, because the camera is usually following or moving toward the subject. Tracking shots with camera dollies usually require the camera to film perpendicular to the rail tracks, otherwise the rail tracks will be visible in the scene. However, visible track rails can be removed in post-production, as you can see in the Mindhunter VFX Breakdown. If you have rails visible in your own shots, try using Content-Aware Fill in After Effects to remove them.

As the camera dolly moves, you can simultaneously adjust camera settings to create various dolly shot types, such as adjusting the camera tilt, rotation, or focal zoom. Here are some of the most important types of dolly shots.

The dolly zoom (also known as a zolly) is probably the most popular variant of the dolly shot. By adjusting the camera zoom during the dolly movement, the foreground subject will stay the same size, while the background will appear to open or narrow. Check out this dolly zoom shot in The Lord of the Rings.

Accomplish the dolly zoom by dollying toward your subject while simultaneously zooming out. Conversely, you can dolly backwards, away from your subject, while zooming in. Here is a more in-depth article from PremiumBeat about the cinematic power of the dolly zoom.

You can also add secondary camera movement during your camera dolly. This secondary movement could be panning, tilting, or rolling the camera. This is a common technique if your subject is moving, or you need to draw attention to something specific. In this video tutorial, Brent Pierce shows how you can add a dutch angle to a dolly shot.

Tracking dolly shots usually scroll alongside your actors through a scene. They can be a great way to show actors moving from one location to another. Tracking shots can be done on dolly rails, or you can find an alternative to a dolly, like a Steadicam or 3-axis Gimbal. Check out this video to learn the basics of tracking shots.

The Spike Lee dolly shot is an alternative take on the traditional tracking shot. In this shot, not only is the camera on a dolly, but the actor is as well. This creates a floating-like appearance as the actor moves through the scene. Check out this montage of the Spike Lee dolly shot.

So, what is the purpose of a dolly shot? Of course, film is subjective so there can be multiple meanings for a wide variety of different dolly shots. However, if we just focus on the standard dolly in or dolly out, we can explore some of the more common motivations.

There are many more industry dolly options out there. For instance, cable camera systems, like those from DEFY Products, offer plenty of unique rigs. Similarly, you can opt to use a professional drone, such as the DJI Inspire 2. This gives you the ability to create smooth dolly shots in many directions, without track rails and other equipment. Drones can be especially useful for remote location shoots and establishing shots. Finally, a more affordable option is a table top dolly. These are wheeled setups that usually mount on a smaller camera body, allowing you to smoothly move it across a table top.

A vehicle has wheels, so why not utilize that as a dolly? Not only that, it has shocks and air tires that help create smooth movements. Check out this tutorial for using your vehicle as a dolly system. My personal favorite is sitting down and filming from the back of the tailgate. If your vehicle footage ends up looking a little too bumpy, you may want to utilize some post-stabilization software.

A PVC pipe dolly is probably the most popular DIY method for filmmakers. For around $60 and a trip to a hardware store, you can get everything you need to build one for yourself. Check out this step-by-step tutorial for how to build your own PVC dolly. And, for an alternative take, check out this PVC dolly tutorial made by David F. Sandberg, director of Shazam! and Lights Out.

You may have seen cut tennis balls placed on the back legs of walkers. This is because the tennis balls cut down on friction and help slide the walker on smooth surfaces. The same concept can work with a tripod, if you have a glossy studio floor or smooth hardwood floor. Purchase a pack of three tennis balls and carefully make a two inch cut (or puncture) in each one. Place those over the feet of your tripod. Now you should be able to slide the tripod around. Always keep both hands locked on the tripod, though, otherwise you risk tipping it over. Check out this video tutorial for the tennis ball dolly.

If you need even more DIY dolly options, check out this article with 10 Cheap Tripod Dolly Hacks. All of these DIY builds utilize a tripod in conjunction with other objects, such as paper cups, PVC pipe, and production carts.

I'm curious as to how Spielberg's Dolly floor is built. I've heard it described as a dance-floor, but I was wondering if anyone had any details. And to be more specific, does anyone know who first came up with this concept? (I figure it was a Key Grip, and he should get some credit).

P.S. For anyone who doesn't know what this dance floor is: Basically, Spielberg can change shots during a take. It's pretty foolish to lay down track with him, as he can see an opportunity and he wants to move on it immediately. I suppose a Dolly Grip or Key Grip came up with this idea to build a level, smooth floor for most dolly shots in Spielberg's films.

Dance floors are pieces of plywood that are nailed to the floor to create an even, smooth surface. It's usually several layers. It is more labor intensive than laying tracks, but it gives you much greater control for the movement of the dolly. But I seriously doubt that the dance floor was invented specifically for Steven Spielberg. There is a long history of tracking without rails already.

Audiris, I've heard that the 'dance floor' Spielberg uses is built up with a couple layers. I had guessed plywood, but I was curious as to why a couple layers. My theory was that the first layer may have been 2x2 wood strips separated every 18in. My reasoning, is that it could possibly lead to better leveling. Does anyone have any idea what these layers were, and the reason behind them?

"Dance Floor" has been used since the seventies. I've never heard it referred to as a Spielberg floor. Neither is it nailed to the floor. The base is " plywood. It is usually composed of combinations of 4x8, 4x4, and 4x2 sheets. Also dolly grips will use angled pieces of plywood. Once the area of the camera move is determined the plywood is placed on the floor much like a Chinese puzzle. The plywood is then covered with thin sheet of masonite, or Luann, or a high impact plastic. The sheets are staggered so the seems do not line up. The only time it is screwed into the floor is when you are on a stage with a real stage floor. Occasionally grips will screw the top layer to the " plywood to cover an uneven spot. It is really the only way to dolly complex moves. It is very time consuming to build. But once installed is allows the dolly grip to do multiple setups very quickly.

3a8082e126