Jib + Dolly straight down move.
Posted 12 February 2008 - 06:29 PM
The shot is in a restaurant, and it dollies straight down the entire length while looking straight down over the patrons' tables. There can be absolutely no play/wiggle on the arm. The camera is a 35mm Arriflex (don't know the specific model).
The best setup I've been able to talk out with the DP is a jib attached to the boom arm of the dolly and a L bracket to mount the camera facing straight down while the dolly travels on track off camera. We have access to a Fischer 11 and a FilmAir jib, but we've found the boom arm on the Fischer to be wobbly.
Would using a wider lens be enough to make it work even if wobbly?
Should we go get a different, more stable dolly/jib combination?
Would a dance floor work in this situation?
Would adding a gyro head of some sort work in this situation?
And just to reiterate: absolutely no wiggle should be seen in the shot.
I'm open to all suggestions. Thanks in advance.
Posted 12 February 2008 - 07:00 PM
The fisher 11 is not designed to take the weight of the filmair jib. That is part of the problem. There is the fisher center mount which is designed to put a jib on the 11. to raise the jib over the table use risers on the center mount. The dolly would need to ride on track using wheel trays in stead of the fisher 11 wheels. the rubber wheels are too soft to add a jib to the dolly and be safe.
I think you could do it with the fisher 11 and the filmair.
I think for rock solid something like the Doggicam slider or the solid grip system trolly would be more in line with what you want.
Posted 12 February 2008 - 07:57 PM
Posted 13 February 2008 - 06:34 AM
The other option would be to get a SuperTechno50 Crane. I think it would work nicely for this shot unless the shot travels too far.
Posted 13 February 2008 - 08:56 AM
Posted 13 February 2008 - 10:37 AM
You have a couple options here in Toronto. If you have the budget (and the space in the restaurant), the Techno 50 is the more versatile (be sure to use a stabilized head - Stab C, or Stab Scorpio as we don't have a Libra here and I highly doubt you'd want to spring for it on a daily. The head will eat up any "arm chatter" on longer lenses).
Another option if there's time to play is to hit up Studio City Scaffolding. Talk to Andre. Find out if there's a "Mitchell plate" traveller that can be run on the underside of an Alumabeam. The longest Alumabeam they have is 30' (custom job as the standard longest length is 24') that way you have the longest travel without joints. Another source for the traveller is either David Harcourt, or LairdFX; either could whip one up in no time. Rig the Alumabeam in the roof or off scaffold at either end. Then it's a couple of ropes to pull it along. Once again, a remote head would be advantageous.
Laying track and using a Ubangi or jib arm is doable, however you'll find that any rigging you do will make any imperfections in the track worse as it has a whipping / fishpole effect
Posted 13 February 2008 - 04:23 PM
A jib arm setup will let you stay flexible, and as several guys pointed out, depending on the lens and frame rate, can look very good. Bracing the arm will of course add more stability. You may want to consider putting the dolly and track on platforms, so that the actors on the dolly side of the table don't have to squeeze under the arm as it goes by.
Posted 13 February 2008 - 08:44 PM
There is some good advice here, but a lot of it depends on the specifics of the shot.
Posted 15 February 2008 - 04:36 PM
My TrussDollySystem is designed for shots like this! Altough the original posting does not mention heights and other dimensions my system could deal with most of them. With regards of losing height by using truss or other riggings as Warwick mentioned; my system can take an offside payload of 35 kg on a off-side-arm of a foot which gives you the ability to slide te camera with its mag up to the ceiling. (see the quicktime on my website
Unfortunally there has been no sales with the US yet, still awaiting and some leads coming up!
I agree with Brad that all mentioned option are ok and it all depends on the specs of the shot.
Key Grip and parttime manufacturer.
Posted 18 February 2008 - 05:32 PM
To answer questions from members:
Location or Stage? We're on location, in a restaurant.
Frame? Enough to get the width of the table, so I suppose the people are a sort of dressing. I believe that it is a row of 2-4 person rectangular tables.
We're in Toronto, not New York.
First off, the truss dolly looks like it is the best option. I spoke with the DP and he agrees with me on that. However, I don't know if we'll be able to get truss up in the space. I also like the option of flexibility with the dolly + jib + head, and I'm confident that both would work for what has been asked. Consequently, I'm going to still consider both the truss dolly and dolly + jib + head for the meantime. Hopefully I'll be able to scout the location before the end of the month (everything so far has been described to me).
I might even be able to post pics.
Posted 28 March 2008 - 12:47 AM
Whites gave some questionable advice and both the DP and myself looked at the weight ratings and asked a second time if everything would be alright (they said it would) and after a third prompting, Whites realized that it wouldn't work in their suggested manner (a Filmair meerkat or similar with a remote head and an Arri 35BL3) Then some things were sorted out, and dropped the remote head from the list.
The final setup was:
- Hotdog Dolly on standard straight filmair track (from Whites)
- AeroCrane with 4' of extension arm (the rest was used on other shots but there was a bulkhead) (Whites)
- Ronford F7 2 axis head
- Preston Wireless follow focus (from DJ Woods)
- Video Tap (from Complete Film Rental as was the rest of the camera package)
- I think we were on a 25mm lens
It was a bit of a tight fit because of the heating/cooling bulkhead and the length of the backarm, but we worked it out. The actor just had to contort/cheat a bit to get into the shot.
The DP has told me that he and the director like the finished shot. Job done. Well except for reshoots (but that's other scenes).
Edited by Josh Henderson, 28 March 2008 - 12:47 AM.
Posted 01 April 2008 - 06:46 AM
Thanks for the follow-up. Sounds like you hit on a very sensible and flexible solution.