What to Do When Working With A New Dolly Grip Who Isn’t Getting The Shot.
A dolly grip is the operator’s most hands-on collaborator on set – they keep us safe, comfortable, and in the right place for the shot to work. I’ve been lucky enough to work with some of the best, as well as help train several that were just starting out. Every job is different, and like many things in the film business, the person that keeps a hand on you while running backwards down stairs, or instinctively moves the dolly just a fraction to make the shot perfect, isn’t always the person you end up with on your camera.
The dolly grip is, at the core, the person who gets us where we need to be, at the exact time we need to be there. Sometimes, the person responsible for that task has a different idea of what that means, or worse, no real understanding of where the camera should be. Both situations require tact, and communication. When I’ve been in the unfortunate situation of having someone who didn’t know where the camera needed to be, or how to achieve the requirements of the shot, even after we talked about it, I’ve resorted to hand signals – left, right, up, down, slow, fast, stop. Nobody wants to have to do this, or be at the receiving end of it, but the only thing that matters on set is getting the shot, and we do whatever is necessary to achieve what is asked of us.
The keys to anything on a film set are communication and respect. I’m hired to do a job, and I don’t always get to pick the people on my team: regardless of who they end up being, it is my job to make sure we succeed as a team. If we are struggling with one part of the equation, it is also my job to quietly talk about what is going on and quickly find a solution before anyone senses that we are having an issue.
Everyone moves up at some point (hopefully) and there are some people in this business who “get it”, some who don’t but will, and some who never will. This applies to every crew member in every department including the camera operator.
There are times, especially when you are on B camera, but sometimes when you are on A camera where you will encounter a dolly grip who is not up to the task, or at the very least, is not getting the essence of the shot - the timing, the nuance, the reason.
First things first, breath. Assess the situation and try to figure out what the problem is. Is it hat you are not communicating well? Well, that’s on you because that’s your job as an operator. Is there an emotional problem - you pissed the dolly grip off on day 1 and they aren’t happy pushing you around? Fix that. Basically start out by trying to figure out what the issue is.
Next up, communicate the issue. “We seem to be landing there late every time, is there anything I can do to help?” This alone may reveal what the issue is. Maybe they had the wrong cue and aren’t aware. Basically, start with the low hanging fruit, never accuse, never assume, and try to phrase it in a non judgmental way. “What can we do to make sure we are taking off at the correct time, etc.”
Backing up a bit, I’d say right from the start, make sure your dolly grip knows that he/she is as much of the camera unit as you are and they are valued. I do this by including them in camera huddles, asking their opinion, looking for their input, and, if I feel they have the goods, empowering them to make choices when they arise.
But there may come the day when you are working with someone who just doesn’t get the storytelling aspect of the job. This is what separates the great dolly grips from the average ones. It’s not about knowing how to move from A to B, it’s about knowing why you are moving from A to B. Its that simple. When that happens, you can’t get frustrated because people can only be as good as they can be. At that point, nods, hand signals, any other thing you can think of to help comes in. Remember, people want to do good work, some people, including operators, just need help with it more than others.
As an operator, I feel a big part of my job is helping my entire team to be the best that they are. This takes nuance and attitude and the way I approach it means everything. Read the room, act accordingly and more often than not, you will succeed.
In a really bad situation, if there is an attitude issue or the two of you just aren’t gelling, you may want to talk to the key grip once you have exhausted everything else. Approach it as a problem you all have and dont blame. “I’ve really been trying but I just dont think we are communicating and as a result we are not doing our best work. Is there anything you can suggest to make this work.” You may get an answer and you may not, but this will likely spark a conversation between the Key and the dolly grip. Depending on personalities that may or may not help, but at least you are trying every option to make this work, and doing so respectfully.
One other tidbit. If you have a long dolly shot for A to B, get off at the end and walk assuming you don’t have to check something in the shot. Their job is to push you from A to B, not back to A again. Most will tell you to get back on but this little action shows them that you value and respect them and you should because they are a big part of your team.
Besides yelling obscenities and pointing fingers, here’s a couple concepts:
The first level is, does the dolly grip know what the difference is between making a shot and hitting a mark? Usually a seasoned dolly grip has this under their belt, but if not, have the conversation. This sometimes is a basic description of the shots priorities. And, if a dolly grip refuses to use a monitor, that tells me that either they don’t care, or that they are a mystical wizard with crystal ball physics perception.
Next level, for me, would be to discuss how to “feel” the shot. This involves emotion, timing and speed. When and how to fix a shot and when a broken shot doesn’t need to be fixed. Some will get it, some will take time, others will never get it. Experience is key.
When I started steadicam, I was so occupied with staying level and keeping a good frame that I hardly added any emotion to the movement. This could be the case for a newer dolly grip.
Final level, you become a partner operator with the dolly grip. They are an equal part in setting up and executing the shot. They have full permission to make changes and enhancements on the fly. This doesn’t feel like an operator’s loss of “power” or “authority” but combining all the creativity and skill available.
