Cinematography-Theory-And-Practice

Figure 11.22. (above) The ChapmanTitan II, a truck-mounted crane. Thetruck can run on battery power forsync-sound shots. (Photo courtesyof Chapman/Leonard Studio Equipment,Inc.)Figure 11.23. (right) Dolly levelingwith a half apple box, wedges, andcribbing (blocks of wood).Front PorchSome dollies have a small extension that fits on the front of the dolly— the front porch; this is also known as a cowcatcher. This can be used tohold the battery or as a place for the operator or the camera assistantto stand during a move.Side BoardsSideboards fit on either side of the dolly as a place for the operatoror camera assistant to stand. They are removable for transportationand for when the dolly has to fit through tight spaces. These areespecially important for complex moves that require the operator toshift their body position.RisersSix, 9, 12 or 18 inch extensions can place the camera higher than theboom travels. The longest extensions can get the camera very highbut at the price of absolute stability.Steering Bar or Push BarThis allows the dolly grip to push/pull the dolly and also to steer thedolly in standard mode (where only the rear wheels pivot) or in crabmode, where both sets of wheels pivot.CRANESCranes are capable of much greater vertical and horizontal movementsthan a dolly. There are two types: jib arms have no seat for thecameraperson and are usually operated by someone standing on thefloor or perhaps an apple box. True cranes generally have seats forthe operator, and a camera assistant. Large cranes can generally getthe camera, operator and assistant up to a lens height of around 27 ormore above the base. We say “above the base” because often a cranewill be mounted on a platform, vehicle, or other crane for additionalheight. A typical crane is shown in Figure 11.22.Both cranes and jib arms have one fundamental characteristic thatmay become a problem. Because they are all mounted on a pivotpoint, the arm always has some degree of arc as it moves up, down,or laterally. With dolly arms this degree of arc is usually negligiblefor all except exacting macro or very tight work that calls for criticalfocus or a very precise frame size.cinematography220