Cinematography-Theory-And-Practice

Figure 11.25. Camera on a ladder,one of the quickest ways to get acamera up high. It is usually donewith a high-hat clamped andstrapped to the top rung. (Photocourtesy of Mark Weingartner.)Crane Up/DownThese terms are the same as boom up/boom down but apply tocranes. Operationally, a crane is more difficult than a dolly. One ofthe main reasons is that the crane is floating freely, unlike a dollythat has specific limits and specific marks. It is relatively easy for thedolly grip to make marks on the boom arm for the high and low stoppoints, as well as marks on the dolly track for precise start and endpoints. This is not possible on a crane.One thing that most crane grips will do is attach a rope to thecamera platform and braid it with knots. These knots make it easierto grasp and pull the crane, but they also help with marking. Sincethe rope hangs down right under the camera, it is possible to makemarks on the floor to indicate camera position, and colored tape onthe rope can indicate lens height. The best crane grips can hit thesemarks again and again with great precision.Non-booming PlatformsIf all that is needed is height, especially for heights greater thancan be accomplished with the available crane, the camera might bemounted on a construction crane such as a Condor, which is frequentlyused as a mounting for lights. These types of cranes canget the camera where you need it, but they usually aren’t capable ofbooming up or down without visible shake.Camera on a LadderThe simplest and cheapest method of getting the camera higher thannormal is to put it on a ladder, as in Figure 11.25. This is done byhaving the grips clamp and strap a high-hat on top of the ladder.A second ladder should stand alongside to provide a place for thefocus-puller to reach the controls and perform other camera functions.Both these ladders should be well stabilized with sandbags,and a grip should always stand by for safety and assistance.Remote on CranesRemote control heads have revolutionized crane shots. Since it isnow possible to design cranes that do not need to support the weightof the operator and camera assistant, cranes can be longer, higher,lighter, more portable, and faster to set up.TechnocraneAll cranes move up/down and left/right. The Technocrane addsone more axis of movement. The arm can be extended or retractedsmoothly during the move. It can also be revolved so that the cameraspins horizontally. Other companies make similar type crane.Cranes on Top of CranesSome cranes can be stacked on top of large cranes such as the Titanfor additional height and mobility. Obviously, a top notch grip teamis critical for this type of work, as safety is crucial. This type of rigcan accomplish some highly complex compound moves. Walkietalkieswith headsets are important as coordination between thegrips on both cranes is essential.PedestalsOne type of camera mount is capable of vertical movement withoutarcing: the pedestal. Pedestals are the norm for television studios butare rarely, if ever used in film or video field production. Televisionoperators are expert in their use.cinematography222