Do you really need a dolly?

I

Indiefilming

I'm going through our budget trying to see if we can get away with doing a wheelchair dolly instead of the tracks.

Is there a reason to pay extra and take the time to set up a traditional dolly and tracks? Is it only if you want your shot just a little bit smoother?

I'm curious what aspects of guerrilla filmmaking are definitely more economical without impacting production value.
 
The thing is that the tracks are not ''a little bit smoother'' . With wheelchair dolly you still get handheld feel to it while with the tracks the feel for a camera operator doing something is completely gone. They are completely different tools.
 
Sorry, but I can't resist...

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https://www.youtube.com/watch?v=kmfeKUNDDYs
 
sfoster said:
you don't really need anything besides a camera and a microphone
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Exactly.

To the OP, you don't need a dolly. You're being sold a bill of goods re: stuff you must have/do in your film. Don't fall for it.

What you DO need is a great story to keep people on the edge of their seats and remember to keep the subject kept in focus.

Good luck.
 
GA is right.
Great stories can be told without a dolly.
Watch 'Festen' to see what can be done with a camera and a microphone.
(And a great story played by a great cast.)

Don't obsess about gear.
Always remember: gear is a tool.
And ask:
- can it be done without it?
- can it be done with a different tool? (i.e. a wheel chair)
- what does the tool add to the story?
- is it worth the time, effort and money?

But yes, sometimes it is worth it.
 
GuerrillaAngel said:
Exactly.

To the OP, you don't need a dolly. You're being sold a bill of goods re: stuff you must have/do in your film. Don't fall for it.

What you DO need is a great story to keep people on the edge of their seats and remember to keep the subject kept in focus.

Good luck.
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That's been my instinct re being sold a bill of goods. We have too many examples of successful films being made on shoestring budgets.

I've spent two years and hired writers to write a great screenplay and have a wonderful well respected (though not box office) actor in the lead. I'm confident about the story and performances.

But my line producer is from the indie world (successful indie features) and I've had meetings with a number of DP's, even those who have worked in reality TV with a stripped down crew and they are all saying I need a 52 person crew for my film (shot in one location) and that is stripped down. One guy suggested I use a movi to avoid the expense of a steadicam and operator.

Some of these expenses seem just ridiculous but even indie people are telling me I need it.

e.g., SAG considers falling backwards into a swimming pool a stunt so there's even the stunt expense for that. That's if you want recognizable actors in your film.
 
Indiefilming said:
I've had meetings with a number of DP's, even those who have worked in reality TV with a stripped down crew and they are all saying I need a 52 person crew for my film
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That is BULL SHIT! Get as far away from these people as you can.

If you are forking up most of the money for this thing, you need to talk with other people -- preferably those that don't impress you with their gear first.

Talk to people that have made excellent low budget films without the use of large crew, and wowie-zowie gear.

Remember, YOU hold the cards. THEY (DPs) are looking to pad their reel at your expense.

With a 52 person crew, if the film doesn't work, it's all on you -- not them.

You might want to tinker with your script so that no more than a handful of crew are needed on site at any one shoot.

Good luck.
 
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Indiefilming said:
...........One guy suggested I use a movi to avoid the expense of a steadicam and operator.

............
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A MoVI still needs to be operated and the operator will need an assistant to take the camera out of hi hands as soon it's no longer recording if you want to shoot all day long with it.
It takes a lot of strength and stamina to use it for hours.
Plus you'll probably need a remote follow focus as well.

I have one since last week: you can do cool things with it, but it's not the holy grail for everything. However, it might work well together with a wheel chair.
 
Indiefilming said:
.............

But my line producer is from the indie world (successful indie features) and I've had meetings with a number of DP's, even those who have worked in reality TV with a stripped down crew and they are all saying I need a 52 person crew for my film (shot in one location) and that is stripped down.............
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52?

What do they need to do?
Holding light to safe on C-stand rentals? ;)
 
GuerrillaAngel said:
That is BULL SHIT! Get as far away from these people as you can.

If you are forking up most of the money for this thing, you need to talk with other people -- preferably those that don't impress you with their gear first.

Talk to people that have made excellent low budget films without the use of large crew, and wowie-zowie gear.

Remember, YOU hold the cards. THEY (DPs) are looking to pad their reel at your expense.

With a 52 person crew, if the film doesn't work, it's all on you -- not them.

You might want to tinker with your script so that no more than a handful of crew are needed on site at any one shoot.

Good luck.
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Yeah, I totally feel this. Yet* I want to hire at least two of these well-known, well-respected actors. Not sure I can do this and meet all the union regs and the standards these actors are accustom to. Thanks for the feedback. I wish I knew directors who walked the line between shooting stripped down guerrilla style with a high profile enough cast they help ensure the movie gets seen beyond a few b-level film festivals and itunes.
 
Would you guys mind telling me the guerrilla micro budget films you've shot with a stripped down crew?

I have a few abstract examples: Shane Carruth "Primer", Robert Rodriguez "El Mariachi", Lena Dunham "Tiny Furniture", Gareth Edwards "Monsters".

But I would love a frame of reference for your work and experiences. Thanks!
 
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I hadn't heard of a MoVI before. Pretty neat. Though I guess it's not much use for one-man show operations. But if you had the crew and the budget... (Oh, I only just saw Walter's post. Nice.)

Well, those are neat shots. But how many films even need those sorts of running shots? And putting the camera operator on rollerblades while chasing a car? Lord have mercy. I can see why you really need insurance, even when shooting guerrilla.

What GA, Walter et al said.


Indiefilming said:
Would you guys mind telling me the guerrilla micro budget films you've shot with a stripped down crew?

I have a few abstract examples: Shane Carruth "Primer", Robert Rodriguez "El Mariachi", Lena Dunham "Tiny Furniture", Gareth Edwards "Monsters".

But I would love to chat with you guys and have a frame of reference for your work and experiences. Thanks!
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What kind of a crew did you have for Lexie Cannes, GA?
 
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richy said:
What kind of a crew did you have for Lexie Cannes, GA?
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Three, max, at any one time, usually 2. frequently 1. I did the camera. Since the film was more visual than a "talkie", sound was done post. I captured wild sound with off camera mike. If I was was recording a lot of conversational audio, I would have bought along one dedicated sound guy and moved one of the other three to to sound as well. It would have been nice to have a few more PAs, but having a tight crew allowed everyone to get in one vehicle and zoom to the next spot. I figured we shot at 30+ plus locations, many over and over again. We just went to where I found high production values. No way this could have been done with a larger crew.
 
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