There is no substitute for a dolly

Today’s shoot was focused around a logistically complicated single-shot scene, filmed at the local library. I conceived, wrote, and storyboarded the scene as a dollying shot – that is, the camera would pan smoothly through the action without cutting back and forth between different angles. Everything seemed sound, set-up went smoothly, and the actor involved understood what was needed… but then I remembered that I don’t actually have a dolly.

In case you’re not aware, one thing you can always count on from a handheld camera is shakiness. Even when you think you’re holding it as still as you possibly can, reviewing the footage in the editing room reveals earthquake levels of jumpy framing. Because I don’t have an actual camera dolly – and because, even if I did, the library wouldn’t have allowed me to bring it in – I was forced to film this important scene by holding the camera in my hands and walking forward.

Yeah. Suffice to say, it was a disaster, but that didn’t become clear until later, after I’d already left the set and the actor had clocked out. Now I either have to reshoot the whole thing or go through the footage, frame by tedious frame, and correct the shakiness and try and smooth it out.

Lesson learned: if you don’t have a dolly, don’t try to shoot a dolly shot. They’re not one of those fancy pieces of film equipment that you don’t really need to get by, like a light meter or Steadicam mount. It’s a necessity if you want people to actually enjoy the content of your film instead of squirm in their seats wondering why the director let the cameraman drink so much coffee before work.