Most shots with a moving camera are only as good as the dolly grip's timing. An actor walks down a hallway, stops at a door, and turns. The camera has to start moving on the same step, drift in as they slow, and land on the close frame just as they turn their head. The camera operator frames and the focus puller follows focus, but the move itself belongs to the dolly grip, who has to hit it on take one and again on take nine.
Building the move
When the 1st AD calls a rehearsal, the dolly grip watches the blocking with the DP and camera operator and figures out the move. A dolly grip thinks through several questions at once. Should this run on track, or can the dolly go on the floor? Is the floor level? How long is the move, and where are the start and end marks? Does the arm need to boom up for the reveal?
Laying track is a craft of its own. Straight and curved track sections go down, then the dolly grip levels them with wedges and cribbing, checking with a level at every joint, because a bump in the track shows up as a bump in the frame. On a street or lawn that can mean a platform of plywood before track even goes down. On a polished stage floor the dolly might run on hard wheels without track.
Then the dolly grip marks the floor or track with tape: start position, stops, and the end mark. The first AC puts focus marks nearby. After a rehearsal or two the move is set, and when the AD calls back to one the dolly returns to the first mark.
The gear
Common studio dollies include Chapman/Leonard's Super PeeWee and Hybrid lines and the Fisher 10 and 11. Most carry the camera on an arm that booms up and down, and they steer in several modes, including crab steering for sideways moves. Some shots call for a crane or a telescoping camera crane, which on bigger shows comes with its own technician. For quick small moves, grips use sliders, and on uneven ground the dolly might ride on a doorway dolly or a rigged platform.
The dolly grip is responsible for the dolly's condition during the shoot. That means checking that the hydraulics hold, wheels are clean, track is clean, and every accessory the camera team needs is in the cart: risers, offsets, a seat, a push bar, a low mode bracket.
A day next to the camera
On a dialogue-heavy stage day with a 7:00 AM call:
| Time | Dolly grip's work |
|---|---|
| 7:00 AM | Preps the dolly and cart, confirms the day's track package is on the truck |
| 7:30 AM | Rehearsal of the first scene. Plans a slow push on the master |
| 7:45 AM | Lays 24 feet of straight track and levels it while electricians light |
| 8:30 AM | First take. Hits the end mark as the actor sits |
| 10:15 AM | Coverage: pulls track, repositions for singles on the dolly without track |
| 1:00 PM | Lunch |
| 2:00 PM | A 180-degree move around a table. Curved track goes down |
| 6:30 PM | Last shot of the day, a wide static. Dolly grip preps for tomorrow's first setup |
The dolly grip stays close to camera during takes and resets between them. Talking with the operator all day is part of the job; many operators and dolly grips work together for years.
Pay and kit
Dolly grips are covered by IATSE Local 80's wage schedules in Los Angeles. The 2024 IATSE Basic Agreement raised all minimums 7%, 4%, and 3.5% over its three years. Low budget theatrical and new media agreements pay less than the full schedule. Many established dolly grips work above scale, especially on commercials.
A dolly grip may bring a small kit that includes personal wedges, a level, tape, tools, and accessories for the dolly. That is billed as a weekly rental on the deal memo, with an inventory. The dolly itself almost always comes from a rental house as part of the camera support order.
Getting there
Most dolly grips start as grips and get their first chance to push on second unit, reshoots, or smaller shows. Moving up takes a steady hand and a camera operator who asks for you. On union shows in Los Angeles, the path goes through Local 80 and the Contract Services Industry Experience Roster, which requires qualifying days and the Contract Services general safety and harassment prevention courses. Grips in New York are in IATSE Local 52.
Paperwork and partners
The dolly grip has less paperwork than most grip roles: a time card, start paperwork, and notes to the best boy grip about track or accessories needed for upcoming days. On set, the closest partners are the camera operator and the first assistant camera. The dolly grip reports to the key grip, who approves any unusual rigging.
Storiara and camera moves
Storiara's Shotlist module lets the camera team plan shots per scene, edit each shot, upload reference images, and print the list with or without images, so a planned dolly move and its track needs can be written into the shot notes ahead of the day. See the shot list template for a blank format.