# Dolly Grip

Source: https://storiara.com/roles/dolly-grip
Last updated: 2026-09-14
Author: Spencer Kaufman, Storiara

> A dolly grip moves the camera on a dolly or crane during a shot. The dolly grip lays and levels track, sets marks with the camera operator and focus puller, and pushes, pulls, and booms the dolly so the move lands on the same frame at the same moment every take. The dolly grip reports to the key grip and works most closely with the camera operator. Los Angeles grips are in IATSE Local 80.

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](https://storiara.com/glossary/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](https://storiara.com/glossary/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](https://storiara.com/glossary/kit-rental) 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](https://storiara.com/roles/best-boy-grip) about track or accessories needed for upcoming days. On set, the closest partners are the [camera operator](https://storiara.com/roles/camera-operator) and the [first assistant camera](https://storiara.com/roles/first-assistant-camera). The dolly grip reports to the [key grip](https://storiara.com/roles/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](https://storiara.com/templates/shot-list) for a blank format.

## Frequently asked questions

### What does a dolly grip do?

They move the camera on a dolly, crane, or slider during shots. That includes laying and leveling track, planning the move with the operator, rehearsing it with the actors, and repeating it precisely on every take.

### Is a dolly grip part of the camera department?

No. The dolly grip belongs to the grip department and reports to the key grip, but spends almost all day with the camera crew. The camera operator and dolly grip work as a pair.

### What is the difference between a dolly and a slider?

A dolly is a wheeled platform that carries the camera, the operator, and sometimes the focus puller, often with a hydraulic arm to boom up and down, and it can run on track or a smooth floor. A slider is a short rail for small moves, usually mounted on stands or apple boxes.

### How do you become a dolly grip?

Most dolly grips work as grips first and learn to push on second unit, commercials, or small features. They move up when a camera operator or DP asks for them. On Los Angeles union shows the job is under Local 80.

## Sources

- [IATSE Local 80: Future member orientation](https://www.iatselocal80.org/future-member/)
- [Contract Services Administration Trust Fund: Industry Experience Roster](https://www.csatf.org/rosters-lists/industry-experience-roster/)
- [Chapman/Leonard Studio Equipment: PeeWee and Hybrid camera dollies](https://www.chapman-leonard.com/)