On the 16mm shoot, I worked as a grip, a job I had never done before. For the film, two dolly shots were required. To prepare for this task, I set up the dolly in the TV studio before, testing it thoroughly and making sure I would be able to set it up on location safely and quickly.
On the day of the shoot, it all went smoothly. I evened the floor, measured the length and constructed the tracks, checking the accuracy with a level and securing it evenly with many wooden wedges. I practiced the movement a lot of times before in order not to waste film by messing up the timing. Listening to the dialogue and keeping one eye on the performance, I judged when to push in, how fast to push in and when to arrive at the end point. The second set up on the other side of the river went the same way. Allowing myself time for preparation and practice was key for this job. Whenever I had free time, I would help fixing problems with the sound recorder.
I loved working on 16mm and wish to do it again. It is a great exercise to learn the craft and workflow of a film set.