There may be many different dollies on the market, but James Saldutti’s is a unique approach, created by Saldutti, a working Dolly Grip, who needed to be able to multi-task, move quickly and work low enough to get gear into places other dollies can’t go. DUTTI DOLLY also configures so that it can be carried much easier, saving a grip’s back – and costly time from break down to set up.
Cinematographer James Muro (for whom the dolly was created), takes it everywhere he goes. “It simply makes for an intuitive operating experience,” he explains. “Where there is not a lot of discussion, not a lot of laying track, not a lot of big equipment. With the Dutti Dolly I can be in and out of the location quickly and still have a massive amount of production value, just as if I had all the big gear.”
Another big fan, cinematographer Joaquin Sedillo, ASC. At one point he had a sequence in a real theater. “Rather than hoisting one or more regular dollies from the stage ‘pit’ onto the stage with chain motors, we threw down Dutti’s light-weight track and dolly. It was a huge time savings plus a great ease of execution.”
DUTTI DOLLY can get into extreme low angles or can carry a bazooka or tripod for other heights. The stability gives the operator the ability to whip pan and quick tilt. It rolls directly on the ground or can be mounted on stands or track and can be over or under slung. It can fit in places where conventional dollies cannot fit – airplane or bus aisles – or even church pews. DUTTY DOLLY is great for long takes, stunts or poor man’s process and more.
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