American Cinematographer

May 1933

Development of
first used by Hat Mohr, A.S.C. on that production.
This
crane consisted of a huge steel girder, 31 feet long, and
heavily counterweighted, mounted upon a 14 foot cylin¬
drical steel turret which was, in turn, mounted on a six¬
wheeled truck chassis. At the extreme end of the girder
was the camera platform, a round, cage-like turntable,
carrying the camera, two or three operators, and all the
necessary controls for the crane.
The crane was electri¬
cally operated, in all its movements, weighed 28 tons, and
cost over $35,000 to build.

HE development of the mobile type of camera-car¬
riages-individually termed "perambulators," "dol¬
lies," "booms," and "cranes"-has been motivated
by two basic considerations.
The original thought, of
course, was merely to provide a device for the making
of scenes involving the moving-camera technique; but re¬
cently another consideration has arisen: namely, expediting
production by means of an instantly-adjustable camerastand, which is also capable of being used for movingcamera shots. This latter consideration, however, has in¬
fluenced only the designs of the past twelve months.
The earliest "dollies" were, of course, used during the
silent-picture era. Correctly speaking, they were probably
not designed, but assembled from such materials as were
easily at hand; accordingly, they were very crude.
One
of the more primitive designs-the Paramount dolly No.
1-is shown in an illustration. As can be seen, it is simply
a low platform of wood, fitted with Model "T" Ford
automobile wheels and tires.
The camera was mounted
upon its usual tripod, which was in turn set upon the
dolly-platform, and tied down. The contraption was then
moved as requisite by the stage crew, and steered by means
of a tongue, which also enabled the stage-hands to apply
the motive power effectively.
These early doilies were
relatively large; but as new ones were needed, it was
found possible to reduce the size markedly, and to increase
the effectiveness and controllability.
The more recent
types average perhaps four feet by six feet in size, employ
much smaller wheels-usually industrial truck-wheels or
airplane wheels-and brake and steer on all four wheels.
Several freak designs have also been evolved, some three¬
wheeled, others four-wheeled, but all designed to turn in
the shortest possible radius.
Even since the advent of
sound, these older devices are still utilized to some extent,
especially for exterior scenes and for interiors which re¬
quire only simple movement.
The next step was the development of the big camera
cranes and booms.
Probably the first of these was the
one made for the filming of Universal's "Broadway," and

In operation this crane can achieve simultaneous and
independent movement of every component part.
The
truck chassis will move forward or backward at any speed
up to 25 miles per hour.
The girder can be swung up
or down at a rate of 300 feet a minute, or horizontally at
twice that speed.
The camera-platform (which is kept
level regardless of the inclination of the boom) will re¬
volve at 100 revolutions per minute. The girder will make
a complete 360 degree circle horizontally, or swing through
a 180 degree arc vertically.
Extended straight up, the
girder raises the camera over fifty feet above the ground,
yet the camera-platform can be brought down to the
stage-level (or lower) in two seconds.
The operation is
almost completely silent.
The value of this crane is, of course, obvious; but in
the light of the more recent designs, it appears that its
construction involved unnecessary size, weight, complica¬
tion and expense. It is evident, for instance, that a device
of such dimensions could only be used on an exceptionally
large stage, or out of doors, if its full advantages were
to be utilized.
Similarly, the use of aluminum alloys of
high tensile strength, such as Duralumin, would naturally
reduce the weight. With reductions in weight and bulk,
the value of mechanical operation becomes somewhat ques¬
tionable.
Accordingly, in all subsequent designs, there
have been progressive reductions in size and bulk; an
increased use of duralumin in place of steel; and, in every
instance, manual power is substituted for any form of
motor-drive.
Representative of these economies is the Metro-ColdwynMayer crane, designed by John Arnold, A.S.C. It is roughly
half the size of the earlier design; it weighs but oneseventeenth as much as the larger mechanism; and the
cost is but one tenth that of its predecessor.
In other
words, it elevates the camera to a maximum elevation of
24 feet; weighs but 3,300 pounds; and costs approximately
$3,500. These savings have been secured, however, with
no sacrifice of either structural strength or operative
efficiency.
The undercarriage consists of a rigid frame¬
work of channel-form steel beams, with solid-tired truck
wheels mounted without springs at the ends. Immediately
above this undercarriage is a U-shaped member in which
the crane-arm itself is mounted. This is pivoted in order
to permit the crane to swing through a complete horizon¬
tal circle, while the arm may travel through a vertical arc
of approximately 90 degrees. The arm itself is a tapered
cantilever of riveted duralumin, reinforced with tubular
radius-rods, which also serve to maintain the camera-plat¬
form in horizontal equilibrium regardless of the angle and
elevation of the supporting arm.
The camera-platform

American Cinematographer - May 1933

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American Cinematographer - May 1933

Table of Contents for the Digital Edition of American Cinematographer - May 1933