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Olympian Dollies Kick Off Television Football Seasons
Orlando, FL--Fourteen Olympian Dollies rolled into football stadiums across the country as the 1995-96 NFL and NCAA seasons got underway. Developed to provide the speed, versatility, and strength required for rigorous sports broadcasting,Chapman / Leonard's stable of Olympians hit the road with Fox Sports, ESPN, ABC Sports, NBC Sports, and Turner Network Television.
ABOVE: Chapman's Olympian Dollies are perfect for TV football coverage.
Along with its alternatives, the ATB and Nike electric powered cranes, the Olympian satisfies sports broadcasters by capturing a true view of gridiron action for TV viewers while minimizing obstruction for stadium spectators.
David Bullard, General Manager of Chapman / Leonard's Orlando office, summed up the popularity of the Olympian during football season: "The superior mechanics, experienced staff, and dedicated service associated with Chapman's Olympian have made it number one."
Chapman is currently developing the Sport ATB, which features an electronic actuating arm for superior sports coverage--look for more information on this new product in our next issue!
Chapman Exclusive: An interview with ER's Key Grip, Pat Campea
With 23 years of experience in the industry, Pat Campea has been acclaimed for his grip work on Jaws, Earthquake, Airport 77, Naked Gun 2 1/2 and on such television shows as Hunter, Columbo, Hooperman, and Six Million Dollar Man. Pat is currently the Key Grip for NBC's Emmy award-winning drama, ER.
Los Angeles, CA--Hybrid pneumatic tires are now available on Chapman's Hustler II Dolly, thanks to the suggestion of Key Grip, Pat Campea. While out on the set filming the hit TV series, ER, Pat took time out to discuss this and other topics during a recent interview with Chapman's Steve Galluzzo.
Chapman: What made you decide to suggest Hybrid pneumatic tires for the Hustler II?
Pat: I've had that idea since I was gripping on the Hunter set in 1985. That show was done on a warehouse floor and all the old dollies used pneumatics instead of hard wheels. They are more forgiving on floors that aren't very good.
Chapman: How have the pneumatic tires made a difference on the Hustler?
Pat: It's a day and night difference. We can dolly right on the floor without track. We can also use a much longer lens without movement in the arm.
Chapman: What features does the Hustler II have that made you decide to utilize it in your production?
Pat: The valve system on the Hustler II is really superior. The dolly as a whole, I like much better, and of course, the pneumatic wheels.
Chapman: What dollies are you currently using for ER?
Pat: Aside from the Hustler II, we use a Super PeeWeeŽ III.
Chapman: How much do you think Chapman equipment has contributed to the success of ER?
Pat: it's made a big difference, especially time-wise. For one shot, we dollied right on the street with no track at all.
Chapman: What types of shots are the Hustler and Super PeeWeeŽ used for in ER ?
Pat: Mostly long lens shots. Half the show is done with Steadi Cams that can't use lenses any longer than 50 millimeters. We dolly with a lot of the 200-300 millimeter shots.
Chapman: What suggestions do you have for upcoming grips in regards to choosing the right camera support equipment?
Pat: The most important thing is to surround yourself with the most competent people you can find. If you don't know a lot about equipment, find someone who does and get the best equipment you can. That's what will make you or break you.
Chapman: Do you have any suggestions as to how Chapman can better meet your production needs in the future?
Pat: Absolutely not. Chapman is outstanding as far as meeting our production needs. They'll come out here and fix things on the set, send us replacement parts or order new ones. Their service is phenomenal. Other companies make you come to them or keep you waiting days for a part.
Chapman: What types of Chapman equipment and/or accessories have you used the most?
Pat: Mostly Titans and the earlier model stage cranes because those are what I grew up with. My Father, Pat, was a dolly grip for 38 years. He worked on The Godfather movies, Torah Torah and others. I've been on cranes myself since the 1960's.
Chapman: How does camera support contribute to the creative process of filmmaking?
Pat: Camera support is an invaluable tool because without it, you would be severely limited in what you could shoot. For one thing, you wouldn't have any moving pictures because the camera would be stationary. Being able to mount a camera on a moving dolly allows you to get closer to the action and move with it.
Chapman: What personal satisfaction do you get out of your work?
Pat: I get to take part in the process of a production--it's a joint effort. I happen to have a great crew and they all make me look good. But that's what the whole thing is about. Any production requires a great team effort. Especially from the camera and grip departments, because they have to work in conjunction with one another. Luckily, we are all good friends.
Chapman: How did you first get started in gripping? Is it more who you know or what you know?
Pat: It is both. But nowadays, I would say it's a little more who you know. You could be the most talented guy in the world, but if they don't know you, forget it. I got started in 1971. I applied for a summer job as a carpenter while I was going to Cal State Northridge. I started in the grip department in 1971, and they needed divers for Jaws in 1973, so I volunteered.
Chapman: What is the funniest thing you've ever experienced on set?
Pat: Years ago while we were filming Jaws, we lifted an outhouse off a barge that we were filming on with a crane and dumped it in the gulf of Mexico with some lady in it. She was knee-high in waste when we pulled her out. I guess that's how you find out what kind of sense of humor someone has.
