Matthews Studio Equipment will be featuring James Saldutti’s Dutti Dolly for the first time at IBC 2016 in Building 12 – G71.
There may be many different dollies on the market, but James Saldutti’s is a unique approach,
Created by working dolly grip Saldutti–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 explained. “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, had at one point 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. Dutti Dolly is great for long takes, stunts or poor man’s process and more.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More