The grip works on the camera dollies, cranes, tracks and camera setup. The grip that manages the cranes and dollies is also called a dolly grip. The dolly grip places the camera at various heights on a platform constructed above a unit on wheels.
There is also a construction grip that is responsible for building and breakdown sets. They also pack and unpack parts of the set. Construction grips build scaffolding and platforms for the camera to get the perfect shot.
Key grip is the supervisor of the team of grips on the film set. The key grip executes tasks from the cinematographer for light placement and camera movement with assistance from their team. The key grip coordinates the rigging on the film set similar to how the gaffer coordinates the lighting.
The key grip works with the gaffer to convert lighting positions. The key grip is also responsible for the budget of the set, including estimates for building costs. The best boy is the assistant to the grip.
They manage the crew members in their department, schedule work and hire equipment. The best boy is responsible for having the right grips and equipment at the right location. The gaffer is responsible for the lighting in the film and runs the electrical department for film production. They determine the set up of lights, while the best boy sets up the lighting arrangement. A solid set of skills will prepare you for a job as the grip, best boy and gaffer.
Where productions are using dollies the wheeled platform which carries the camera and the camera operator , cranes or jibs a boom device with a camera on one end, and a counterweight and camera controls on the other , certain grips will be given the responsibility of operating those particular pieces of equipment. When the equipment is no longer needed, they are part of the regular grip crew. Trainees help the grip with the operation of equipment that supports the camera.
See separate profile: trainee grip. Bectu , the media and entertainment union, has a dedicated Grips Branch which holds a list of certified grips. To get onto that list, do the following:. This will mean you can get onto the list of certified grips. Being a grip at concerts and events that are broadcast live on TV or working on commercials.
Grips usually work across different sectors and industries. Involves making sequences on a computer that can't be created on set, like enormous crowds and fire-breathing dragons. Use some gaffer tape on it. The Grip or Key Grip is the person in charge of setting up equipment to support the camera, and on some sets, support lighting equipment but not the actual lights. Never touch the actual lights. The Grips set up all the rigging which allow the camera to move about within a set in a way that captures the shot as the director wants it, so this can involve working on camera dollies, cranes, tracks and other camera setups.
This is the life they chose. The Best Boy is the assistant to the Grip or Gaffer. They are the right hand men or women to the heads of the departments. Their job is to manage more lowly crew members in their department, schedule works and hire equipment, carry out admin and paperwork, work with other production departments, and act as the day-to-day representative for that department to the rest of the production crew.
They basically get shit done. In traditional crafts like carpentry, masonry and social media strategy, the best boy was, as you might guess, the best boy that the owner of the craft shop had working under them, which effectively made them the second in command. This term has carried over into the film industry. Well the department undertakes a complex, disturbing, ritual involving Mr Muscle and the sacrifice of a runner to the Production Manager. He has made a number of short films and has watched more than 12 feature films.
Grips are like a construction crew, responsible for the setup and stability of scaffolds, ladders, and other heavy objects. The head grip is called the key grip. If you want your cameras to hang at weird angles or just to have the dolly ready for a cool shot, you need a key grip on the job. A key grip might not be known by most people, but there's so much importance behind the job.
There's a lot of significance within their role on set. They help the director and cinematographer stay organized. If you are looking to find your way as a key grip in this industry, we want to hear from you. Film lighting techniques make your commercial, movie, or TV show look cinematic. It will help your story pop off the screen. We break down every major technique.
As a grip working in this industry for going on 6 years now, from shorts to major motion pictures and television shows, most of this article by definition is correct; but I'm going to set some of the facts straight. If you are in Europe and Asia, grips are working in tandem with the camera department. If you are in the US and Canada you're more closely working with the electrical department. We are some of the hardest working people on a set.
We can be course with how we word things, but we mean well to keep others safe on set. We usually have grips on a shorty ton grip truck to run equipment that's not immediately at staging, straight to set. Everything else is secondary by default. We use paper and gaff tape. NEVER duct tape. That's complete nonsense. If you want to be a grip, show interest in the department and work hard. If you pay attention and know knots, you more than likely can be a grip.
I never started as a PA to be a grip. Also we don't have any PA's in our department due to liabilities with insurance. Skip to main content. No Film School. By Jason Hellerman. November 30,
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