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| A '''grip''' is a term that dates back to the early era of the ]. It carried on from there to ] and on to today's |
A '''grip''' is a term that dates back to the early era of the ]. It carried on from there to ] and on to today's film soundstages and sets. Some have suggested the name comes from the ]-40s slang term for a tool bag or "grip" that these technicians use to carry their tool to work. | ||
| In the ], grips are trained lighting and rigging technicians. They make up their own department on a film set and are led by a ]. |
In the ], grips are trained lighting and rigging technicians. They make up their own department on a film set and are led by a ]. Grips have two main functions. The first is to work closely with the electrical department to put in the lighting set-ups necessary for a shot. The second is to work closely with the camera department, especially if the camera is mounted to a ], crane or other unusual position. Some grips may specialize in operating camera dollies or ]s. Grips are also the called on to solve rigging and construction problems for other technical departments. | ||
| On all union jobs and professionally-run non-union jobs, grips don't touch the lights themselves. The placement of lighting instruments and the power distribution to deliver electricity is handled by the ]s who work under a ]. Grips do, however, handle all of the equipment not directly attached to the lights that diffuse and shape the light. This is sometimes called cutting light and is where the art of lighting is achieved; the creation of shadow, mystery, life. When shooting outside, grips perform the same function — shading or filtering sunlight with overhead frames up to 20'x20'. The ] for these exterior shots can become quite extensive, with the use of boom lifts not uncommon. | |||
| On the sound stage (in the studio), |
On the sound stage (in the studio), ] are responsible for building, moving and adjusting major set pieces (e.g. walls) when something needs to be moved to get a camera into position. | ||
| U.S. grips may belong to the ], which is their ]. | |||
| Outside of Hollywood, |
Outside of Hollywood and New York City, which are the two film centers of the US, the line of distinction between a grip and an electrician is often blurred, with most of the lighting crew simply referred to as grips and, paradoxically, their boss being referred to as the gaffer (who is in charge of the electricians in Hollywood, but ''not'' directly responsible for the grips). | ||
| In the ] and ], grips mostly work on setting up and taking care of the camera mounting equipment. | In the ] and ], grips mostly work on setting up and taking care of the camera mounting equipment. | ||
Revision as of 01:39, 14 May 2006
A grip is a term that dates back to the early era of the circus. It carried on from there to vaudeville and on to today's film soundstages and sets. Some have suggested the name comes from the 1930s-40s slang term for a tool bag or "grip" that these technicians use to carry their tool to work.
In the U.S., grips are trained lighting and rigging technicians. They make up their own department on a film set and are led by a key grip. Grips have two main functions. The first is to work closely with the electrical department to put in the lighting set-ups necessary for a shot. The second is to work closely with the camera department, especially if the camera is mounted to a dolly, crane or other unusual position. Some grips may specialize in operating camera dollies or cranes. Grips are also the called on to solve rigging and construction problems for other technical departments.
On all union jobs and professionally-run non-union jobs, grips don't touch the lights themselves. The placement of lighting instruments and the power distribution to deliver electricity is handled by the electricians who work under a gaffer. Grips do, however, handle all of the equipment not directly attached to the lights that diffuse and shape the light. This is sometimes called cutting light and is where the art of lighting is achieved; the creation of shadow, mystery, life. When shooting outside, grips perform the same function — shading or filtering sunlight with overhead frames up to 20'x20'. The rigging for these exterior shots can become quite extensive, with the use of boom lifts not uncommon.
On the sound stage (in the studio), construction grips are responsible for building, moving and adjusting major set pieces (e.g. walls) when something needs to be moved to get a camera into position.
U.S. grips may belong to the International Alliance of Theatrical and Stage Employees, which is their trade union.
Outside of Hollywood and New York City, which are the two film centers of the US, the line of distinction between a grip and an electrician is often blurred, with most of the lighting crew simply referred to as grips and, paradoxically, their boss being referred to as the gaffer (who is in charge of the electricians in Hollywood, but not directly responsible for the grips).
In the U.K. and Australia, grips mostly work on setting up and taking care of the camera mounting equipment.
There are several kinds of grips:
- key grip or grip boss' - the foreman of the grip department
- best boy grip or second company grip - assists the key grip in logistical issues (scheduling crew and equipment rental)
- company grip or gang grip - the average grip
- construction grip - constructs and dismantles the set
- dolly grip - operates the dollies or swings the crane