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Revision as of 13:12, 25 October 2004 editFlyhighplato (talk | contribs)1,187 edits added a list of grip types and some more info← Previous edit Revision as of 16:33, 3 February 2005 edit undo17.255.240.130 (talk)No edit summaryNext edit →
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A '''Grip''' is a term that dates back to the early days of the ]. It carried on from there to ] and on to today's music and film soundstages and sets. A '''Grip''' is a term that dates back to the early days of the ]. It carried on from there to ] and on to today's music and film soundstages and sets. Some have suggested the name comes from the 30's-40's slang term for a tool bag or "grip" that these technicians use to carry their equipment to work.


In the ], these are the people that do the laborous work on these sets. They push, pull, roll, and lift various pieces of equipment under the watchful eye of the director, producer, art director or whoever is in charge. U.S. grips usually belong to the Local 80 of the ], which is their union. In the ], grips are trained lighting and rigging technicians. They make up their own department on a film set and are led by a ]. The main responsibilities of a grip are to work closely with the electrical department to put in the lighting set-ups necessary for a shot. They also work closely with the camera department, especially if the camera is mounted to a ], crane or other unsual position. Some grips may specialize in operating camera ] or cranes and make long and fulfilling careers working closely with the ] and ]s in orchestrating nuanced camera moves. U.S. grips may belong to the ], which is their union.


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.
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There are several kinds of grips: There are several kinds of grips:
*] - the chief grip, work closely with a ] *] - the chief grip, work closely with a ]
*] - assist the key grip *] - assist the key grip in logistical issues (scheduling crew and equipment rental)
*] *] - a soldier, meat popsicle, swinging dick, neck-down, mook
*] - constructs and dismantles the set *] - constructs and dismantles the set
*] - positions and takes care of the ] (trucks that carry the camera and some of the crew) *] - positions and levels track, operates the ] (specialized machines that the camera mounts to and allows the ] and ] to ride and operate the camera, often outfitted with a hydraulic mechanism to raise and lower the camera to create compound moves)
*] - do all the other heavy lifting and moving and setting up *] - same as ]
*] - manages the grip department *] - same as ]
*] - orders equipment and various supplies needed for the grip work *] - same as ]





Revision as of 16:33, 3 February 2005

A Grip is a term that dates back to the early days of the circus. It carried on from there to vaudeville and on to today's music and film soundstages and sets. Some have suggested the name comes from the 30's-40's slang term for a tool bag or "grip" that these technicians use to carry their equipment 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. The main responsibilities of a grip are to work closely with the electrical department to put in the lighting set-ups necessary for a shot. They also work closely with the camera department, especially if the camera is mounted to a dolly, crane or other unsual position. Some grips may specialize in operating camera dollies or cranes and make long and fulfilling careers working closely with the director of photography and camera assistants in orchestrating nuanced camera moves. U.S. grips may belong to the International Alliance of Theatrical and Stage Employees, which is their union.

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:


"He's got a good Grip!" (set of hands)

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