WHAT DOES A GRIP DO? (In the Entertainment industry. What Does A Grip Do?)

Grip Alamo Filming / Photo Credit: Premium Beat

WHAT DOES A GRIP DO? (In the Entertainment industry. What Does A Grip Do?)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Grip Do?

Grips are the “make it work” people. They are trained in the art of pulling solutions out of thin air. The grip department, as its namesake indicates, is the keeper of the bag of tricks, and good grips have a gadget or gizmo for every potential need—or they can bend, twist, or cut something to work. Primarily the grip department is concerned with cutting light (the saying goes that electricians make the light and grips make the shadows) and facilitating camera movement. Grips also move set pieces, hang lights, lay dolly tracks, rig camera cranes, and spot camera operators.

In the U.S. and Canada, grips are technicians in the filmmaking and video production industries. They constitute their own department on a film set and are directed by a key grip. Grips have two main functions. The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder. Some grips may specialize in operating camera dollies or camera cranes. The second main function of grips is to work closely with the electrical department to create lighting set-ups necessary for a shot under the direction of the director of photography.

In the UK, Australia and most parts of Europe, grips are not involved in lighting. In the "British System", adopted throughout Europe and the British Commonwealth (excluding Canada), a grip is solely responsible for camera mounting and support.

The term "grip" is from the early era of the circus. From there it was used in vaudeville and then in today’s film sound stages 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 tools. Another theory is that in the days of hand-cranked cameras, it was necessary for a few burly men to hang onto the tripod legs to stop excessive movement of the camera. These men became known as the "good grips"—as they were constantly being instructed to "keep a good grip on the tripod".

US grips typically belong to the International Alliance of Theatrical Stage Employees (IATSE). Canadian grips may also belong to IATSE or to Canada's other professional trade unions including Toronto's Nabet 700, or Vancouver's ACFC. British grips usually belong to BECTU (Broadcasting Entertainment Cinematograph & Theatre Union).

Grips work closely with the Director, Director of Photography (DoP) and the Camera Operator to make sure the position or movement of cameras is achievable.

They usually push the Dolly (the wheeled platform which carries the camera and the Camera Operator) with smooth movements that do not distract from the onscreen action.

On large projects with multiple cameras, the Key Grip is responsible for the main camera (camera A), with other Grips providing additional camera support.

Grips begin work in the later stages of preproduction, when they join all other Heads of Department to carry out a technical recce. If needed, Grips work with specialist companies to devise tailor–made pieces of equipment for difficult camera maneuver’s which are sometimes performed on location in extreme terrain and/or severe weather.

During shooting days, Grips and their team (which may include other Grips, a Remote Head technician, a Crane Operator, tracking car drivers, and all construction standbys) arrive on set early, unload all the equipment, and ensure that everything is prepared for the day's filming.

After the Director has rehearsed the actors and all the shots are choreographed, Grips set up any required equipment. Whenever a crane is used, at least two Grips are employed, working with the Crane Operator to mount and move the camera.

Grips should be ready as soon as the camera starts to roll, and they must anticipate all the camera moves, whilst also keeping in mind the preparations required for the next camera set–up. At the end of each day's shooting, Grips oversee the packing up of all camera–support equipment.

Grips are usually asked for by the DoP or the Camera Operator. Although the work is physically demanding and the hours are long, it can be very rewarding. Many Grips work on both commercials and features.

Duties

A grip can be specialized, like a dolly grip or crane operator, or a generalist. In either case, the grip answers to the best boy grip and key grip. A set ops grip helps achieve desired lighting conditions by setting flags and bounces. Larger productions will have a specific technician (the dolly grip) responsible for operating the moving camera platform (the dolly). Rigging grips assist in the setup of lighting effects, work with the leadsman under the direction of the construction coordinator on scenery and sets, and pre rig camera and crane setups. During photography this person works under the direction of the key grip.

Maintenance, repair, and inventory control of grip department gear—C-stands, chromakey backdrops, flags, plates, cable, jibs, and track—is the job of the best boy grip (or, on smaller productions, the second grip). An entry-level grip is someone with a general knowledge of the department who is capable of stepping in to any of the roles under the best boy grip, and helps out where needed—loading and lugging gear, building catwalk, flying drops, striking setups.

Most important, though, the grip department is responsible for the safety of all rigging on the set. The lights hanging overhead, the backdrops balanced behind the actors, the cameras in midair, ramps stunt performers launch themselves off—grips rig all of these, and everyone on the set puts their trust in this crew’s careful work.

Skills & Education

A film and television production degree is not required, though training is a must. Grips are responsible for hundreds of pieces of equipment; production courses are worth it just to learn the terminology. If you don’t know the difference between a cucoloris and a floppy meat axe, maybe you should consider taking a few courses in production process and cinematography. Most universities and community colleges offer film/TV programs, IATSE has a limited-access apprentice program, and industry workshops can offer a preliminary introduction to the duties of the grip department. A grip should be mechanically inclined and understand electricity, lighting, and color. Many working grips have a professional background in commercial or residential construction, and they must have extensive safety training.

What to Expect

This crew does a lot of heavy lifting and manual labor. Safety is always the first priority for a grip; if a crane or set piece comes down, the key grip may face serious legal consequences. You must be comfortable with long hours, travel, and working in all weather conditions. The charisma to develop good working relationships with all types of people is imperative for this freelancer. Most of all, a strong work ethic is a must—the lazy need not apply. Grips are right in the thick of the production process and have significant opportunities to work closely with DPs, ADs, and other production staff. A grip with a hefty résumé of credits can move up to become best boy grip, key grip, or eventually a DP.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Ella Laryen,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Grip Alamo Filming / Photo Credit: Premium Beat