Atlanta grip and electric, in the field movie, tv as well as video production, make use of the term "key grip" to call the head of the grip department. On movie sets, grips are the technicians who do lighting and rigging, but in certain parts of the world they may only do camera rigging and mounting duties. The key grip is the supervisor in charge of directing every one of the other grips. The key grip serves as head of the grip department, and often comes with an assistant: the best boy grip (at times referred to as 2nd company grip). When planning and scheduling equipment rental, the key grip may assign most or all this work to the best boy grip. The key grip also has authority over grips who set up and take down sets (construction grips), and dolly grips.
Key grips are in charge of the positioning of the camera, no matter where the setup will take place, or if the camera itself will be fixed or moving during a particular shot. These people direct other grips, who often have more specialized tasks. A few key grips also become backup camera crew if they're properly cross-trained. Key grips also assist with lighting set-ups, doing work alongside the movie's electrical department. As head of the grip department, a key grip is responsible for directing other grips in things about safety. When equipment rigs, stands and ladders present a safety threat to crew members at the set, a key grip could be held personally accountable if accidents take place. In the U. S., all of the grips (including the key grip) on union shoots are not allowed from managing stage lights. The key grip works together with the gaffer (head of the electrical unit) to ensure safe and practical lighting.
Tape measures, walkie-talkies, adjustable wrenches, flashlights, work gloves, electrical tape as well as x-acto knives are normal tools key grips make use of. This is because of the predominantly construction-oriented nature of the grip position. These tools are useful in construction including scaffolds as well as overhead rigs, because these are most likely to cause a personal injury if not correctly built and maintained.
Key grips do not need a formal college education. Instead, they should be handy enough to build the movement mechanisms needed by the camera staff. Even if you've never helped make a movie set, general construction experience is useful in this field. Even though the gaffers are in control of anything that involves electricity, key grips also need to have working understanding of electrical problems, as well as lighting and photography.
Atlanta grips and electric are freelance workers, so there's technically no set schedule. The days that they work are usually long and might stand for hours before they are called in to action. In order to get these jobs, some key grips actively promote themselves to decision-makers through production websites such as ReelDirectory.com. Depending on what your location is, your local union website could possibly have job listings available. If you're a newbie you might have to work on a group of low budget movies to get your name out there. When a production manager likes your previous work, you may be called in to work for the very same people over and over again.
Key grips are in charge of the positioning of the camera, no matter where the setup will take place, or if the camera itself will be fixed or moving during a particular shot. These people direct other grips, who often have more specialized tasks. A few key grips also become backup camera crew if they're properly cross-trained. Key grips also assist with lighting set-ups, doing work alongside the movie's electrical department. As head of the grip department, a key grip is responsible for directing other grips in things about safety. When equipment rigs, stands and ladders present a safety threat to crew members at the set, a key grip could be held personally accountable if accidents take place. In the U. S., all of the grips (including the key grip) on union shoots are not allowed from managing stage lights. The key grip works together with the gaffer (head of the electrical unit) to ensure safe and practical lighting.
Tape measures, walkie-talkies, adjustable wrenches, flashlights, work gloves, electrical tape as well as x-acto knives are normal tools key grips make use of. This is because of the predominantly construction-oriented nature of the grip position. These tools are useful in construction including scaffolds as well as overhead rigs, because these are most likely to cause a personal injury if not correctly built and maintained.
Key grips do not need a formal college education. Instead, they should be handy enough to build the movement mechanisms needed by the camera staff. Even if you've never helped make a movie set, general construction experience is useful in this field. Even though the gaffers are in control of anything that involves electricity, key grips also need to have working understanding of electrical problems, as well as lighting and photography.
Atlanta grips and electric are freelance workers, so there's technically no set schedule. The days that they work are usually long and might stand for hours before they are called in to action. In order to get these jobs, some key grips actively promote themselves to decision-makers through production websites such as ReelDirectory.com. Depending on what your location is, your local union website could possibly have job listings available. If you're a newbie you might have to work on a group of low budget movies to get your name out there. When a production manager likes your previous work, you may be called in to work for the very same people over and over again.
About the Author:
Although not as glamorous as many other film jobs, an Atlanta grip and electric works behind the scenes on productions moving equipment, securing as well as removing cameras, scenery and sets. An g & e Atlanta also ensures all the required items work properly in order to get the best shots and provide the movie the setting the director demands.
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