Atlanta grip and electric, in the field film, television and video production, use the term "key grip" to talk about the head of the grip department. On movie sets, grips are defined as technicians who perform lighting as well as rigging, but in certain parts of the world they might only perform camera rigging and installation duties. The key grip is the supervisor responsible for directing all of the other grips. The key grip works as head of the grip department, and frequently has an assistant: the best boy grip (sometimes referred to as 2nd company grip). Whenever preparing and arranging equipment rental, the key grip may assign most or all of this work to the best boy grip. He also has authority over grips who set up and take down sets (construction grips), as well as dolly grips.
Key grips are in charge of the placement of the camera, regardless of where the setup will occur, or if the camera itself is going to be immobile or moving in a particular shot. They direct other grips, who often have more specialized tasks. Some key grips also become backup camera crew if they are properly cross-trained. Key grips also help with lighting set-ups, doing work alongside the movie's electrical department. As head of the grip department, a key grip is charged with directing other grips in things regarding safety. When equipment rigs, stands as well as ladders present a safety danger to crew members on the set, a key grip can be held personally accountable if accidents take place. In the U. S., all of the grips (including the key grip) on union shoots are forbidden from controlling 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. Rather, they must be handy enough to construct the movement mechanisms needed by the camera crew. Even if you haven't helped construct a movie set, general construction experience is useful in this particular field. Although the gaffers are responsible for anything involving electricity, key grips also need to have working knowledge of electrical problems, and also 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 placement of the camera, regardless of where the setup will occur, or if the camera itself is going to be immobile or moving in a particular shot. They direct other grips, who often have more specialized tasks. Some key grips also become backup camera crew if they are properly cross-trained. Key grips also help with lighting set-ups, doing work alongside the movie's electrical department. As head of the grip department, a key grip is charged with directing other grips in things regarding safety. When equipment rigs, stands as well as ladders present a safety danger to crew members on the set, a key grip can be held personally accountable if accidents take place. In the U. S., all of the grips (including the key grip) on union shoots are forbidden from controlling 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. Rather, they must be handy enough to construct the movement mechanisms needed by the camera crew. Even if you haven't helped construct a movie set, general construction experience is useful in this particular field. Although the gaffers are responsible for anything involving electricity, key grips also need to have working knowledge of electrical problems, and also 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 it is not as glamorous as numerous other movie work, an Atlanta grip and electric works behind the scenes on productions moving equipment, securing and removing cameras, sets and scenery. An g & e Atlanta also ensures that all of the necessary items work correctly to get the best shots and give the film the setting the movie director demands.
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