In grip & electric Atlanta, the cinematographer does have a key grip as well as a gaffer. Between the 2 of them, grips realize his lighting vision. Grips also deal with moving walls and set construction. When you reached a location and the cameraman needs a light up on the 23rd floor of a building, you figure out how you can make that happen. In addition, you handle all of the camera movements.
The key grip is considered the person in charge of the grip department. The grips take their instruction from the director of photography. You install, rig, and run all of the machines the cameras need: jibs, dollies, and so on. Whether a camera is installed on an automobile or a chopper, the grips often accomplish the rigging. You also work very closely with the electrician, the gaffer. You rig just about any lighting that should be rigged. You bend, shape, and texture light with flags. You basically work together with the camera department and the electricians with the lighting and cameras, but you also help the other divisions. Basically, you do anything that has to be done; if a bridge needs to be built across a stream, and it's doable, you will put a bridge across the stream.
The strength to lift up and hold equipment, woodworking skills, electrical expertise, as well as mechanical skills are assets to working as a grip. A work as a production assistant or day player is a good way of getting on the set, see what grips do, and also make contacts that might result in a future job. Although their tasks overlap to the point that they sometimes have difficulty explaining their tasks, lighting and grip departments do distinctly different functions. The grip department sets up all of the lighting and the equipment to film a scene. The gaffers then come in to set up and focus all the lights, as well as run the equipment.
Jobs in the lighting or electrical section include: 1) Gaffer (Chief Electrician): the head of the lighting department; light the set according to the cinematographer's preference. 2) Electrical Best Boy or 2nd Electric: the gaffer's main assistant and foreman of the lighting team; in charge of all the electrical hook-ups. 3) Lamp Operator or Electrician: place, focus, and look after all the lights.
Larger productions of Grip & electric Atlanta may need a splinter crew, including a Rigging Best Boy, Rigging Gaffer, Rigging Electric or Riggers, that work parallel with the electrical department, handling electrical distribution, managing power as well as cabling, and setting the broad strokes of the lighting on set in advance of the shooting crew. Jobs within the grip department include: 1) Key Grip: head of the grip department, with the dual role of assisting the lighting as well as camera departments; they rig lights, move cameras, cranes and dollies, as well as other equipment. 2) Best Boy Grip: the key grip's main assistant and also the foreman of the grip crew. He's responsible for all equipment as well as materials. 3) Dolly Grip: move the crane or dolly that holds the camera. 4) Grip or Rigger: lift, move, and install lights, camera dolly track, and move other lighting and camera equipment.
The key grip is considered the person in charge of the grip department. The grips take their instruction from the director of photography. You install, rig, and run all of the machines the cameras need: jibs, dollies, and so on. Whether a camera is installed on an automobile or a chopper, the grips often accomplish the rigging. You also work very closely with the electrician, the gaffer. You rig just about any lighting that should be rigged. You bend, shape, and texture light with flags. You basically work together with the camera department and the electricians with the lighting and cameras, but you also help the other divisions. Basically, you do anything that has to be done; if a bridge needs to be built across a stream, and it's doable, you will put a bridge across the stream.
The strength to lift up and hold equipment, woodworking skills, electrical expertise, as well as mechanical skills are assets to working as a grip. A work as a production assistant or day player is a good way of getting on the set, see what grips do, and also make contacts that might result in a future job. Although their tasks overlap to the point that they sometimes have difficulty explaining their tasks, lighting and grip departments do distinctly different functions. The grip department sets up all of the lighting and the equipment to film a scene. The gaffers then come in to set up and focus all the lights, as well as run the equipment.
Jobs in the lighting or electrical section include: 1) Gaffer (Chief Electrician): the head of the lighting department; light the set according to the cinematographer's preference. 2) Electrical Best Boy or 2nd Electric: the gaffer's main assistant and foreman of the lighting team; in charge of all the electrical hook-ups. 3) Lamp Operator or Electrician: place, focus, and look after all the lights.
Larger productions of Grip & electric Atlanta may need a splinter crew, including a Rigging Best Boy, Rigging Gaffer, Rigging Electric or Riggers, that work parallel with the electrical department, handling electrical distribution, managing power as well as cabling, and setting the broad strokes of the lighting on set in advance of the shooting crew. Jobs within the grip department include: 1) Key Grip: head of the grip department, with the dual role of assisting the lighting as well as camera departments; they rig lights, move cameras, cranes and dollies, as well as other equipment. 2) Best Boy Grip: the key grip's main assistant and also the foreman of the grip crew. He's responsible for all equipment as well as materials. 3) Dolly Grip: move the crane or dolly that holds the camera. 4) Grip or Rigger: lift, move, and install lights, camera dolly track, and move other lighting and camera equipment.
About the Author:
Although not as glamorous as numerous other film work, a grip & electric Atlanta works behind the scenes on productions moving equipment, securing and removing cameras, scenery and sets. An Atlanta grip & electric also ensures that all the required equipment work properly in order to get the best shots and give the film the ambiance the director demands.
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