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, no matter where the setup will occur, or if the camera itself will be immobile or moving in a certain shot. These people lead the other grips, who usually have more specialized tasks. A few key grips double as backup camera crew if they're correctly 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 the other grips in things about safety. If equipment rigs, stands as well as ladders present a safety danger to crew members at the set, a key grip could be held personally accountable if accidents happen. In the United States, all of the grips (including the key grip) on union shoots are forbidden from handling stage lights. The key grip works 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 degree. Instead, they must be helpful enough to construct the movement mechanisms needed by the camera crew. Even if you've never helped make a movie set, general construction experience is useful in this field. Although the gaffers are responsible for anything involving electricity, key grips also need to have working knowledge of electrical issues, as well as lighting and photography.
Atlanta grips and electric are independent workers, so there is technically no set schedule. The days they work are often long and may stand for hours before they're called in to action. To get these jobs, a number of key grips actively promote themselves to decision-makers by means of production sites like ReelDirectory.com. Depending on what your location is, your local union site might have job listings available. If you're a newbie you might have to work on a group of low budget films to get your name out there. If a production manager loves your past work, you may be called in to work for the very same individuals over and over again.
Key grips are in charge of the placement of the camera, no matter where the setup will occur, or if the camera itself will be immobile or moving in a certain shot. These people lead the other grips, who usually have more specialized tasks. A few key grips double as backup camera crew if they're correctly 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 the other grips in things about safety. If equipment rigs, stands as well as ladders present a safety danger to crew members at the set, a key grip could be held personally accountable if accidents happen. In the United States, all of the grips (including the key grip) on union shoots are forbidden from handling stage lights. The key grip works 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 degree. Instead, they must be helpful enough to construct the movement mechanisms needed by the camera crew. Even if you've never helped make a movie set, general construction experience is useful in this field. Although the gaffers are responsible for anything involving electricity, key grips also need to have working knowledge of electrical issues, as well as lighting and photography.
Atlanta grips and electric are independent workers, so there is technically no set schedule. The days they work are often long and may stand for hours before they're called in to action. To get these jobs, a number of key grips actively promote themselves to decision-makers by means of production sites like ReelDirectory.com. Depending on what your location is, your local union site might have job listings available. If you're a newbie you might have to work on a group of low budget films to get your name out there. If a production manager loves your past work, you may be called in to work for the very same individuals over and over again.
About the Author:
Although it is not as glamorous as numerous other film work, an Atlanta grip and electric works behind the scenes on productions moving equipment, securing and removing video cameras, scenery and sets. An g & e Atlanta also makes sure all the needed equipment work properly to get the best shots and give the film the ambiance the movie director demands.
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