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.
Positions in the electrical or lighting section include: 1) Gaffer (Head Electrician): the head of the lighting department; light the set according to the cinematographer's specification. 2) Electrical Best Boy or 2nd Electric: the gaffer's chief assistant and foreman of the lighting crew; responsible for all the electrical hook-ups. 3) Lamp Operator or Electrician: put, focus, and maintain all of the lights.
Larger productions of Grip & electric Atlanta may need a splinter crew, which includes a Rigging Gaffer, Rigging Best Boy, Rigging Electric or Riggers, who work parallel with the electrical team, handling electrical distribution, managing power as well as cabling, and setting the broad strokes of the lighting on set in advance of the shooting staff. Job opportunities in the grip department are: 1) Key Grip: The head of the grip department, with the dual role of assisting the lighting and camera departments; they rig lights, move cameras, cranes and dollies, and other equipment. 2) Best Boy Grip: the key grip's main assistant and the foreman of the grip team. He is in charge of all the equipment as well as materials. 3) Dolly Grip: move the dolly or crane that supports the camera. 4) Grip or Rigger: lift, move, and set up 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.
Positions in the electrical or lighting section include: 1) Gaffer (Head Electrician): the head of the lighting department; light the set according to the cinematographer's specification. 2) Electrical Best Boy or 2nd Electric: the gaffer's chief assistant and foreman of the lighting crew; responsible for all the electrical hook-ups. 3) Lamp Operator or Electrician: put, focus, and maintain all of the lights.
Larger productions of Grip & electric Atlanta may need a splinter crew, which includes a Rigging Gaffer, Rigging Best Boy, Rigging Electric or Riggers, who work parallel with the electrical team, handling electrical distribution, managing power as well as cabling, and setting the broad strokes of the lighting on set in advance of the shooting staff. Job opportunities in the grip department are: 1) Key Grip: The head of the grip department, with the dual role of assisting the lighting and camera departments; they rig lights, move cameras, cranes and dollies, and other equipment. 2) Best Boy Grip: the key grip's main assistant and the foreman of the grip team. He is in charge of all the equipment as well as materials. 3) Dolly Grip: move the dolly or crane that supports the camera. 4) Grip or Rigger: lift, move, and set up lights, camera dolly track, and move other lighting and camera equipment.
About the Author:
While not as fascinating as many other film work, a grip & electric Atlanta works behind the scenes on productions moving equipment, securing as well as removing cameras, scenery and sets. An Atlanta grip & electric also makes sure all the necessary equipment work properly in order to get the best shots and give the movie the setting the movie director demands.
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