A Grip serves as a technical support specialist on a film or television set, operating within their own dedicated department. The role focuses on enabling the artistic vision of the Director of Photography (DP) by providing non-electrical camera and lighting support. Grips construct complex and often custom equipment that safely moves the camera or precisely manipulates the quality of light. This support ensures the creative team can capture the desired imagery, requiring problem-solving and adherence to safety protocols. The job requires an understanding of physics, mechanics, and specialized rigging equipment.
Defining the Role and Its Unique History
A Grip’s function is to build, maintain, and operate the non-electrical equipment used for camera support and light modification. This distinguishes the Grip from the Electric department, which handles the power and lighting units. Grips collaborate with the Electricians (led by the Gaffer) and the Camera department to execute the cinematographer’s plans.
The origin of the term “Grip” is rooted in the early days of filmmaking. One explanation suggests the name comes from the small bag, or “grip bag,” that early film helpers carried, containing hand tools, clamps, and gadgets. These tools attached early cameras to various structures, such as car fenders or train railings, effectively giving the camera a “grip” on its surroundings. The individuals responsible for this work became known by the name of the work itself.
The Structure of the Grip Department
The Grip department operates with a defined organizational structure to manage the equipment and the complexity of the tasks. The Key Grip serves as the department head, acting as the primary liaison between the Grips and the Cinematographer. This individual translates the DP’s visual requirements into practical, safe rigging solutions and coordinates crew and equipment logistics.
Second in command is the Best Boy Grip, who assists the Key Grip with administrative duties, managing the equipment inventory, and overseeing personnel assignments. The Best Boy Grip ensures that all necessary gear, from C-stands to specialized clamps, is organized, maintained, and readily available.
A specialized role is the Dolly Grip, who focuses exclusively on camera movement and precision. This technician lays, levels, and maintains the tracks necessary for smooth camera dollies. During a take, the Dolly Grip operates the wheeled platform, pushing or pulling it with precise timing to execute the camera move.
Mastering Camera Movement and Rigging
The Grip department’s most complex responsibilities involve creating systems that enable dynamic camera movement and specialized positioning. This work, referred to as rigging, involves custom construction to achieve the specific angles and motion required by the script. Grips construct and operate equipment ranging from basic track systems to large-scale camera support platforms.
A foundational task is installing dolly track, which must be perfectly level and seamlessly connected to ensure the camera’s motion is smooth. Grips use precision tools and materials, such as wooden wedges and apple boxes, to level the track on uneven surfaces. For shots requiring greater height or complex curved paths, Grips assemble and operate large camera support systems, including jibs and cranes, often featuring telescoping arms for remote control.
Grips also specialize in mounting cameras to non-traditional surfaces, requiring an understanding of weight distribution and secure fastening. Examples include rigging cameras to the exteriors of moving vehicles using suction cups and specialized clamps, or securing cameras to walls and ceilings with hardware like wall plates and Mattpoles. This specialized rigging captures unique perspectives while maintaining safety for the cast, crew, and equipment.
The Art of Light Modification and Control
While the Electric department provides the light sources, Grips shape and control the light to achieve the desired cinematic look. This involves using non-electrical tools to manipulate the intensity, quality, and direction of the light beam. The goal is to create contrast, eliminate unwanted spill, or soften harsh light according to the Cinematographer’s instructions.
Grips deploy C-stands, often called Century Stands, which are the fundamental equipment used to position light modifiers. Attached to these stands are materials such as flags (solids), nets, and cutters, used to block light, reduce its intensity, or precisely cut the light beam to create sharp shadows. They use grip heads and arms to securely mount these modifiers, allowing for minute adjustments.
For softening or diffusing light, Grips set up large, collapsible frames covered in translucent fabrics called silks or scrims. These materials are placed between the light source and the subject to spread the light and reduce shadow harshness. Grips also use reflectors and bounce boards to redirect light back onto a subject, providing passive fill light without introducing a new electrical source.
Skills and Career Path for Grips
A career as a Grip requires a blend of physical strength, mechanical aptitude, and creative problem-solving skills. The job demands constant lifting, assembling heavy equipment, and working in various, often challenging, environments. An understanding of physics, geometry, and load-bearing capacities is necessary to safely execute complex rigs.
The career path traditionally begins with an entry-level position, often learning the trade through an apprenticeship model or by joining a local union. On-the-job training focuses on the safe and efficient use of specialized tools, such as Cardellini clamps, C-stands, and rigging hardware. Progression involves moving from a general Grip to specialized roles like Dolly Grip, and eventually ascending to Best Boy Grip and Key Grip. This hands-on experience often serves as a foundation for individuals who later transition into roles like Cinematographer.