Grips are specialized technicians responsible for the physical support and manipulation of equipment that shapes the final image. Their work provides the non-electrical infrastructure necessary for visual storytelling, ensuring both safety and the execution of the director of photography’s vision. This highly physical and detail-oriented craft is inseparable from successful motion picture production.
The Essential Role of the Grip Department
The Grip Department’s core function revolves around rigging and mechanical support, defining them as the construction specialists of the set. They are primarily responsible for building safe and secure platforms for both camera operation and the placement of lighting modification tools. This involves using specialized hardware to create stable support systems for heavy camera packages, often in challenging or high-angle locations.
Grips manipulate light without ever touching an electrical fixture or power source. They use various non-electrical materials like silks, nets, and solid flags to diffuse, soften, or block light, fundamentally altering its quality and direction. The department transforms the raw output from lighting units into the desired aesthetic look, acting as the physical mechanics behind the cinematographer’s creative choices.
Specific Duties and Responsibilities
A grip’s tasks involve manipulating set mechanics and light control devices. They frequently deploy C-stands to position flags and cutters that precisely block light spill or create hard shadows, a process known as “goboing.” To soften harsh light, grips hang large, translucent fabrics, or “silks,” on frames to diffuse intensity, or use “nets” to subtly reduce light without changing its quality.
The department is responsible for all non-motorized camera movement systems. This includes setting up and leveling dolly track across various surfaces, ensuring a smooth path for tracking shots. Grips also manage specialized rigging for unique camera angles, such as securely mounting a camera onto the exterior of a moving car or rigging it overhead from the ceiling of a stage. They utilize specialized hardware like suction cups, speed rail, and clamps to achieve these complex, custom mounts.
The physical nature of the job requires constant handling of heavy equipment. This includes large wooden boxes known as “apple boxes,” which are used for leveling, sitting, or creating temporary platforms. They also manage overhead rigging, constructing large frames suspended high above the set to hold massive light modification materials, ensuring these structures are safe and precisely positioned.
Understanding the Grip Hierarchy and Roles
The Grip Department operates under a clear, tiered structure designed for efficient execution of complex visual plans. The Key Grip serves as the department head and is the primary liaison between the crew and the Director of Photography (DP). The Key Grip is responsible for translating the DP’s artistic vision regarding camera movement and light manipulation into a practical, physical plan, overseeing all rigging and safety protocols.
Reporting directly to the Key Grip is the Best Boy Grip, who functions as the administrative and logistical second-in-command. This role involves managing the department’s inventory, ensuring the grip truck is stocked with specialized tools, and handling the crew’s scheduling and paperwork. The Best Boy Grip often prepares equipment and coordinates with other departments to maintain a smooth workflow.
The remaining members are the Company Grips, who are the hands-on technicians responsible for the physical execution of the Key Grip’s plan. They perform the bulk of the rigging, light shaping, and camera support work, ensuring all equipment is set up safely and quickly.
Grips Versus Electricians
The distinction between the Grip and Electric departments is defined by the separation of power and modification. Electricians, led by the Gaffer, are responsible for all electrical power, including cable distribution, generators, and the light fixtures themselves. They handle the “hot side,” focusing on the source of illumination and ensuring the fixtures are operational.
In contrast, Grips handle the “cold side,” which encompasses everything used to control, shape, or support the light once it has left the fixture. They do not plug in or operate the lights but use non-electrical tools to diffuse or block the light beam. This division of labor prevents safety hazards and allows for specialized expertise.
The Key Grip and the Gaffer collaborate closely, often referred to as the DP’s “lighting team,” as their work must be perfectly synchronized. The Gaffer determines the type and intensity of the light source, while the Key Grip determines how that light is ultimately shaped before it hits the subject. This partnership ensures the lighting plan is executed safely and aesthetically.
The Path to Becoming a Hollywood Grip
The career path to becoming a professional Hollywood Grip emphasizes on-the-job experience and physical proficiency. Aspiring grips often begin by working as set Production Assistants or trainees, observing the department’s operations and familiarizing themselves with the specialized equipment. Physical fitness and a strong understanding of mechanics are necessary, as the work involves repetitive lifting of heavy gear and complex rigging under time constraints.
Progression requires securing union membership, achieved through specific apprenticeship programs or accumulating a set number of work days on union productions. The International Alliance of Theatrical Stage Employees (IATSE), particularly Local 80 in the Hollywood area, governs the majority of professional grip work. Membership signifies competency and grants access to larger, more consistent productions.
Safety training is required for entry and advancement. Grips must be expert in safe rigging practices, knot tying, and operating equipment like scissor lifts and specialized cranes. Success relies not just on technical skill but also on soft skills, such as problem-solving under pressure and maintaining strong teamwork, given the need for swift, coordinated physical action on set.