GRIP DEPARTMENT
Job Overview
"The cinematographer has a key grip and a gaffer," says key grip Bob
Munoz. "Between the two of them, they realize his lighting vision. Grips
also take care of moving walls and set construction. If you hit a location
and the cameraman wants a light up on the 23rd floor of a building, we
figure out how to do that. We also handle all the camera movements."
"The key grip is the head of the grip department," explains key grip
Russell Senato. "The grips take their instruction from the director of pho-
tography. We mount, rig, and operate all the machines the cameras go on:
dollies, jibs, etc. Whether a camera is mounted on a car or a helicopter,
the grips usually do the rigging. We also work very closely with the elec-
trician--the gaffer. We rig any lighting that needs to be rigged. We bend,
shape, and texture the light with flags. We mainly work with the camera
department and the electricians--with the lighting and cameras, but we
also support the other departments. Basically, we do anything that needs
to be done--if a bridge needs to be built across a stream, and it's doable,
we'll put a bridge across the stream."
Special Skills
The strength to lift and carry equipment, carpentry skills, electrical
experience, and mechanical aptitude are assets to working as a grip. "You
have to know how to use your hands," says Munoz. "Listen and learn.
Pay attention. That's the biggest thing I can say: pay attention . . . There
are so many people in the business that never get any further, and I think
it's because they're just here for a paycheck. They're not really interested
in learning the craft."
"Get a book called The Grip Book by Michael G. Uva," suggests Russell
Senato. "He is a famous full time grip in California. The book shows you
all the equipment and gives you the basics."
Advice for Someone Seeking This Job
To be successful as a key grip, Munoz says you must live near Los
Angeles or New York, where most of the work originates. "It's hard to
JOB TITLE: KEY GRIP
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