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Key grip

The key grip is the head of the grip department in film and television production, responsible for supervising the crew that handles non-electrical equipment such as camera supports, rigging, and lighting modifiers to facilitate the director of photography's vision.^[1]^[2] This role involves coordinating the placement and operation of tools like dollies, cranes, flags, silks, and reflectors to shape light and enable smooth camera movements without directly managing electrical lighting, which falls under the gaffer's domain.^[3]^[4] In practice, the key grip collaborates closely with the cinematographer and gaffer to scout locations, plan setups, and execute shots that align with the creative and technical requirements of a production.^[1]^[4] They oversee hiring and training of the grip team, including positions like the best boy grip (their second-in-command for administrative and complex rigging tasks), and ensure all equipment is ordered, maintained, and safely deployed on set.^[3]^[1] Beyond technical duties, the key grip acts as a safety arbiter, monitoring rigging structures and addressing potential hazards to support other departments such as camera, lighting, and art.^[3]^[4] This position demands a blend of physical stamina, technical expertise in equipment operation, problem-solving under pressure, and strong communication skills to maintain production efficiency and quality.^[1] Entry typically requires on-the-job experience starting as a grip or dolly grip, with no formal degree necessary but film training recommended; as of 2025, experienced key grips in the United States typically earn between $40,000 and $131,000 annually, averaging around $67,000, though this varies by location, experience, and union affiliation.^[5]^[1] The role's origins trace back to early film crews, possibly linked to terms from circus or sailing for handling gear, underscoring its foundational importance in achieving cinematic shots.^[1]

Definition and Overview

Role in Film Production

The key grip is the head of the grip department in film production, responsible for overseeing all non-electrical mechanical support systems that facilitate camera movements and lighting placements on set. This role involves managing the department's operations to ensure that physical infrastructure supports the creative vision without involving any electrical wiring or power distribution, which falls under the gaffer’s purview.^[6]^[7] A primary function of the key grip is close collaboration with the director of photography (DoP) to convert artistic concepts into practical on-set configurations. This partnership begins in pre-production, where the key grip participates in location scouting to evaluate rigging requirements and develops equipment lists tailored to the project's visual demands. By anticipating challenges and proposing solutions, the key grip enables the DoP to achieve precise camera positioning and light control throughout filming.^[8]^[6] Safety protocols are integral to the key grip's duties, with an emphasis on rigorous assessments to prevent accidents from rigging failures. The key grip conducts load-bearing calculations for all support structures and enforces compliance with U.S. industry standards, including OSHA regulations on fall protection, scaffolding, and equipment handling in entertainment production. As the department head, the key grip holds authority to halt operations if any setup poses risks to the cast or crew.^[9]^[10] The key grip's daily workflow typically starts early with supervising the construction of rigs and platforms before principal photography begins, followed by real-time adjustments to support dynamic shots during production. Post-shoot, the role extends to directing the safe dismantling and storage of equipment to prepare for the next setup. Within the grip department hierarchy, the key grip reports directly to the DoP while leading a team that includes a best boy grip and additional crew members.^[11]^[7]

Historical Origins

The role of the grip emerged during the silent film era of the 1910s and 1920s in Hollywood, where crew members without formal titles managed basic set construction using wooden scaffolds and props, as well as rudimentary camera movements to add dynamism to static shots.^[12] Early grips often came from backgrounds in theater stagecraft or carpentry, adapting to the needs of growing studios like those of D.W. Griffith and Cecil B. DeMille, who pioneered multi-reel productions requiring more complex on-set support.^[13] The term "grip" itself traces to early 20th-century slang possibly referring to a tool bag carried by workers or a nautical term for handling ropes, reflecting the practical, hands-on nature of these initial duties.^[1] The key grip position formalized within the Hollywood studio system of the 1930s, as standardized production pipelines demanded dedicated departments for rigging and camera support amid the rise of sound films and vertical integration by major studios like MGM and Warner Bros. This era saw the establishment of IATSE Local 80 in 1939, initially dedicated to representing motion picture grips as the core craft, providing union structure for wages, safety, and role definitions in an expanding workforce.^[14] By the 1940s, the "key grip" designation appeared in union contracts under Local 80, solidifying it as the head of the grip department responsible for coordinating equipment and crew on large-scale studio lots during World War II-era productions constrained by material shortages.^[15] Following World War II, the key grip role shifted with the decline of the studio system and a surge in location shooting, driven by antitrust rulings and tax incentives that encouraged on-location work from the late 1940s onward, necessitating portable rigging systems for remote setups.^[16] This evolution increased demand for lightweight dollies and modular scaffolds that could be transported by truck, adapting to films like those of John Ford that favored natural environments over backlots.^[17] The advent of widescreen formats in the 1950s, particularly CinemaScope introduced in 1953, further transformed the role, requiring advanced dolly tracks and rigging to accommodate wider aspect ratios up to 2.35:1 and smoother camera movements for epic scopes in productions like The Robe.^[18] Since the 2000s, key grips have adapted to digital filmmaking by integrating analog rigging with visual effects workflows, collaborating on green screen setups and motion-control rigs to facilitate post-production compositing in hybrid analog-digital pipelines.^[8] The rise of drone technology for aerial cinematography, following FAA Part 107 rules in 2016 allowing routine commercial small unmanned aircraft systems operations, has seen key grips overseeing safe launch platforms and integration with traditional camera dollies for seamless shots in films utilizing unmanned aerial vehicles.^[19]

Responsibilities

Department Supervision

The key grip serves as the head of the grip department, overseeing a team of grips whose size varies depending on the production's budget and scale, and assigns specific tasks such as rigging builds and breakdowns to ensure efficient execution of technical support needs.^[20]^[21] This leadership role involves recruiting the crew, organizing schedules for crew availability and equipment deployment, and delegating responsibilities to maintain smooth operations throughout pre-production, shooting, and wrap phases.^[7] In addition to team management, the key grip handles budget oversight for the department, including allocating funds for gear rental and maintenance while negotiating with equipment vendors to secure necessary resources within financial constraints.^[7] This administrative duty ensures that all non-electrical production equipment is procured cost-effectively without compromising quality or safety standards. The key grip also coordinates closely with other departments, such as art and props, to integrate grip setups into sets and resolve any conflicts over shared spaces, fostering collaborative workflows that align with the overall production design.^[6]^[22] Furthermore, they train junior grips and trainees on essential safety protocols and techniques, while ensuring adherence to union regulations, including IATSE guidelines on working hours, mandatory breaks, and hazard mitigation to prevent accidents on set.^[7]^[23]^[24]

On-Set Technical Duties

The key grip plays a pivotal role in executing technical setups during active filming, ensuring that camera movements and lighting control align precisely with the director of photography's vision for each shot. This involves hands-on construction and fine-tuning of camera rigs, such as dollies for smooth tracking shots, cranes for elevated perspectives, and supports for Steadicam operations, all tailored to the specific dynamics of the scene. For instance, in a tracking shot following an actor through a crowded environment, the key grip assembles and adjusts the dolly track to maintain fluid motion while navigating obstacles on set.^[6]^[8]^[25] In addition to camera support, the key grip positions non-electrical lighting modifiers to shape and direct illumination without interfering with the electrical department's work. This includes deploying flags to block unwanted light spill, silks to diffuse harsh rays, and nets to soften intensity in targeted areas, thereby enhancing the visual depth and mood of the frame. These adjustments are crucial for maintaining consistent lighting ratios during takes, such as using a flag to create dramatic shadows in a low-key scene.^[6]^[8] The key grip must also respond swiftly to on-the-fly changes from the director, improvising rigs to accommodate evolving shot requirements like stunts or low-light conditions. For example, during a sudden call for a high-speed stunt sequence, the key grip might rapidly configure a secure overhead crane rig to capture dynamic angles safely and efficiently. Similarly, in shifting to a dimly lit interior setup, they reposition diffusion nets to balance ambient light without disrupting the take's momentum. These real-time adaptations demand technical expertise and quick problem-solving to keep production flowing.^[25]^[4] Following each shooting day, the key grip conducts post-shoot documentation by logging equipment usage, verifying inventory counts, and noting any damage or wear to facilitate maintenance and budgeting for subsequent productions. This meticulous record-keeping ensures accountability for gear like rigs and modifiers, preventing issues in future setups.^[6]

Equipment and Tools

Standard Grip Gear

The standard grip gear encompasses portable, versatile tools essential for the grip department's daily operations in film production, enabling quick setups for light control, camera support, and equipment stabilization under the key grip's supervision. These items prioritize lightweight construction and ease of transport, often fitting into grip trucks or cases for on-location efficiency. C-stands, short for century stands, serve as foundational supports for mounting flags, nets, and lights, featuring a distinctive offset "turtle base" for stability on uneven surfaces. They offer adjustable heights typically ranging from 4 feet to 10.5 feet, with collapsed heights around 3.3 feet for transport and some models extending up to 12 feet via sliding legs, secured by robust locking mechanisms such as collar locks and ratchet handles that prevent slippage under load. Grip arms, usually 40-inch (3.33-foot) aluminum extensions paired with a 2.5-inch grip head, attach to the C-stand's top pin, allowing precise angling and positioning of accessories with a 360-degree rotation and friction-based clamping. This combination provides versatile, non-slip mounting for dynamic set adjustments while remaining portable at around 22 pounds per stand assembly.^[26] Apple boxes and sandbags are indispensable for leveling and weighting equipment, ensuring safety and precision in varied shooting environments. Apple boxes, constructed from durable pine or plywood, come in four standard wood types: full apple (20 x 12 x 8 inches, supporting up to 300 pounds for heavy gear or talent elevation), half apple (20 x 12 x 4 inches), quarter apple (20 x 12 x 2 inches), and pancake (20 x 12 x 1 inch), allowing incremental height adjustments from 1 to 8 inches for shimming tripods or cameras. Sandbags, filled with sand or shot (lead pellets) to 15–35 pounds each, drape over stand legs or rigs to counterbalance wind or tilt, with heavy-duty canvas construction rated for loads up to 50 pounds per bag in professional use. These tools enhance portability by stacking neatly and distributing weight evenly without permanent fixtures. Matthews flags and cutters, fabricated from lightweight wire frames with black fabric or solid panels, are primary tools for light diffusion, blocking, and spill control, deployable in seconds for shadow creation or flare prevention. Available in sizes from 18 x 24 inches (doorway size for tight spaces) to 8 x 8 feet (overhead cutters for broad coverage), they mount via 3/8-inch pins on grip heads, with the smaller variants emphasizing handheld portability for run-and-gun shoots. High hats and cheese plates facilitate low-profile camera mounts, ideal for ground-level or tabletop shots where tripods are impractical. High hats feature a compact 100mm ball or Mitchell base (under 6 inches tall) for bowl-head tripods, while cheese plates—aluminum panels (typically 4 x 6 inches) drilled with 1/4-20 and 3/8-16 threads—offer universal compatibility with ARRI rosette systems and Panavision mounts, enabling modular accessory attachment like matte boxes or monitors. These items, often under 5 pounds, underscore the grip department's focus on agile, static support that can integrate into larger rigging setups as needed.

Rigging and Support Systems

The key grip oversees the deployment of dolly systems, such as the Western Dolly, which features a heavy-duty platform capable of supporting up to 1200 pounds for smooth camera pans along specialized tracks.^[27] These tracks, often made of steel or aluminum, can extend up to 100 feet or more to accommodate extended tracking shots, enabling fluid movement in dynamic scenes.^[28] Setup for such systems typically involves laying and leveling the track, a process that requires precise alignment to prevent vibrations, with configurations varying by terrain and length while adhering to industry safety protocols. Safety is paramount, as grips must ensure the dolly's wheels are properly seated and the platform is balanced to handle the combined weight of the camera, operator, and accessories without tipping. Jib arms and cranes, exemplified by the Techno Crane, allow for elevated overhead shots by extending the camera arm up to 30 feet or more, providing versatile angles unattainable with ground-based setups. These systems support payloads of up to 80 pounds for the camera and head in standard models, though larger variants can handle up to 132 pounds when properly configured as of 2023.^[29] Counterweight calculations are critical for stability, determined by the formula where counterweight mass equals the product of camera weight and its distance from the pivot point divided by the counterweight's distance from the same pivot, ensuring the arm remains balanced during operation.^[30] Grips conduct load tests and adjust counterweights—often sandbags or metal plates—to account for wind or uneven surfaces, mitigating risks of collapse under heavy loads exceeding 500 pounds in total system weight, in compliance with entertainment rigging standards such as ANSI E1.4-1 (5:1 safety factor). Wire rigs and trusses form the backbone of suspended lighting setups, using high-strength cables and structural frames to position lights overhead without obstructing the set.^[31] Common knot types include the bowline for secure, non-slip loops around truss points or anchors, prized for its reliability in holding heavy loads without jamming.^[32] Tension testing protocols involve incrementally loading the rig to verify stability before final suspension, in line with industry safety standards such as ANSI E1.4-1 to prevent failures. Trusses, typically aluminum box sections, distribute weight evenly across multiple suspension points, with grips calculating safe working loads based on span and material strength to support lighting arrays up to several hundred pounds. In VFX-heavy productions, key grips integrate these systems with green screen setups through motorized rigs, such as motion control dollies or automated cranes, to achieve precise, repeatable camera movements essential for compositing.^[33] These rigs synchronize tracking data with software like Autodesk Maya, allowing multiple passes over the same path for layering elements without parallax errors.^[34] Safety considerations extend to securing the green screen frame alongside the motion path, ensuring all components withstand repeated cycles while maintaining load integrity for seamless post-production integration.^[35]

Comparison to Gaffer

The key grip oversees the mechanical and rigging aspects of film production, focusing on non-electrical equipment such as camera stands, dollies, tracks, flags, and diffusion materials to support camera movement and shape lighting without handling power sources.^[6] In contrast, the gaffer leads the electrical department, managing all lighting fixtures, cables, power distribution, and electrical safety to illuminate scenes according to the director of photography's vision.^[36] This division ensures clear departmental boundaries, with the key grip emphasizing structural support and light modification, while the gaffer prioritizes electrical execution and intensity control.^[37] Collaboration between the key grip and gaffer is essential for seamless on-set operations, often involving coordinated efforts to realize complex visual setups. For instance, the key grip may position a flag or net to block or diffuse light from a fixture, after which the gaffer activates and adjusts the light's power and color temperature.^[36] They also engage in joint planning during pre-production reconnaissance, such as scouting locations to determine rigging needs for camera cranes or lighting arrays, ensuring both mechanical stability and electrical feasibility align with the shot requirements.^[38] In scenarios like rain simulations or overhead rigs, the key grip handles the physical assembly and securing of non-electrical components, while the gaffer integrates power lines and waterproofing for lights.^[39] When overlaps arise, such as in hybrid setups involving both rigging and wiring, responsibilities are delineated by expertise: the key grip resolves issues related to structural integrity and mechanical stability, whereas the gaffer addresses electrical safety and power management to prevent hazards like shorts or overloads.^[36] Historically, both roles emerged from early film crews but were formalized through unionization under the International Alliance of Theatrical Stage Employees (IATSE), with separate locals to maintain distinct crafts; for example, in Los Angeles, grips including key grips are represented by IATSE Local 80, while gaffers fall under IATSE Local 728 for studio electrical lighting technicians.^[15]^[40] This separation, dating back to the mid-20th century union expansions, reinforces professional boundaries while fostering inter-departmental cooperation.^[36]

Grip Department Structure

The grip department operates under a clear hierarchy led by the key grip, who serves as the department head and oversees all aspects of non-electrical rigging, equipment management, and set safety in collaboration with the director of photography.^[6] Immediately subordinate to the key grip is the best boy grip, functioning as second-in-command with primary responsibility for logistics, including inventory tracking, crew scheduling, and coordination with equipment suppliers.^[41] The best boy grip reports directly to the key grip and supervises the day-to-day operations of the department's technicians. At the operational level, the department consists of grips, the hands-on crew members who handle the physical setup, adjustment, and breakdown of rigging equipment such as stands, flags, and diffusion materials.^[7] These technicians execute tasks delegated by the best boy grip, ensuring precise support for camera and lighting positions throughout the production. Specialized roles enhance the department's capabilities; for instance, the dolly grip specializes in operating and maintaining camera movement systems, including laying tracks, leveling dollies, and coordinating smooth shots, while the construction grip focuses on fabricating custom structures like scaffolding, pipe grids, and vehicle mounts for set builds.^[37] Typical crew sizes range from 3 to 15 members, scaling with the production's budget and complexity, from small independent films to large studio features.^[37] Communication within the department follows a structured chain: the key grip provides briefs to the best boy grip on production needs and safety protocols, who then assigns specific tasks to individual grips based on the shooting schedule.^[41] Daily stand-up meetings are commonly held to review assignments, address equipment issues, and align on priorities, fostering efficient workflow under time constraints. The key grip also maintains brief interactions with the gaffer to integrate rigging with lighting setups.^[7] In unionized environments governed by the International Alliance of Theatrical Stage Employees (IATSE), advancement occurs through a seniority-based system, where grips progress from entry-level positions to best boy and eventually key grip roles after accumulating substantial on-set experience, often spanning several years to demonstrate proficiency in rigging and leadership.^[42] This progression emphasizes practical expertise gained across multiple productions, with key grip appointments requiring proven reliability in managing crews and equipment under varying conditions.^[43]

Career Development

Entry and Training

Individuals typically begin their path toward becoming a key grip by starting in entry-level roles such as production assistant (PA) or junior grip on low-budget film and television sets, where they gain hands-on experience with basic rigging tasks like setting up stands and flags.^[44]^[45] These positions allow aspiring grips to learn equipment handling and set operations through practical involvement, often on independent projects that provide initial exposure without requiring prior credentials.^[44] Training for grips is largely informal, occurring via mentorship from experienced crew members on union jobs, with no formal degree necessary to enter the field.^[1]^[46] However, some film school programs, such as those at the New York Film Academy (NYFA), offer workshops that include rigging and production techniques to build foundational skills.^[47] This on-the-job learning emphasizes safety, teamwork, and technical proficiency in a collaborative environment. Key certifications enhance employability and safety knowledge; the Occupational Safety and Health Administration (OSHA) 10-hour or 30-hour courses tailored for the entertainment industry are commonly pursued through IATSE Training Trust programs.^[48] Additionally, rigging courses from the Entertainment Services and Technology Association (ESTA), such as those under the Entertainment Technician Certification Program (ETCP), provide specialized training in load control and gear inspection relevant to grip work.^[49] Networking plays a crucial role in securing entry-level gigs, with aspiring grips often joining International Alliance of Theatrical Stage Employees (IATSE) locals via permit systems or introductory training to access union calls.^[50] Attending trade shows like the NAB Show also facilitates connections with industry professionals, offering opportunities to learn about job openings and demonstrate interest in grip roles.^[51]

Advancement Pathways

Advancement in the grip department typically begins with entry-level positions as a grip, progressing to best boy grip after 2-5 years of demonstrated reliability and hands-on experience on increasingly complex productions.^[52] From there, aspiring key grips advance to the leadership role after an additional 3-5 years, often totaling 5-10 years in the industry, by taking on supervisory responsibilities on larger-scale projects such as feature films or high-budget television series.^[53] This path emphasizes practical expertise gained through on-the-job training within union environments like IATSE, where seniority and performance in the hiring hall system play key roles in promotion opportunities. Key milestones for reaching key grip include successfully leading an entire grip department on a feature film production, where the individual coordinates equipment setup, crew management, and collaboration with the director of photography.^[45] Another critical achievement involves overseeing high-risk rigging tasks, such as wire work for stunt sequences, which requires precise engineering of safety rigs to support performers suspended at heights while ensuring compliance with industry standards.^[39] The advancement process presents significant challenges, including extended workdays of 12-16 hours, often involving manual labor in demanding conditions that test endurance and focus.^[54] Physical demands are intense, with grips frequently lifting and carrying heavy equipment, often requiring team efforts, and working at significant heights on scaffolding and rigging structures, increasing the risk of injury without proper conditioning. Additionally, competition is fierce in IATSE hiring halls, where jobs are dispatched based on availability lists, requiring consistent availability and networking to secure desirable assignments over other qualified candidates.^[55] Success in this career ladder hinges on building a professional demo reel showcasing innovative rigs and problem-solving on past projects, which serves as tangible evidence of technical proficiency to potential employers.^[56] Relocating to major production hubs like Los Angeles or Atlanta is often essential, as these locations concentrate the majority of union-scale opportunities and facilitate connections with department heads on high-profile shoots.^[45]

International Variations

United States Practices

In the United States, the key grip position is primarily regulated in the Hollywood area through the International Alliance of Theatrical Stage Employees (IATSE) Local 80, headquartered in Los Angeles, with regional variations handled by other IATSE locals across the country.^[57] This union dominance ensures standardized training, benefits, and working conditions, with key grips focusing heavily on feature films and episodic television, where they lead departments of 20 to 50 personnel on major shoots.^[58] Union scale for key grips on IATSE-covered jobs ranges from $50 to $70 per hour, depending on the contract type and experience level; for instance, the 2025-2026 theatrical feature film rate under Local 80 stands at $63.01 per hour, plus overtime and benefits contributions.^[59]^[60] On large-scale productions like Marvel Cinematic Universe blockbusters, key grips oversee elaborate rigging setups, such as the custom bungee systems used in Captain America: Civil War to support dynamic stunt sequences and camera movements.^[61] They integrate closely with pre-visualization (pre-vis) teams during pre-production to translate digital shot plans into physical support structures, ensuring feasibility for high-action scenes involving cranes, dollies, and wire work.^[21] Safety compliance is paramount, with key grips enforcing Occupational Safety and Health Administration (OSHA) standards for all rigging and equipment handling to prevent falls, collapses, or mechanical failures, including mandatory inspections and load certifications.^[62] For stunts, they coordinate with SAG-AFTRA guidelines, verifying performer protections and securing production insurance riders that cover equipment malfunctions or rigging incidents, often halting shoots if risks exceed protocols.^[63]^[9] While regional production hubs influence job volume—Atlanta benefits from Georgia's 30% transferable tax credit drawing blockbuster-scale work, versus New York City's emphasis on independent features and series enabled by its 30% base credit—the fundamental duties of the key grip, from gear management to safety oversight, remain uniform nationwide.^[64]^[65]

United Kingdom and Europe

In the United Kingdom, the role equivalent to the key grip is often referred to as the supervising grip, particularly in contexts where the individual oversees grip operations on set, as qualified under the Grip Advanced Level 3 Diploma in Professional Competence.^[66] This position is governed by BECTU, the media and entertainment union, which sets recommended ratecards for grips in film and TV productions, covering budgets from under £10 million to over £30 million under agreements like the Major Motion Picture Agreement.^[67] Much of the work centers on major studios such as Pinewood and Shepperton, as well as BBC productions, where grips focus on camera support and rigging for high-end scripted content.^[68] Across Europe, variations in the key grip role reflect regional production styles and terminology, with integration into broader "machinerie" teams common in countries like France and Germany, drawing from theater-film crossovers where machinery operators handle rigging and camera movements.^[69] In France, the position is termed "Chef Machiniste" or "Chef Opérateur de Machinerie," emphasizing oversight of camera support systems and safety in collaboration with the director of photography and machinerie crew.^[69] German productions similarly blend grip functions with specialized equipment handling, often supported by manufacturers like Grip Factory Munich for dollies and cranes.^[70] Due to the emphasis on independent and smaller-scale films, European grip crews typically range from 3 to 8 members, contrasting with larger U.S. teams by prioritizing versatile, multi-tasking roles.^[71] Workflow differences in the UK and Europe highlight a greater reliance on freelance arrangements, with many grips operating non-union in parts of the continent, allowing flexibility but requiring key or supervising grips to manage additional tasks like basic set construction not typically handled in U.S. departments.^[71] This freelance model supports quicker setups for indie projects, where grips adapt equipment for diverse locations without extensive departmental hierarchies.^[7] Post-Brexit, UK grips have increasingly participated in co-productions with European partners, navigating reduced collaboration volumes, with spending on UK-international co-productions falling to £19.6 million in 2024 from £44.2 million in 2023 (a 56% decline), according to BFI data.^[72] Equipment must comply with CE marking for conformity to EU health and safety standards, a requirement the UK continues to recognize indefinitely for imported gear like rigging and camera supports, ensuring seamless cross-border use despite trade barriers.^[73]

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[33]
6.5 Motion control and repeatable moves - Fiveable
Motion control systems enable precise, repeatable camera movements, allowing for exact repetition of moves across multiple takes.Types Of Motion Control... · Key Components Of Motion... · Benefits Of Motion ControlMissing: grip | Show results with:grip
[34]
Grips, Gaffers, and Best Boys: The Grip and Electric Departments
Aug 19, 2015 · The Key Grip, also called a Key for short, is the chief of the grip department. They work with the Director of Photography to achieve the ...
[35]
Ultimate Guide to Film Crew Positions (Jobs & Duties Explained)
Dec 18, 2024 · A key grip works alongside the Gaffer to execute the Director of Photography's plan for camera and lighting. The key grip also takes inventories ...<|control11|><|separator|>
[36]
The Role of a Cinematographer in Pre-Production: Planning for ...
Mar 20, 2024 · During the technical recce, the cinematographer works with the gaffer and key grip to plan the lighting and rigging setups for each location ...
[37]
Rigging grip skills - ScreenSkills
Rigging grips pre-rig equipment like tracks, mounts, cranes, and car rigs, and manage risks. They also lay track, rig static mounts, and rig camera cranes.Missing: rain | Show results with:rain
[38]
About Us | IATSE Local 728
We are the ONLY ALL-LIGHTING Local in IATSE. We have unparalleled skills, a nationally recognized training program and are available to serve shows worldwide!
[39]
Essential Guide: Film Crew Positions - Wrapbook
Jul 1, 2025 · Discover key film crew roles across departments—from production to art—and get tips on building and managing your crew effectively.
[40]
https://www.iatse728.org/about-us
[41]
Join Us - IATSE Local 52
Mar 19, 2025 · Applicants with 799 or less MPIPHP hours will be required to take Local 52 Grip Classes, as space permits and after successful completion of the ...Missing: junior | Show results with:junior
[42]
How to Become a Grip for Film and TV - Backstage
Aug 8, 2024 · Join the union. Joining IATSE will open up job, training, and development opportunities, and let you network with industry movers and shakers.Missing: junior | Show results with:junior
[43]
How to Become a Key Grip: Camera & Lighting Support On Set
Apr 12, 2025 · The Key Grip supervises the Grip Department, providing all support for lights and camera on set. They shape light for a cinematic quality.
[44]
How to Climb from Best Boy to a Key Grip Position | ProductionBeast
Sep 20, 2017 · Key grips are best boys before they're key grips. Best boys have to work their way up their ladder, starting at the bottom of the grip crew.Missing: junior | Show results with:junior
[45]
Film School | Degrees, Programs & Workshops | NYFA
The 6-Week Filmmaking Workshop is a full-time, 120 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes.
[46]
OSHA 10-hour & OSHA 30-hour Classes for the Entertainment Industry
OSHA 10-hour and 30-hour General Industry and Construction classes for workers in the entertainment and exhibition industries. The entertainment industry ...
[47]
ETCP Certification
You may become certified through ETCP in the following areas: Rigger – Arena, Rigger – Theatre, Entertainment Electrician and Portable Power Distribution ...Find Certified Technicians · Training For Renewal Credits · General Testing Info
[48]
How to Join IATSE | Backstage
Jul 24, 2024 · You'll need to join the local union that corresponds to your job and location. Contact your local union. For membership requirements, dues, and ...Missing: grip grips
[49]
Networking & Events - NAB Show
Our curated networking events are designed to connect you with like-minded pros from across media, tech and entertainment.
[50]
How to Become a Best Boy Grip for Movies & TV - Backstage
Apr 18, 2023 · After a few years of hard work, production experience, and networking, grips can gradually rise to best boy positions. It's common for best boys ...
[51]
What is a Key Grip - Film Connection
The key grip is responsible for managing the grip department, which deals with rigging and supporting camera equipment, lights, and other gear.Missing: junior | Show results with:junior
[52]
Career or Job Opportunities as Grip | Gladeo
These scenes are made possible by the expertise of a production's Key Grip and grip crew. Grips build equipment to mount cameras, and, working with ...
[53]
Work through the Hiring Hall - IATSE Local 15
Employers post jobs, you pick, and the hall sends you. You must be 18+, pass a test, and be on the F list. G list is for occasional work.
[54]
How to Become a Grip: Working in Film Lighting - Careers in Film
Grips make sure sets and rigs are safely built and maintained, collaborate with the Gaffer on lighting and, after the 1st AD, ensure safety.
[55]
IATSE Local 80 – iatselocal80.org
IATSE Local 80 represents Motion Picture Grips, Crafts Service, Marine, First Aid Employees, and Warehouse Workers as part of the International Alliance of ...Register · Login · IATSE Local 80 Safety · Local 80 Scholarship Grant
[56]
Commercial Contract Summary - IATSE Local 80
Oct 10, 2022 · Key Grip = $58.41. 2nd Company Grip = $52.60. Dolly Grip = $54.47. Grip = $50.23. THERE SHOULD BE NO HOURLY WAGE BELOW 3RD Grip rate (effective ...
[57]
IATSE Theatrical Feature Film Rates Sheets 2025–2026 - Topsheet
Oct 28, 2025 · Local 80 IATSE 2025 - 2026 Rates. Jurisdiction: Los Angeles (Studio) ... Weekly Rate. Best Boy / 2nd Company Grip. 80. $57.2. $457.6.
[58]
IATSE Rates Guide: Wages, Rules, and Pay Scales in 2025-26
Key grip, $61.15, $489.20. Work Hours and Overtime Structure Outside of LA. Under the IATSE Commercial Agreement, the following work hour and overtime structure ...Missing: 80 | Show results with:80
[59]
Captain America: a very civil war - fxguide
May 24, 2016 · “Additionally, key grip Michael Coo developed a bungee rig system. Mark Goellnicht, the 'A' camera operator had used a similar system on Mad ...
[60]
[PDF] TELEVISION & FEATURE PRODUCTION SAFETY MANUAL
This manual covers injury prevention, position safety, environmental guidelines, ergonomics, and the Injury and Illness Prevention Program (IIPP) for on and ...
[61]
Stunt & Safety - SAG-AFTRA
Performer safety is SAG-AFTRA's top priority, whether it's ensuring physical protection during exciting stunts or preventing harassment and assault in the ...
[62]
10 Best States for Film Tax Incentives & Tax Breaks | Wrapbook
Aug 1, 2025 · Independent films are eligible for a 35% transferable tax credit so long as they abide by the same 75% of budget or 75% of principal photography ...Missing: grip | Show results with:grip
[63]
2025–26 U.S. Film Incentive Hot Spots: Top 5 States at a Glance
Sep 26, 2025 · 2. New York: The Empire State of Entertainment · New York film tax credit: 30% refundable tax credit, with an extra 10% for upstate productions.
[64]
Other competent schemes | JIGS
Grip Advanced Level 3 Diploma in Professional Competence – qualifies a Grip to supervise grips operations on a production whether as sole Grip (if working alone) ...
[65]
Ratecards: find out the rates for the work you do - Bectu
These are the latest ratecards for Grips in film and TV. The film ratecard applies to films with budgets £30m and above, under £30m and less than £10m. The ...
[66]
History | Grips Branch UK
This article explores the history of grips, from their early days in major studios like Pinewood and Shepperton to the creation of formal training programmes.Origins Of Gripping, From... · Origins Of The Crane... · Challenges And The Future Of...Missing: equivalent supervising<|separator|>
[67]
Find Key Grip Opportunities in France November 2025 - Gigs
In France, a Key Grip is referred to as "Chef Machiniste" or "Chef Opérateur de Machinerie." They play a crucial role in film and TV production by ...
[68]
About - GFM - Grip Factory Munich
We are Grip Factory Munich – manufacturer of high-end camera support equipment for the professional motion picture community. Made in Germany. Since 1999.
[69]
American Grip And European Grip - Cinematography.com
Oct 8, 2010 · Most grips in Europe are what they call in US DollyGrips, which mean they setup the dolly, push the dolly and when around they set-up tripods ...
[70]
British TV Co-Productions Plummeted Last Year, Per BFI Report
Feb 6, 2025 · The BFI figures show that spending on co-productions stood at £19.6M last year, less than half the £44.2M recorded in 2023 and nearly 60% down on 2022's £48.3M.
[71]
UK to keep EU safety mark in post-Brexit climbdown - BBC
Aug 1, 2023 · The UK government has decided to recognise the EU's product safety symbol indefinitely, in a post-Brexit climbdown.Missing: grips co-