Get a Grip!

When all of the credits fly by at the end of a movie, “grip” tops the list of titles that keep people scratching their heads. What is a grip? What does a grip do? (Insert any number of punch lines here.) Grips have a wide range of responsibilities on set. Most of them involve lifting heavy things (sand bags, steel pipe, stands, cameras, plywood, lights, weights…) so these are some of the toughest guys you’ll see on set. But gripping also requires a lot of problem solving and smart working (How do you minimize the amount of heavy things you have to lift?) so grips also need to be well versed in film equipment, knot tying, construction, and physics. When there’s a twenty pound light swaying in the breeze above your actor’s head, you want to be sure the guy that put it there knows what he’s doing. So what exactly is a grip?

Gripping

Gripping is essentially attaching things to other things: attaching a camera to a dolly, a clamp to a pipe, a flag to a stand, a stand to a condor, or, like in this picture below, attaching some transmitters to a Ferrari.

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Although it’s a little hard to see, the camera is on the left of the car, outside the driver’s window on what’s called a “hostess tray.” The grips are using speed rail and short arms to secure it. Look at that nice sturdy triangle they’re building!

Grips use a wide variety of clamps, special film equipment (Cardellinis, cheeseboros, apple boxes, elephant ears, ducks bills, etc.), rope, ratchet straps, screws, and tape to make this happen. Of course, you want to be sure you’re using a nice soft suction cup (not a screw gun) on the Ferrari. You’ll also need to be sure the suction cup is strong enough. How heavy is the transmitter? How much wind resistance will it create? How fast is the car going? Some jobs require impromptu carpentry, building platforms for gear or people.

Once the gear is set, it also needs to be secured with ropes or safety chains. Anything that creates a lever needs to be counter-balanced with weights. Stands need to be weighed down with sandbags. And that brings us to the grip department’s second, but perhaps more important job.

Safety

Because of all of the heavy things grips schlep around, they’re in charge of safety on set. Obviously they need to make sure all of the lights and cameras are safe. (Will the camera fly off that Ferrari and hit someone? What about the antennas on the transmitter? How secure are they? Did someone remember to remove the tape rolls from the hostess tray?) But because of that, they take on a broader safety roll.

Are there fire extinguishers and fire lanes on your set? Is it too windy for the camera operator to go on the roof? Is the road closed to traffic? Does everyone operating on the dock have a life vest? And while different people have different responsibilities when it comes to safety, it’s ultimately up to the key grip (the head of the grip department) to make sure you have a safe film set. And if he says, “That’s unsafe, we’re not doing it,” well, that’s that.

Removing Light

A grip once explained his job to me this way. The electric department adds light. We take it away. Apart from all of the other things grips are responsible for, they also use a wide variety of flags, nets, and diffusion to control the light the electric department throws around on set. When you see behind the scenes photos, that’s what all of the random stands are for.

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(photo from: https://www.linkedin.com/pulse/monakr-rosemary-behind-scenes-nick-cavalier/)

Grips are extra busy on outdoor shoots. When you’re on a set, the electric department shows some restraint in adding light. Cable is pretty heavy, after all. The sun? Not so much. Here’s a “flyswatter.”

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We started filming a scene in a cloudy parking lot, but had several days of work. Eventually the sun came out. No worries, grip department to the rescue. The flyswatter is your custom built, movable cloud. (The “boom lift” or “JLG” brand name lift that the flyswatter is attached to is commonly called a “Condor” on film sets.)

Moving the Camera

Grips are also the only people who aren’t in the camera department that can actually control a shot. While the camera operator is in charge of panning and tilting, the dolly grip pushes the dolly that the camera is sitting on. It’s up to him (or her, I know some great dolly grips who are women) to get the speed right. In the below photo, the dolly grip is on the far left, pushing the camera.

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(photo from: https://www.huffingtonpost.com/entry/art-of-behind-the-scenes-photography_us_5734d1b0e4b08f96c18281c4)

Cranes and booms, which may also be built on dolly track, may require the whole department to lend a hand. Pretty neat stuff.

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(photo from: http://www.cinematheia.com/spectre-opening-shot-technical-point-view/)

But Wait, There’s More!

On the last feature I worked on, I had the good fortune to work with the rigging grips. We would show up before the shooting crew to set up larger rigging projects that may take hours or days to finish. The flyswatter was one of our projects. Here is another.

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The electric department placed several lights on the condor. We built the box around them out of speed rail (1.5 inch diameter aluminum pipe). Although steel is stronger, you don’t want to put all of that weight eighty feet in the air. We ultimately covered the frame with blackout cloth and put diffusion on the front creating a very large, very powerful spotlight.

Film crews often black out windows so they can control the quality of light, no matter what time of day it is. Here is a tent we built over a sunroof. First the frame, then with the sides.

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Wind was a major concern. You can see the copious number of sandbags weighing down the corners as well as the hemp safety lines.

Another fun project was blacking out or tenting the entire side of a building. Here’s a time lapse of us removing the tents after the location had been wrapped. For perspective, each of those pipes is twenty feet high.

Another fun project was building this scaffolding on the stage. We used it to throw stuntmen out of a third story window.

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Here’s the same scaffolding after we covered it with green fabric. That allows the visual effects department to match it to the actual location, even though we filmed it in a studio.

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Here’s an electric car known as the “big rig.”

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In the first photo, you can see the camera with the camera operator, key grip (driving), and support crew in the back. There’s also a generator on the front to power all of the gear for the support crew. The grip department built all of the speed rail and secured all of the gear to the big rig.

Here’s another fancy car setup for filming vehicles racing down the road.

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One camera is on the tricycle. Another was on a crane known as the “Russian Arm.” In the first photo, the Russian Arm is the car on the right. The arm is extending to the left with the camera hanging down. In the second, the Russian Arm is the furthest vehicle to the right, the arm extending in front of it with the camera near the sedan’s driver side window.

The director and the support crew sat on the back of the pickup truck. The truck lights the driver and passenger for the scene and pulls the sedan. Again, these vehicles show up to set completely empty. All of the “gak” (that’s a technical term for stuff) was secured in place by the grip department. That’s some serious gripping.

So the next time you want to build a pretty awesome looking fort, blot out the sun, or safely race around the street on the back of a truck, get a grip.

Dressing for Success on Set

A coworker of mine was going camping once and (since I’m an Eagle Scout) he asked me what he should wear. “Well,” I told him, “just pretend you’re going to work.” When you show up to set, you need to be ready for everything, and nothing will get you through a sixteen hour day better than your own comfort. So working from ground up, here’s my fashion advice. (Even if you’re supposed to stay in the office, you’ll be surprised at the number of times you end up in a muddy field to deliver paperwork.)

SHOES

Wear comfortable, closed toe shoes. You’ll be on your feet most of the time, and you don’t want your little piggies run over by a dolly. Steel toes aren’t really necessary unless you’re building or striking something (Art Department, Grip). You’ll also want a good pair of waterproof hiking boots in your wardrobe for the non-metaphorical quagmire you’ll end up in someday. I’d also recommend a pair of NEOS. This is a shoe that goes over your shoe for filming in a torrential downpour/snow bank, etc.

PRO TIP: A boom operator I work with always brings a second pair of shoes and socks to set. He changes them at lunch. You’d be amazed at the difference this makes in the afternoon.

PANTS

This one’s pretty simple. Wear sturdy, weather appropriate pants that facilitate a belt. No skirts or dresses (or kilts, Sean!). I know cargo pants/shorts aren’t high fashion, but if you’re behind the camera, no one cares. When you’ve got batteries, a water bottle, pens, markers, cell phone, phone charger, call sheets, schedules, your wallet, three sets of keys, sunglasses, a walkie talkie, work gloves, a Leatherman, and a flashlight on you, the extra pockets come in handy.

BELT

Wear a belt. With all of the stuff in your pockets, your pants will fall down. Some people with even more stuff (crescent wrench, screwdriver, tape measure, volt meter, range finder, etc.) go so far as to wear two belts or a harness. Hopefully, you won’t need that on your first day, and you’ll have some time to shop around before you do.

SHIRT

A little personality in your wardrobe is fine, but try not to offend anyone. Remember this shirt from How to Lose Friends and Alienate People?

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T-shirts are the norm. Button down shirts are fine. Ties (or dangling jewelry) are a no. (They’re actually a safety hazard.) Generally, you’ll want to avoid bright colors and large logos. You never know if you’ll be hiding in the background of a shot, and you don’t want to stand out. (On the other hand, I hate being on camera and may have occasionally worn bright colors to set specifically to avoid pulling background duty. I don’t know that this endeared me to anyone, however.) People who are required to be on set (camera operators, assistant cameramen, boom operators) often have a completely black wardrobe on standby to avoid being seen in reflections of cars, windows, pictures frames, etc. If they don’t, they the grips will make them a robe of duvetyne, which is always good for a laugh.

GLOVES

Depending on the size of the shoot, you may be asked to pick up cable, lay down floor protection, or move set pieces. A cheap pair of leather work gloves (usually around $10) goes a long way. You may see grips wearing fancy, form fitting work gloves, but I’m not a fan. For one thing, they take too long to put on and take off. But they’re also expensive. On that special day when you gloves get completely covered in fish guts, dog shit, or motor oil, you don’t feel so bad chucking $10 gloves. (And yes… all of that has happened to me.)

HEADGEAR

Not a requirement, but if you’re filming outside all day, sunglasses and hat will make you much, much happier. Don’t be afraid to pull out a crazy straw hat or cowboy hat when you’re filming in the middle of an open field. Yes, it may look silly, but people will recognize that you’re someone who thinks ahead and comes prepared.

RAIN GEAR

Buy a waterproof coat and pants. Nicer gear can be a little expensive, but it is tax deductible. ALWAYS BRING YOUR RAIN GEAR TO SET!!! Even if there’s a zero percent chance of it raining, you may end up blocking off a street corner while the art department wets down the street. You’ll be a lot happier throwing on your NEOS and rain pants than walking around in wet socks all day.

And speaking of that…

EXTRA CLOTHES

It’s not a bad idea to have a change of clothes in your car. You may fall into a creek (happened to me), have coffee spilled on you (happens to me regularly), fall down a muddy hill (heard about it), set your jacket on fire (seen it happen surprisingly often), or just perspire a lot. A friend of mine actually texted me this hilarious mishap from a commercial set earlier today.

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In any event, it’s a lot easier to change your clothes and get on with your day than be miserable for the next ten hours. I’d also point out that anything you wear to set has a high probability of getting ruined. It will definitely get dirty.

LAYERING

If you follow me on twitter (@PremiseAmiss) you’ll know I was recently rigging a car in twenty-five degree weather. Everyone tolerates the cold differently, (Two of my coworkers wear shorts in well below freezing temperatures.) but layers are the easiest way to deal with it. A long sleeve T-shirt, vest, and fleece will treat you a lot better than a halter top and ski jacket. Part of it is thermodynamics. But it also just gives you more options.

Going to spend two hours outside? Put all the layers on. Babysitting holding? Take all the layers off. Running in and out? Keep the vest on, but lose the fleece. Sweatshirts with a full zipper (as compared to pullovers) will also make your life easier.

Don’t forget to layer your legs! Long johns make a world of difference. For those really frigid days, go wool. Wool socks retain heat even when they’re wet. Or if you’re working in the 30-40 degree range, try some knee high socks. They’re a little easier to take off than long johns if it starts to warm up.

BUT I’M GOING TO LOOK LIKE SURVIVORMAN!

Yes. Yes, you will. In fact, you’ll probably want to shove a bunch of this stuff in a back pack and bring that to set, too. It may seem excessive, but you’ll be prepared and comfortable for whatever comes up. As an added bonus, you’ll look like everyone else, and you might just fool them into thinking you’ve done this before. After all, isn’t that what dressing for success is all about?