Key grip

In North American filmmaking, the key grip supervises all grip (lighting and rigging) crews and reports to the director of photography.[1]

Responsibilities

Before filming begins, the key grip attends location scouts and meets the director of photography to determine what additional tools (location-specific motor vehicles, dollies, cranes, mounts, etc.) will be needed, orders and prepares required equipment, and transports equipment to the filming location.[2] Once on set, the key grip coordinates with the electric and camera departments alongside the director of photography to control lighting and camera movement and setup.[3] As a supervisor, the key grip directs the crew of grips, many with specialized skills such as dolly grips, crane operators, or special equipment operators.[2] The key grip is sometimes credited as the "first company grip."[4]

Safety

The key grip is frequently asked to be the safety monitor of the film set. Changes in the film and television worlds have created lasting change in crew responsibilities. Any union production crews working under the "Hollywood" umbrella are required to take Occupational Safety and Health Administration-style certified courses in safety. The first AD (first assistant director) is responsible for the safe operation of the set. The key grip no longer has that distinction in newer Hollywood policy.[5]

In other countries

In the United Kingdom the "grips" are part of the camera department exclusively and are not generally responsible for regular grip duties as they are in the United States.[6] In Australia and New Zealand the key grip generally owns the grip equipment, often consisting of dollies, track, cranes, camera cars, and insert trailers.

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gollark: Ah yes, Kolmogorov complexity.
gollark: Also, human brains have weird color processing quirks because instead of answering the question "what mixture of light is entering this part of the visual field" they're solving the harder but more useful one of what color an object is and what light sources are present and that sort of thing.
gollark: The color of the thing as seen by a camera (or your eyes) depends on lighting conditions and what's near it and configuration and such.
gollark: Yes. The "RGB value" of a surface doesn't really... exist, see.

References
  1. Goodell, Gregory (2003). Independent Feature Film Production: A Complete Guide from Concept Through Distribution. Macmillan. p. 114. ISBN 0312304625.
  2. Uva, Michael G.; Uva, Michael; Uva, Sabrina (2002). Uva's Basic Grip Book. Taylor & Francis US. pp. 5–6. ISBN 0240804856.
  3. Dzyak, Brian (2010). What I Really Want to Do on Set in Hollywood: A Guide to Real Jobs in the Film Industry. Random House Digital, Inc. ISBN 0307875164.
  4. Honthaner, Eve Light (2010). The Complete Film Production Handbook (4th ed.). Taylor & Francis US. p. 471. ISBN 024081150X.
  5. uic.edu, LIGHTS! CAMERA! SAFETY!, A Health and Safety Manual for Motion Picture and Television Production, by Michael McCann, Ph.D., C.I.H.
  6. Creative Industries' Sector Skills Council. "Grip". Creative Skillset. Creative Industries' Sector Skills Council. Archived from the original on 26 October 2012. Retrieved 24 November 2012.


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