Grip

• Consult with cinematographer, director of photography, lighting technicians, and gaffers to determine requirements and map out placements
• Mitigate risks of fire or electrical shocks
• Set up and position video cameras 
• Set up scaffolding, cranes, or other rigs 
• Check scaffold and rigging sturdiness for safety

추가 책임

• Discuss major equipment repair requirements with applicable supervisors
• Arrive on set or location early for set-up
• Disassemble and store equipment after filming
• Adjust lighting or camera settings using various tools as needed
• Keep lists of all equipment to ensure loss prevention
• Use proper protective equipment, as well as suitable layers of waterproof clothing and appropriate footwear 

소프트 스킬

• Ability to follow instructions
• Alertness
• Attention to detail 
• Commitment to safety
• Communication skills
• Composure under pressure
• Heights tolerance
• Manual dexterity
• 인내심 
• Passion for films and TV
• Physical stamina (12-15 hours of manual labor)
• Quick thinking
• Stamina
• Teamwork
• Timeliness
• Visualization

기술 능력

• Knowledge of safe equipment operation
• Familiarity with lighting and camera accessories, rigging and scaffolding gear, film equipment such as tripods, jibs, cranes, dollies, tracks, camera cars, microphones, and set walls
• Ability to use hand tools, sandbags, cables, plates, overheads, scrims, flags, reflectors, and other grip crew essentials 
• Knowledge of general construction principles
• Basic understanding of geometry, applied physics, engineering, and general technology
• Knowledge of creative lighting and color effects

• Advertising agencies    
• Film and television studios
• Independent production companies
• Sports media entities
• Theatre
• Touring shows

In the film and TV industry, it’s common to work through weekends and holidays in order to produce enough content. But of all related industry professions, Grips have particularly busy schedules! Meanwhile, like their colleagues, Grips working on films often experience prolonged separation from family due to location shoots where they might spend weeks or months in another state or country. As a result, some find it hard to achieve a reasonable work-life balance when they’re working on a production. 
 
There are inherent risks working with scaffolds and rigging, which expose Grips to falling injuries. Diligent safety precautions must be taken at all times, from setups to filming to teardowns. Suffice it to say, Grips ought to be in good physical condition to unload, assemble, disassemble, and reload heavy gear all the time. 
 
Special considerations should be taken into account for grips working at live events, such as concerts or with news broadcasts where things might be unpredictable. Many Grips are required to work outdoors, often in “field conditions” that can involve exposure to inclement weather and a shortage of amenities and comforts. 

The outlook is positive, but the Bureau of Labor Statistics notes how changes in the entertainment industry are impacting jobs. Consumers are faced with a wider range of options than they’ve ever had in previous decades, such as an endless array of streaming platforms battling with the traditional movie and cable industries. Anyone entering the field should keep a close watch on how these trends develop and how they affect the job market. Grips who work on live events might enjoy more opportunities.

In their youth, future Grips were probably comfortable with heights. They might have loved climbing trees or doing work up on rooftops. Almost certainly, they enjoyed constructing things, putting their agility and strength to good use. Some might have even built their own treehouses or other homemade projects. 
 
Naturally, Grips would have shown early interests in movies and TV, too. They might’ve been fascinated by photography, experimenting with different lighting, angles, and filters. As behind-the-scenes workers, Grips aren’t infatuated with the limelight, but they do like to be close to the action. Many participated in school video projects and theatre productions, serving as camera operators or stagehands. They enjoy the technical aspects of their creative work.