Grip and Electric
The grip and electric departments work very closely together, which is why they are grouped together in this chapter. Both departments also answer to the DP and work along side the camera department. In this chapter the grip and electric teams are delineated along with descriptions of the many pieces of equipment required to run these departments. Additionally, one important aspect of these crews is their speed of operation. Nothing can slow an entire production down like a sluggish lighting team. Of particular importance is the end-of-the-day wrap. This crew must wrap quickly and efficiently. Therefore, special attention is paid to this procedure. Figure 10.1 shows the lighting hierarchy.
GAFFER
The gaffer is the head of the electric department and thus is in charge of the lighting budget and lighting crew. Her main responsibility is to light the set as per the vision of the DP, using the lighting crew. He uses this crew to set lights in place, point them, turn them on, and focus them. The gaffer starts anywhere from two weeks to two months into pre-production.
Pre-Production
■ Has several meetings with the DP to discuss the vision for lighting.
■ Goes over lighting grids with the DP. A lighting grid is an overhead drawing of a set. The grid shows where lights will be placed, what kinds of lights, and where they are to point. The grid may also make note of any gels that should be placed over the lights.
■ Puts together and orders the lighting package.
■ Hires the lighting team.
■ Makes sure the lighting package is in order when it arrives.
■ Orders expendables. Expendables are items that are used and then thrown away. Items such as gaffer’s tape, camera tape, canned air, lumber, and dulling spray are expendables used by the camera, sound, grip, and electric departments.
Production
■ At the beginning of the shooting day, coordinates the first lighting set up.
■ May need to tie in. Tying in is the process of hooking the lights up to the electrical system of the location. This is only required if you are using house power. Tying in also refers to hooking up the lights to a generator.
■ May keep an “electric” on each light until the lighting is set.
■ Takes meter readings and confers with the DP.
■ Continues to oversee the lighting team.
Wrap
■ Makes sure the lighting package is returned in good working order.
BEST BOY ELECTRIC
The best boy electric is the person who works directly under and assists the gaffer. He is also in charge of the lighting truck and is responsible for the lighting inventory. The best boy is also in charge of the care and maintenance of the lighting equipment. To do this he completes frequent inventories of all the lights and lighting equipment to ensure nothing is lost or, if something is damaged, that it is returned. The best boy usually has a working knowledge of lights, can fix them, and replaces blown bulbs on lights when necessary. Finally, the best boy is in charge of loading the truck at the end of the day. The best boy can start work as soon as the lighting truck arrives at the location.
ELECTRICIANS
Electricians, also sometimes called electrics or lamp operators, are the people who place the lights. They also lay a cable called banded. Banded is the cable that connects the lights to the generator or house power. It is important that electrics are continually standing by to adjust the lights as necessary. At the beginning of the day they pull lights off the truck, take them to the set, and set them in place as directed by the best boy or gaffer. At the end of the day, they strike the lights and banded and load them on the truck.
GENERATOR OPERATOR
The generator operator, also called the genny operator, is in charge of the generator. She makes sure the generator is placed at the beginning of the day, gassed up and ready for the gaffer to tie in. The genny operator works when the generator is needed. You may need a generator for the duration of a shoot. Or, you may use a location’s house power and not need a generator at all. On the other hand, you may use a generator only at specific locations. The determination for using a generator is based on the type of location in which you are shooting, whether you have permission to use house power, and your budget. For instance, if you are shooting in the woods at night, certainly you will need a generator to provide power to light the scene. However, if you are shooting in a hospital, you may have permission to use their electricity, and thus not need the generator while at that location.
RIGGING CREW
The rigging crew is a lighting crew that works one set ahead of the main unit, prelighting a set. They also strike the lighting the day after the main unit shoots. Rigging crews are mostly seen on larger budget shoots because of the extra cost of the crew. A rigging crew might be considered a luxury, but can greatly speed the pace of your shoot, since you will not need to light sets from scratch on the day of shooting. They are employed sometimes on a daily basis and sometimes on a weekly basis, depending on the budget and needs of the production. If the budget can allow, the rigging crew will work run of show.
KEY GRIP
The key grip is in charge of the grips and the grip budget. He is in charge of acquiring the grip package and works closely with the gaffer to make sure everything is ready for the camera to shoot. Figure 10.2 shows the grip hierarchy. Following is a list of general responsibilities.
Pre-Production
■ Puts together and orders the grip package.
■ Coordinates getting the grip truck to the location.
■ Hires the best boy grip and company grips.
Production
■ Sets flags, nets, and silks.
■ Blocks out windows with black material, called black wrap, when needed.
■ Gets rid of flares for the camera by placing flags in the way of the glare source.
■ Never leaves the camera without another grip standing by to assist.
■ Supervises laying the dolly track.
■ May be needed to help set up a jib or a crane.
Wrap
■ Makes sure all grip equipment is accounted for and in good working order.
■ Makes sure the grip truck is returned to the grip company.
BEST BOY GRIP
As in the electric department, the best boy is in charge of the truck. He performs frequent inventories of all grip equipment and is responsible for all equipment being in good order. On the first day of shooting or in pre-production, the best boy will inventory the grip truck, making sure that each item ordered is there and in good working order. The best boy spends most of the time on the truck managing the equipment. Finally, he is responsible for having the truck loaded properly at the end of the day. At the end of the shoot the best boy will submit a final equipment report to the key grip, noting any equipment that is missing or damaged.
COMPANY GRIPS
Company grips work directly under the key grip and have a myriad of duties. They haul grip equipment to and from the truck as needed. They set flags, nets, and silks and load the truck at the end of the day.
DOLLY GRIP
The dolly grip is a grip with special skill in operating a dolly. A dolly is a platform that travels on tracks. You place your camera on the dolly, which also has a hydraulic lift so you can change the camera height. The dolly also has seats for the camera operator and director. There is also a doorway dolly, which is a platform that travels on tracks. The difference between the doorway dolly and a regular dolly is that the doorway dolly is just a platform. You place your camera, which goes on sticks, on the platform. The cameraperson either stands or sits on an apple box. The dolly grip knows how to move the dolly so that the ride is smooth, without jerks, and will start and stop gently. Many dolly grips also know how to smoothly operate a jib.
A jib is a device similar to a crane, with the camera on one end and the operator on the other end of a long pole. Jibs can range from 2 to 7 feet in height, and have a 5- to 8-foot reach. Most dolly grips in medium- and high-budget projects work run of show. If working this way, the dolly grip will start a few days ahead of principal photography to make sure the dolly is in good working order. In low budget, since dollies are not included in a standard grip package, they have to be rented at an additional cost. Therefore, the dolly grip would work only for the time that a dolly is being rented.
CRANE OPERATOR
The crane operator is a person with skill in operating a large crane. Cranes are used to get the camera high in the air (see more in the section “The Grip Package”). The use of a crane operator works the same as a dolly grip. In high budget, cranes are often used run of show, so the crane operator will come in a few days early to test the crane. In low budget, the crane would be rented only for certain days because of the additional cost.
OPERATIONS FOR GRIP AND ELECTRIC
At the beginning of the day, the lighting team unloads the lighting truck of lights and cables that are needed for the first setup. The gaffer knows the first lighting setup and thus directs the best boy and electricians where to place the lights. If organized, the gaffer will have certain electrics laying cable and certain electrics setting up the lights. Then, if She has enough crew, the gaffer may have electrics stand by at each light, ready to adjust until the lighting setup is complete. Meanwhile, the gaffer has asked the 1st AD to get the stand-ins to the set. As the scene progresses, if possible, the gaffer will have electrics prelight the next area, so that when the camera moves there, it will be almost ready to go.
Before the end of the day, the gaffer will decide what equipment may be wrapped to the lighting truck, items that will no longer be needed that day. When the martini is called (the last shot of the day), the gaffer directs electrics to begin returning items to the truck and start loading the truck. Once wrap is called, the electrics return all items to the truck, and one electric performs an idiot check. An idiot check is the process of someone examining the location closely to make sure no equipment is left behind.
At the beginning of the day, the grips unload the grip truck with frequently used items and put them in a predetermined staging area. If dolly is first up, they begin laying dolly track. They also put flags and nets on c-stands so they are ready at a moment’s notice. A c-stand is a stand on which you can position flags and nets that allows them to be moved in different directions. These items are frequently used to block flares or placed in front of a light to reduce its power. The grips may also begin to set up a 12-by-12, or other size, silk. A silk is a large frame covered in material. It is used to reduce or soften light shining on the actors. If shooting exteriors, grips also will set up a flag contraption that is used to provide shade for the director. There are hundreds of pieces of equipment at the grips’ disposal, such as C-clamps, alligator clamps, sandbags, and more items than could be mentioned here. It is beyond the scope of this book to mention them all. However, it is important that a producer understand the scope of this equipment. If you have rented a grip package, spend time on the truck getting to know the equipment and review the paperwork for the package. Once their initial equipment is set up, the grip team stands by to make adjustments as needed.
Before the end of the day, the key grip assesses the need for grip equipment. She may instruct the grip team to wrap certain items (take them back to the truck) that are no longer needed that day. Once the martini is called, more items are returned to the truck. At this point, or before if possible, the key grip may send some grips to begin loading the truck. Once wrap is called, all items are returned to and loaded on the truck. The key grip will also assign someone to do an idiot check.
THE GRIP PACKAGE
The grip package is typically a truck loaded with grip equipment, rented from a grip and lighting company. Grip packages come in different sizes, all containing more or less equipment. These sizes are measured in tons. For instance, you can rent a 2-ton grip package, which is usually sufficient on low-budget shoots. Alternatively, you can rent up to a 10-ton package for high-budget shoots. Most grip packages are rented on a three- or four-day week. Keep in mind that if you are shooting in a city that does not have a rental house, the truck will need to be driven to your location. This applies to the lighting package as well. You need to plan for travel time to allow the trucks to get to your location in time to inventory them before shooting.
There is another specialized item that does not come as part of a standard grip package. It is a camera car. A camera car is a truck with mounting surrounding it on which a small crew can walk and place a camera. This vehicle allows you to shoot actors inside the vehicle or travel ahead or behind another vehicle while shooting. When renting this type of device, you pay for the car rental as well as a driver. Companies that rent camera cars employ drivers who are experienced in driving their vehicles safely.
THE LIGHTING PACKAGE
The lighting package is a truck loaded with lighting equipment. On low-budget shoots the grip and lighting packages are combined on one truck. On medium to higher budgets each department has its own truck. Sometimes, if needed, a shoot may have more than one lighting truck. Because lighting needs for a shoot are so specific, a lighting package can be custom ordered. The gaffer will look at the lights available and make a complete list for the rental house. The rental house then sends back a cost for the package. Most lighting packages are rented on a three- or four-day week.
LAYING DOLLY TRACK
There is an organized and efficient way to lay dolly track. Depending on how much track needs to be laid, the process should take no longer than one-half hour to an hour. The key to efficiency is crew assignments. The key grip will direct the grips as to their specific assignments. First, certain grips are assigned to bring track from the truck or staging area (when the key grip knows that dolly is required for a scene, she will make sure enough track is placed in the staging area, space permitting). Next, certain grips are assigned to get the wedges. Wedges are little pieces of wood that are placed under the dolly track to provide a level surface. Next, the grips lay the dolly track end to end, hooking them together. As they do this, a grip on each side of the track places wedges under the track, not worrying yet about being precise. Then, either the key grip or another grip walks up the track placing a level at various points. He or she then directs two other grips, one on either side of the track to insert the wedges more accurately, leveling the track. When the key grip or grip gets to the end of the track, this job is almost done. Meanwhile, other grips have been assigned to bring the dolly to the track. The grips place the dolly on the track and move it up along the track, testing for smoothness. Sometimes powder or furniture polish is put on the track to lubricate it, making the ride smoother. Once the dolly has a smooth ride, it is ready for the camera, which is placed on the dolly by the camera team.
TRUCK WRAP
When the camera wraps, there still needs to be the same sense of urgency that keeps the crew moving while shooting. Loading a small- to medium-sized grip truck should not take more than 45 minutes to 1 hour. Now, this time varies greatly depending on the size of the crew and how involved the shooting is.
There is one method of loading the grip truck that works well from low to high budget. It is called the two-point system. The key to a quick truck wrap is to assign grips or electrics specific jobs. For instance, say one or two electrics are assigned to wrapping cable. Then, one or more electrics take lights down and bring them to the truck. Sometimes hot lights are all placed in the same area to cool down before being loaded onto the truck. Light stands are all placed in the same area. Other items such as cables and sandbags are placed in their own areas. Someone is located on the ground telling crew where to put all the items. This person may then hand pieces of equipment to the people on the truck. On the truck there are two or more people, one in back and one in front, placing the equipment in their proper places. The front person will hand the equipment to the back person or put it away. The front person then determines what comes next. If the next piece of equipment is something that is to be loaded in the back of the truck, he then calls for it and hands it to the back person. The front person then calls for another item (a front item) and places the item in her area.
SUMMARY
The grip and electric departments support the camera team and DP by providing rigging and lighting for the scene. The gaffer and key grip work directly under the DP to lead their teams in this support. The speed of these crews is very important. These departments use various methods to make sure lighting and grip support is quick and efficient. Grip and lighting equipment is rented in packages, and while there are some standards, each package is different based on the needs of the shoot.