GEAR. GRIPS
Grips play an invaluable and often unseen role on film sets. Here, we explore some of the best equipment at their disposal Getting a grip
WORDS. Robert Shepherd IMAGES. Various
T he movie business, with the possible exception of the music industry, is more synonymous with glitz and glamour than any other. With its red-carpet premieres, awards ceremonies and the chance to work alongside world-renowned talent, you can see why it’s a fiendishly competitive and cut-throat arena. It’s all true, of course… up to a point. If one works hard and is fortunate enough, the rewards are immeasurable. However, as any actor or director and will tell you, making the actual movies is anything but flashy. The filmmaking process is lengthy, with months – or sometimes years – of pre-production, shoot time and post-production. The work involved can be arduous and monotonous with long hours on set. Filming days are usually 12-16 hours a day or longer, often in terrible weather or challenging filming locations. GRIPPING TALES Pre-production and shooting days are known for constant uncertainty and unpredictability, making it a challenge to maintain a consistent schedule. For example, logistical problems can force filmmakers to delay production or change shooting locations, making it a tedious process. An additional challenge is the need to stay on track with schedules while striving to maintain artistic integrity and produce high-quality content. Production coordinators, directors
“What’s often less talked about is the human keystone without whom none of it would be possible: the grip” and writers must work closely with teams of actors, designers, and technicians to stay on schedule. On the surface, it’s enough to put many a budding filmmaker reconsider their career trajectory. However, what’s often less talked about is the human keystone
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