As credits roll on the latest James McAvoy, unrequited love, heart-grinder flick, my friend turns to me and asks, “What in the world is a key grip?” The question is a welcome distraction and after a moment’s pause to wipe hot tears from my eyes I formulate a response. “The key grip,” I joke, “is the person who unlocks the actors’ trailers. He or she is the one who grips the key, so to speak.” That seems to satisfy my friend, but you, discerning reader, are not so easily fooled.
In the world of low budget filmmaking and EFP video shoots, the grip is often a second or third crewman who helps lug things around and set up equipment, virtually doing whatever the videographer cannot.

On the other hand, in the big leagues world of motion picture and episodic television production, grips are lighting and rigging technicians who work closely with the camera and lighting departments. Grips are especially important, as it relates to setting up the camera, or more specifically, where and how the camera is rigged and placed.

“We deal with camera moves, mounting cameras on vehicles, that sort of thing,” says Desperate Housewives key grip Didier Koskas. “We also work on lighting refinements, cutting the light [and] diffusing it.”

Oh, that reminds me; I never properly answered the question as to what a key grip is. The key grip is the head grip on set. He or she directs the entire crew of grips, who do everything from modifying lighting to operating cranes and dollies. In rap terms, the key grip might be called “Sir Grips a Lot.”

“What does a key grip do? Do you have 10 hours for me to explain?” laughs Koskas. “Well, on Torque I had a lot of fun rigging cameras on motorcycles, a train, trucks, and race cars. Episodic television is more routine than features, but the pace is a lot more hectic. We only have nine days to film an episode of Desperate Housewives. With a feature, you have around six months to film. We work as a team with the gaffer.”

So, the next question from some of you may be the same as the next question from my friend at the theatre: “What the heck is a gaffer?”

“The gaffer is the person responsible for dispensing this non-sticky black tape, commonly known as gaffer’s tape,” I say sarcastically to my friend.  By now she wants to tape my mouth shut. But really, the term “gaffer” is actually a British colloquialism, meaning, “boss” or “old man.” In the film business, the gaffer is the head of the electrical department, who is responsible for the execution and design of the lighting, depending on the needs of the DP. The gaffer usually has an assistant known as a “best boy.” I have no idea where this term comes from and I don’t want to know.

Now that we have laid the groundwork on the basic terminology of grips and gaffers, we can ask, “What is new and innovative in their world?”

“Not much,” answers Frank Kay of J.L. Fisher. “When it comes to grip equipment, the basic dolly is still the basic dolly. There isn’t a lot of new technology with dollies and jib arms,” Koskas agrees. “In the grip world, the equipment does not change much, but the lighting is where we are seeing change,” he says.

As mentioned above, both grips and gaffers are involved in lighting, so let’s talk about the latest buzz in motion picture lighting.

“LED (which stands for light-emitting diode) lights are the new thing,” insists Koskas. “Panel lights (which are made up of many LEDs) can dim without changing color temperature. With panel lights, you can bring them right up to the talent. They are very light and don’t produce excessive heat; beautiful innovation.”

“LED is certainly coming forward,” says lighting director Billy Brennan, taking a break from designing broadcast lighting for the next Winter Olympics in Vancouver. “On the smallest scale, these new panels do well with face shots. Also, a 4000-watt unit is in development, which I am excited about. LED lights are getting better and better. They use 1/10 the power, work for longer hours, and produce less heat.”