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New Unique Article!
Title: Know The Positions Available In Grip & Electric Atlanta
Author: George Harris
Email: phillipguye@hotmail.com
Keywords: arts and entertainment,entertainment,movies,film,multimedia,technology,business,internet,marketing,advertising,hobbies,music,celebrities
Word Count: 537
Category: Internet Business
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Know The Positions Available In Grip & Electric Atlanta
In grip & electric Atlanta, the cinematographer has got a key grip and also a gaffer. Between the 2 of them, grips realize his lighting vision. Grips also take care of moving walls as well as set construction. When you hit a location and the cameraman needs a light up on the 23rd floor of a building, you determine how you can accomplish that. In addition, you manage all the camera movements.
The key grip is the boss of the grip department. The grips take their instructions from the director of photography. You mount, rig, as well as run all of the machines the cameras need: jibs, dollies, and so on. Regardless of whether a camera is installed on a car or a helicopter, the grips often accomplish the rigging. Also you work very closely with the electrician, the gaffer. You rig just about any lighting that needs to be rigged. You bend, shape, and texture the light with flags. You basically work together with the camera department as well as the electricians with all the lighting and cameras, but you also help the other divisions. Basically, you perform anything that has to be done; if a bridge needs to be built over a stream, and it is doable, you will put a bridge across the stream.
The strength to lift and carry equipment, woodworking skills, electrical knowledge, and mechanical skills are assets to earning a living as a grip. A job as a production assistant or day player is an excellent way of getting on the set, find out what grips do, and also make contacts that might lead to a future career. Although their work overlap to the point that they sometimes have difficulty explaining their tasks, lighting and grip departments do precisely different tasks. The grip department sets up all of the lighting and equipment needed to film a scene. The gaffers then come in to set up and focus the lights, and also power equipment.
Positions in the electrical or lighting section include: 1) Gaffer (Head Electrician): the head of the lighting department; light the set according to the cinematographer's specification. 2) Electrical Best Boy or 2nd Electric: the gaffer's chief assistant and foreman of the lighting crew; responsible for all the electrical hook-ups. 3) Lamp Operator or Electrician: put, focus, and maintain all of the lights.
Larger productions of Grip & electric Atlanta may need a splinter crew, which includes a Rigging Best Boy, Rigging Gaffer, Rigging Electric or Riggers, that work parallel with the electrical unit, handling electrical supply, running power and wiring, and setting the broad strokes of the lighting on set in advance of the shooting staff. Jobs within the grip department include: 1) Key Grip: The head of the grip department, having the dual role of helping the lighting as well as camera departments; these people rig lights, move cameras, cranes and dollies, as well as other equipment. 2) Best Boy Grip: the key grip's primary assistant and the foreman of the grip team. He is responsible for all the equipment as well as materials. 3) Dolly Grip: push the dolly or crane that supports the camera. 4) Grip or Rigger: carry, move, and set up lights, camera dolly track, and move some other lighting and camera equipment.
The key grip is the boss of the grip department. The grips take their instructions from the director of photography. You mount, rig, as well as run all of the machines the cameras need: jibs, dollies, and so on. Regardless of whether a camera is installed on a car or a helicopter, the grips often accomplish the rigging. Also you work very closely with the electrician, the gaffer. You rig just about any lighting that needs to be rigged. You bend, shape, and texture the light with flags. You basically work together with the camera department as well as the electricians with all the lighting and cameras, but you also help the other divisions. Basically, you perform anything that has to be done; if a bridge needs to be built over a stream, and it is doable, you will put a bridge across the stream.
The strength to lift and carry equipment, woodworking skills, electrical knowledge, and mechanical skills are assets to earning a living as a grip. A job as a production assistant or day player is an excellent way of getting on the set, find out what grips do, and also make contacts that might lead to a future career. Although their work overlap to the point that they sometimes have difficulty explaining their tasks, lighting and grip departments do precisely different tasks. The grip department sets up all of the lighting and equipment needed to film a scene. The gaffers then come in to set up and focus the lights, and also power equipment.
Positions in the electrical or lighting section include: 1) Gaffer (Head Electrician): the head of the lighting department; light the set according to the cinematographer's specification. 2) Electrical Best Boy or 2nd Electric: the gaffer's chief assistant and foreman of the lighting crew; responsible for all the electrical hook-ups. 3) Lamp Operator or Electrician: put, focus, and maintain all of the lights.
Larger productions of Grip & electric Atlanta may need a splinter crew, which includes a Rigging Best Boy, Rigging Gaffer, Rigging Electric or Riggers, that work parallel with the electrical unit, handling electrical supply, running power and wiring, and setting the broad strokes of the lighting on set in advance of the shooting staff. Jobs within the grip department include: 1) Key Grip: The head of the grip department, having the dual role of helping the lighting as well as camera departments; these people rig lights, move cameras, cranes and dollies, as well as other equipment. 2) Best Boy Grip: the key grip's primary assistant and the foreman of the grip team. He is responsible for all the equipment as well as materials. 3) Dolly Grip: push the dolly or crane that supports the camera. 4) Grip or Rigger: carry, move, and set up lights, camera dolly track, and move some other lighting and camera equipment.
About the Author:
Although not as fascinating as many other film jobs, a grip & electric Atlanta works behind the scenes on productions moving equipment, securing as well as removing video cameras, sets and scenery. An Atlanta grip & electric also makes sure that all the required items work correctly in order to get the best shots and give the movie the setting the movie director demands.
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