On set, the big equipment draws the eye — the dollies, the cranes, the track. But it’s the small hardware that decides whether the shoot runs smoothly or grinds to a halt. Clamps, magic arms, stands, adapter plates — in other words, the grip hardware kit — determine every mount, every rigging point, every monitor or light support. Here is the complete inventory of what the grip department systematically brings along, with market reference prices.
What is the grip hardware kit in cinema rigging?
The grip hardware kit is the entire collection of small mounting and interface equipment that the key grip brings to every shoot, regardless of the rest of the equipment list. This industry term covers all the accessories without which the main equipment cannot be mounted, positioned or combined.
A crane without a baby plate is a useless crane. A dolly without the right head block for the DP’s hydraulic head is a dolly that’s going nowhere. A monitor without an articulated mount is a monitor sitting on the floor. The grip hardware is the invisible glue that keeps the set in working order.
“I systematically bring this small equipment in dedicated cases. It doesn’t always appear in quote requests because production managers don’t think to list it — but it’s what keeps the set running day to day.”
What are the different types of grip clamps?
Clamps are the most frequently used items in the grip kit. Each model addresses a specific situation. Confusing them on set costs time.
The 16mm C-clamp — the universal standard
The C-clamp with a 16mm stud — known as a baby pin — is the grip department’s basic clamp. Its steel jaw grips any tubular structure — scaffolding tubes, boom bars, carts, set structures. The baby pin output directly receives a magic arm, a small light, a lightweight monitor or a reflector.
Unit price: 30 to 50 euros. A standard kit carries between 20 and 40 units. That seems like a lot until the first shoot on a constructed set where you end up clamping everywhere.
The Gaffer grip and Vice clamp
The Gaffer grip — sometimes called a Vice clamp — is a sturdier clamp with eccentric tightening. Where the standard C-clamp handles light to medium loads, this one takes on heavier accessories: small crane heads, secondary camera arms, large monitors. Its construction allows it to grip more irregular surfaces or wider profiles than the standard C-clamp. Unit price: 40 to 70 euros.
The Cardellini — the versatile clamp
The Cardellini clamp is the most versatile tool in the range. Its design allows it to attach to a round tube as well as a plank, an angle iron or a door edge. The pivoting jaw mechanism adapts to varied geometries without losing strength.
On shoots in practical locations — Haussmann-style buildings, old houses, industrial sets — the Cardellini quickly becomes essential, because mounting surfaces are rarely standard tubes. I used about twenty at once on an Agat Films shoot in an apartment in the 11th arrondissement: mouldings, woodwork, cast iron radiators — nothing was standard, and the Cardellini solved every problem. Unit price: 50 to 90 euros. A reasonable kit includes ten to fifteen units.
How does the magic arm work, and why have several?
The magic arm is an articulated arm with a double lockable ball joint, designed to position and hold an accessory in any orientation. A single locking lever simultaneously locks both joints and the central rotation.
The Manfrotto 244 and 244N — the market standard
The Manfrotto 244 is the most common magic arm in professional grip inventories. Its robustness, the reliability of its locking system and the precision of its positioning have made it the de facto standard. It supports loads up to 3 kg in extended configuration, more in short configuration.
It mounts on a 16mm baby pin at each end, making it compatible with all standard grip accessories. Unit price: 80 to 120 euros.
The Noga arm — for light loads and precision
The Noga arm is a lighter alternative, valued for precise positioning of small monitors, compact teleprompters or microphone accessories. Its progressive friction mechanism allows finer adjustment than the all-or-nothing system of the Manfrotto. It doesn’t replace the 244 for heavy loads, but complements it well for light applications. Unit price: 80 to 150 euros.
“On a shoot, I always bring at least four to six magic arms. On complex sets with multiple monitoring stations and various camera accessories, you can use ten simultaneously without it seeming excessive. On a Netflix series I gripped, we had fourteen in service on the same day.”
What stands and supports does the grip department use?
Grip stands are distinct from lighting stands, even if their appearance may be similar. Sized for different loads, equipped with specific interface plates — the details matter.
The baby pin stand — the universal stand
The baby stand, or light stand with a 16mm baby pin receiver, is the basic stand in the grip kit. It directly receives magic arms, small lights, lightweight monitors or baby pin accessories. Variable height from 70 cm to 2.5 metres depending on the model — that covers the vast majority of common needs.
Unit price: 30 to 60 euros. Inventories often include ten or more units.
The combo stand — versatility and strength
The combo stand combines a baby pin receiver at the top of the column and a second intermediate mounting point. This configuration allows two accessories to be mounted on the same stand simultaneously — practical on sets where space is tight and planting a second stand would cause problems. Its construction is more robust than the standard baby stand, allowing it to support heavier loads. Unit price: 80 to 150 euros.
The low boy — ground-level shots
The low boy is a short stand, designed for low positions. It allows a monitor, a light or an accessory to be placed in areas where a standard stand cannot reach. Very low shots — child’s point of view, ground-level framing outdoors — regularly require this equipment. Unit price: 40 to 80 euros.
What are interface plates used for in grip work?
Interface plates connect two pieces of equipment from different systems. They solve compatibility issues between manufacturers — a topic that comes up on every shoot when mixing gear from various brands.
The cheese plate — the universal plate
The cheese plate is a rectangular plate drilled with 1/4” and 3/8” threaded holes on all faces, designed to accept any film or lighting accessory. It mounts on a baby pin, on a magic arm, or directly on a stand. On-camera monitors, small LED lights, microphone heads — anything with a standard thread can be mounted on it.
It’s the Swiss army knife of the grip kit. Unit price: 20 to 60 euros depending on size and construction.
The baby plate — the fixed floor or set interface
The baby plate is a mounting plate equipped with a 16mm baby pin stud, which screws onto a flat surface or bolts to the floor. It turns any surface into a standard baby pin mounting point. Useful where a stand can’t fit — on furniture, on top of a car, in a corner of the set. Unit price: 15 to 40 euros.
The wall plate — the wall mount
The wall plate screws into a wall or partition and provides a solid mounting point where no stand could work. It comes up often on interior sets for high positions — accent lights in room corners, script supervisor monitors up high, continuity accessories. Unit price: 20 to 50 euros.
Safety chains and straps — why are they mandatory?
Safety chains and straps are not optional accessories. On a professional set, any suspended or overhead-mounted equipment must be secured by a second independent anchor point — an absolute safety rule and a regulatory requirement whenever people move beneath the equipment.
A grip safety chain is a steel chain with carabiners at both ends. It forms the secondary safety link between a light, accessory or overhead-mounted support and the load-bearing structure. If the primary mount fails, the chain catches the equipment before it falls.
Safety straps serve the same purpose for lighter equipment. Faster to set up and more flexible than chains, they suit accessories whose fall would be inconvenient rather than dangerous.
“On my shoots, safety chains are non-negotiable. A clamp loosening during the day happens — even with the best equipment. A properly placed chain prevents catastrophe and avoids liability issues. On an HBO shoot I gripped in Paris, their safety coordinator checked every overhead mount before the first take. That’s the right method.”
Safety chain prices: 10 to 25 euros per unit. A set of 20 to 30 chains of various lengths is standard on a professional shoot.
What budget should you plan for a shoot’s grip hardware?
Grip hardware doesn’t always appear as a separate line item in rigging budgets — which leads to surprises. A minimal kit for a short or medium-length film represents 3,000 to 6,000 euros in new equipment. When rented along with the key grip, this equipment is generally included in the rigging package or billed separately at a moderate daily rate.
For a feature film or a series with multiple simultaneous units, a complete kit — clamps in double and triple quantities, magic arms in series, stands of all sizes, interface plates — represents 8,000 to 15,000 euros worth of equipment.
Working with a key grip who owns their own kit is precisely the advantage: the hardware is there, maintained, complete, and the owner knows exactly what they have and how each piece performs. To learn more about the composition of a grip department, see our article on the grip department: roles and organisation in cinema.
For a project requiring camera movement equipment — dolly, track cart, travelling systems — see our article on choosing the right dolly and camera cart.
You can view our rental services and discuss the accessories needed for your shoot on the services page, or contact us directly for a personalised estimate via the contact page.
FAQ
What is the grip hardware kit in cinema rigging?
The grip hardware kit refers to the entire collection of small mounting and interface equipment in the grip department: clamps, magic arms, plates, short stands, safety chains. This industry term covers all the accessories that allow equipment to be mounted, positioned and combined. Without the grip hardware, the main equipment cannot be set up.
What is the difference between a C-clamp and a Cardellini?
The standard C-clamp grips cylindrical tubes of a fixed diameter and supports light to medium loads. The Cardellini has a pivoting jaw that adapts to varied geometries — tubes, planks, angle irons, irregular edges. On shoots in practical locations with non-standard mounting surfaces, the Cardellini is far more versatile. Its price is slightly higher (50-90 euros versus 30-50 euros).
How many magic arms should you plan for a shoot?
For a standard shoot with a single unit, four to six magic arms cover most configurations. As soon as the shoot involves multiple simultaneous monitoring stations, various camera accessories and precisely positioned accent lights, it’s not unusual to use ten or twelve. Better to have too many than to improvise unsuitable mounts.
Are safety chains mandatory on a professional film set?
Yes. Any overhead-mounted or suspended equipment — light, accessory, monitor — must be secured by a second independent anchor point. This is a professional safety rule and a regulatory requirement whenever people move beneath the equipment. On professional productions, the absence of safety chains on overhead equipment is a serious breach.
Is grip hardware included in a rigging rental?
It depends on the rental arrangement. When renting directly from a key grip who owns their kit, the hardware is generally included in the package or billed separately at a moderate daily rate. With some catalogue rental houses, accessories are listed and billed individually — which means knowing exactly what you need in advance. Working with an experienced key grip-owner guarantees that nothing is missing.