The “grip department” is the international term — particularly used on American productions and European co-productions — for the camera support and rigging department on a film shoot. In France, it is called the “équipe machinerie.” The terminology differs; the organization is largely identical.
This guide details the internal hierarchy of this department, the responsibilities of each position, the differences between French and American practices, and how a grip crew is assembled for a production.
How Is a Grip Department Organized?
The grip department is hierarchically structured, like most technical departments on a film set. The chain of command is clear: everyone knows who they report to and what they are responsible for.
The basic structure comprises four levels: the key grip at the top, the best boy grip as direct second-in-command, the dolly grips who operate the camera dollies, and the grips who handle all other rigging and support tasks. On smaller productions, some of these roles overlap. On large international productions, each position is distinct and specialized.
The scale of the production directly determines the organization. A short film can function with two people. An HBO series shoots with six to eight grips whose roles are clearly delineated.
What Is the Role of the Key Grip?
The key grip is the head of the department. Everything related to grip equipment — the gear, the crew, the rigging, safety — falls under their responsibility. They are the direct point of contact for the director of photography on all matters concerning camera movement.
Their concrete responsibilities: reading the script before the shoot to anticipate grip requirements, drawing up the complete equipment list, assembling the crew according to the production’s constraints, supervising all rigging on set, and personally operating equipment on the most complex or technically demanding shots.
“The key grip isn’t a manager who supervises from the sidelines. He’s in the shot, he operates the dolly on the important takes, he’s on the ground with his crew when the track is being laid.”
The key grip also bears personal liability in the event of an accident involving grip equipment. This potential criminal liability shapes every decision — no rig is signed off without the key grip having inspected it personally.
What Is the Role of the Best Boy Grip?
The best boy grip is the key grip’s direct second-in-command. The title — inherited from American terminology, with no official equivalent in many other languages — designates the number two of the department.
On set, the best boy handles operational coordination: organizing transport and loading of equipment, managing inventory and stock, overseeing equipment preparation between setups, and representing the key grip when the latter is busy operating a piece of equipment.
Off set, the best boy grip often manages the department’s administrative side: crew timesheets, equipment condition tracking, ordering missing accessories. On mid-sized productions, the best boy ensures organizational continuity when the key grip is entirely focused on a complex rig.
The transition to key grip often comes through the best boy position. Several years in this role provide a comprehensive view of the department — equipment, crew, logistics, relationship with the DP — that prepares one to assume the responsibilities of department head.
What Is the Role of the Dolly Grip?
The dolly grip is the specialist who operates the camera dollies. On productions where the key grip focuses on overall department coordination, it is the dolly grip who is at the controls of the Fisher 10 or the Chapman PeeWee during takes.
This is a specialty that demands particular precision. Reproducing exactly the same move take after take — same speed, same acceleration, same final position — is a skill that develops over years. An experienced dolly grip works from floor marks, tape marks on the track, and a muscle memory of the movement.
The coordination between the dolly grip and the camera operator is constant during a moving shot. The timing of the start, the speed, the accelerations and decelerations — everything is synchronized between the two. On American productions, the dolly grip communicates directly with the DP and camera operator via dedicated intercom systems.
The dolly grip also handles routine maintenance of the dollies between takes: lubrication, bearing checks, track cleaning. A dolly with under-lubricated bearings produces noise audible to the microphone and an irregularity visible on screen.
What Are the Roles of the Grips?
The grips are the versatile members of the department. Their responsibilities cover everything that the specialized positions do not handle directly.
On set: laying and striking dolly track, transporting and assembling crane components, setting up safety systems (sandbags, straps, shims under track), preparing transitions between configurations. Between takes: storing unused equipment, rapid repositioning for the next setup, cable management.
The grips are also the first to be mobilized when the schedule accelerates. A director who decides mid-day to add an unplanned tracking shot immediately puts the grips on a rapid setup. Working quickly and efficiently under pressure is a defining quality for this position.
On productions that involve heavy grip equipment (telescopic cranes, motorized platforms), some grips gradually specialize on these systems. It is a natural path toward greater responsibility.
What Are the Differences Between French and American Organization?
The differences are real but less significant than one might expect. In both systems, the hierarchy is identical: department head → second-in-command → specialized operators → versatile crew. The titles change, not the functions.
The main difference lies in the degree of specialization. On a large American production (studio feature, premium series), specialization runs deeper: there may be “condor grips” dedicated to large telescopic cranes, “rigging grips” specialized in permanent installations on built sets. In France, these specializations exist but are less formalized.
The other difference is union- and labor-related. In France, the grip department falls under the Convention Collective Nationale du Cinéma (CCNC), with specific pay scales by position. In the United States, the grip department is unionized under IATSE (International Alliance of Theatrical Stage Employees), with its own seniority and pay rules.
On Franco-American co-productions or international productions shooting in France, the two systems coexist. A French key grip working on a Netflix production brings their own practices, equipment, and references — but within a reporting framework that uses American terminology.
How Is a Grip Crew Assembled for a Production?
The crew is assembled during the prep phase, before the first shooting day. The key grip first determines the required crew size: how many grips based on the number of planned shots, the complexity of the movements, and the shooting pace.
Hiring works primarily through networks. A key grip builds their crew from people they have already worked with — whose skill level and instincts they know. On recurring productions (multi-season series, long-term partnerships with a producer), the crew often remains stable from one production to the next.
On productions that start early, calls sometimes go out several weeks before the shoot. Availability of strong candidates is not guaranteed — an experienced dolly grip is often booked weeks in advance during busy periods.
The grip budget includes crew salaries, equipment rental (if the key grip does not own their own inventory), transport, and a contingency reserve. On a 10-episode series, the grip line item can represent tens of thousands of euros.
What Is the Budget for a Grip Crew on a Professional Production?
The figures vary considerably depending on the type of production. To give realistic ballpark numbers:
A short film with two grips over 5 days represents a modest budget line — a few thousand euros including basic equipment. A cinema commercial with two shooting days and complex shots can mobilize 4 crew members and specialized equipment for a total of 15,000 to 30,000 euros. A fiction series on a premium platform like Netflix or Prime Video shot over several weeks can require a crew of 6 and a total grip budget exceeding 100,000 euros.
These figures include salaries per the CCNC, equipment rental or depreciation, transport, and prep and wrap days. They do not include specialty equipment (telescopic crane, Technocrane) which is budgeted separately.
“Grip is often under-budgeted at the start of a production. Production teams that are not used to working with high-end equipment systematically underestimate this line — until they realize what half a day lost due to inadequate gear actually costs.”
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FAQ
What is the difference between the grip department and the electric department?
The grip department is responsible for camera support and rigging (camera movement, dolly track, dollies, cranes). The electric department — headed by the gaffer — is responsible for lighting and power distribution. Both departments work in close coordination on set because camera movements and lighting are interdependent. On smaller productions, some tasks may overlap, but on large productions the separation is strict.
How many people are in the grip department on a Netflix series?
On a high-end Netflix series shot in France, the grip department typically comprises 5 to 7 people: 1 key grip, 1 best boy grip, 1 to 2 dolly grips, and 2 to 3 versatile grips. Specialist technicians may be added for specific sequences (telescopic crane operator, Steadicam specialist). The exact crew is determined during prep based on the shot list.
Does the grip department also handle Steadicam?
Steadicam is generally operated by a dedicated specialist (Steadicam operator) who may be integrated into the grip department or work as an independent contractor depending on the production. The grip department handles the fixed dolly equipment — track, cranes, dollies — while the Steadicam operator is responsible for their own rig. On set, both collaborate directly under the direction of the key grip and the DP.
How does one become a dolly grip?
One reaches the dolly grip position after several years as a versatile grip. The progression involves mastering dolly equipment (assembly, disassembly, maintenance) and gradually gaining the opportunity to operate in increasingly critical situations, under the supervision of the key grip or an experienced dolly grip. There is no formal training — it is a specialty acquired on the job, through repeated practice.
Is there a season for film grip work?
The film grip market has a pronounced seasonality. The busiest periods correspond to major fiction shoots (fall-winter for interiors, spring for exteriors) and advertising campaigns (year-end for holiday campaigns, early year for product launches). Summer is often quieter for features, but commercials and music videos can fill the schedule. Building a stable and loyal crew helps anticipate these fluctuations.