From Author Ben Bryant’s film production book: Circumstances Beyond My Control

• Posted on 19th October 2015
• in Entertainment, entertainment books, Film Production, Hollywood books, Hollywood memoirs, TV Commercial Production
• by Ben

---

In my

film production book

Circumstances Beyond My Control I wrote descriptions of many of the crew categories one sees in the closing credits of a movie. These “departments”, as they are known, are delineated by skill-sets and very specific duties. Some categories  are completely self defining like Hair and Makeup. Others, like the Property Department, are not in that they have sub-categories: set decorators, prop makers, prop buyers, inside prop, outside prop all have different functions yet are included within the same department. Others, most notably the Grip Department, are so obscure that non-film people have no idea what these folks do.

“I have often said, not entirely in jest, that if I were ever stranded on a desert island (with a person who was not an attractive woman) I would want it to be a key grip. These are people who know how to get things done. Every day they are called upon to solve unforeseen problems and to satisfy unplanned impulses of directors, DPs and stars.

The Author (with walkie talkie) on Camera Platform built by Grips at Watkins Glen Track

“During my career in film production I became well acquainted with several Master Grips. They may be billed as “Key Grip”, “Rigging Foreman”, “Rigging Gaffer” or several other appellations but they are all masters of their craft. Unlike all the other technicians of a crew, grips are generalists. Their craft functions in support (primarily) of the camera, property and electrical departments but they have been known to build impromptu makeup and wardrobe cubicles, rig a stove for the caterer and once, in my own experience, deal with alligators … in a Louisiana swamp. That story comes a bit later. [In this case, a separate blog post.]

“… If you’ve ever stayed through the credits at a movie, you’ve noticed that there is a multitude of categories and units and specialties but since most of my producer/AD career was spent in commercials I’ll limit myself to that list which is similar but less multitudinous.

“The Second Assistant Director (2nd AD) is the assistant to the 1st AD and does pretty much whatever the 1st wants him or her to do (such as helping with scheduling, booking, etc., creating call sheets). They are also responsible for signing in and keeping track of the actors and extras (talent and background talent).

“The First Assistant Camera (1st AC or Focus Puller) is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the beginning of the day and taking it apart at the end. They also thread the film when a new magazine is loaded. The 2nd AC or loader obviously loads the camera magazines (mags). After exposure the loader then “cans out” which means he places the exposed film back into the light-tight cans for transport to the lab. They also often do the slating at the beginning (or end, tail slate) of each take. The 2nd AC is also in charge of keeping track of notes that record exposure, takes and any other info the lab needs for processing. Additionally, the 2nd AC oversees the organization of camera equipment and transport of the equipment from one shooting location to another.”

Read more about film crews and TV Commercial production.

Tags: Film Crews, First Assistant Director, Focus Puller, Key Grip, Watkins Glen