grip to DP
Posted 08 February 2007 - 02:39 AM
The age of the grip is upon us. Grip it.
Posted 08 February 2007 - 02:44 AM
I've seen a lot grips get into camera operating but not so much DPing. I think it may because a lot of the grips I know work closer with the camera operator and the gaffer closer with the DP. Not totally sure tho, just my wild guess. Glen Winter, smallville's DP was a grip before he was a DP. But he's the only one I know.
Edited by Chayse Irvin, 08 February 2007 - 02:44 AM.
Posted 08 February 2007 - 11:03 PM
But even as a 2nd AC I am not on set for all of the shooting and neither are most of the grip/electrics when the camera rolls.
Posted 09 February 2007 - 08:39 AM
That being said anything is possible in this business.
I've seen PA's become colourists, for example.
If it feels right for you then go that way.
Posted 09 February 2007 - 10:27 AM
Posted 10 February 2007 - 12:33 PM
It can be done, and there's no reason an intelligent person couldn't learn more about the process while being a grip, because lights have to be controlled after they're turned on. (I'm often struck by the way gaffers and DPs overlook the grip aspect of lighting, putting lights right on the edge of frame, etc.) In my limited DP experience, I find my grip experience really helps. If I design a lighting setup, I always envision the flags that go w/ the lights, so I'm sort of eliminating a step. If I'm lucky enough to have someone prerig a backlight, for example, the teaser is part of the package. The experience also comes in handy when planning for dollies and jibs, and lifts, and gelling windows, and so on ...
That said, grips are definitely lower on the food chain than gaffers or camera assistants. There's a lot of dirty manual labor involved. If you say grip to a producer, it's very likely he will imagine some dumb guy schleppiing sandbags around the stage. It's not really the image of a Cinematographer, and it's very tough to break the stereotype.
Posted 10 February 2007 - 05:54 PM
Posted 10 February 2007 - 07:43 PM
my tow cents of euros
Posted 10 February 2007 - 07:53 PM
Posted 10 February 2007 - 08:01 PM
Posted 10 February 2007 - 10:12 PM
Posted 11 February 2007 - 04:01 PM
The wrong light in the wrong place always requires a lot of shaping, and a light on the edge of frame is often the nemesis of an operator. There is no right way to learn this craft. We all come up our own way. When I pushed dolly I thought that it was the best seat in the house. As an operator I said the same thing. Getting to work with other accomplished craftspeople has taought me a great deal. But when it comes down to it sitting in the big chair teaches you more than anything else. Having wide experience allows you to draw from other people's tricks and apply them to your shoot.