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In the U.S. and Canada, grips are lighting and rigging technicians in the filmmaking and video production industries. They constitute their own department on a film set and are directed by a key grip. Grips have two main functions. The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder. Some grips may specialize in operating camera dollies or camera cranes. The second main function of grips is to work closely with the electrical department to create lighting set-ups necessary for a shot under the direction of the director of photography.〔(Filmproductionroles.com )〕〔(Howtofilmschool.com, Working as a Key Grip: What Does a Key Grip Do?, November 22 )〕 In the UK, Australia and most parts of Europe, grips are not involved in lighting. In the "British System", adopted throughout Europe and the British Commonwealth (excluding Canada), a grip is solely responsible for camera mounting and support. The term "grip" is from the early era of the circus. From there it was used in vaudeville and then in today's film sound stages and sets. Some have suggested the name comes from the 1930s–40s slang term for a tool bag or "grip" that these technicians use to carry their tools. Another theory is that in the days of hand-cranked cameras, it was necessary for a few burly men to hang on to the tripod legs to stop excessive movement of the camera. These men became known as the "good grips"—as they were constantly being instructed to "keep a good grip on the tripod". US grips typically belong to the International Alliance of Theatrical Stage Employees (IATSE). Canadian grips may also belong to IATSE or to Canada's other professional trade unions including Toronto's Nabet 700, or Vancouver's ACFC. British grips usually belong to BECTU (Broadcasting Entertainment Cinematograph & Theatre Union).〔(Iatse767.org )〕 ==Lighting== On all union jobs, grips do not touch the lights themselves. The placement of lighting instruments and electric power distribution is handled by the electricians who work under a gaffer. Grips handle all the non-electrical equipment that modifies the light. This work is done by setting stands that hold flags, nets, diffusing materials or other gobos that control the quality, intensity, or shape of the light. Grips also set "passive fill" which is a term for the reflected light that is "bounced" back onto a subject on the fill or non-key light side. The first choice for most film-makers' fill is a product known in the US as beadboard and called "poly", short for polystyrene, in Europe. It is rigid insulation made for the construction trade, but was adopted to the film trade because of its "true-white" color and "soft" bounce. Grips may also be called on to set "negative fill", which is the reduction of ambient or non-directional light, such as ambient sunlight, to raise contrast on the subject. This is achieved by setting "solids", made of black fabric, either flags (up to 4' × 4') or rags (6' × 6' or larger) on the non-key light side or wherever the negative fill is desired. When shooting day exteriors, grips perform similar functions, but with the sun as the primary light source. Grips use overhead frames up to 20' × 20' or larger for the shaping or filtering of sunlight. The lighting set-ups for these exterior shots can become quite extensive, and the use of boom lifts (called "condors") is common. Condors are especially useful at night when they are rigged to raise lights or diffusing material (up to 120 feet in the air) to create moon-effect lighting. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Grip (job)」の詳細全文を読む スポンサード リンク
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