Key grip

Man, okay, so all these rigs are so cool.

But I gotta know, as a key grip, when you walk on set, what are you even in charge of exactly?

Dude, there's so many things.

But the two main things, camera support and shaping light, they're two totally different fields.

In Europe, you're just camera support, which... feel like a lot of people kind of see as a key

the the camera support thing i get but what do you mean shaping light isn't that the gaffer's job

that's usually what people assume but it's the way i explain it is the electricians put the light up it's the grip's job to shape that to the mood you know like if you want to put cutters or diffusion or Any way to manipulate light that's in the United States the key grips job and it's crazy the amount of gear that goes into that It's just such a variety of things, you know, like you have tons of diffusion frames and those go from like 18 by 24 tiny cutters to as Big as the imagination can be, you know,

and you guys have your own truck.

And so it's like, okay, right.

Maybe, you know, G&E teams are smaller and you just have like Gaffer and Keygrip and they each have assistance, but then maybe it's a chance for a best boy to then become a Gaffer

on other productions.

Exactly.

So a lot of that comes from maintaining the visual continuity, coming from you know, the crew that's that's there and hopefully you're working with the main main crew.

I had Gaffer, Manny Tapia, Key Grip, Ray Garcia, First AC Eric Yench were were incredible.

And so luckily the first week we were, you know, we were we were on overnights the whole first week doing the party scene from Robbers Party.

So, you know, everyone was incredibly tired, but like so good.