Moving Images, Understanding Media

Chapter 8 The Production Process 303

Th e lighting crew must know about all the types of

light units, which ones work well in particular situations,

how to set them, and how to shape and manipulate the light

they project. Gaff ers will instruct their teams to rig lights

using a variety of standing and hanging supports and to set

stands that hold various fl ags, nets, gels, refl ectors, and types

of diff usion. Th e electrical demands of lighting setups in

feature fi lms can be extensive, and the person in charge of

electricity is the best boy electric. Best boy electric is the fi rst

assistant to the gaff er and is in charge of power hookups and

supervision of electrical materials. Along with working out

electrical concerns, the electricians directly rig lights along

with their barn doors and scrims. Helping in the setting up

and preparation of stands for lights are grips.

The overall movement of materials on a film set,

including elements of the camera and lighting departments,

is generally the work of grips. Th e key grip joins the project

during pre-production to help with the preparatory work for

the shoot. Key grips oversee the implementation of all the

instructions of the gaff er and supervise the variety of tasks

in the grip department, which can include construction of

devices to help with any needs of the camera or lighting

departments. Th e best boy grip is the assistant to the key grip,

serving as a set foreman and overseeing the use of materials

that come off of and return to the grip truck. Th e dolly grip

is the member of the grip department who is in charge of all

camera moves, including tracks, wheeled dollies, and cranes.

Th e choreography of camera moves can require a great deal

of artistry, so the dolly grip must develop a strong sense of

rhythm and fl ow in the displacement of the camera.

When audiences consider safety on a fi lm set, the most

common issue they generally think about is stunt work.

However, safety is a constant concern with a wide range of activities on a

fi lm set. Th e amount of electricity needed for lights and the diffi cult location

conditions of some shoots can combine to form electrical situations that

demand serious professional oversight. Many light units and stands with

lighting materials are placed around a set, and it is imperative that the grips

set up equipment safely and sturdily. Sandbags are one of the most familiar

objects on a fi lm set.

Constructing Worlds for the Camera

Just as the cinematographer supervises everything that has to do with using

the camera and lighting the set, the production designer oversees the creation

or decoration of the settings of the movie, including all the visual details that

make up that world. Moreover, design has been part of the production process

for nearly as long as cinematography, starting with the groundbreaking work

Figure 8-17 Director of Photography

Kathleen Breeler and Director William Farley

near the camera on the set of Of Men and

Angels. In this shot, you can see metal barn

doors affi xed to the lights and diffusion held

in place in front of the units. (Photo by Gregg

Mancuso, Courtesy http://www.farleyfi lm.com)

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