Grips (IATSE Local 80)

Overview

The Grips, operating as IATSE Local 80, is the union representing key grips, best boy grips, dolly grips, rigging grips, and grip technicians working in motion picture and television production in the Los Angeles area. Founded in 1926, Local 80 covers the camera support and rigging department whose work enables every camera move, stabilized shot, and practical rigging requirement on a production.

The grip department works at the intersection of camera and lighting: grips build and operate the camera support equipment that the DP and camera operator use to execute shots, and they also rig lighting equipment (flags, diffusion, bounce materials) that shapes the quality and direction of light. The collaboration between the grip and electrical departments on set is one of the most constant and important working relationships in any camera department.

Key Grip and Dolly Grip Roles

The key grip is the department head, responsible for all camera support work on the production: cranes, jibs, dollies, Steadicam rigs (the physical dolly and fluid head, not the operation, which falls under Local 600), tracking vehicles, and any custom rigging required for complex shots. The key grip works directly with the DP and first AC to understand support requirements for each setup and plans the equipment package accordingly.

The dolly grip is one of the most specialized roles in the grip department, responsible for operating the camera dolly during tracking and dolly shots. Dolly operation requires precise physical control over dolly speed, direction, and height changes -- often in coordination with focus pullers adjusting focus during the same shot. Experienced dolly grips develop an intuitive sense for camera movement rhythm that makes their work an art in its own right.

The best boy grip manages the grip department's logistics: equipment orders, inventory tracking, crew roster, and coordination with the production office on grip department costs. The best boy mirrors the best boy electric's organizational role in the electrical department.

Rigging Grips

Rigging grips prepare locations in advance of the shooting unit's arrival, building scaffolding, rigging lighting positions, laying dolly track, and constructing any structural rigs required for complex setups. Their work enables the shooting unit to work efficiently without spending shooting time on complex setup construction. On large productions, a separate rigging key grip and rigging grip crew work ahead of the main unit throughout the shoot.

What Filmmakers Should Know

For directors and DPs planning complex camera moves, engaging the key grip in prep -- before the equipment package is locked -- allows experienced grips to propose solutions to movement challenges that the DP may not have considered. Key grips with long careers often have custom rigging solutions for common problems that save significant time and cost on set.

For producers, Local 80 rates by classification and the equipment costs of the grip package (dolly, track, crane, and associated equipment) are both significant below-the-line budget components that require careful planning.

See Also

For the electrical department that works alongside grips on set, see Studio Electrical Lighting Technicians (IATSE Local 728) in this directory. For the camera department the grip team supports, see International Cinematographers Guild (Local 600) in this directory.