It is rigid insulation made for the construction trade, but was adopted by the film trade because of its "true-white" color and "soft" bounce. 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. 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. 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 handle all the non-electrical equipment that modifies the light. The placement of lighting instruments and electric power distribution is handled by the electricians who work under a gaffer. On all union jobs, grips do not touch the lights themselves. The equipment can be as basic as a tripod standing on a studio floor, to hazardous operations such as mounting a camera on a 100 ft crane, or hanging it from a helicopter swooping above a mountain range. Grips assemble this equipment according to meticulous specifications and push, pull, mount or hang it from a variety of settings. Every scene in a feature film is shot using one or more cameras, each mounted on highly complex, extremely expensive, heavy duty equipment. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts requiring a high level of experience to operate and move. Grips' responsibility is to build and maintain all the equipment that supports cameras. The second function 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. Some grips may specialize in operating camera dollies or camera cranes. 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. They constitute their own department on a film set and are directed by a key grip. In the United States, Canada and the United Kingdom, grips are camera support equipment technicians in the filmmaking and video production industries.
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