Cinematography-Theory-And-Practice

ders,or the camera. Their tools for this are apple boxes, cribbing,step blocks, and wedges.cranes are theirs to set up and operate. This is especially criticalwhen a crane is the type that the DP and first AC ride on. Oncethey are seated, the crane grip then balances the crane by addingweights in the back so that the whole rig can be easily movedin any direction. Once this has been done, it is absolutely criticalthat no one step off the crane until the grips readjust thebalance. Stepping off would make the front too light and thecrane would shoot up, possibly injuring someone or damagingthe camera. Deaths from crane accidents are not uncommon;everyone must be on their toes and very focused when workingwith a crane.unusual spot, such as attached to the front of a roller coaster, upin a tree, and so on.essaryfor camera rigs or other purposes. They may assist thestunt men in building platforms, for the airbags or mounts forstunt equipment. Any other small construction project thatdoesn’t call for set builders is in their purview as well.safety on the set, outside of anything electrical.This is the system in the United States; in other countries it is handleddifferently — the primary difference being that the electricianshandle all lighting related issues such as nets and flags, and so on andthe grips are primarily responsible for dollys and cranes.Figure 15.17. Figuring out where topark the trucks is a big decision; youwant it as close to the set as possible,but out of sight so that it doesn’thave to be moved to accommodatean unexpected reverse angle.The rolling carts for C-stands, 4x4s,and heads makes it possible to keepthe key equipment mobile and asclose to the set as possible.set operations301