Interest: Physical

Dolly Grip

Reel Opportunities

Dolly Grip

What does a Dolly Grip do?

Dolly Grips are responsible for special equipment used on a film set, such as dollies (the wheeled platform which carries the camera and the camera operator), cranes or jibs (a boom device with a camera on one end, and a counterweight and camera controls on the other). They have the responsibility of taking care and operating this equipment.

The Dolly Grip builds the track and the dolly will go on top and help assemble the rig for it to properly ride. The Dolly Grip will ride on the dolly along with the Camera Operator to help get the track shots for the shoot. Along with the dolly they also help set-up and manage the crane and jib equipment depending on the production needs.

What's a Dolly Grip good at?
  • Knowledge of cameras and supports

    Understand the technical requirements of cameras and of the baseplates, dollies, cranes, and jib arms on which they are mounted

  • Specialized Knowledge

    Be trained and have experience operating and handling dollies cranes and jibs

  • Innovation

    Think quickly of practical solutions to problems, adapt equipment to particular environments

  • Lifting and Physical Fitness

    Know how to lift safely, and have the stamina

Who does a Dolly Grip work with?

The Dolly Grip will work closely with the Key Grip and the Best Person Grip. They work with the Key Grip to figure out the plans for the dolly and special equipment during the production. They work with the Best Person Grip during the day-to-day production. They will also work closely with the camera department when building and operating the special equipment.

How do I become a Dolly Grip?

Unlike many roles in film and television, there’s an established route to becoming a Grip. The best way to begin would be to contact your local IATSE union for trainee programs. They may be able to place you on a production willing to take on a Grip Trainee. After you’ve met the qualifications of a Grip, you can begin to apply for positions on unionized productions.
After becoming a Grip and gaining more experience on the production set, you should begin showing interest in special equipment. Take opportunities to work and learn the dolly and other equipment necessary for the role.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Learn More
Professional Organizations Associated With This Role

Each region of Canada has different professional organizations associated with jobs in films and television. Select your region for more information.

This position is represented by the following unions/guilds in your selected region.

Sorry, we couldn’t find a professional organization associated with this role in the region you selected.

IATSE 891
ICG 669
IATSE 295
IATSE 856
IATSE 873
IATSE 634
NABET 700
AQTIS 514 IATSE
IATSE 709
IATSE 849
Dolly Grip

Grip Department

A Dolly Grip works in the Grip Department

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Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Best Person Grip

Reel Opportunities

Best Person Grip

Also known as: Best Boys

What does a Best Person Grip do?

Best Persons (sometimes known as Best Boys) are second in charge and have a similar role to the Key Grip. They do all the paperwork. They liaise with the equipment rental companies, do the risk assessments, sort out contracts with the production team, and act as the go-between between the production office and the grip department.

While the Key Grip works with the Director of Photography and the Director to get the overall scope of the production, the Best Person does the day-to-day management. They create the schedules for the grip department, delegating the work for the production in accordance with the Key Grips plans. They also identify the needs of the crew and make sure everything is going according to plan.

They are the Key Grips right-hand and are responsible for making sure everything the Key Grip has planned out goes smoothly.

What's a Best Person Grip good at?
  • Knowledge of cameras and supports

    Understand the technical requirements of cameras and of the baseplates, dollies, cranes, and jib arms on which they are mounted

  • Leadership

    Motivate and communicate well with everyone throughout the project, take responsibility for decisions and outcomes, create a good working atmosphere

  • Organization

    Plan, prioritize, multitask and use your own initiative to manage schedule

  • Innovation

    Think quickly of practical solutions to problems, adapt equipment to particular environments

  • Communication

    Listen to the Director of Photography, be able to explain and share information with actors and the rest of the crew, especially when under pressure

  • Lifting

    Know how to lift safely, and have the stamina

Who does a Best Person Grip work with?

They work very closely with the Key Grip to help them achieve their plans for the production. They also work closely with the grip team to help schedule and manage the day-to-day task they will have to accomplish. The Best Person Grip will also be working with members of the production office such as the Production Manager, to make sure all the logistics are sorted out.

How do I become a Best Person Grip?

The best way to begin would be to contact your local IATSE union for trainee programs. They may be able to place you on a production willing to take on a Grip Trainee. After you’ve met the qualifications of a Grip, you can begin to apply for positions on unionized productions.

After being a grip for a number of productions and feeling confident in the field, you can use that experience to become a Best Person Grip.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Learn More
Professional Organizations Associated With This Role

Each region of Canada has different professional organizations associated with jobs in films and television. Select your region for more information.

This position is represented by the following unions/guilds in your selected region.

Sorry, we couldn’t find a professional organization associated with this role in the region you selected.

IATSE 891
ICG 669
IATSE 295
IATSE 856
IATSE 873
IATSE 634
NABET 700
AQTIS 514 IATSE
IATSE 709
IATSE 849
Best Person Grip

Grip Department

A Best Person Grip works in the Grip Department

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All Careers

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Key Grip

Reel Opportunities

Key Grip

What does a Key Grip do?

The Key Grip is the head of the grip department on a production. Key Grips have the same qualifications as Grips, but they are the ones in charge of all the grips working on the production.

Before filming starts, the Key Grip breaks down the script and works out (with the DoP and Director) what equipment will be needed to support the cameras for each scene. They make a list of any special equipment they may need and work with the production to get the best crew. They go on scouts to check out the location. If filming is taking place at a location with extreme climates, like the Sahara desert or the top of Mount Everest, they might need to adapt the equipment for the camera maneuvers.

Key Grips need to figure out how to correctly build the rigs and equipment so the rest of the team can execute the creative vision. They map all the supports for the lighting and camera departments to coincide with the plans created.

During production, the Key Grip will be in charge of the grip department and organize the construction or adjustments to any structure created. They do this with the help of the Best Person Grip, who manages the day-to-day tasks.

What's a Key Grip good at?
  • Knowledge of cameras and supports

    Understand the technical requirements of cameras and of the baseplates, dollies, cranes, and jib arms on which they are mounted

  • Leadership

    Motivate and communicate well with everyone throughout the project, take responsibility for decisions and outcomes, create a good working atmosphere

  • Innovation

    Think quickly of practical solutions to problems, adapt equipment to particular environments

  • Communication

    Listen to the Director of Photography, be able to explain and share information with actors and the rest of the crew, especially when under pressure

  • Lifting

    Know how to lift safely, and have the stamina

Who does a Key Grip work with?

The Key Grip will work very closely with the Grip Department. They also will work closely with the Director of Photography and the Director to work out the rigging plans for production. Along with the Director of Photography, they will also work alongside the Camera department and electrical department.

How do I become a Key Grip?

The best way to begin would be to contact your local IATSE union for trainee programs. They may be able to place you on a production willing to take on a Grip Trainee. After you’ve met the qualifications of a Grip, you can begin to apply for positions on unionized productions.

After being a grip for a number of productions and feeling confident in the field, you can use that experience to become a Best Person Grip. This is the second in command in the Grip department, before finally moving up to Key Grip.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Learn More
Professional Organizations Associated With This Role

Each region of Canada has different professional organizations associated with jobs in films and television. Select your region for more information.

This position is represented by the following unions/guilds in your selected region.

Sorry, we couldn’t find a professional organization associated with this role in the region you selected.

IATSE 891
ICG 669
IATSE 295
IATSE 856
IATSE 873
IATSE 634
NABET 700
AQTIS 514 IATSE
IATSE 709
IATSE 849
Key Grip

Grip Department

A Key Grip works in the Grip Department

You might also be interested in…
All Careers

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Motion Capture Technician

Reel Opportunities

Motion Capture Technician

Also known as: Mocap Tech

What does a Motion Capture Technician do?

Motion capture jobs, often shortened to Mocap, focus on using a special camera and set of tracking systems to record movement for later animation.

In the capture, cleanup, and processing of high-quality 3D motion capture data for both real-time in-game animation and pre-rendered cinematics, a Motion Capture Technician works closely with the Lead Animator and animation teams. Before, after, and during shooting, the Motion Capture Technician is in charge of setting up and maintaining the motion capture studio. During shots, Motion Capture Technicians will be in charge of running the capture station and ensuring high-quality marker tracking and motion capture.

When appropriate, the Motion Capture Technician can also provide direction, comments, and support to the performers on site. In preparation for the animation team, they’ll also be responsible for cleaning up the marker data and processing it using a custom pipeline. Mocap experts collaborate with the animation team to design, refine, and optimize the studio’s motion capture method and pipelines.

What's a Motion Capture Technician good at?
  • Being accurate

    Be methodical in your work, pay close attention to detail, have strong problem-solving skills

  • Technical knowledge of cameras and animation

    Have an in-depth understanding of all motion picture equipment, cameras, lenses, monitors, and lights

  • Understand the animation pipeline

    Know the process through which animation productions are made

  • Using software

    Use the data sharing application, be able to operate and maintain your data collecting equipment yourself

  • Being efficient

    Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks

  • Programming and coding skills

    Have knowledge of programming with a high level of technical ability

  • Communication and teamwork

    Communicate well with the other technicians, and animations artists, when necessary so that there is a cohesive and structured file storage system

  • Organization

    Be attentive to the detail of the files and data that you process and store, maintain a working system of file storage

  • Efficiency

    Work quickly and accurately, organize and prioritize your tasks

Who does a Motion Capture Technician work with?

Motion Capture Technician works closely with the Lead Animator and animation team. They communicate with all of the other departments in the animation company, as well as the talent. On set, they work with the Director and specialized camera team.

How do I become a Motion Capture Technician?

Like many roles in film and TV, there are many routes to becoming a Motion Capture Technician. From getting degrees, diplomas, certificates, internships, apprenticeships, or even freelancing and volunteer work, there is no standard recipe. Training on set is also a great route, and there are lots of ways to do it, both extended and short-term.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Learn More
Professional Organizations Associated With This Role

Each region of Canada has different professional organizations associated with jobs in films and television. Select your region for more information.

This position is represented by the following unions/guilds in your selected region.

Sorry, we couldn’t find a professional organization associated with this role in the region you selected.

IATSE 891
ICG 669
IATSE 295
IATSE 856
IATSE 873
IATSE 634
AQTIS 514 IATSE
IATSE 709
IATSE 849
Motion Capture Technician

Effects Department

A Motion Capture Technician works in the Effects Department

You might also be interested in…
All Careers

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Special FX Supervisor

Reel Opportunities

Special FX Supervisor

Also known as: SFX Coordinator, FX Coordinator

What does a Special FX Supervisor do?

Special effects (sometimes known as practical effects or SFX) are either manual or mechanical effects that are applied on set during production. Explosions, earthquakes, vehicle chases, animatronic dragons, and even atmospheric effects like fog and rain are now standard fare in any live-action feature picture.

The Special Effects Supervisor (also known as an SFX Supervisor or an SFX Coordinator) is in charge of a team of Special Effects Technicians who work together to create special effects. The SFX Supervisor is a senior-level professional in charge of ensuring that the effects are carried out efficiently and securely.

Early in pre-production, the SFX Supervisor reports directly to the Director and Producers to ensure that they grasp the Director’s vision for the effects. They also collaborate with Production Designers and Art Directors to iron out the finer points, such as how to attain specific appearances or what particular equipment they’ll need to construct. On-set special effects (SFX) or (SPFX) differ from those made in post-production, which are referred to as “visual effects” (VFX).

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What's a Special FX Supervisor good at?
  • Being accurate

    Be methodical in your work, pay close attention to detail, have strong problem-solving skills

  • Being efficient

    Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks

  • Familiarity with technical equipment

    From fog machines to high-tech prosthetics, SFX Supervisors are expected to understand, use, and even repair many complex pieces of equipment on set

  • Collaboration

    Work in pre-production with the director or producer to decide on which shots will need SFX work, respond to their creative and artistic direction

  • Leadership

    Share the Director or Producers’ vision of the film with the SFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines

Who does a Special FX Supervisor work with?

The Special FX Supervisor works closely with the director, producer, actors, and all of the special effects department.

Professional Organizations Associated With This Role

Each region of Canada has different professional organizations associated with jobs in films and television. Select your region for more information.

This position is represented by the following unions/guilds in your selected region.

Sorry, we couldn’t find a professional organization associated with this role in the region you selected.

IATSE 891
ICG 669
IATSE 295
IATSE 856
IATSE 873
IATSE 634
NABET 700
AQTIS 514 IATSE
IATSE 709
IATSE 849
Special FX Supervisor

Effects Department

A Special FX Supervisor works in the Effects Department

You might also be interested in…
All Careers

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Production Buyer

Also known as: Props Buyer, Buyer

What is a Production Buyer?
What does a Production Buyer do?

Production Buyers shop for the props and set dec needed for a production. They work closely with Set Decorators to source, for example, barbed wire, machetes, telephone kiosks and hotel luggage trollies; anything that’s needed for the action and look of a set. They mark up (make notes on) the script and make a list of all the props needed. After this list has been checked with the Set Decorator, they go to prop houses and book them.

The Buyers then write a detailed schedule of the props, working out dates and durations of hire to minimize costs, and confirming collection and return dates with the props master. They produce weekly budgets for the production accountant so that all spending can be closely monitored.

They are also responsible for the art department petty cash, which must be carefully monitored and reconciled at the end of each production. Production Buyers usually work on a freelance basis.

Learn More

What's a Production Buyer good at?
  • Knowledge of Prop Houses

    Have a wide network of useful contacts with prop houses, suppliers and specialist manufacturers

  • Organizing

    Schedule and manage a budget and keep track of the detail of many different sets at the same time

  • Resourcefulness

    Find cost-effective solutions

  • Communication

    Work closely with the set decorator, props master, accountant and props houses

  • Knowledge of period furniture and architecture:

    Have an interest in the creative side of set decorating

Who does a Production Buyer work with?

On large productions, a Production Buyer has an Assistant, an Assistant Buyer or Petty Cash Buyer, who helps with research, sourcing items, managing a petty cash float and listing all expenditures per set.

How do I become a Production Buyer?

There is no set route to being a buyer, but it’s helpful to have a background in art. Consider becoming an art trainee first and working your way up to working on a big budget feature film from there. This will help you make the contacts and build up the industry knowledge to get work in the art department of a film or TV drama.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Learn More
Professional Organizations Associated With This Role

Each region of Canada has different professional organizations associated with jobs in films and television. Select your region for more information.

This position is represented by the following unions/guilds in your selected region.

Sorry, we couldn’t find a professional organization associated with this role in the region you selected.

IATSE 891
ICG 669
IATSE 856
IATSE 873
NABET 700
AQTIS 514 IATSE

Art Department

A Production Buyer works in the Art Department

You might also be interested in…
All Careers

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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