- Show up for check-out, or worse – the truck is transferred over to you from the previous show. Open the door to find everything in disarray. Curse the previous crew under your breath as you shift through all the special equipment that should have been taken off and is now taking up space and getting in your way.
- Arrive to set. Unload the center aisle of the grip truck and get ready for action. Attend the new deal.
- Meet with the Gaffer. This is your boss. Set up the lights needed for the scene.
- If electricity runs through it, you’re in charge of it. If anyone needs to plug something in, even the TAP monitor, they have to go through you. Make sure the lights are evenly distributed. Most circuits are 15 amps, some are 20. Do the math in your head and don’t blow a fuse. If you do, find the fuse box.
- If the lights are set up, see if the Key Grip needs help. The Gaffer, Key Grip, and Best Boy Electric (BBE) are basically a team to get the shot set up. You’re not in the union yet, you can touch a c-stand.
- Keep some lights and stands on standby, especially if the truck is far away. They won’t be used, but if you don’t have them set up someone will want them.
- Wrap equipment that’s not being used. It will give you something to do and save time at the end of the day, when you really want to leave.
- When the camera is wrapped, bring everything back to the truck and pack it up nicely. Drive back to the Film School. Repeat the following day.
Thesis films are over. And as far as film school films go, we've shot our last frame. Hopefully these won't be the last films we make. The realization that this was the end hit me when I was walking to the final location on my set. Perhaps that's why things dragged on...