Grip Services

Here is how this works in practice. Italian grip departments sit alongside the gaffer's electric team and are ordered under the capo macchinista — the key grip — with a custom that runs through Cinecittà's Teatro 5 era and the historic Italian studio system into the today's work shipped for Sorrentino, Garrone, Bellocchio, Sollima, and Guadagnino.

Here is the short of it. Our roster of key grips, best boy grips, dolly grips, and rigging grips draws on Roman houses including Panalight Roma, Cinegrip, Stop-Service, and Bartolini, with full packages covering Fisher 11 and Chapman Hybrid dollies and curved or straight track, Technocrane 50ft and Scorpio remote heads, Movietech and Edelkrone sliders, ARRI 290 and Matthews C-stands, Current Studio overhead frames, Matthews 12x12 and 20x20 silks and flags, plus the camera-car, low-loader, and Russian Arm rigs run by Action Group in Rome.

Here is the breakdown. Specialty grip work spans process trailers and low-loaders for vehicle dialogue scenes, greenscreen tracking-marker rigs at Cinecittà and Lumiq Studios in Turin, overhead truss installations for night-exterior butterfly frames, and the rain, wind, and snow effects packages routinely deployed on Mediterranean coastal and alpine shoots.

Here is what that looks like on the ground. Engagements start with a shotlist and storyboard review against the camera moves the DP and director have planned in pre-production, then move to crew sizing — typically a key grip plus best boy grip and one or two company grips for medium productions, scaling to dedicated dolly grip, rigging grip, crane technicians, and Russian Arm operators on tentpole features, period drama, and major commercial campaigns shooting at Cinecittà.

Here is how the picture comes together. Pre-production prep days run alongside the gaffer's lighting plot to set up flag and bounce coverage, overhead butterfly-frame rigging, dolly-track laying on heritage cobblestones and soundstage floors, camera-car cabling, and vehicle process-trailer setups across the soundstage or exterior location. All rigging work is performed against INAIL workplace-safety standards with certified rigging supervisors handling overhead truss, aerial-work, and harness installations, and crews operate under CCNL Cinema Audiovisivo terms with ENPALS inputs and full INAIL coverage attached to every contract.

Here is what we have to work with. The same teams are routinely cleared for MiC 40% Italian Cinema Plan productions shooting at Cinecittà and its Teatro 5, Lumiq Studios Turin, Mediaset Cologno Monzese, Rai facilities, and across regional Film Commission territories from Puglia and Sicilia to Piemonte, the Veneto, and the Dolomites.