Grip Services

Here is how this works in practice. Grip work in Korea has its own working culture, shaped by the speed of K-drama production at The DMC hub and the camera-move ambition of CJ ENM features and Studio Dragon series. Our key grips lead teams that range from a tight three-person crew on commercials to full grip teams for feature shoots on stage at Paju Studio Cube and Namyangju Studio Tricky.

Here is the short of it. Gear packages are sourced through NAC Image, KW Studio and Hello Pictures Korea. Korean dolly tracks (Egripment Skater, Magnum, JL Fisher 10/11 where ready), Chapman cranes and jib arms for classic camera moves, Movi Pro and DJI Ronin 4D sleds for handheld stabilised work. Hot Gears and Black Arm process-trailer rigs for car-mount and car photography across Korean highways and the Han River bridges.

Here is the breakdown. Beyond camera support, grip teams shape light. C-stands, butterflies, overhead frames, silks and bounce, neg-fill and flag work are built around the gaffer's lighting design. Mostly against an ARRI SkyPanel, HMI and Aputure 600x package — with overhead truss and grid systems for stage installations and greenscreen rigs. Rigging crews hold the fitting KOSHA-aligned safety certifications for overhead work.

Here is what that looks like on the ground. Tech scouts have load planning, anchor points and access logistics for Korean locations from Bukchon hanok streets to remote Jeju coastal shoots. Crews are fully insured under Korean production liability and routinely working on K-content cash rebates-eligible shoots, setting up with electric, camera and SFX teams to keep both daylight and night-exterior shoots running on schedule.