Grip Equipment

Here is how this works in practice. We supply dollies, track, jib arms, cranes, stands, flags, rigging hardware and safety gear for shoots across Austria, drawing on the Vienna-centred rental market and studio facilities including Rosenhügel Filmstudios, one of Europe's oldest, Filmstadt Wien and Sievering Studios. Our team builds grip packages around each shoot's needs, whether that is a controlled stage build at a Vienna soundstage or a location rig in the Tyrolean Alps.

Here is the short of it. Larger specialty kit such as remote heads, technocranes and heavy camera-support hardware is routinely fly-in from Munich, ARRI's home city and a four-hour drive away, moving freely as Austria is in the EU single market. We set up delivery, set-up and a key grip crew familiar with Austrian sets so the camera department gets stable, repeatable moves from the first setup of the day.

Here is the breakdown. Austria's Central-European four-season climate shapes how grip gear is run on location: cold alpine winters with a December-to-March ski season mean rigging on snow and ice in Tyrol, Salzburg, Carinthia and Vorarlberg, where our team plans for frozen ground anchoring, condensation control and the Föhn warm dry alpine wind that can destabilise tall stands and overheads.

Here is what that looks like on the ground. High-altitude work along the Grossglockner High Alpine Road and around Sölden in the Ötztal — where James Bond Spectre staged its alpine shoot — calls for weighted rigging and weather-rated hardware. Gear moves freely within the EU with no carnet for intra-EU gear. Non-EU shoots clear ATA Carnets through Zollamt Österreich, with Vienna Global Airport the main cargo gateway and Munich and Zurich feeding shoots by road.

Grip gear carries EU-standard insurance cover. Crew work under the collective agreements of the Fachverband der Film- und Musikwirtschaft.