Grip Equipment

Here is how this works in practice. Grip packages for Peruvian productions are built from the inventories of Lima-based rental houses — Audiovisual Project Perú, Filmtek Perú, Cinesphere Rentals, El Niño Rentals and Tondero Rentals — then trucked or air-freighted to the unit base wherever the schedule lands. Our rental team stocks C-stands with arms and knuckles, combo stands, apple boxes and sandbags in working quantities, with flags, nets and silks scaling from pocket sizes through 12x12 frames; 20x20 frames are ready but typically dictate truck size on Andean access roads, so we plan ahead.

Here is the short of it. Speed rail, scaffolding, pipe clamps and overhead rigging hardware support stage work in Lima and on-location overhead setups, and grip carts arrive labelled and pre-ordered so the Peruvian key grip can start working the moment the truck doors open at base camp.

Here is the breakdown. Peruvian locations push grip departments in specific ways. MovieBird or Pegasus crane work happens primarily in Lima studio environments — Chapman-Leonard dollies and high-end specialty cranes are rare in-country, so we set up imports through SUNAT carnet handling on productions that need them, planning lead time at quote stage. Sacred Valley exteriors above 2,800m demand altitude-aware crew scheduling because grip work at elevation slows down a lot, and wind off the Andean ridgelines turns large frames into sails the way Adriatic coastal shoots do.

Here is what that looks like on the ground. Choquequirao and Inca Trail work goes through SERNANP archaeological permits with strict volume limits, so we recommend mule-pack-compatible grip kits — pocket-size flags, lightweight C-stands, collapsible silks — over the full studio package. Lima-based key grips travel with the gear, expendables are stocked at depot for next-day resupply, and our coordinator stays on call through wrap.