Screw clamp for securing lights and equipment to pipes, rigging, or edges. Standard C-clamps hold up to 25 kg; Cardellini clamps support up to 150 kg clamping force.
Standard C-clamps (screw clamps) grip pipe diameters from 13-48 mm with maximum holding forces up to 25 kg. Super clamps achieve load capacities of 50 kg and open up to 55 mm. Cardellini clamps use an eccentric lever mechanism that generates 150 kg of clamping force with a single hand movement. Baby clamps for lightweight LED panels weigh 180 g and hold up to 3 kg. Gaffer grips combine the clamp with a 15 cm articulated arm and 5/8" spud for small lights. Modern quick-release systems like the Manfrotto Super Clamp achieve tightening torques of 40 Nm through hardened steel jaws and trapezoidal threads.
The first film-specific clamp was developed in 1923 by Italian grip Antonio Cardellini for Cinecittà Studios in Rome. His patented lever clamp made it possible for the first time to attach heavy Fresnel lights to scaffolding without tools. In 1957, Matthews Studio Equipment introduced the standardized C-clamp with a 5/8" thread, which remains an industry standard to this day. In the 1980s, specialized mini clamps for ENG cameras emerged due to the miniaturization of video technology. Since 2010, CNC-milled aluminum clamps with quick-release mechanisms have dominated the market.
On "Blade Runner 2049," Cardellini clamps secured hundreds of LED strips to the skyscraper miniature models. Gaffer grips position eye-light LEDs with millimeter precision on the camera monitor. C-clamps attach bounce boards to combo stands for mobile fill light. In interior vehicle shots, baby clamps attach small LED panels to sun visors or door frames. The grip truck typically carries 50 different clamp variants, from micro clamps for smartphone lights to heavy-duty clamps for 10K tungsten spots.
Magic arms (articulated arm clamps) offer more flexibility than rigid C-clamps, but cost three times as much and weigh 800 g instead of 200 g. Suction cup systems replace clamps on smooth surfaces but fail at temperatures above 40°C. Magnetic clamps only adhere to ferrous metal and are limited to an 8 kg load capacity. Quick clamps reduce setup and breakdown times by 60% but achieve only 80% of the holding force of screw clamps. Tripod adapters replace clamps in static setups but require floor space and do not offer 360° mounting.
Ich verwende täglich mindestens zwanzig verschiedene Klemmen – von Baby-Clamps für meine Augenlicht-LEDs bis zu Super-Clamps für schwere Fresnel-Spots am Gerüst. Die richtige Klemme entscheidet oft über die Bildqualität, weil sie mir ermöglicht, Licht millimetergenau zu positionieren, wo Stative nie hinreichen würden. Bei Handheld-Sequenzen klemme ich kleine LED-Panels direkt an Türrahmen oder Möbel – das gibt mir die Lichtführung eines festen Sets bei maximaler Mobilität.
Klemmen sind mein unsichtbarer Verbündeter für atmosphärische Lichtakzente – ich kann spontan entscheiden, eine einzelne Praktical-Lampe hinter einem Schauspieler zu verstärken oder Streulicht in einen dunklen Raumwinkel zu setzen. Während der Probe sehe ich oft, dass eine bestimmte Gesichtspartie im Schatten verschwindet – dann lasse ich sofort eine kleine LED-Einheit anklemmen, ohne das komplette Licht-Setup zu ändern. Diese Flexibilität rettet mir täglich kostbare Drehtage.
Eine komplette Klemmen-Ausstattung kostet 8.000 Euro, spart aber pro Drehtag mindestens zwei Stunden Setup-Zeit gegenüber reinen Stativ-Lösungen – das entspricht 1.200 Euro Personalkosten täglich. Gute Klemmen halten zehn Jahre bei intensivem Einsatz, während billige Alternativen nach sechs Monaten brechen und dann Drehpausen durch Equipment-Ausfall verursachen. Ich kalkuliere grundsätzlich 15% des Grip-Budgets nur für Klemm-Equipment ein.
1. Zu welchem Department gehört „Klemme"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.