About Me

​I’m Greg Chamberlain, a Key Grip based in Florida. I’ve worked on features, streaming series, TV shows, national commercials, concerts, conventions, and live events. Whether I’m pushing dolly, building a camera rig, or designing a safe way to hang something 40 feet up, I show up ready to work and figure it out.

I’ve spent years solving problems on set. From clean lighting setups on controlled stages to weird specialty rigs in swamps, rooftops, arenas, and warehouses. I’m comfortable working fast, adapting plans, and keeping things moving no matter what the day throws at us.
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If it needs to move, hang, slide, or fly—I can make it happen.

What I do

Key Grip Services

On-set leadership, lighting control, camera movement, safety.​

Rigging Services

Truss builds, motor control, softboxes, condors, and structural rig planning.​

Specialty Rigs

Car rigs, overhead shots, custom camera mounts, and one-off gags.​

Past Work

Full Resume

Edgewater Vs The World - EA Sports (Web Content) | Key Grip - Orlando | August 2024

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This EA Sports webseries followed Edgewater High School as they prepared to face the NFL Academy in London. I handled all specialty camera rigs—helmet cams, a squat bar rig (that got squatted with), and a custom setup on a five-man blocking sled.

I had about an hour per rig, working in brutal Florida heat and around the team’s strict practice schedule. Every second counted.

What I didn’t expect? These weren’t actors—they were fired-up athletes. When the linemen hit the sled, they launched the whole front end three feet into the air—rig and all. Scared the hell out of me. But I overbuilt it (like always), and the rig held. The shot was perfect.

"Bad Boys 4" (Feature Film) | "C" Camera Dolly Grip - Miami | February 2024

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Ride or Die, I worked as the C Camera Dolly Grip for the film's Miami unit—guiding the operator safely through tight hand-held and gimbal shots, all while navigating around gear, crew, and tight spaces on a docked floating barge. The whole setup was pretty wild—so cramped that one boom op actually fell into the water. Just another day on set.

When C Camera splintered off for second unit scenes inside a van, I was bumped up to 2nd Unit Key, handling rigging and lighting inside the vehicle.

Also nearly made it into the movie—when we were missing talent for an over-the-shoulder shot, I threw on the stand-in hat (my black wardrobe matched), but just as we were about to roll, the real actor walked in. Close call, solid laugh.

Tampa Bay Rays "Grit x Glow" (Commercial) | Key Grip | April 2024

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This fast-paced uniform reveal spot for Tampa Bay was a rigging-heavy dream gig. I designed and built several custom camera rigs—from three separate skateboard-mounted tracking rigs, to a moving Dana Dolly shot that counterweighted itself while pushing a probe lens through a spray paint can holder. We even rigged a camera to an actual spray can to get a POV shot as it tagged a wall. Every shot pushed the limits of creativity and physical rigging, requiring on-the-fly engineering and some out-of-the-box problem-solving. It was one of those sets where every setup was a new puzzle to crack—and I loved every second of it.

"WWE / Slim Jim" (Commercial) | Key Grip | March 2024

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The first WWE x Slim Jim commercial I worked on in Orlando was pure chaos—explosions, pyro, collapsing tables, and barely any safety protocols in place. To be clear: I was not the key grip on that shoot. I saw one operator get burned by pyro, another's only line of protection was a folding table.

When I got called to key the second one, I came in ready to run it tight. I designed the overhead lighting rig with pyrotechnics in mind. Everything double-secured, high-rated, and rigged to stay up in the event of an on-set blast. I brought Lexan shields for the cameras, ran fire-retardant wraps for all the operators, and anchored set pieces (like the door that gets kicked in) so things could fall safely without hitting anyone.

And I’m glad I did. One operator got blasted in the head by sparks and didn’t even realize until I showed him playback. Thanks to a proper plan, PPE, and redundancy built into everything, we got the job done and wrapped safely. It was still a wild ride—but this time, under control.