How to Build a G&E Package for a Florida Commercial Shoot
Before I load a single piece of gear, I've already built the package in my head. Location, time of day, interior or exterior, how many setups, what the DP wants to achieve — all of that shapes what goes on the truck. A G&E package isn't a fixed inventory. It's a decision.
Here's how I think through it, and what ends up in the package for a typical Florida commercial.
What "G&E Package" Actually Means
G&E stands for Grip and Electric — the two departments that handle everything related to light on a film or commercial set.
Electric covers the lights, power distribution, and cable. If it plugs in or makes light, that's electric.
Grip covers the support: stands, frames, diffusion, flags, negative fill, and anything that controls or shapes light without being a light itself.
A G&E package is the combined gear inventory that supports both departments. When a producer asks me to quote a G&E package, they're asking: what does it cost to have the right gear and the right people to light this thing properly?
How I Decide What to Pull
Every package starts with the same questions:
1. Where are we shooting?
Interior or exterior changes everything. Interior means I'm building light from scratch — I need enough output to fill a room, control spill, and not fight with practical sources. Exterior in Florida means I'm fighting the sun, so I need grip: 12x12 frames, solids, silks, maybe a 20x20 for a larger set. I'm shaping and subtracting light more than adding it.
2. What time of day?
Golden hour in Florida lasts about 20 minutes before it blows out. Midday is brutal — harsh shadows, squinting talent, and a color temperature that makes everything look clinical. I plan around this. If we're shooting outside at noon, the grip package gets heavy. Diffusion frames, bounce cards, negative fill panels. The lights become secondary.
3. What's the power situation?
On-location shoots in Florida often mean limited or no access to shore power. A 30-amp residential circuit isn't enough. I'll frequently spec a generator into the package — a 5.5K or 7.5K quiet Honda is standard for a mid-size commercial. If we're in a studio or commercial space with proper three-phase power, that changes what lights I can run.
4. How many setups are we hitting?
A single-location interview is a different animal than a six-setup commercial with exterior transitions. More setups mean more time spent moving gear, which means I need redundancy and speed. If I'm moving fast, I want fixtures I can reposition in under two minutes.
What Goes Into a Florida Commercial G&E Package
Here's a breakdown of what typically ends up on my truck for a commercial shoot here.
Lighting (Electric)
For a small corporate or interview shoot:
2–3 LED panel fixtures (Aputure 300x or similar)
1 small LED fresnel for accent/hair
A handful of practicals and battery lights
For a mid-size commercial:
2x Aputure 600D or equivalent (high output, daylight balanced for Florida sun)
1–2 smaller LED units for fill and backlight
HMI for exterior work if we're fighting direct sun hard
LED tube lights for practical enhancement
For a full spot with multiple locations:
1.2K HMI or larger if we need it to punch through direct Florida sun
High-output LED fresnels (Nanlux Evoke, Aputure 1200D range)
Full LED practicals kit
Color correction gels and diffusion rolls
Florida's outdoor intensity is real. I've had shoots where a 300-watt LED was useless at high noon. You either go big on output or you go heavy on grip and work with what the sky gives you. More on that in how I approach filming outdoors in Florida.
Grip Hardware
C-stands (minimum 6–8 for any real commercial)
4x4 and 2x4 flags, silks, solids
12x12 frame with solid and silk combo (essential for exterior work in Florida)
Sandbags — more than you think you need
Grip heads, arms, clamps
Baby plates, wall spreaders, speed rail if we're doing any overhead rigging
Electrical Distribution
100-amp distro box
Stingers (25ft and 50ft extensions)
Multi-box and four-ways
Generator — 5.5K or 7.5K Honda EU for quiet operation
Feeders if we're pulling from a panel
Expendables
I always keep a stock of expendables on the truck:
Duvetyne (black wrap)
Gels — CTO, CTB, diffusion in multiple stops
Gaffer tape, paper tape, spike tape
Clothespins (C47s)
Beeswax and grip clips
These aren't glamorous but they're the things you're screwed without.
Package Size by Shoot Scale
Here's a rough mapping of how I size packages:
Shoot TypeTruck SizeCorporate interview / talking head1-ton vanSmall commercial, 1–2 locations1-ton truckMid-size commercial, multiple setups2-ton truckFull spot, exterior + interior mix3-ton truck
For a deeper look at the truck size question specifically, I wrote a whole breakdown on 1-ton vs 2-ton grip trucks — that's worth reading before you budget anything.
What Producers Should Ask For (and Watch Out For)
When you're getting quotes for a G&E package, the number alone doesn't tell you much. Ask:
What lights are included? A quote with "LED lighting package" could mean cheap Amazon panels or professional Aputure fixtures. Matters a lot.
Is a generator included? If we're shooting on location in Florida, assume you need one unless you've confirmed otherwise.
What's the crew structure? A package without a gaffer and a best boy means someone is expected to set up all that gear themselves. That's a problem.
Is there a damage/loss clause? Know what you're on the hook for if something gets broken on set.
If you're trying to decide whether to rent a package separately vs. hire a gaffer who brings their own — I broke that down here: grip truck rental vs hiring a gaffer.
A Quick Example: A Three-Setup Commercial in Orlando
Last fall, I gaffed a two-day commercial for a local healthcare brand. Three setups: an exterior clinic entrance, a consultation room interior, and a product table-top. Here's what I pulled:
2x Aputure 600D (exterior and interior hero lights)
1x Aputure 300x (fill/accent)
12x12 frame with silk (clinic exterior)
Full C-stand package (8 stands)
5.5K Honda generator
100-amp distro
Full expendables kit
Total package: 2-ton truck. We moved fast. Three setups in two days with two electric and one key grip. That's a pretty standard mid-size Florida commercial footprint.
I Can Build the Package, Quote the Shoot, and Run the Set
If you're producing a commercial in Central Florida and need someone who can spec the G&E side, quote it accurately, and then actually execute it on the day — that's what I do. Check out my work or get in touch to talk through what your shoot needs.
No guesswork. I'll tell you exactly what gear your project calls for before we talk rates.