This video is sponsored by Nanite.
In this series I go behind the scenes and look at some of the different crew positions on movie sets
and what each of these jobs entails.
For anyone who would like to work in film,
knowing what is expected of your role is of course a given,
but having a basic understanding of the roles of other departments on set also comes in handy.
In this Crew Breakdown video I’ll go over the head of department position in the lighting department,
gaffer, to break down what they do, their average day on set and
some tips which they use to be the best in their field.
If you enjoy this video please give it a like or comment to help support the channel.
In film production the gaffer, sometimes referred to as the chief lighting technician,
is responsible for executing, and sometimes designing, a production’s lighting plan.
The word gaffer was derived from a hooked metal pole called a gaff
which was used to adjust stage lights.
The role and contribution of the cinematographer and the gaffer on set can be flexible.
On paper, the director of photography is responsible for the concept and
design of the lighting which they then delegate to
the gaffer who practically executes that plan with the electrical team.
The lighting department has a hierarchical setup. Since productions usually deal with truck loads of
lighting equipment, a full team is required to quickly move around and set up the gear.
The gaffer is at the top and consults directly with the DP.
They pass down instructions to their best boy electric,
second in command, who leads a team of sparks or electricians in setting up the lights.
A genny op is responsible for power generation and running cables to the various lighting fixtures.
As there are a variety of DPs with a variety of working styles, the manner
in which they navigate their relationship with their gaffer occurs on a spectrum.
Some DPs like to be very technical and specific about their setups. For example
they may ask their gaffer to put up an 18K HMI at a specific height and angle outside a window
bounced off an 8x8 half silk with a ¼ CTS gel frame a meter in front of the light.
Other DPs may be more conceptual about their lighting and ask their gaffer for a strong,
bounced source which is warmed up a bit
and then let their gaffer handle the specifics of executing the setup.
Most DPs are somewhere in the middle.
Gaffers require an extensive knowledge of film production lighting and electrical concepts.
They need to know everything: from being able to calculate the amount
of power generation required to run large lighting setups,
to having an in-depth knowledge of lighting fixtures available on the market as well as
an eye for using that technology to create specific qualities, strengths and shapes of light.
If you’d like to learn more about the different types of lights you
can check out a video I made on the subject.
Due to this required wealth of knowledge, some gaffers have been known to make the move up to DP.
For example, Erik Messerschmidt transitioned from working as Jeff Cronenweth’s gaffer on Gone Girl
to being cinematographer on David Fincher’s subsequent projects.
The lighting and grips departments have some overlap in their duties
which differs depending on the country.
In the ‘British System’, adopted across the UK, Europe and Commonwealth countries,
including South Africa where I work, the lighting department is responsible for
handling both the electrical equipment as well as the basic rigging of it
using stands, frames and tools for modifying and shaping light.
In the ‘US System’ the lighting department only handles the lights themselves
and the distribution of electrical power. The grips department sets up the stands, does the
rigging and handles equipment that modifies light, such as setting up flags or diffusion.
Many gaffers buy their own gear which they keep
in their lighting truck and then rent out to productions through their own company.
Any additional gear needed will then be acquired from a rental house.
Since we’re talking about lighting, this video is sponsored by Nanlite.
Nanlite
produces an affordable range of LED lights which you can use to elevate the look of your films.
When I work as a gaffer I like using their bi-colour monolight style Forza 300B and 60B
as strong, easily dimmable sources which can be powered off mains.
Another light I always carry with me is their pocket-sized LED,
the Litolight 5C. It’s great as an eyelight or for some quick RGB fill on the go.
Nanlite’s magnetic, battery powered Pavotube 6C is great to set up in the background of
a shot on any metal surface or if you need a different coloured effect light.
Nanlite offers a host of other LED lights as well as accessories, such as a softbox
and eggcrate for beautifully diffused light or a projector mount which can be used to achieve
textural lighting effects using different inserts.
Visit the link in my description for more on their broad range of LED products.
A gaffer’s job begins before they even step onto set.
In the build up to a job they will meet with the DP to determine their
vision for the lighting and come up with a plan.
They will assemble a gear list which falls within the production’s budget and organise a lighting
crew, with more or less members depending on the nature and complexity of the setups.
Sometimes locations will be pre-lit and sometimes they will be lit during the shooting day.
Pre-lighting means that the gaffer or best boy will supervise the rigging
and setup of lights at a location before the rest of the crew arrives.
This is done to save on setup time on the actual day of shooting.
Once all the lights are roughly in place, as per the gaffer’s instructions, the DP
will then bring in a camera and consult with the gaffer to do lighting tweaks.
This may include repositioning lights, adding negative fill, diffusion or practical fixtures.
These tweaks usually continue between different setups of a scene.
For example a light may be moved closer or refined for an actor’s close up.
When working on film, and sometimes with digital, the DP may ask for a strength of light as well as
a colour temperature. This is measured in kelvin, foot candles or in stops on a light meter.
For example, the DP may ask the gaffer to give them a key light with a stop of 5.6
at 500 ASA at 3,200K.
The gaffer must ensure that the lights that they hire have sufficient output to
achieve the DP’s desired strength of illumination.
For larger rigging or lighting setups the gaffer will consult with the key grip
to ensure the safe execution of those setups.
When a scene is completed, the electrical team will de-rig the lights
and begin setting up for the next scene. This is then repeated throughout the day.
Of the gaffers that I’ve observed, the most successful ones tend to stick to
hiring the same lighting crew from job to job.
Of course this rule isn’t set in stone, but
generally having a team of technicians that are familiar with each other
and a set style of working are able to deliver lighting setups quickly and efficiently.
Particularly on short form jobs like commercials
where the crew may only have a day to get used to a system of working.
Most teams work with coms and earpieces. The gaffer on set can then give instructions to his
team over radio to communicate effectively and make a request happen as quickly as possible.
Lighting crews may also stagger the position of themselves and the gear on the location.
For example, one spark may be at the lighting truck, making sure the gear there is organised.
Other sparks will be on standby
with gear which may potentially be requested just outside the location.
And the gaffer will be on the actual set within earshot of the DP,
ready to communicate any requests to his team.
As with any crew position, being proactive is encouraged.
For a gaffer this may include ‘offering something up’ or making creative or
technical suggestions to the DP which they may decide to go with.
To minimise setup time,
gaffers communicate the setups for the day to their team before they happen.
That way, gear that is not being used can be set up in the next location ahead of time
or begin getting packed away to cut down on wrap time at the end of the day.
When shooting exteriors, gaffers often use apps such as SunSeeker
or weather apps to try and predict where the sun will be during the day.
A gaffer glass, a high density UV inhibitor, is also used to look directly at the sun without
damaging the eye to determine its position and how it will travel through clouds.
Another old trick is to look at the reflection of the sun against
a reflective surface like a pair of sunglasses.
They then communicate this information to the DP,
for example saying that in about 5 minutes there will be full sun.
I hope you enjoyed this episode of crew breakdown and found it educational.
If you would like me to continue this series then please give the video a thumbs up.
Let me know in the comments what other crew jobs you’d like to see featured.
Until next time, thanks for watching and goodbye.