You needn’t be a sparkie to work as a gaffer, but a strong understanding of electrical equipment is vital. Joe Young finds out more about the film industry from two gaffers.

Creating lighting for the film industry can be a thankless job.

Get it perfect and no one bats an eyelid; get it wrong and you will have a whole crew of people breathing down your neck.

Despite the high pressure and long hours, gaffers perform a role many electricians are envious of due to the excitement the industry generates.

The gaffer, sometimes going by the fancier title of chief lighting technician, is responsible for taking a lighting plan, as envisioned by the director of photography (DOP), and bringing it to life. This means managing a truckload of lighting and power equipment, understanding electrical devices, overseeing a team and often using a bit of creativity.

Con Mansuco grew up down the road from an independent theatre in Coburg, a suburb in Melbourne’s inner north.

“I used to go there all the time to watch movies, and I developed a fascination for the making of film – from lighting and sound production to how the projector worked,” he says.

When Con was 14 he followed his brother’s rock ‘n’ roll band on tour and helped out where he could. It’s how he initially got into lighting. This led to him setting up and operating lighting for a number of rock bands on tour.

Then in 1986 he stumbled upon a newspaper ad for a job as a technical assistant at Channel 7.

After some time at Channel 7, the 18-year-old Con was asked to go to Queensland to work on the US TV series Mission Impossible.

He found the prospect daunting but exciting.

Now, after 30 years in the industry, Con has built an impressive CV. His freelance business, Film Electrix, is well respected in the Australian film industry.

At 24 he tried to get his electrical licence, but at the time he was considered too old for the apprenticeship scheme.

“A strong understanding of electrical power and of how to balance a generator is highly beneficial. A big advantage of having electricians on set is that you can have things repaired on site.”

Con says a good eye for lighting is crucial when creating the environment the DOP is after.

“It’s one thing for DOPs to know what they want, but it’s another thing to achieve it. That’s where we come in, and it’s where a gaffer needs to be creative.

“When I was young my dad bought a video camera. Shooting videos on holiday made me realise I had a creative side, which added to my interest in the film industry. A great thing about the job is being surrounded by wonderfully creative people who are producing something new.”

The DOP generally designs the lighting plan, but they often look to the gaffer for advice on what would work best.

Jobs in the film industry are highly sought after, and the role of gaffer is no exception. Most gaffers work freelance and have to ‘do their time’ to become established.

“When big US productions come to town, it’s a great time to get in because they employ a large number of people,” Con says.

“You generally have to start as an assistant on set then work your way up, teaming with as many gaffers as you can to learn the craft and become capable and efficient. Then you will be ready when an opportunity comes along.

“When I started at Crawford Productions I was a transport driver, then I became a runner, then an assistant to a grip and eventually a gaffer.”

Thom Holt of 3 Point Lighting also became a gaffer in the 1980s, although he worked in HVAC for eight years before moving into the film industry.

“In 1985, a mate who works in film lighting had just started his own lighting truck business and invited me to have a look at what he was doing.

“Early in 1986 I went with him to some TV commercial jobs – no pay, just to learn the ropes. Five months later a big car commercial needed lighting staff and that was my first paid gig.”

Thom didn’t set out to be a gaffer and admits to being a bit jaded while changing over to the role. But once on his feet he never looked back and found his previous experience in HVAC to be a big help.

“Being able to work with, understand and manage electrical equipment, systems and power infrastructure is highly valuable. Lighting is not just about pointing lights around; it’s about the power supply and infrastructure that supports a film set.

“You also need to have some understanding of cinematography, cameras, lenses and how light reacts in different situations. You must know how to use light – manipulate and control it – and how that relates to the camera.”

Thom says a typical day as a gaffer involves a meeting with the DOP to put a basic lighting and power plan into place, while the lighting team is unloading equipment and setting it up.

“When the actors are rehearsing in the space, the team fine-tunes the lighting. You should get information from the DOP for the next shots and angles so you can start to prepare for the next moves. The challenge is to get ahead but remain flexible, because it’s a creative environment and things are always changing.”

Due to the constant changing, efficiency and safety are crucial.

“When changing locations five times a day, the time pressure is on and logistical management is paramount,” Thom says.

“Then there’s team management – knowing your team’s skills and getting the job done on time. Then when the director calls ‘wrap’, you pack it all up and put it all back in the truck.”

Thom says the volatile industry requires a big financial commitment.

“If you like reliability and security, it’s probably not the game for you. On the other hand, you end up in a lot of different places, working with a lot of weird and wonderful people. That is hugely rewarding and enriching, more so than most jobs I’ve seen.

“I’ve had a lot of fun moments along the way. I worked with Buzz Aldrin and I’ve worked on Lord of the Rings and on Robinson Crusoe in New Guinea.

“I’ve had the privilege of working with many great people, and that’s the best reward.”