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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.”
The gaffer, or ‘chief lighting technician’, is responsible for taking a lighting plan, as
envisioned by the director of photography, and bringing it to life.