Hollywood Lighting Partners worked with cinematographer Caleb Deschanel and his gaffer Colin Campbell recently and thought these Hollywood cinema moments were worth capturing.
Category Archives: Lighting Facts
Hollywood Lighting Partners likes the latitude in HD
Hollywood Lighting Partners owner and Local 600 DP, Pete Pearce loves the technology that HD recording allows. “HD chips see so much that you really have to be careful when painting with light and creating the dramatic looks. The light ratios must be considered and light control diligently monitored” says Pete.
In the photo above, a 1000w stage work light illuminates the stage wall and some phone wires. You can see the range of contrast from the shape of the bulb in the lamp which normally would blow out and you can see much detail in this relatively low light situation which is maybe an 8 stop latitude or more. Also, the grainy look is what many video film makers are looking for to imitate the film look which can be achieved when tricking and stretching the limits of the HD cameras and their CMOS chips.
Hollywood Lighting Partners knows sometimes gripping ain’t easy.
Hollywood Lighting Partners knows to help control light properly you need the assistance of the Grip department.
Some gaffers really need to control the light, using every C-stand available thoroughly peeling the Grip department and lighting techs that need to get to the light.
Lighting tech Pete Pearce discovers ballast central.
Some shows have dimmer rooms. This new tv show has a room full of HMI ballasts. The grid in the bar has a ring of 4k’s around it that get turned on and off depending on the direction the camera is looking.
Hollywood Lighting Partners likes Mac Tech LED lights.
Hollywood Lighting Partners can report with 100% accuracy that the LED lights coming from the Mac Tech lighting company are punchy, light and so easy to use. Great control. Great lights.
Hollywood Lighting Partners shows our 2nd home, the truck.
Look familiar? Perhaps you are a Hollywood Lighting Partner or you might be an on set crew member. This is what our 2nd home looks like in the set lighting department. Last weekend we did a TV promo for a new show working out of this truck owned by awesome gaffer and local 728 brother, Scott Spencer. The truck has a roof that allows daylight to radiate into the box making things easier for us to do our thing.
Here at Hollywood Lighting Partners we like to shed some lite on the subject without making lite of the situation. Let us brighten your day.
Hollywood Lighting Partners knows lights and water don’t mix.
When lighting a pool or some event around water there are a number of reasons to be cautious. For example, water can conduct electricity so the possibility of shock is a big danger when electricity is introduced. Also when lights get wet they just don’t work unless designed specifically for water. Globes blow, fresnels break, wires arc, etc. The LED color blasters shown below were not too badly damaged when the splash from the high jump pool tried to drown them.
Remember electricity mixes with water about as well as oil.
Hollywood Lighting Partners promotes the Work Smarter Program and knows accidents happen but if you treat your gear right it will perform better with less headaches and people will be safer.
Hollywood Lighitng Partners thanks Mole Richardson Lighting
Lighting Hollywood for over 75 years. Thanks Peter Mole and original Mole Richardson team.
Hollywood Lighting Partners Socapex Breakout Number Chart
Socapex Breakout Numbering System
Rack 1:
A 1 1- 6
B 2 7 – 12
C 3 13 – 18
D 4 19 – 24
E 5 25 – 30
F 6 31 – 36
G 7 37 – 42
H 8 43 – 48
I 9 49 – 54
J 10 55 – 60
K 11 61 – 66
L 12 67 – 72
M 13 73 – 78
N 14 79 – 84
O 15 85 – 90
P 16 91 – 96
Rack 2:
Q 17 97 – 102
R 18 103 – 108
S 19 109 – 114
T 20 115 – 120
U 21 121 – 126
V 22 127 – 132
W 23 133 – 138
X 24 139 – 144
Y 25 145 – 150
Z 26 151 – 156
AA 27 157 – 162
BB 28 163 – 168
CC 29 169 – 174
DD 30 175 – 180
EE 31 181 – 186
FF 32 187 – 192
Rack 3:
GG 33 193 – 198
HH 34 199 – 204
II 35 205 – 210
JJ 36 211 – 216
KK 37 217 – 222
LL 38 223 – 228
MM 39 229 – 234
NN 40 235 – 240
OO 41 241 – 246
PP 42 247 – 252
QQ 43 253 – 258
RR 44 259 – 264
SS 45 265 – 270
TT 46 271 – 276
UU 47 277 – 282
VV 48 283 – 288
Rack 4:
WW 49 289 – 294
XX 50 295 – 300
YY 51 301 – 306
ZZ 52 307 – 312
AAA 53 313 – 318
BBB 54 319 – 324
CCC 55 325 – 330
DDD 56 331 – 336
EEE 57 337 – 342
FFF 58 343 – 348
GGG 59 349 – 354
HHH 60 355 – 360
III 61 361 – 366
JJJ 62 367 – 372
KKK 63 373 – 378
LLL 64 379 – 384
What is a GAFFER?
Lighting is one of the most important components to quality production. Without lighting all of television would just be radio.
Proper lighting completes a scene by enhancing the look of the scene and enabling the viewer to attach emotionally to what’s happening on the screen . Directors cannot always rely on natural lighting to accomplish their vision due to timing or elements so they create their own effects with the help of a gaffer and the lighting team in a more controlled environment.
Duties
In the entertainment industry the head of the electrical department is known as the chief lighting technician (CLT) or the gaffer. The gaffer answers to the Director of Photography (DP) or Lighting Director (LD), who helps interpret the director’s vision for the overall look of the project. Assisting the gaffer are the best boy electric (assistant CLT) and a crew of technicians generally called electricians, lamp operators or juicers.
The gaffer is tasked with designing the lighting plot for each shot of a film or TV show. (In some cases a lighting director may handle this duty on a television set.) The gaffer selects the proper instruments for each shot based on the environment, camera angles, desired effect, and available ambient lighting. The gaffer adjusts color temperature with the use of colored gels and manipulates the direction and intensity of light by using barn doors, flags, and reflectors. The set-up of all lighting instruments, cables, generators, and accessories is directed by the gaffer, supervised by the best boy, and carried out by the crew of electricians. During the filming of the scene the gaffer monitors the lighting conditions, while the electricians and grips are tasked with holding flags or reflectors and operating other lighting effects for complex shots such as action sequences. After the shot, the electricians tear down the gear and move on to set up the next one. As a department, the gaffer and electricians are responsible for the operation, maintenance, and repair of all electrical (not audio or camera) equipment on set. A gaffer will typically have his or her own truck stocked with a basic lighting kit, and will rent additional gear as needed.
Skills & Education
You are not expected to have a specific degree to become an electrician or gaffer, but you will need experience and training in film/TV production. A college education in this field is a great place to start to build your résumé and compile a demo reel of your work. Student films and independents are the best way to start learning the trade. Work in the electrical department requires knowledge of lighting equipment, electricity, and color theory. Courses in art, photography, and electrical engineering are helpful. Most electricians at all levels must become members of the International Alliance of Theatrical Stage Employees, the union that represents technicians in film, TV, and theater. IATSE offers an apprenticeship program to learn the craft, and requires members to complete specific training and safety courses.
What to Expect
To become a gaffer you will have to spend years working your way up the ladder. To get your foot in the door, look for opportunities as an intern with a production company or jobs as an on-set production assistant or PA. You will have to do a lot of grunt work before you land a slot in the electrical department, but once you prove that you are a hard worker and reliable, you will be given the chance to take on more responsibility. A good attitude and willingness to learn is key, and a sense of humor and lack of ego will help you fit in with the crew. Stress and long hours are part of the package. Cultivating a successful career in film/TV production takes commitment; results rarely come quickly, but a comfortable living can be made as a gaffer.