Tag Archives: gaffer
Hollywood Lighting Partners knows good lighting and camera work matter.
When producers put the money out to make a production they expect it to look right. That is where the team at Hollywood Lighting Partners can help your show out. Our crew has the experience to get the job done. Whether it is a conventional light 3 camera sit com show or an 11 camera dance show, our team can help you get it done and sent to the editors.
We have contacts all over Hollywood and can get you the gear you need for the required look of your show.
Tungsten, HMI, film, video, 4K, moving lights, LED or UV no problem. We have experience doing fashion, live performance and many comedy’s and dramas.
Shoot an email to Hollywood Lighting Partners at lightingpartners728@gmail.com and let’s talk.
Hollywood Lighting Partners shares with Long Beach City College Radio/TV
Hollywood Lighting Partner, Pete Pearce, has been teaching lighting at Long Beach City College in the Radio/TV Department since 2001.
Hollywood Lighting Partners uses soft lights: Briese, Rifa & Gemball
Hollywood Lighting Partners went nuts and used a combo of Briese Lights, Gemballs and Rifa lights for the backstage and behind the scenes shots for a model tv shoot.
“The quality of the soft lighting is awesome and compliments the beauty of the models that compete on this show. The look of the show is important to me as the executive producer knows quality lighting and her models deserve it” said gaffer and Hollywood Lighting Partners member Peter Pearce.
“It gets tricky sometimes as there are many things happening and cameras everywhere, but it’s a lot of fun and the whole team is awesome to work with. I love them and have gone to Germany 3 times to visit the TMT Lighting Team in Munich just to say hello and drink beers with them.”
Caleb Deshchanel and Colin Campbell discuss Hollywood
Hollywood Lighting Partners worked with cinematographer Caleb Deschanel and his gaffer Colin Campbell recently and thought these Hollywood cinema moments were worth capturing.
IATSE 728 Set Lighting Technicians at work.
Super-juicer candidates and IATSE 728 set lighting techs, Jorge Kunze and Seam Smith
stand ready to move gaffer, Colin Campbell’s light.
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.
Happy New Year from Hollywood Lighting Partners
The 1st lighting job for 2015 is a film by artist & LBCCMVP alumni Sanjin M called TETCHED.
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.