11/12/2022 0 Comments Watch dubplate drama online![]() Calmness is contagious and it allows you and your team to work with clear heads. You need to address each shot, sequence, or scene on its own merit and when you are on set, time is precious.įilm sets can be high pressure environments. It’s vitally important that a gaffer absorbs that pressure, so their team can work unimpeded. What are the key qualities of a great gaffer?ĭedicate as much time as you can to planning and prep as it gives you more time on set to think. Sol Saihati working on a commercial in London Gaffers very rarely get to work closely with each other and it’s incredibly beneficial to watch other gaffers working at the top level. Each had their own very particular approaches and personal styles. I’ve been lucky enough to work with some of the top gaffers: Biggles Aldo Camilleri Wick Finch Reuben Garrett Ian Kincaid Andy Lowe Jeff Murrell Dan Riffel Pat Sweeny Lee Walters and Julian White. It had dedicated chapters on contemporary DPs like Seamus McGarvey BSC ASC, Harris Savides ASC, and Darius Khondji ASC FSC. There were very few books published specifically on lighting when I was starting out and Young Cinematographers was a huge release (2004). There were plenty of opportunities to try new ideas, meet new people and gain experience quickly. #Watch dubplate drama online how toIn the deep end of promos – learning how to work quickly and safely with chaos erupting all around us. On a commercial shoot in London with DP Rina Yang I hadn’t really worked in TV drama, but all of a sudden there was a swathe of new shows being made. The mid-budget films I had always wanted to work in have all but disappeared, replaced now by streaming television. The rise of streaming high-end television changed the face of the industry again. It suited me well, but the urge to work in film was still strong and I’d jump on dailies for other gaffers whenever I could. After a few years, I became a de-facto commercials gaffer. As the years went by waiting for the right long form projects, I worked more regularly in commercials and less in films and promos. I gravitated towards commercials – a friend Aldo Camilleri was making a name for himself there and we’d work together as often as possible. The face of that industry changed in the space of a few years. It was a terrible shock to many promo companies when their budgets halved and then halved again. In between films I’d work on promos and commercials, but then the promo market started to wane. More low budget films followed and soon I was making 3-4 films a year, mostly midnight movies and British gangster films. The crew was almost entirely composed of friends including Genki McClure, Luke Bryant, and James Friend BSC ASC. I don’t think it ever made it off of the editor’s shelf, but we enjoyed every minute making it. The first film I was offered was Game Over and I jumped at the chance. On Brave New World in Wales with Sunny Singh, Tom Guy and Neil Blackman #Watch dubplate drama online trialMusic promos and short films were the only real entry point for people looking for a start. Consecutive 16-hour days were spent scrambling around trying to light multiple sets at once – it was a real trial by fire, but good fun. Without industry connections, a career in film was a pipe dream. Seasoned professionals filled most positions and opportunities for newcomers were extremely rare. The early 2000s was a particularly quiet period for the British film industry and it tested my mettle. How did you first get started in the industry? You Will Meet a Tall Dark Stranger (2010) (Electrician) Selected filmography (as gaffer unless otherwise stated):Īvengers: Infinity War/Endgame (2018/19) (Electrician) ![]()
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