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This was before I had a solid idea of what I wanted my FMP to be as I was quite lost on what to focus on. Rather than doing nothing I did some basic research into the gaffers job as well as light itself.

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I went back to the most basic of light/ shadow as a way to truly understand the art and basic principles behind the more complex theories

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I tried to focuse on things I felt I didn't quite understand from the cinematography module

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Fmp= I want to create a highly stylised short film with lighting

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Fmp= I want to create a highly stylised short film with lighting

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What I need to be able to do that

1.) Understand the basics of a gaffer

2.) Test out different techniques

3.) Work on general skills

4.) Create a professional routine

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From these major goals I set a few smaller goals to aim for to best prepare for my FMP 

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From these major goals I set a few smaller goals to aim for to best prepare for my FMP 

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List of Microprojects I came up with from the list of mini Goals

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List of Microprojects I came up with from the list of mini Goals

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Notes were made from set lighting technicians handbook by Harry c. Box and lighting for television & film by Gerald Millerson respectively

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Due to filming, I had very little time to practice or research beforehand so I used this opportunity to do brief research on common problems on set as well as basic routines both in pre and production as to implement the steps during the weekends filming.

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Blink- A short film created in 48 hours 

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Blink- A short film created in 48 hours 

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Helped me to work towards goal 1 and 3 as I was working closely with Blake the director and Jake the DoP to light their vison as well as sorting lighting problems before the rest of the crew noticed. It also gave me a good idea of which areas need more practice.

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Due to not checking with Blake I hadn’t lit the room for the Abbie’s on the right during the final scene and are thus under exposed.

Loved the effect of swinging the light around with a colour gel on- could of been improved with more vibrant gel

Lighting in the opening scene felt flat

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Though Lilly and Ben went into the shoot with the main purpose of testing the Arri and the Black magic against each other, I always new the Arri was far too complicated for what I wanted to achieve in my FMP and thus I focused on the use of gels during the shoot. From the contrast between different colours to how quickly a more vibrant gel would warp under the lights pretty much affirming my research. I also used this time to play around with using a light sensor.

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Need to work on basic problem solving on set- for example how to dim shadows without a backlight

Need to do more in-depth light sensor research

Research helped in explaining why gels warp and I made sure to keep colour temp consistent= consistent colour

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I also read through both mine and Lilly's notes on the subject from last years cinematography module. In the end this was a bit of a pointless endeavour as Matt dose not think it will be helpful in the future.

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That said when we got to the baths, the windows in the room gave so much light to the space that no extra lights were needed. In addison The reflector was no help due to how wide most of the shots were as I would of had to have Lily hold the reflector under her chin possibly submerging it into the water as well as limiting Ben in his directing and Jake in his cinematography.

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Peer Feedback from Blink and suggestions too look into from presenting

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Peer Feedback from Blink and suggestions too look into from presenting

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Pinterest boards I made from Steven and Lilly's suggestions

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Pinterest boards I made from Steven and Lilly's suggestions

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I particularly liked this video on Robert Dickens Cove lighting and would like to test it out.

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How To Use The "Cove" Light For Natural Looking Cinematic Lighting

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Also recommended by Matt to get me used and prepared to light in a whole variety of different times and places. This will require a lot of research before I begin to test

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Different case studies I worked on while recoving 

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Different case studies I worked on while recoving 

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This page includes:

interview lighting

Lighting night

Window tips for shooting day for night

window tips for shooting interior

A breakdown in the diffrences in light types

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Different case studies I worked on while recoving 

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Different case studies I worked on while recoving 

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This page includes:

The rest of the breakdown of light types,

Practical and motivated lighting,

Notes on my next move,

Notes from lecture and the BRB meeting with Shaun

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It was during this lecture that I realised it would be much more beneficial for me to focuse on working on a range of different FMP's rather than trying to create 1 short film of my own.

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Fmp= Preparing to be a professional gaffer

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Fmp= Preparing to be a professional gaffer

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What I need to be able to do that=

1.)Work on set problem solving

2.) Test out different techniques

3.) Work in difficult but common environments a gaffer may find themselves in

4.)Where do I get work??

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During the tail end of this session I spoke to Jake and Nathaniel about they're FMP's and created a small mood board inspired by the type of lighting and shots they were after. I also spoke to Steve to make sure my work was still on track. I also asked Kai if I would be able to join in on one of his studio sessions just to keep building my skills. I am planning on booking a studio and test out some Chiaroscuro techniques. I did pop into the curzon libary to do some research but the books were mainly on theory and context behind the style.

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My microproject during this shoot was:

Working closely with a DOP,

Blocking lighting with camera and action in mind,

Problem solving,

Using new lights- utilising research of the difference between different types,

Thinking on my feet and sorting issues before they arise.

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Booking constraints allowed us 30 minutes of blocking before we got access to equipment which really helped give me time to plan where each light should be during each shot in order to not block action or the camera.

A main problem I had was with the daylight Lupolux HIM 800 Lamps. I had forgotten my heat gloves which made handling the HIM lamps much harder (they heat up very very fast). The lamps did have a built in dimmer… but it wasn’t very good- would bring the light source 10cm closer or further from the glass. I also didn't figure out until the last half an hour that the lights needed time to heat up before producing any light and thus I had been stuck using just one light rather than the 3 I had planned.

The window being dark- creates the feeling of night. If I had an extra light I would shoot it through window just so it wasn’t dark or perhaps blocked the windows with furniture

I used a C-stand rather than the actual kit light stand. This was due to the stand being flimsy and thus unable to hold the light up high. Thus the extra weight and stability of the C-stand allowed me extra height perfect for the office scene.

I also used tracing paper to diffuse the light and a thin metal plate to block the light from certain parts of the frame giving me control over the shadow

Due to the actual light output, I was unable to bounce the light as it wasn’t strong enough. Thus my main goal was to lit the whole set rather than the action or aesthetics. I avoided lighting upstage due to how flat it makes the frame. Thus I angled the light from the sides as much as I could. I also tried to limit the shadows as much as possible using an actor to block/ hide the other actors shadow on the wall next to them.

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This section is best viewed in the powerpoint

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Microprojects:

Practice shots for Jakes FMP,

Creating Venetian blinds,

Does Tungsten or Daylight colour temp effect what lighting looks like in black and white.

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The main shot I was worried about lighting was a shot through the door frame capturing a women in bed with the only light being that coming through the door. The issue is with this being a location shoot, Will have to double bin bag the window to cut light and move bed. Might also be worth creating a fake doorway to avoid fluorescent hallway lights.

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The first task of the shoot was to create some shots that Jake wanted to use for his FMP. We mainly focused on the shot through the door as well as a more simple close up with a small sliver of light on the subjects face. We were also able to talk about other shots that might be quite difficult (a inertia car shot) and start brainstorming solution and ways to make the lighting consistent between studio the and location.

In terms of the Venetian blinds, I am going to purchase two cheap blinds and have them over both studio windows. Or worst case the day before the shoot create a cardboard version of the plastic bags but this time spending more time on each line to make sure they're straight. Furthermore, recruit the help of art director (Lilly) to help me evenly place them over the windows with a ruler to make sure they're distributed correctly.

After some basic googling, I would have to match the lights colour temperature to that of the film Jake chooses to shoot on which is something I can easily work with. Furthermore, The experiment between lighting in cool and warmth gave me the confidence that in a simple completely black and white layer the difference between the two is barely noticeable (this wouldn't be the case if the levels of saturation on the different colours were changed during editing which is something I will bring up in pre-shooting meetings for the FMPs I'm working on).

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I tried looking through Mandy to become more familiar with how the website works. I also joined a range of different but relevant Facebook groups (as this is how I've gotten previous unpaid gaffer jobs) as well as subreddits on redit as that was something someone recommended.

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I've begun to ask old groups that I've worked in if I would be able to included section of our work in my showreel I'm just waiting to hear back about permissions before I begin to create my showreel. At the minute my best gaffer work is probably on "Closing in" and "PSA" so that's my main goal as well as getting in touch with Luke from Rocking Horse who I worked with in lighting a pilot of a show in Wales

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Microprojects:

problem solving (specifically creating a warm circular glow from Lilly's chest),

Using different lights (keno and small LED).

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In terms of using a range of different lights I was able to use 3 completely new lights during the shoot. I was able to figure out how to set up and adjust a KENO light and eve use it as a key light for some of the earlier shots. I was also able to use a new LED light. This worked great for me apart from changing the colour temp as I couldn’t figure out where it was (something I will definitely research). With shooting in studio A I was able to experiment with the built in lights and lighting desk as that’s how I’m planning on lighting Jake’s large dance number in his FMP.

I was also able to solve a major issue before we got to set. This was with a specific effect Lilly wanted to create and originally was going to book out a Dedo for. After a brief talk I directed her towards a smaller battery powered LED that I figured we could attach to Lilly to give her more movement. In the end tho, Lilly ended up holding the light behind her side as the system was a bit too heavy to tape to her without it falling.

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Microprojects:

Problem solving/ adjusting,

Teaching someone else the basics of lighting (Liam),

FMP practice,

Chiaroscuro style on location rather than studio.

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I loved working on Nathaniel's set however it was very unorganised. Originally we were going to film on set with the equipment planned for the FMP scene. However due to booking conflictions we were unable to book the studio or a camera leaving just the lights correct. This required a lot of adjusting from mine and Lilly's point of view as I had to create the light in a way that it was coming in through a window without any windows, and Lilly had to try and recreate the room layout to match the set. In the end I did create a semi conving beam of light by closing and directing the barndoors as much as possible though I would of much preferred seeing the effect from the actual window with the proper blinds in place.

Carrying on, I also had to create the Chiaroscuro style on location rather than set which is much harder as you don't have complete control over the lighting and something I had been dreading since I heard of the change. Thankfully it was late at night so I didn't have to bin bag the window doors and was able to turn off all the artificial lights though some light did seep through (next time I'm just gonna bag them to be sure). Thus rather than blacking out the room I took an opposite approach and used the small LED light to give the whole room ambient light and use the key/ back lights to create extra shadows on the face of the officer and behind the criminal to mimic as best as possible the lighting of the final scene.

I also took this opportunity to run through some basics with Liam as that was something we had discussed we wanted to do at some point so he had a better idea of my job when working on his FMP. He was a great sparky and I think I explained things well enough that he understood or at least he didn't ask questions and the ones he did I answered.

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Brief reflective wrap up of my micro-projects

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Brief reflective wrap up of my micro-projects