No disrespect any gaffer
I have my ideas about what makes a good gaffer. I have worked with some great ones and have worked with some bad ones. I strive to make myself a great gaffer and to improve on every shoot. I read AC religiously.
I think that a great gaffer needs to develop a great eye and be very good in dealing with people, on and off the set.
Because I work with a different out of town DP almost every time I work, I am curious about what DPs on this list believe are the ideal qualities of a great gaffer. I often get feedback when I f**k up (everyone does) or when I could have done things better or when I ask specific questions. I get lots of "attaboys" at the wrap party...
But what are the key things you look for?
Psychic ability? Lighting? Speed? Quality? Poop deflector? Information conduit?
I'm just curious... and yes, I have some interviews coming soon !
No disrespect any gaffer, but I want to share my experience. In those days when I was assisting in commercials one of the Director/DP always hired me as his assistant because he knows that though I was assisting, I am capable of shooting that job. So, he always tells me what kind of finished product he is expecting out of that shoot and lights the set with the gaffer and lets me take the reading and set the exposure including at times setting up the Camera position. He always told me that helps him to concentrate more on direction since I am there to take care of these things.
But one of the Gaffers we worked with, did not like that at all. Once we had 2 commercials to shoot back to back for a week with one day break in between. The gaffer kept on telling me not to take any reading and stick to assisting. I told him that I am doing what I was told to do and if he has problem with that to talk to the boss. The Gaffer was a close friend of the PM. So he made the PM fire me for no valid reason after the first Job and they told me the Clients were not happy about my behaviour and the DP feels awkward to say that to me so it is better if I would leave. They went back to the DP told him that I got some other job so I left the town. The DP got very annoyed for me leaving like that and he would not return my call later.
One day I bumped on him somewhere, at that time he asked how can I leave like that when I had a commitment with him?, then only everything came into light.
Do not you think at that time I was feeling like ...... the Gaffer.
But that's something that everyone on the crew needs
As a DP who travels a lot and has to work with a lot of different gaffers the main thing I look for is enthusiasm, someone who gives a shit.
I welcome suggestions, but as with any other crew member the gaffer needs to recognise that moment where "I want it like this" means it.
That applies to the DP just as much as anyone else as well, we have to respond to the director.
A willingness to experiment with different approaches is good.
I never want to go through the experience of a shoot where the gaffer kept arguing with me about how I described what I wanted.
It was a very fast shoot, music video, with a director I'd worked with many times before, I knew exactly the look he was after. If I said "a clear glass 10 there cut there" it was because that would give the look we needed.
He wanted me to describe the look I wanted and he'd decide how to do it.
I ended up saying "I'd like the look of a 10k clear glass hung there..." after a couple of hours he went off to the green room in a huff and his best boy took over and all was well!
On the other hand I'll sometimes say "I need something big there"! or "give me a shaft of some kind across that" Or "just bounce any piece of crap of something big there, don't care what it is as long as I get a big soft source at that angle and T4".
Adaptability, that's what I need!
Enthusiasm, anticipation, technical knowledge, an understanding of lighting principals, crew management and thinking ahead are very important, but sometimes you have to get back to the basics.
When working with a new gaffer. I explain to them that there are two ways to work when the DP wants to do something with the lighting.
1/. Tell the gaffer what you need.
2/. Get up from the dolly; look around to try to find the gaffer. If you can find him, make your way over to where he is standing or sitting, get his attention and tell him what you need.
I explain to them that I much prefer the first method.
It sounds simple, but it is the biggest problem I have in working with "less experienced" gaffers. I am shocked at how few of them know how important it is to be right by the camera and paying attention.
In LA, at least, the training process/apprenticeship method seems to have pretty much broken down and while you might find plenty of gaffers who know how to work with the lights, manage the electrical supply, even manage a crew, it is more difficult to find the ones who understand how to make life easier for the DP and how important it is to the success of the job (and a future working relationship) to do so.
It is not a general breakdown of civilization that is to blame, however. I have no trouble at all getting camera assistants who are totally on the mark and respond quickly and enthusiastically to every request.
I agree, but its also difficult at times for a Gaffer, Key Grip to always be near camera, they can very well be behind a set wall or around the corner getting a glimpse of a particular issue they're trying to solve, or something like that.
The other thing I tell the keys, is to ALWAYS have a rep on set (that includes during blocking). If they need to step off for a moment, tell me "Jeff's here to cover for me" so I know to look/call for him and not the Key. It happens often that I'm calling for the key, and the person is distracted and didn't listen for my calling for his boss (and not him)... better to let me know what's happening and I can look for Jeff instead.
Eavesdropping is one of the best skills a crew could have. I love the crews that listen and sometimes even seem to have ESP and telepathically have things coming in before you even call for them.
Tangent: I have really grown to love walkie. I don't always use them all day long, but if needed I can be in touch with Camera/Grip/Lighting, and even tweak in something myself with a grip or electrician while the Gaffer's working on something else (I try to keep this to a minimum though). It really helps with speed when there's a real crunch. I've also shocked a few AD's with how much I find them with the walkie.
Downside is I need to keep myself off the walkie. Sometimes I'll channel hop 3-4 things to Cam/Grip/Lighting and I always try to do whatever I can face-to-face and keep their channels clear. Sometimes I get too walkie happy, and I have to catch myself. Recently on an insert trailer I hopped onto channel 1 to tell the AD something the director wanted (couldn't hear us outside the monitor tenting due to wind/traffic noise), and then realized I was also all over the Motorcycle Police's channel. Oops.
Another advantage is when a particularly difficult problem is being solved, and I'm not occupied with something else you can listen in and learn what the issues are from the guys up there trying to fix something. Its helped me weigh several dept's specific needs at once without each key having to relay the specifics.
OK, I'm a control freak. I'm working on it though.
By the way, for 24p shows its almost a necessity to move quickly - if you're by the monitors and the waveform's fan too loud to be close to set, and you have to be able to talk to communicate efficiently.
