How did you learn the trade?
In addition to my apprenticeship training, I stood close to the gaffer and the DP on-set and listened to their conversations. I would also ask members of the different departments, and try to understand the mechanics of the film unit. If I had any questions I would ask. Don’t be afraid to ask.
What has been your biggest challenge so far?
I found Luther: The Fallen Sun, on Netflix, quite challenging. We had three different DPs and there were a lot of nights in January. Also, we were still in Covid so that had its restrictions too. Apart from that, as long as you have the prep all sorted out, and a little bit of luck, then it should all go swimmingly.
What are your favourite bits of kit?
ARRI SkyPanels have never let me down, especially the S60 for light boxes and the S360 for a big source around camera. I also couldn’t do a job without Astera Titans tubes. And I love the Astera AX9s and AX3s. I think they’re very underrated. On location, you can drop one anywhere for a little highlight or use it to give you layers in the shot.
Selected Filmography (as gaffer unless otherwise stated)
Star Wars: The Acolyte (2023)
Shazam! Fury Of The Gods (gaffer: UK) 2023
Luther: The Fallen Sun (2023)
Operation Fortune: Ruse De Guerre (2023)
The Lost King (2022)
Memory (gaffer: London Unit) (2022)
No Time To Die (additional gaffer/rigging gaffer: Jamaica) (2021)
Venom: Let There Be Carnage (electrician) (2021)
Everybody’s Talking About Jamie (rigging electrician: additional
photography unit) (2021)
Tom & Jerry (gaffer: second unit) (2021)
Wonder Woman 1984 (lighting technician) (2020)
Dolittle (lighting technician) (2020)
Aladdin (lighting technician) (2019)
The Nutcracker And The Four Realms (lighting technician) (2018)
Solo: A Star Wars Story (gaffer: splinter unit/lighting technician) (2018)
Hunter Killer (gaffer: second unit) (2018)
The Mummy (floor electrician: additional photography) (2017)
Wonder Woman (lighting technician) (2017)
