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Lighting Technicians

TRENDS

Emerging technological changes in filmmaking now include the advent of the 
computer and advanced special effects equipment.  This has added another 
dimension to the already diverse jobs of LIGHTING TECHNICIANS.  The 
computerized dimmer and lighting systems are full-time work activities for 
many Lighting Technicians.  Additionally, where towers and scaffolds were 
typically used in the past to elevate lamps for high lighting angles, the 
aerial lift has become increasingly common.


THE JOB

"Lights!  Camera!  Action!".  To motion picture film crews, this historic 
expression suggests an orderly process which once preceded the actual filming
of a motion picture scene.  Modern technology, with its faster film and 
lenses, video tape, and efficient lighting systems, now allows the use of 
less overall light and more but smaller lighting units.  Consequently, the 
lights are usually already on, and the expression has changed to "Roll 
camera, action!"

In making a film, it is the concern of the Director, Director of Photography,
Art Director and others to capture the atmosphere that the writer had in 
mind.  The distribution of light and how it enhances the subject is a major 
pictorial element and is usually the responsibility of the Director of 
Photography who, with the assistance of the Chief Lighting Technician 
(Gaffer), designs the lighting scheme to create or accentuate the mood 
required for a scene.  Lighting is one of the most critical and difficult 
aspects of filmmaking because, as one studio official states, "The entire 
process ultimately involves painting with light."

Lighting Technicians are members of the production crew who set up and 
operate electrical lighting equipment for motion picture production.  
Lighting Technicians determine from the Chief Lighting Technician what the 
Photographer is attempting to accomplish and how the set will be lit.  They 
also handle the hook-up of all electrical apparatus used, setting up and 
adjusting various types of lighting equipment.

Their activities include bringing electrical power to the motion picture or 
television sets from various sources which include portable generators, high 
voltage/amperage power distribution cans, power transformers, etc.  This 
power is distributed on the set through appropriate size wires/cables 
necessary to handle often heavy power loads.  A knowledge of these cables and
wires, their electrical capacities, and an understanding of how to balance 
the electrical load throughout the set is an essential part of their job.

Lighting Technicians must know and be able to assemble and operate more types
of equipment than any other worker in the film industry -- from cables with 
all kinds of plugs, extension lugs, and connectors and adapters to various 
supporting fixtures and auxiliary attachments for lights, stands, and aerial 
lifts and the other lifting platforms that allow a light source to be placed 
from eight feet off the ground to the height of high lift booms that reach 
225 feet.

Computers have become another important tool of Lighting Technicians.  They 
are used for inventory control, for specialized lighting, dimming, switching 
effects, and for cueing devices such as "TelePrompters.  Tools the Lighting 
Technicians are required to furnish include gloves for use in handling hot 
lamps, screw drivers, pliers, and the "T" wrench.  These and other tools such
as test equipment are used to maintain and adjust lighting equipment when 
necessary.

Lighting Technicians work on sound stages, studio lots, and on practical 
locations such as restaurants, bars, houses, office buildings, parks, city 
streets, etc.  Their work involves all three major phases of the work - 
rigging the set, lighting the set during production, and striking 
(dismantling) the lighting equipment after shooting is completed.  Some 
Technicians prefer to just rig the lighting equipment.

Entry-level workers initially assist experienced Technicians with rigging and
striking activities.  From these tasks, they learn the required electrical 
skills and the importance of speed, accuracy and safety when hooking up 
portable power during film production.


WORKING CONDITIONS

The general environment on a motion picture set is usually pleasant.  
Lighting Technicians work inside on studio sound stages or other locales and 
outside on studio lots or on location anywhere in all weather conditions.  
They must cope with the heat of studio lights and adverse weather conditions 
that may exist on location.  Lighting Technicians should be able to stay on 
their feet most of the day, climbing ladders, standing, stooping, bending, 
walking, and carrying and lifting heavy cable and lighting units.  They 
should also be comfortable working at heights of approximately 60 feet 
because they often must work on hydraulic lifts, scaffolding, and walkways.

Potential hazards include back strain from improper lifting, falls from 
scaffolds, burns from hot lamps and equipment, and, most importantly, 
electrical shock.  Working under often dangerous conditions in all types of 
weather and around water and damp conditions with high voltage equipment 
requires stringent safety training.

Motion picture work is seasonal for the most part; the number of pictures 
made fluctuates periodically during the year.  Although the work days in the 
motion picture industry vary in length and may often exceed 12 hours a day, 
few Lighting Technicians work full-time all year.  Other factors that can 
vary the employment of Lighting Technicians are actor commitments, release 
dates of film, and weather conditions.


EMPLOYMENT OUTLOOK

In 1994, there were approximately 1,200 Lighting Technicians registered with 
unions in California.  Many work for movie studios at various technical 
levels in the Los Angeles area, in other cities, and abroad.

In Los Angeles, where the production of major motion pictures and films for 
television is centered, the industry continues to experience a gradual 
decline which began about twenty-five years ago.  A considerable amount of 
film production is occurring in Canada and other states where wages for 
Lighting Technicians and other blue collar workers are less than in 
California.

Although the level of job opportunities for Lighting Technicians is expected 
to remain relatively low during the next few years, some growth in employment
is anticipated for network and cable/pay television and private film 
production companies.  This growth, however, may not be strong enough to 
offset the minimal job opportunities for new entrants.  Additional job 
openings will continue to result from the need to replace those who leave the
labor market for various reasons.


WAGES, HOURS, AND FRINGE BENEFITS

Union scale for entry-level employees is currently about $19.00 an hour.  
Light operators earn $23.00 an hour, and Chief Lighting Technicians currently
earn $26.00 as their regular basis hourly rate.

A standard workweek does not exist in this occupation.  The number of days 
worked in each week varies, as do the number of hours worked in each day.  
Sometimes there is weekend and all night work; consequently, the normal 
workweek can range from an 8-hour call to over 75 hours.  Overtime is 
compensated at time and a half.  Work time on Saturday and Sunday is paid at 
double time.

Lighting Technicians participate in the usual range of union fringe benefits 
including vacation and holiday pay, pension plan, and group health and life 
insurance coverage.

Wages (minus fringe benefits) paid on some independent productions are 
similar to wages paid on negotiated contracts with major studio productions.


ENTRANCE REQUIREMENTS AND TRAINING

Education and training requirements are not specific for this occupation; 
most of the training takes place on the job.  However, this is in process of 
being modified with programs being developed by the union and producers 
through Contract Services Administration and Trust Fund (CSATF).  Helpful 
preparation for this type of work includes courses in the principles of 
electricity and possibly theater arts by helping as production assistants on 
college and university films.

Personal attributes important for success on the job include dependability, 
good judgment, adaptability, alertness, and the ability to listen, observe 
and learn, follow directions, and to work as a part of a team.  These traits 
are significant because errors in judgment can cause a production to shut 
down resulting in additional studio costs of thousands of dollars.  
Applicants must also pass a color blindness test, administered by the 
Contract Services Administration and Trust Fund.


ADVANCEMENT

Advancement depends upon length of service and demonstrated competency and 
ability.  After initially working in entry level jobs as part of a basic 
crew, new lighting technicians begin working their way up through the various
levels from Lamp Operator and Rigger to Chief Lighting Technician.  The 
promotional process is slow and may take several years, since job turnover is
typically low and openings are few.


FINDING THE JOB

New applicants may initially apply directly to the personnel office of film 
studios; when studios have exhausted their roster of available union people 
under a negotiated contract, they may draw from their new applicant file.


ADDITIONAL SOURCES OF INFORMATION

International Alliance of Theatrical Stage Employees
1515 Broadway, Ste. 601
New York, NY  10036
(212) 730-1770


RELATED OCCUPATIONAL GUIDES

Motion Picture Photographers   No. 519
Grip (Theatrical)              No. 527


OCCUPATIONAL CODE REFERENCES

DOT (Dictionary of Occupational Titles, 4th ed., Rev. 1)
Light Technician                                962.362-014

OES (Occupational Employment Statistics) System
Other Professional, Paraprof., & Technical Workers   399990

Source:  State of California, Employment Development Department,
         Labor Market Information Division, Information Services Group,
         (916) 262-2162.