Sandbags — where they go
A stand tips toward its load. So when you extend an arm, turn the stand so the highest leg sits right under the arm, and put the sandbag on that leg. Drape the bag over the leg so it hangs down on both sides and keeps the weight low.
- 1Highest leg — Turn the stand so it sits under the direction the arm extends.
- 2Sandbag — Drape it low across that leg.
- 3Load — Its weight must fall within the area the legs support.
- Higher means heavier — The higher the riser and the longer the arm, the more sandbags you add.
- Wind — Outdoors, frames and softboxes catch wind like sails. Add more bags and tie lines to the ground.
- Make it visible — Wrap bright tape on leg ends where people walk.
Load and center of gravity
- Rated load — Every stand, clamp and autopole has a weight limit. Check the label or manual and stay well under it.
- Center of gravity — Keep the load centered over the stand where possible; when it leans to one side, add weight to that side’s leg.
- Check the tightness — After tightening every knob, give it a gentle shake. Set grip heads so the weight tightens them.
- Autopoles — They hold by pressure alone, so avoid heavy lights and use a pad on weak ceilings.
- Anything overhead — Add a separate safety cable to lights and accessories hung from ceilings or truss to stop them falling.
Power and cables
Power (W) is voltage (V) times current (A). Mains voltage varies by country, so work it out for your location: on a 20A circuit at 120V, for example, the math gives 2,400W. In practice other devices share the circuit and breakers heat up when loaded for a long time, so leave a generous margin and don’t pile big lights onto one circuit. Electrical rules vary by country — check local regulations.
- Find the circuits — Check which outlets share a breaker first. Outlets in different rooms can be on the same circuit.
- Spread the load — Put big lights on different circuits and don’t daisy-chain power strips.
- Generators — For big jobs or exteriors with no power. Keep them far from set because of noise, and don’t let exhaust get indoors. Leave operation to an experienced electrician.
- Cables — Run them along walls away from walkways, and cover crossings with mats or tape them down. Uncoil cables carrying heavy loads; never run them while coiled.
- Water and rain — Keep connections off wet floors, and outdoors, connect through ground-fault protection.
Working at height and rigging
- Ladders — Fully open on level ground, with someone holding it at the bottom.
- Working up high — Wear a hard hat and fall protection, and keep people out of the area below.
- Rigging — Before hanging anything from a ceiling or structure, confirm it can take the load, and have experienced crew do the work.
- Hands free — Don’t climb with gear in your hands; hoist it on a line or have it handed up.
Setup → rehearsal → shooting → wrap
- 01Share the planThe DP and gaffer decide the direction of light and where the lights go, then tell the crew what gear is needed and where power will come from.
- 02Power and cables firstSet the distribution point and run cable before standing up lights. Clear walkways and finish taping now too.
- 03Start with the keySet the key, then fill and back, then the background, and sandbag every stand.
- 04ShapeCut excess light and balance brightness with flags, nets and diffusion. Check with a light meter and monitor.
- 05RehearseFollow the actors’ blocking to check shadows, reflections and boom shadows, and fix them.
- 06ShootBetween takes, check that lights haven’t shifted and the area around hot lights is safe.
- 07WrapTurn lights off and let them cool before striking. Kill power first, wrap the cables, and reconcile gear against the rental list.
Electric and grip crews
| Role | What they do |
|---|---|
| Gaffer | Designs the lighting with the DP and leads the electric crew |
| Best boy electric | Assists the gaffer with gear, crew and power distribution |
| Key grip | Leads the grip crew, handling stands, frames, rigging and camera support |
| Best boy grip | Assists the key grip with gear and crew |
| Dolly grip | Sets up and pushes camera movement gear such as dollies and track |
On many productions, the electric crew handles power and lights while the grip crew handles stands, frames and rigging, and the split is fairly clear. In some countries it works differently: on Korean sets, for example, the lighting team often does the light-shaping grip work too, and the grip team mainly handles camera support and movement such as dollies and cranes. It varies by production, so agree on who does what at the first meeting.
Pre-shoot safety check
- Sandbags on every stand, highest leg under the arm
- Grip heads and clamps tight, safety cables on anything overhead
- Total wattage per circuit, with margin
- Mats or tape over cables in walkways
- Distance between hot lights and fabric, paper or gels
- Emergency exits, fire extinguishers and first aid kit located
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