GEAR LIGHTING
Documentary DOP Tim Cragg tells us about the tools that let him bend light without breaking the bank I f you’re watching a TV documentary, there’s a decent chance that Tim Cragg had something to do with it. For over 20 years, he’s been behind films turning to high-priced, pro gear. “Aputure came in as a more affordable product,” he recalls. Now, he owns all his lighting equipment – including Aputure’s INFINIBARs, an MC Pro, a Nova P600c and an amaran F22c.
contrast scene. I can pinpoint areas in the room I want to draw attention to. I can do anything.” Generally using ‘about 25 lights’ to shoot an interview, Cragg estimates, his tech choices often depend on the project’s desired mood. For a more ‘sinister and dramatic’ production, such as The Carman Family Deaths or The Manhattan Alien Abduction , “I might decide to use a powerful key light and then have it drape down,” he describes. “It tends to bring out a stronger face – more shadows, more definition and it’s not quite as warm and pleasing.” Conversely, for a creamier feel, Cragg will turn to the Aputure Nova P600c – “depending on how much power I need,” he clarifies – and using
the camera on feature-length projects such as Three Identical Strangers and The Deepest Breath , as well as series including Beckham . “I tend to work on projects that rely on mood, emotion and tone,” Cragg begins. “They’re quite stylised; there is the story, but I need to juice it up. It’s important I can light quickly, move quickly and change things without needing a big team,” he continues. “For ten years, I’ve used Aputure lights on every project.” What’s in his bag? According to Cragg, “lighting used to be a lot more expensive,” with big-budget
“Because I’m doing documentaries,” Cragg explains, “I don’t have anybody helping me light. I’ve got a camera team of two or three people – and sometimes I get a gaffer – but most of the time, it’s just me.” Efficiency is paramount on any unscripted project, but for Cragg, playing with light – ‘cutting and shaping’ – is just as important. “Aputure’s spotlight attachments allow me – especially because I’ve got four or five of them – to paint,” he shares. “I can create highlights – soft pools of light or a hard light if I want a high-
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