FEATURE | L IGHT CONTROL
“I fed all my chosen colours to the design and costume departments to keep the palette consistent and was going to have to experiment a bit with my lighting to get the right feel. As we were shooting on location with minimal sets, I needed a really flexible system that could give me control of colour and intensity at speed. My gaffer, Rob White, had built his own DMX system that controlled all the I don’t see any blurring of lines using DMX technology when it comes to the role of a gaffer
60 DEF I N I T ION | OCTOBER 20 1 8
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