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strongest images came when all of those elements were designed together. Both Jonny and I know the importance of that, so we always work very closely with the other departments.” “We collaborated with the art department from the earliest stages,” adds Franklin, “discussing where practical light sources could be incorporated into the sets to make the environments feel more believable and interesting. We were always looking for opportunities to introduce lighting as part of the production design rather than simply lighting around it. Alongside the props team, we also collaborated on designing and building practical light fixtures that became part of the world itself, whether that was bespoke fixtures within the sets or integrating lighting directly into the ships and vehicles. It was all about creating motivated sources that added depth and texture to the image.” That collaboration continued throughout the shoot, with constant communication about every practical light that appeared on camera, how it would be controlled, dimmed, colour matched or programmed, so every visible source worked as part of the overall picture. They also worked with the costume department, incorporating practical lighting into outfits and creating lighting effects for weapons. “My collaboration with the special effects team was equally important,” continues Franklin. “We were constantly
LIGHTS UP Close collaboration with the costuming department was important to make sure the lighting worked in tandem
discussing the placement of fires, explosions and atmospheric effects so they not only worked for the action but also enhanced our lighting and helped shape the mood of each scene.” Both gaffer and cinematographer learned a lot on this ambitious shoot. For Franklin, the film “highlighted the importance of adaptability. Even with extensive planning, things change constantly, and having a crew that’s collaborative, creative and solution- focused makes all the difference. It also reinforced how valuable early testing has become. Time in prep developing camera tests, LUTs, palettes and visual references gave us a solid foundation.” Wagner’s main takeaway was how much it reinforced the need for trust and communication for a successful dynamic between these two roles. “On a film of this
scale, the gaffer has to understand not only how I want something to look, but why. And I want them to have a feeling for the look themselves. That allows us to solve problems quickly and adapt without losing the visual intention,” he concludes. “The best collaboration is when you’re constantly exchanging ideas and pushing each other towards a better image. I’ve done a few jobs with Jonny and he’s one of the best – at running his crew but also creatively. We spend a lot of time talking about both of our ideas and that makes for a great relationship. “A lesson I’ll carry forward is how important it is to communicate, mainly for being able to stay flexible. Things are constantly evolving, but if the visual ideas are clear you can adapt quickly without losing the heart of what you’re trying to create. Oh… and don’t lose your sword!”
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