There are scenes inside movie and tv which can be outlined by their lighting – a high quality that turns into a cornerstone earlier than actors even communicate their first line. Gaffer and lighting technician Jon Haney reduce his tooth on movies like Titanic and The Negotiator, and shortly got here to know the significance of a component in visible media that’s essential however usually neglected.
During the last three many years, Haney has change into an integral a part of designing lighting for tv exhibits together with CSI: Crime Scene Investigation, Gray’s Anatomy, and Easy methods to Get Away with Homicideand witnessed his occupation change with the rise of streaming.
LWLies: There have been many Administrators of Pictures credited on the 15 seasons of CSI, however you remained. What was the collaboration dynamic over the course of the sequence? Because the gaffer who was there from the start, you clearly introduced consistency.
Haney: The preliminary plan from the producers, primarily Jerry Bruckheimer, was to make this a actually contrasty present. This was a CSI working all night time lengthy. We wished to get that feeling of darkness and critical thriller. Danny Cannon, who directed the pilot and plenty of episodes, was additionally an government producer on the present and was extremely artistic. He helped design these glass units stretching roughly 130ft. You see by means of every room, revealing layer upon layer of sunshine. We selected to convey depth and temper by altering colours, cautious to not make it appear to be a Froot Loop Bowl, utilizing Par cans and Supply Fours. We saved the sunshine off the partitions and objects utilizing the blades. We added practicals and aimed toward metallic objects for kicks.
How a lot of your technique do you convey to deciphering the imaginative and prescient of a movie or present? How did you be taught to work with small mild sources to create these layered setups?
I feel outdoors the field in the whole lot I do. It’s actually cool to have the ability to work with various kinds of DPs. Some had been actually good at lighting, and I discovered a great quantity from them. I’ve additionally had bosses who had been actually horrible at lighting. As I turned higher at lighting, they turned extra depending on me.
The flashlight method used on CSI got here from engaged on the Titanic. We used Xenon Flashlights on the boat as a primary supply, and wanted a technique to soften the sunshine. I went to the grips, sourced supplies, and constructed a customized softbox with interchangeable diffusion. I confirmed Russell Carpenter. He stated, “Wonderful – make extra”. I constructed 4 or 5 and have become the man who adopted him. When the cops held flashlights on CSII lit the scene with the flashlight softbox. The sunshine reflecting again of their faces added a kinetic really feel. There’s motion to it. It’s not static.