On 7 May 2018 we were fortunate to have guest speaker, Rory, who generously shared a sample of his lighting inventory and industry experience. Rory provided a snapshot of the evolution of cinema’s lighting, sharing insights into the working conditions of arc lights to the flick-of-a-button LEDs.

It became apparent LEDs are the way of the future, making tungsten equipment obsolete. Although, as Rory frankly admitted, the transition is expensive, particularly in the acquisition of products from reputable brands like ARRI (who have clearly monopolised the market). However after Rory assessed each piece of equipment, the benefits of LEDs were irrefutable and thus validated its growing popularity. Some of these benefits, especially from reputable brands include:

• Run both AC and or battery power therefore lower consumption
• Very low wattage, affording multiple units on the one circuit
• Shifts colour temperature seamlessly
• Dimming control (without affecting kelvin spectrum)
• Lifespan comparative to tungsten
• Little to no heat output

Ironically, one of my favourite light qualities he demonstrated was the tungsten ‘650W Mini Softlite’, there was just something about the soft spread from a neat unit that really appealed to me. Side note: Curiously looked on eBay for Mole-Richardson ‘Inkies’, they’ve sold for $80-$350 AUD. Although, surely all of his gear was eclipsed by the ARRI SkyPanel, a piece of equipment even Rory seemed dazzled by Rory’s ARRI Skypanel 120. I’d love to see this in action on a film set, its flexibility, versatility and economy was jaw dropping.

Throughout the presentation, Rory did not shy from the environmental impacts various lighting equipment perpetuates. This was news to me and a subject that doesn’t make headlines on most cinematography/photography discussions. I just wish we had more time with Rory! To be honest, I think 90% if not all of the class could have happily sat there all day. I would have loved more time to hear additional ‘behind the scene’ analysis, as this sort of breakdown was so valuable.

Rory’s visit reminded me of insights gained in an interview conducted for Media 6 last semester with Tommi Hacker. Tommi is a gaffer/best boy, who has been working in Melbourne for over a decade with a number of productions to his name (just in 2017 this included Glitch, Picnic at Hanging Rock, Dr Blake and Utopia). Interestingly Tommi is one of the few gaffers who operate without his own a truck or gear. I remember he dwelled on this decision and while Tommi had no regrets, admitted he was at a stage in his career where it was possibly impairing future growth. I have spent the last 18 months imagining what a future in the industry might look like for me and one of my key avenues is the lighting department. But reflecting on Tommi’s experiences and also Rory’s accumulative $100,000+ (and growing) inventory, I feel a little bit at a loss.

Overall it was exciting to get a glimpse into the variety and breadth of lighting equipment employed in the industry. To be honest, I was bouncing like a kid in my seat while he revealed the gear. We are indebted to Rory (and Robin for the invitation) to share his wisdom and inventory and more importantly, further spark our interest in lighting.