Dont Wanna Be Your Lover Analysis

Don’t Wanna Be Your Lover – Vanessa White (6th November)

This is a shoot I ended up working on as a result of my brother being double booked and needing cover, which is an example of the type of informal recruitment that is rife in the film industry. It was a music video for the pop artist Vanessa White (best known for her time in the pop band “The Saturdays”) and I would be working with Gaffer Paul Burns. It was a different experience for me as I had never worked on a music video before, so I was intrigued to see how it would run in comparison to the other projects I had worked on. Moreover, every shoot is an opportunity to make new contacts and to demonstrate your skills to a gaffer who may want to use you again for future work. Paul was

I set up a HMI at each window on American stands, Paul told me to set the lights at the same height so the shadows where all level. This was a helpful tip, as it made setting the lights quicker and works as a general rule. Paul also showed me how to correctly put gels on the lights without cutting them, which saves money as gels are expensive at £7 per meter. We did this by clipping the gel (CTO 1/4) on the top barn door of the light, rolling up the excess gel and then clipping it to the bottom barn door. Once I had connected the HMI’s to the ballasts via a header cable, I then covered the ballasts with a foam core board to stop any rain getting in the ballast’s ventilation system which could potentially cause it to short. Next I had get onto another roof to set a HMI we would need later in the day, however this was difficult as the roof was not entirely level. Using an american stand I managed to steady the light on the uneven surface by extending the lazy leg. Once these lights were set there was very little for me to do. Between set ups I tidied the gear and stayed on hand assist Paul with any of the lights or gear he needed. Paul liked to set the smaller lights such as Dedos or Kinos, but would often ask me to set up C-stands, flags,