The rest of this interview is available in the book, Breaking Into UK Film and TV Drama, available on Amazon, connecting film & TV industry professionals.

I never would have thought of something like that.

November 12, 2013 at 3:36PM, Edited September 4, 8:21AM, Oh yes - no comparison Kinos to say 1x1s. John Higgins was born in 1953 in Ireland.
June 25, 2014 at 11:11AM, Edited September 4, 8:56AM, Camera Movement - Children of Men. Lighting for TV and Film by Gerald Millerson 3rd Edition. Also, I'll definitely keep my eye out for good set lighting videos, because they're certainly difficult to come by.

June 24, 2014 at 10:53PM, Edited September 4, 8:56AM.

Check out "Motion Picture and Video Lighting" and "Cinematography: Theory and Practice" by Blain Brown and, once you know a little more about lighting and the tech, "Reflections: Twenty-One Cinematographers At Work" by Benjamin Bergery, which features awesome lighting setups from renowned cinematographers like Jordan Cronenweth. Everything else you have to scrape and claw for, bit by bit. How to Write a Screenplay During Quarantine [FREE 100-page eBook], You Can Now Rent an Entire AMC Theater for Only $99, 5 Lighting Patterns You Should Know as a Filmmaker, Cronenberg's Psycho-Horror 'Possessor' Is a Masterclass in Inventing Practical Effects and Playing with Vintage Lenses, The Best Filmmaking Deals of the Week (10.16.20), Sony's Spatial Reality Display Is the Dopest Tech You'll See Today, How to Make a Trilingual Film with Little Prep on the Other Side of the Country, 'Miller's Crossing,' the Coens' Forgotten Gangster Epic, Turns 30, 7 Tips For Breaking Into Documentary Filmmaking, Q&A with Gaffer, John Higgins -- thecallsheet,,, Many of the people we have spoken with about Gravity have stated how it was unlike any other project. Realistically though, each shot is an invention of its own. I have Mr Browns Lighting and Cinematography books. Emmanuel Lubezki won the Best Cinematography at the 2014 Oscars for Gravity; John Higgins was his Gaffer. John Higgins was genuine in that interview he isn't a Actor he is a very stupid Snooker Player that was playing at being a business man without a clue in hell what he was trying to do and was following the lead from Pat Mooney which lead him up the garden path. On The Bourne Ultimatum, Higgins was tasked with figuring out how to incorporate light into London's famous Waterloo Station for this action-based scene: Higgins' solutions for lighting the station during its peak hours are ingenious: We considered many options of balloon lighting, 18 Kw. His work with Lubezki much more challenging. Instead of trying to use vast amounts of artificial light for this complicated scene, Higgins and DP Oliver Wood were able to harness the natural light already available in the station, manipulate it with varying amounts of negative fill, and wheel in small banks of Kinos in order to light the coverage properly. Subscribe to receive the free PDF!

Have you incorporated any of these lighting philosophies into your own work? All's fair etc. These were held to the side and wheeled in as independent units as required. Yeah, secrets might have been the wrong word. The book contains 11 other interviews with talented crew members of John Higgins’ calibre. November 13, 2013 at 10:15AM, Edited September 4, 8:21AM. This is great for me as I got fantastic guidance from him as to his thinking and ideas. Maybe this workshop with John Seale is what you're looking for.

Now we know a little more about how the film was made, can you tell us about the process of lighting ‘Gravity’? That's actually very good information. I highly recommend them. I've worked in that station on commercials shooting with even less - it gets great natural light in summer. One of the commenters on the nfs article says it well - these are trade secrets. It was he who gave me my break as a gaffer on 1984 which was a technically challenging film and a great learning experience for me. . Higgins was also the gaffer on Alfonso Cuaron's Children of Men, which was stunningly shot by Emmanuel "Chivo" Lubezki. In the “Lightbox” environment we used a moving light (A Robin 600) spot  which was mounted on a remote head. Although, I think a lot of lighting principles from still photography are the same for cinematography. He is a truly wonderful guy and a good friend. I have done 14 or 15 films with Roger in the past so I know how thorough he is in his preparation. Thanks DLD, good simple advice to remember when I'm getting overwhelmed with what to use for which shot to do what and how... Stop an envision what I want first then take it from there. His technical knowledge and creative lighting solutions have been put to the test over a long and illustrious career. John Higgins is a member of and he kindly agreed to this interview about his latest film and some memorable moments from his career, including Gravity. Now with all these super sensitive cameras, i believe we can use less light sources and just use tools to manipulate the existing light, add negative fill, bounce and use small fixtures to get the look we desire. John Higgins is one of the world's leading Lighting Technicians in Film. Just about every cinematographer will tell you the same thing: their work wouldn't be half as good without the help of their most trusted gaffer. No I had never worked on anything remotely like this project.

John Higgins with Roger Deakins, lighting Bond's Aston Martin. /I didn't necessarily think that Waterloo Station sequence particularly challenging, esp given the gritty tone of the film. November 12, 2013 at 3:21PM, Edited September 4, 8:21AM. November 12, 2013 at 1:18PM, Edited September 4, 8:21AM. His credits include Gravity, Thor: The Dark World, The Bourne Ultimatum, Children of Men, Captain America: The First Avenger, Mamma Mia, Charlie and the Chocolate Factory, The Fifth Element, Finding Neverland, Stardust, Tomorrow Never Dies and many more. This video is unavailable. We simply cannot afford huge HMI's and the power and diffusion and rigs to pull off what we would need. To know how they did it is enough and gives anybody with some solid knowledge and an understanding of lighting to apply it in there specific situation. How did the required look come to be set?
Watch Queue Queue No fucking shit, that's the part we already knew. Skyfall. Would love to see more on set videos, June 24, 2014 at 11:19PM, Edited September 4, 8:56AM. Also the digital cameras available now running at 800 ASA  which produce amazing images is another huge leap in technology. Plus, there was a recreation of a famous interrogation scene from the "Bladerunner" a couple of months earlier.

How did they make unit calls? Here Are 129 Reminders of How Beautifully Powerful Cinematography Can Be, Why Emmanuel Lubezki is One of the Best DPs of All Time, 12 Films That Have 'Perfect' Cinematography (According to Over 60 Critics), Filmmaker/Creative Director - Redd Pen Media.

He communicated his ideas to me and it was easy from his brief to put a plan into motion. Here's what Higgins had to say about the lighting philosophy behind Children of Men: We realised early on that the best way to approach this film, especially the night exteriors, was to use practical lighting which appears in the film as the main lighting source. I have read the practical lighting lessons, but more raw in the field stuff like this is AWESOME. /r/cinematography is a forum dedicated to becoming an active resource for cinematographers of all skill levels. That was it at Waterloo. November 12, 2013 at 1:35PM, Edited September 4, 8:21AM.

Watch Queue Queue. Doesn't get any better than that (except for shooting yourself obviously), November 13, 2013 at 11:33AM, Edited September 4, 8:21AM. One of the most difficult tasks that any DP or gaffer might face in the course of a production is how to incorporate various types of studio or practical lighting into large public spaces, such as stations or malls. What were some notable setups specifically? I would love to see a video or documentary on the lighting side of hollywood films. There is a sample of the interview below, the full interview is available in ‘Breaking into UK Film and TV Drama. All Rights Reserved. They're old tech now, but still worth the money :-), November 12, 2013 at 8:43PM, Edited September 4, 8:21AM. Also, get a subscription of American Cinematographer Magazine. They are one of the better investments I have made in my self education on the subject. Unlike The Bourne Ultimatum which features mind-meltingly frenetic editing, Children of Men features some of the most beautifully operated handheld long takes ever captured on film, which therefore called for a far more practical approach to lighting the sets. But you got to know what you want first.”. At the start of that career, he worked on 1984, Sid & Nancy, Personal Services and Stormy Monday with the great British cinematographer Roger Deakins.

Can you tell us how you got started in the industry and where your nickname ‘Biggles’ came from? Awesome stuff, and definitely something to keep in mind when faced with shooting in large public spaces. Any bluray or Behind the scenes stuff to learn more about lighting? +1 for more posts related to lighting. Always found it puzzling how there's tons of info on cameras but very little on actual lighting.

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