Most difficult job?

I did a film with Adam Arkapaw last year called The King. We were all around the UK in various castles and cathedrals. It was a big logistical challenge, involving huge 18K daylight sources outside of buildings all over the country. At one location - Berkley Castle - we had a huge scaffold rig with multiple 18Ks on it, 20x20 diffusion frames in front of the lamps and also rigged as "eyebrows' to the tops of the windows to diffuse the sun as well as several 360 tele handlers with 20x20 solids on to cut the sun.

We were shooting for several days and we knew there was a wedding coming up. It was to take place on the grass area where we had all of our rigs and plant. So we had to take it all out on a Friday night on wrap and put it all back on a Sunday morning so we could shoot again. My rigging crew, led by my rigging gaffer on this film, Dave Ridout, performed a miracle that weekend. The bride was from a wealthy American family, whose dream was to get married on this particular lawn. Luckily it looked perfect for the wedding,

Relationship with cinematographers

First and foremost, I see it as my job to make their job easier, to take some of the pressure off of their shoulders, whilst keeping a respectful distance and not being too invasive. As well as lighting, they have to focus on the director, camera angles, the look, texture and colour of the set. Forming a relationship with them early-on is key, as is learning their lighting style and adapting to the way they light, whilst offering your own suggestions that you have picked up along the way to achieve your common goals. Learning the script is key too; knowing it inside out gives you a much better understanding of the vision and look of the film.

Favoured bits of kit?

I love a battery LED light - whether it be a DS1, Creamsource Micro, SkyPanel S30 or a simple LED pad. Having a lamp that you can quickly bring onto set for eye sparkle or a bit of fill is paramount on today's fast-moving sets.

Keeping up with lighting innovations?

We are at the forefront of exciting times in film lighting. LED lamps and LED screens are evolving all the time and you have to stay one step ahead or you'll be left behind. I take it upon myself to know the ins-and-outs of every lamp on my sets, so I know their qualities as well as their limitations.

Advice for aspiring gaffers?

Honestly, don't rush into it. I was a floor spark for 12-plus years before I started gaffering. Learn your trade, become a good floor spark first and foremost. Once you become an experienced and competent floor technician, gaffering will become almost second nature. Also, never be afraid to ask questions and try and get some qualifications. Being a qualified electrician is a must nowadays I would say.