{"id":5235,"date":"2015-05-29T19:02:40","date_gmt":"2015-05-29T19:02:40","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=5235"},"modified":"2021-06-01T16:49:40","modified_gmt":"2021-06-01T23:49:40","slug":"ross-dunkerley","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/ross-dunkerley\/","title":{"rendered":"Ross Dunkerley"},"content":{"rendered":"

Like many of his generation, Ross Dunkerley\u2019s interest in film began with Star Wars<\/em> and George Lucas\u2019s ability to pull back the curtain on the filmmaking process. Camera operating for local television studios in high school taught Dunkerley the basics before he enrolled in the University of Southern California, where he fell in love with black-and-white films and still photography.<\/p>\n

After college, Dunkerley worked in television with then-gaffer Michael Weaver, ASC, before a generator-operator friend told him there was a slot on a movie called American Beauty<\/em> (shot by the legendary Conrad Hall, ASC). Dunkerley says he \u201cran to the phone.\u201d Who knew that a ten-minute conversation with American Beauty<\/em>\u2019s best boy would eventually lead to joining a long-term movie family headed by Clint Eastwood?<\/p>\n

\"Ross<\/a>
Dunkerley checking Lenny Kravitz\u2019 light (not his hair!) on the Charlotte, North Carolina set of The Hunger Games. Photo by Murray Close<\/figcaption><\/figure>\n

Dunkerley worked as a best boy for gaffer Tom Stern on two Eastwood features before Stern moved up to the DP\u2019s chair and Dunkerley became Stern\u2019s gaffer. Their work together has helped produce classic films like\u00a0Letters From Iwo Jima<\/em>, J. Edgar<\/em>, Trouble with the Curve<\/em>, Jersey Boys<\/em>, and American Sniper<\/em>. Dunkerley, who has always had one foot in television with shows like Malcolm in the Middle<\/em>, Hello Ladies<\/em> and Masters of Sex<\/em>, credits his success to on-set chemistry, loyalty, and seeing his profession as a long and winding two-way street.<\/p>\n

ICG: How important was it for you to come up through the ranks?<\/strong> It\u2019s everything. I\u2019m acutely aware of just how heavy each piece of cable and each light is. I\u2019ve loaded trucks in the rain while the gaffer is having a drink at the hotel bar. So, every time I request anything from my crew, I\u2019m aware of the labor and equipment required to get it done. Coming up through the ranks is an invaluable experience.<\/p>\n

\"Ross-Dunkerley-Web-Exposure_2\"<\/a>
One of the many stages and lighting rigs designed for Jersey Boys recreating the Rock and Roll Hall of Fame induction ceremony \/ Biltmore Hotel, Los Angeles \/ Photo by Keith Bernstein<\/figcaption><\/figure>\n

What is the biggest key to your relationships with your crew?<\/strong> Trust. My best boy, for example, is someone I have to trust 100 percent. Honesty is so important. Especially in TV, the best boy and rigging gaffer become the voice and face for the entire set lighting department. The electricians and I are in the trenches while they are in the \u201cwar room\u201d dealing with the politics. It\u2019s worked out really well that my primary best boy, John Lacy, is more micro while I\u2019m more macro. John zeroes in on small, but very important, details, while I\u2019m thinking about the big picture. We\u2019re constantly drawing attention back to what the other has lost sight of. A very similar dynamic exists between Tom Stern and me, except he\u2019s even more macro. I\u2019m thinking about the next shot while Tom is thinking about next week. [Laughs.] What is invisible to me, Tom can see as plain as day. Likewise, I occasionally think I\u2019m stating the obvious \u2013 only to find my view on a situation never occurred to him.<\/p>\n

What do you see as the main difference between television and features?<\/strong> The growing and disturbing trend in television is to use two or three cameras. Coming from a single-camera feature background, this can be really challenging. It is the rare director who blocks and shoots these scenes in such a way that the lighting holds up for all three cameras. In an attempt to avoid flat lighting, it becomes a game of inches when it comes to placing the lights. There is a fundamental reason why Road to Perdition<\/em> is so beautifully photographed. That film was shot with a single camera. If you look closely, that camera rarely moved. Many of the lights were actually in the shot, hidden behind furniture. Had the camera moved inches one way or another, all our efforts would have been revealed.<\/p>\n

\"Ross-Dunkerley-Web-Exposure_3\"<\/a>
To simulate a daytime Tsunami sequence for Herafter, at Pinewood Studios, London, a high speed circular light chase was combined with a spinning VFX plate. In the final composite the camera and actress appear to be moving at dangerous speeds. In fact, they were virtually stationary. \/ Courtesy of Ross Dunkerley<\/figcaption><\/figure>\n

Shooting on stage or on location \u2013 which does a gaffer prefer?<\/strong> I consider myself very lucky to have worked on a broad range of projects, from comedies like Malcolm<\/em> to gritty material like Letters from Iwo Jima<\/em>. To a certain extent, the project and genre dictate the lighting style. You try to put your own stamp on everything you do, but the quality of light cannot and should not ignore the script. Locations can also push you out of your comfort zone. I think I\u2019m one of the rare gaffers who prefer shooting on location. On a soundstage we have the ability to remove walls and ceilings and rig lights virtually anywhere with relative ease. This can encourage a standard way of doing things and ultimately cause a fall into a visual rut. Location work forces you to embrace the limitations put before you and perhaps use them to your advantage.<\/p>\n

You once said, \u201cSometimes it\u2019s the simple scenes that kill you.\u201d What did you mean?<\/strong> I often hear DP\u2019s and gaffers talk about huge rigs and sets and how incredibly challenging they are. Honestly, it\u2019s one or two people in a bathroom stall that can kill you. There\u2019s a very small scene in Mystic River<\/em> between Marcia Gay Harden and Tim Robbins. She walks into their very darkly lit living room while he\u2019s watching TV. They have a couple of pages of dialogue and walk a circle around the room with a Steadicam following them each step of the way. And that was, easily, one of the most difficult scenes I\u2019ve ever had to light. Keeping high contrast is the challenge. It would have been a breeze if we\u2019d had fill light. Any fill light! Years later, a similar scene was being blocked in a tiny set in Prague on a French film Tom and I did. Needless to say, it didn\u2019t get any easier.<\/p>\n

\"Ross-Dunkerley-Web-Exposure_4\"
Ross Dunkerley on Concord, North Carolina set of The Hunger Games \/ Photo by Murray Close<\/figcaption><\/figure>\n

You\u2019ve also noted that improvising with the lighting can provide a great deal of satisfaction. How so? <\/strong>In Million Dollar Baby<\/em>, there is a brief conversation between Hillary Swank and Clint [Eastwood] in a moving car at night. Tom and I worked out where the key lights would be. Beyond that, [best boy] John [Lacy] and I rigged some small units to the car. We ran them all to dimmers on the insert car. We each grabbed a set of headphones and shared a wireless video monitor. I ran four dimmers and he ran four more. Off we went, driving around the parking lot of the Rose Bowl. We just played the lights like an instrument, occasionally plunging the actors into darkness. No cues. No discussion. Any other director or DP would have dictated every light cue. Instead, Tom and Clint trusted us to honor the scene and the actors while improvising with the lights.<\/p>\n

Do you have any favorite lights?<\/strong> [Laughs.] A DP once asked me, \u201cWhat was Conrad Hall\u2019s favorite light?\u201d My answer was, \u201cThe right one.\u201d Despite what so many will claim, there is no \u201cmagic\u201d cure-all light or piece of equipment out there. LEDs? I love them. When they\u2019re right for the job. Fresnels, Pars, you name it \u2013 they all have their place. I can honestly say that a frosted seven-and-one-half-watt household appliance bulb has, on occasion, been my favorite light. Other times, it\u2019s a 24,000-watt Arri tungsten Fresnel. On Changeling<\/em>, we lit an entire sequence with skypans. Yes, a 20,000-watt skypan was once Angelina Jolie\u2019s key light. I think photographers are pretty much born with an eye like musicians are born with an ear. But a toolbox takes a lifetime to build. I\u2019m glad I clawed my way up from community cable as opposed to being plopped right into mainstream blockbusters. I\u2019m not at all ashamed to embrace low tech.<\/p>\n

\"Ross-Dunkerley-Web-Exposure_5\"
One of Dunkerley\u2019s favorite stills from J. Edgar. “Hard light and high contrast,\u201d he describes. \u201c Sadly, the scene didn’t make the cut.\u201d \/ Photo by Keith Bernstein<\/figcaption><\/figure>\n

Are you fully on the digital bandwagon?<\/strong> Digital cameras are amazing. They can see into the dark. Unfortunately, that\u2019s not what I find cool about cinematography. Anyone can light a movie. Just put a 10,000-watt fixture over the lens and shoot. What\u2019s important is what you don\u2019t light. Maintaining the blackest of blacks is a huge priority for me. The digital medium has nurtured a very neutral position of capturing all that you can and sorting it out later in post. Wonderful as that may seem, I dread the fact that cinematographers are now leaning toward the digital safety net. Where is the artistry? Where is the risk? Where is the control? I miss the days of fearless artists.<\/p>\n

You sound just like a DP! Is the jump to that spot inevitable? <\/strong>I\u2019d love to shoot a movie. In one way or another, I\u2019ve been shooting since I was 14. Still photography is my primary hobby. Oddly enough, I only use available light. I guess a couple of strobes are no match for a 48-foot truck full of lights and a crew to help me set them up \u2013 so what\u2019s the point? That being said, I love what I do. I\u2019m currently gaffing the third season of Masters of Sex<\/em> with a remarkable DP, Chris Manley [ASC]. A month ago we\u2019d never met, and, so far, it\u2019s been an absolute pleasure. As long as the projects are interesting and the DP is talented, I\u2019m perfectly content where I am. I think feeling challenged is the key. The projects that I\u2019m most proud of are the ones that pushed me to my limits, and, quite frankly, were nightmares to make. But you get through it, look back, and realize just what you and your crew are capable of accomplishing. I\u2019ve spent a big chunk of my life working alongside the best directors of photography in the industry. As long as they\u2019re willing to work, I\u2019ve got their back. Should they hang it up \u2013 put me in, coach! [Laughs.]<\/p>\n

What advice do you have for young people starting out? <\/strong>I know it is a clich\u00e9 \u2013 but do what you love and fortune will follow. This is a tough business. If money is what\u2019s most important to you, I guarantee there\u2019s an easier way to make it. If your heart isn\u2019t in it, know that someone else\u2019s is and they will work harder than you because there is a lot of competition. Also know that the technical and artistic aspects are only the half of it. A film is a pressure cooker. It will reveal the best and worst in every crewmember. Personalities and chemistry can bolster a shoot, so I would definitely tell younger filmmakers to work on their people skills. The equipment is relatively easy to master. Budgets, rain clouds, they are a nuisance. Interpersonal relations, egos, insecurities \u2013 believe it or not, these are your greatest adversaries.<\/p>\n

Lead image:\u00a0Ross Dunkerley on the Warner Bros. set of J. Edgar \/ Photo by Keith Bernstein<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Like many of his generation, Ross Dunkerley\u2019s interest in film began with Star Wars and George Lucas\u2019s ability to pull back the curtain on the filmmaking process. Camera operating for local television studios in high school taught Dunkerley the basics before he enrolled in the University of Southern California, where he fell in love with black-and-white films and still photography. After college, Dunkerley worked in television with then-gaffer Michael Weaver, ASC, before a generator-operator friend told him there was a […]<\/p>\n","protected":false},"author":1,"featured_media":5236,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-5235","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure"],"acf":[],"yoast_head":"\nRoss Dunkerley - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/ross-dunkerley\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ross Dunkerley - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Like many of his generation, Ross Dunkerley\u2019s interest in film began with Star Wars and George Lucas\u2019s ability to pull back the curtain on the filmmaking process. 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