My passion
Allow me to share why I'm drawn to the role of a Gaffer in both filmmaking and advertising.
“ My interest in movies is beyond geeky. At home, I've installed a pull-down screen in my living room and a mobile projector when camping, using my ultra Bounce White LCA frames.”
“In essence, my journey as a Gaffer isn't just about lighting sets; it's about fostering a shared understanding among collaborators”.
My journey into this field began with a significant shift during my university years. Originally trained as a graphic designer, I found myself increasingly captivated by the world of photography, particularly the magic of on-location shooting.
For me, it wasn't always about capturing a moment or composing a shot; my fascination grew to focus on the depth of separation and texture of light and shadow, and how they communicated with the narrative essence of storytelling.
University days
In my formative years, I roamed with a humble funnelled flash gun, painting with flash during single, two-hour exposures, akin to a painter wielding a brush.
This passion eventually led me to specialize in automotive photography, where I embraced masses of continuous lighting setups both studio and location to craft and refine visual narratives.
What truly ignites my spirit is the art of storytelling through light. I'm drawn to cutting back from larger sources and increasing more layers of diffusion whilst either flagging and blocking with bigger cutters whilst retaining a hardness from bounce sources using brushed aluminium surfaces like Lightbridge and LED Creamsource biscuit lights.
I love stepping away and using Abberative depreciations and refractions to add a controlled maverik to infuse scenes with life. It's not just about illumination; it's about creating an immersive experience that transports audiences into the heart of the narrative.
My interest in movies is beyond geeky. At home, I've installed a pull-down screen in my living room and a mobile projector when camping, using my ultra Bounce White LCA frames.
Reading can make me fall asleep but emerging in movies runs deep, from the masterful works of artists like Paul Thomas Anderson and Robert Elswitt, whose simplicity in character archetypes in "Magnolia" resonates deeply with me, to the visionary brilliance of Jean-Pierre Jeunet and Darius Khondji, whose films like "Delicatessen" and "Amelie" exhibit a vibrant, almost cross-processed aesthetic.
Speaking of Darius Khondji, his collaboration in "Seven" alongside David Fincher remains a testament to expressive underlighting techniques, which I'm currently enjoying further through Erik Messerschmidt's development in "Mind Hunter" on Netflix.
I've had the privilege of learning alongside my Bafta-nominated son, Ike Newman, whose talents have been recognized alongside emerging talents like Director Jesse Lewis Rees and DOP Evangelos Polychronopoulos. Ike has had the opportunity to assist directors such as Christopher McQuarrie and Cary Joji Fukunaga, not to mention the esteemed Bong Joon Ho.
And it doesn't stop there. My daughter, a passionate production designer, adds another layer to our family's creative tapestry with her work at Farleys.
"In essence, my journey as a Gaffer isn't just about lighting sets; it's about fostering a shared understanding among collaborators
…Together, we shape narratives and bring ideas to life, using light as the silent protagonist in the grand symphony of storytelling."
Peace
Isaac
