Lighting & Grip
Film Crew Position: Assistant Lighting Technician
What does a Assistant Lighting Technician do?
What Is an Assistant Lighting Technician?
An assistant lighting technician — also called a lamp operator, set lighting technician, or juicer — is an entry-to-mid-level crew member in the electric department on film, television, and commercial productions. Working directly under the best boy electric and gaffer, assistant lighting technicians are the hands-on workers who physically place, rig, power, and strike every light that appears on a film set.
The electric department is responsible for all things powered on set: from the biggest 18K HMI parked outside a window to the smallest practical lamp wired inside a prop refrigerator. Assistant lighting technicians are the crew members who execute those plans. Without them, no light reaches the camera — and the camera cannot roll.
Alternative Titles: Lamp Operator, Juicer, Set Lighting Tech
The film industry uses several terms interchangeably for this role:
Lamp Operator (Lamp Op): The most common union classification under IATSE Local 728 in Los Angeles. Used in studio and episodic television contracts.
Set Lighting Technician: Broader term used in below-the-line crew lists and production call sheets, common in features and independent productions.
Juicer: Long-standing industry slang derived from the role's work with electrical current ("juice"). Heard most often on set and among crew, rarely on official paperwork.
Spark: Common in the UK film industry and on international co-productions. Used the same way "juicer" is used in North America.
Best Boy Electric: One level up from assistant lighting technician. The best boy is the department's logistics manager, so this title is distinct — but many assistant lighting technicians aspire to it.
Where the Role Sits in the Electric Department Hierarchy
The lighting and electric department has a clear chain of command:
Director of Photography (DP/Cinematographer): Defines the visual language and lighting concept.
Gaffer (Chief Lighting Technician): Translates the DP's vision into a practical lighting plan and leads the department.
Best Boy Electric (Assistant Chief Lighting Technician): Manages crew scheduling, truck inventory, equipment orders, and logistics for the gaffer.
Assistant Lighting Technician / Lamp Operator: Physically executes the lighting plan — placing, rigging, operating, and striking fixtures.
Lighting Trainee / Electric PA: Entry-level support, learning on the job under the lamp operators.
The assistant lighting technician is where most electric department careers begin. It is the role that teaches the craft of set lighting through direct, daily experience.
Why Production Management Matters for Electric Departments
Managing a complex shoot with multiple lamp operators, rental equipment, and daily lighting plans requires tight coordination. Production teams using Saturation.io can track electric department expenses, equipment rentals, and crew costs in real time — keeping the production budget accurate from prep through wrap.
What role does a Assistant Lighting Technician play?
Core Duties on a Film Set
The assistant lighting technician's day begins before camera and ends after the last light is struck and loaded onto the truck. On a feature or episodic television production, a typical lamp operator's responsibilities include:
Pre-Shoot Prep and Load-In
Unloading and organizing the electric department truck under the best boy's direction
Running distribution cable (socapex, banded cable, stingers) from the generator or building tie-in to the set
Positioning stands, frames, and lighting fixtures per the gaffer's pre-light plan
Assembling and installing condors, scissor lifts, and high rigging hardware for elevated fixtures
Flagging, diffusing, and gelling lights with CTO, CTB, ND, silk, and muslin as directed
On-Set Operations
Operating lights during camera rehearsals and takes — adjusting beam angles, barn doors, flags, and dimmers on cue
Responding to immediate direction from the gaffer or best boy to modify lighting setups between shots
Moving and repositioning entire lighting rigs as the camera moves through the set
Operating condors and boom lifts to access high rigging positions (requires boom lift certification)
Powering equipment up and down safely — proper sequencing to avoid damaging HMI ballasts or dimming hardware
Troubleshooting basic electrical faults: blown fuses, tripped breakers, faulty connectors, intermittent practicals
Managing noise discipline — silencing ballasts, fans, and generators when sound is rolling
Lighting Rigging and Special Setups
Rigging lights overhead using speed rail, pipe clamps, C-47s, junior pins, and speed rings
Setting up soft boxes, China balls, and practical lamp builds for interior scenes
Building and wiring custom practical lighting effects in collaboration with the gaffer
Rigging exterior setups: mounting lights to condors, cranes, or building facades for day-exterior and night-exterior shoots
Coiling and managing cable on set to keep walkways clear and safe for cast and crew
Wrap and Load-Out
Striking all lighting equipment safely at the end of each shooting day
Pulling cable back from the set, coiling properly (over-under method), and returning to the truck
Inventorying equipment against the rental manifest with the best boy electric
Noting any damaged or missing equipment on rental return sheets
Securing the truck for overnight storage
Collaboration With Other Departments
Assistant lighting technicians regularly coordinate with:
Grip Department: Grips set the flags, frames, and c-stands that shape and control the light that lamp operators place. Close collaboration is essential for efficient setups.
Art Department: Practical lamps built into sets are often wired and controlled by the electric department — lamp operators work with set dressers to make practicals camera-ready.
Camera Department: Understanding where the camera is positioned and moving helps lamp operators keep their rigs out of frame and adjust quickly as shots change.
Special Effects: Certain lighting effects (flame bars, explosions, flicker rigs) require coordination between SFX and the electric department for safety.
Day-to-Day Reality
The job is physically demanding. Lamp operators spend long days on their feet — often 12 to 14 hours — carrying heavy cable drums, climbing ladders, operating aerial lifts, and moving equipment in tight spaces. Early call times (before sunrise for day exterior shoots) and late wraps are the norm. It is one of the most physically active roles on a film crew, and also one of the most technically rich entry points into the industry.
Do you need to go to college to be a Assistant Lighting Technician?
Do You Need a Degree to Become an Assistant Lighting Technician?
No formal degree is required to work as an assistant lighting technician in film. The electric department is a craft trade: practical skill, on-set experience, and union membership matter far more than academic credentials. That said, formal training programs, apprenticeships, and community college courses can accelerate entry into the field significantly.
The Most Common Entry Path
Most working lamp operators reached the role through one of these routes:
Student films and short films: The fastest way to gain hands-on experience. University film programs, local filmmaking communities, and platforms like ProductionHUB and Staff Me Up list unpaid and low-paid electric PA positions constantly. Working student and micro-budget shoots builds the technical vocabulary and muscle memory that union sets require.
Electric Production Assistant: Entry-level paid work on professional sets. Electric PAs support the lamp operators and best boy with logistics, cable runs, and equipment movement. Many sets hire non-union electric PAs even when the department head is IATSE.
Lighting rental house work: Working as a technician or prep tech at a lighting rental facility (like Keslow Camera, Cinelease, or Arri Rental) provides deep equipment knowledge — understanding every fixture, cable, and power distribution unit before you see them on set.
Theatre and live event lighting: Stage lighting experience translates directly to film. Many working lamp operators came up through theatre, concerts, or corporate AV, then transitioned to film sets.
IATSE Local 728 Apprenticeship Program
In Los Angeles, the International Alliance of Theatrical Stage Employees (IATSE) Local 728 represents studio lighting technicians working on major studio productions. The Local 728 apprenticeship is the formal pathway into union lamp operator work on studio features and episodic television:
Applicants must demonstrate prior industry experience (typically 30+ days on union productions as a non-union worker or in a related trade)
The program runs approximately 2-3 years, combining on-the-job training with classroom instruction in electrical safety, rigging, and equipment operation
Upon completion, graduates become "journeyman" lamp operators eligible for full union contract work at studio rates
Los Angeles union members may also be covered by IATSE Local 80 (grip/electric crossover on some productions) depending on the project's contract
Other IATSE locals cover lighting technicians in New York (Local 52), Atlanta (Local 479), Chicago (Local 476), and other production markets. Each local has its own membership requirements, but the pathway is similar: demonstrate experience, apply, and work through the apprenticeship.
Relevant Formal Training Programs
While not required, the following programs prepare aspiring lamp operators with practical technical skills:
Community College Film Production Programs: Schools like Los Angeles City College (LACC), Santa Monica College, and City College of San Francisco offer film production certificates covering lighting fundamentals, electrical safety, and equipment operation. These programs typically run 1-2 years and cost a fraction of a four-year degree.
IATSE Training Trust Fund: IATSE's educational arm offers workshops, safety courses, and technical training programs available to both members and non-members at low or no cost. Topics include electrical safety, rigging certification, and equipment-specific training.
Below-the-Line Film Schools: Programs like NYFA (New York Film Academy), Vancouver Film School, and Full Sail University include production crew training tracks that cover electric department basics in practical, set-simulation environments.
Boom Lift and Aerial Work Platform Certification: OSHA-compliant certification for operating condors, scissor lifts, and boom lifts is often required for lamp operators on larger productions. The Occupational Safety and Health Administration (OSHA) and equipment manufacturers like JLG and Genie offer certification courses, typically taking one day to complete.
Getting Your First Electric Department Credit
Breaking in requires persistence and networking:
Post on local filmmaker Facebook groups, Subreddits (r/Filmmakers, r/cinematography), and Discord servers offering to work electric on short films
Attend industry events: IATSE local union halls, American Society of Cinematographers (ASC) events, local film commission networking events
Contact local lighting rental houses directly — many have referral networks for crew looking for day-player work
Build relationships with gaffers and best boys working in your market — these two roles hire their lamp operators by personal referral far more often than through job boards
Keep a tight, updated resume listing every production, the gaffer or best boy you worked under, and the specific equipment you operated
What skills do you need to be a Assistant Lighting Technician?
Technical Skills Every Assistant Lighting Technician Needs
The electric department is one of the most technically demanding departments on a film set. A working lamp operator must be competent in electrical fundamentals, lighting equipment, rigging, and safety — all while working quickly under production pressure. Here is a breakdown of the essential skills:
Electrical Knowledge
AC electrical fundamentals: Understanding voltage, current, resistance (Ohm's Law), and power (watts/amps) is non-negotiable. Lamp operators must calculate safe loads before plugging into any circuit — overloading a circuit is a serious safety hazard.
Power distribution: Reading and working with distribution panels, dimmer racks, company switches (tie-ins), and portable power distribution units (PDUs). Understanding single-phase vs three-phase power and how to balance loads across legs.
Cable and connector types: Proficiency with all standard production cable types — socapex (soca), banded 4/0 cable, stingers (household extension cords), Edison (NEMA 5-15), stage pin, Cee Form, Camlock, and Bates connectors.
Generator operation basics: Understanding how to safely connect to a generator and distribute power, and knowing the limits of common production generators (typically 100A, 200A, or 400A three-phase units).
Lighting Equipment Proficiency
A competent lamp operator knows how to set up, operate, and troubleshoot all major fixture types:
HMI (Hydrargyrum Medium-Arc Iodide) fixtures: The workhorse of exterior and large-interior setups. Common units include the 1.2K, 2.5K, 4K, 6K, and 18K Fresnel HMI. Lamp operators must understand ballast operation, flicker-free frequency settings, and safe lamp handling.
LED fixtures: Increasingly dominant on modern productions. Common units include ARRI SkyPanel, Litepanels Gemini, Astera tubes, and Quasar Science fixtures. Understanding DMX control, CCT adjustment, and color rendering (CRI/TLCI) is increasingly required.
Tungsten fixtures: Fresnels (1K, 2K, 5K, 10K), open-face units (Redhead, blonde), and PARs. Tungsten is less common on new productions but still seen on period pieces, practical builds, and low-budget shoots. Requires understanding of dimmer compatibility.
Fluorescent and legacy fixtures: Kino Flos, LiteGear LiteRibbon, and older magazine-style fluorescent units still appear on sets. Understanding lamp type, ballast frequency, and color temperature consistency is important.
Practical lights: Wiring and rigging practicals built into set dressing — table lamps, overhead practicals, neon signs, and custom builds. Requires understanding of lamp types (incandescent, LED, fluorescent) and safe wiring methods.
Lighting Modifiers and Control
Grip and lighting accessories: Flags (single, double, black net), silks, muslin, show cards, bounce boards, and foam core. While grips set most of these, lamp operators must know how to call for and use modifiers on lighting fixtures.
Gels and diffusion: Rosco and LEE gel systems — color correction (CTO, CTB, plus and minus green), diffusion (1/4, 1/2, full white diffusion, soft frost, grid cloth), and ND gels. Reading and cutting gels to size is a daily task.
DMX control basics: Understanding DMX addressing, universe structure, and using basic DMX control boards or tablets (ETC Eos, MA Lighting, or simpler DMX apps) to control dimmable LED fixtures on set.
Rigging Skills
Speed rail and pipe rigging: Building overhead rigs using speed rail, pipe clamps, baby plate clamps, and junior receiver mounts. Understanding load capacity and safe rigging practices for suspended fixtures.
Knots and lashing: Bowline, clove hitch, and round turn with two half hitches for securing lights, cable, and rigging components safely.
Condor and scissor lift operation: Safely operating boom lifts (condors) and scissor lifts to reach high rigging positions. Most productions require formal aerial work platform certification (ANSI/IPAF).
Stand and hardware operation: Competent use of all lighting stand types — C-stands, baby stands, junior stands, pipe stands, offset arms, and extension arms. Proper sandbagging technique to prevent tip-overs is a safety fundamental.
Safety Knowledge
OSHA electrical safety: Understanding OSHA 1910 (General Industry) and 1926 (Construction) electrical standards, lockout/tagout procedures, and personal protective equipment (PPE) requirements for electrical work.
Ladder safety: OSHA ladder safety standards, proper setup, three-point contact, and maximum load ratings. Extension ladders and A-frame ladders are used daily.
Ground fault protection: Use of GFCIs (Ground Fault Circuit Interrupters) on location when working with water, outdoors, or in areas without ground fault protection built into the building's electrical system.
Heat management: Tungsten and HMI fixtures produce intense heat. Safe minimum distances, proper ventilation, and handling of hot fixtures (using gloves, waiting for cool-down) are essential.
Soft Skills and Physical Requirements
Physical stamina for 12-14 hour days involving heavy lifting (cable drums weigh 50-100+ lbs), climbing, and constant movement
Ability to work quickly and quietly on set during takes
Strong communication skills — receiving clear direction from the best boy and gaffer and relaying information to other lamp operators
Problem-solving under pressure: when a light fails or a circuit trips mid-setup, lamp operators troubleshoot and fix it fast
Attention to detail: a misplaced flag or improperly secured sandbag can ruin a shot or cause an accident
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