Los Angeles Gaffer, Orange County Gaffer, with Lighting & Grip Truck and Van Lighting Package – Frequently Asked Questions
If you are a DP, I want to make you shine! I’ll support and equip you with the best lighting package and the most comprehensive Alexa camera package at the best price, period.
Whether the project calls for a full lighting truck or a smaller lighting van package, my goal is to provide a well-organized equipment package that’s right for your project.
I work on a wide range of productions, from fast-moving documentary shoots to larger commercial productions in Los Angeles, Orange County, and throughout Southern California. Let’s collaborate to execute your vision.
My lighting truck package is built around a modern LED lighting workflow, with a strong investment in Aputure fixtures. The package includes lights such as the Aputure 80c, 600x with Spotlight Mount, 1200x, and the powerful Aputure XT52, which can be powered from a portable Honda EU7000is generator.
In addition to the lighting fixtures, the truck carries a full range of grip equipment, diffusion, frames, stands, rigging, speed rail, along with a doorway dolly and slider.
Rather than itemizing every piece of gear like a traditional rental house, the lighting truck is designed as a complete working package, giving productions access to the tools they need without surprise costs.
A lighting truck usually works best with a minimum crew of a Gaffer, Key Grip, and Swing. With that team we can move efficiently, set lighting safely, and manage grip equipment while keeping the pace of production moving.
On many shoots the crew expands depending on the scale of the job.
Typical crew structures include:
2+2 — Gaffer, Best Boy Electric, Key Grip, Grip
3+3 — Gaffer, Best Boy Electric, Electric, Key Grip, Grip, Swing
Every project is different, so the right crew depends on the scope of the shoot.
The lighting truck is typically the best choice for productions looking for a more refined, cinematic look — including wider shots, greater depth in the image, multiple setups running simultaneously, or larger spaces that need to be lit.
It’s also ideal when scenes require larger lighting units to simulate sunlight through windows or shape daylight in interior locations.
The truck is also important for exterior work, where larger overhead frames require an ample number of sandbags and heavier-duty stands such as combo stands to safely support overheads and diffusion.
A typical lighting van package can operate effectively with a Gaffer and Swing, which works well for smaller productions such as interviews, documentaries, branded content, and social media shoots.
Depending on the scope of the production, a Key Grip may also be added.
Some productions ask for a lighting van with just one technician. While this is technically possible, having at least two crew members usually makes the day run much more efficiently and helps maintain a safer workflow on set.
The lighting van is often ideal for smaller crews, interviews, documentary work, and fast-moving productions where a full lighting truck may not be necessary.
It still carries a versatile lighting and grip package while allowing for easier parking, faster load-ins, and quicker company moves.
Yes, I carry production insurance for my equipment and operations. However, the production company’s insurance is typically primary, and productions are asked to list Waywest Lighting & Camera Inc. as loss payee and additionally insured on their policy.
This is especially important when booking the lighting truck package, which includes a larger amount of equipment. For lighting van packages, the insurance requirements can sometimes be more flexible depending on the scope of the production.
A certificate of insurance (COI) can usually be issued quickly through the production’s insurance provider.
Yes. Much of the lighting package is built around modern LED fixtures, which allows many setups to run efficiently on standard household circuits.
For larger lighting setups or exterior work, lights can also be run from a portable generator.
Yes. The lighting truck carries a full grip package including stands, frames, diffusion, rigging, speed rail, sandbags, and other grip tools needed to shape and control light.
All lighting and grip equipment is regularly maintained, tested, and organized for production use. Fixtures, cables, and power distribution are checked between jobs to ensure everything arrives on set ready to work.
Because the lighting truck is designed as a complete working package, equipment is kept organized so the crew can move quickly and efficiently during the shoot.
Crew size depends on several production factors including the number of setups, locations, lighting units, generator requirements, and the size of diffusion frames being flown.
Each project is different, so it’s best to discuss the scope of the shoot.
Having the proper crew helps ensure the production runs efficiently and safely. In film production there is a long-standing principle of synergy: two experienced crew members working together can often accomplish three times the work of one person working alone.
Crew rates are commensurate with the experience and expertise required for the job.
Productions range from small interviews to larger commercial shoots, so the exact crew and rates are determined based on the needs of the project.
Rates are based on a 10-hour workday, not including lunch.
Overtime is time-and-a-half for hours 10–12 and double time after 12 hours.
I typically charge a nominal fuel fee, which usually works out to be significantly less than the standard mileage rate.
For productions outside the Los Angeles studio zone, we can discuss a mileage arrangement that’s fair for the project.
Unlike a rental house truck driver, I do not charge portal-to-portal.
If the production is far outside the Los Angeles or Orange County area, we may need to discuss travel time.
I often arrive 30–60 minutes early to ensure the production can start on time and do not charge for this time.
Expendables are billed on an as-used basis, and I make every effort to keep those costs reasonable and only charge for what’s actually used on the shoot.
The best way to get started is to reach out and tell me a little about the project — the type of production, number of shooting days, locations, and any lighting needs you already know about.
From there we can determine the right crew size, lighting package, and logistics to support the shoot.
Early conversations are always welcome, even if the project is still in the planning stage.