From the Ground Up: The Lighting Craft of Wayne Shields

Wayne Shields is a seasoned gaffer working across major feature films and high-end television productions, from fantasy series to large-scale action. He came up through multiple roles in the camera and electrical departments, and that route shaped the practical, solution-driven approach he still brings to set.

Wayne’s film credits include Digger, Star Wars: Starfighter, Deadpool & Wolverine, The Covenant, Safe House, starring Denzel Washington and Ryan Reynolds, The Scorpion King 2: Rise of a Warrior and 10,000 BC, work that has taken him through large-scale environments and action-driven sequences. He is currently shooting The Batman Part II. On television, he served as gaffer on The Witcher Seasons 1 and 2, helping establish the show’s fantasy look.

Known for his close collaboration with cinematographers, Wayne adapts lighting strategies during prep to support each project’s visual language. His experience with modern LED and battery-powered systems allows for flexible, efficient rigging solutions on set.

For the FilmmakersWorld community, Wayne Shields represents a consistent and trusted presence. A contributor since our early days, he has always shared his process and technical insights to help the next generation of crew members. He remains a craftsman whose work continues to support and inspire everyone in the industry.

In this conversation, Wayne opens up about his journey, sharing the technical challenges and creative solutions that have defined his career from the early days to the sets of Deadpool & Wolverine. Enjoy!

1. Wayne! You grew up professionally inside very different productions, from large features to complex TV series. Looking back, what was the first project that really made you feel you had found your place as a gaffer?

I have always really enjoyed what I do in the lighting department. From when I started as a trainee, I always knew I wanted to become a Gaffer. I always used to see the great respect between the DP and the Gaffer in making the vision a reality.

2. Many of your projects require balancing speed, scale, and precision. What are the first things you look for when you start prepping a new show?

Firstly, it would be reading the script to get a better understanding of the story, mood, and complexity of what is to come. Then, getting a shooting schedule to work out the timings of when each set or location has to be ready. During this process, sitting down with the DP and working out how we will approach each set and passing all the information to my Rigging Gaffer, Key Rigger and team.

They are the guys who make the magic happen behind the scenes. They are an integral part of keeping the production running by hitting all the dates we have set to complete our rigs.

3. You’ve worked across action, drama, and fantasy. Does your lighting mindset change when you move between genres, or do you carry the same principles from one project to another?

It does indeed change as there are different styles, from say contemporary to a genre where there was no light, only firelight and moonlight. These are the things that I enjoy because you are always trying new things with different tools.

4. You’ve collaborated with many different cinematographers. What, for you, makes a truly productive relationship between gaffer and DP?

Just having respect for each other and a good understanding of what is achievable in the time permitted.

5. Modern sets rely more and more on LED systems and wireless control. How has this changed the way you design light on set, both creatively and practically?

It really gives us full control of all the lighting elements on set. The speed to change color and intensity on the fly is fantastic. Sometimes you can make small changes while you are shooting, while no one even notices. This system really saves a lot of time if implemented correctly.

6. The Witcher involved building entire worlds through light. What were some of the biggest lighting challenges you faced on that series?

Not to overdo the fire flicker!! Ha ha ha. Lighting for magic and fantasy also gives you a chance to sometimes think out of the box, but also not overdoing it can be a fine line. Mixing colors with different DPs was great on some of the sets, which contributed to the overall look.

7. You’ve lit everything from intimate interiors to large-scale action sequences. Which type of set do you personally enjoy most, and why?

Can I say both as they are equally rewarding? They both come with different challenges, too. It’s always great to put in the prep and light the sets and see how it all comes together on the day.

8. Over the years, what is the most important lesson the job has taught you about working with people on set?

Be polite and try to be as patient as possible(not always possible), and always bring your A game.

9. When young electricians or future gaffers join your team, what’s the first thing you try to pass on to them?

I am always happy to pass on as much knowledge as I can. These guys and girls are the future, so I am always happy to pass on all the things I have been taught over the years. This job can be hard enough, so any little tricks of the trade can only help. 

10. Looking at how fast the industry is evolving, what do you think will matter most for the next generation of gaffers: gear, mindset, or something else entirely?

I think having a good understanding of all the latest tools of the trade and great people skills will always be a good start. The industry has changed so much over the years and will continue to do so. It is important to embrace change and move forward.

11. AI is starting to influence many areas of the film industry. From your perspective, how do you see AI impacting the craft of lighting in the coming years, and what do you believe will remain fundamentally human on set?

I do believe AI will really help us in a lot of parts of what we do. Especially in the prep and rig design aspect. I think, as far as on set, I do believe we will need electricians and riggers as well as other departments on the floor for the foreseeable future.

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Un post condiviso da Wayne Shields (@westsidelighting)

Wayne’s answers keep coming back to the same thing: respect between departments, prep, and a clear understanding of what is achievable in the time permitted. That is the part of the job that never shows up in the finished image.

Thank you to Wayne for sharing his process with the FilmmakersWorld community.

More on lighting at scale in our conversation with gaffer Mike Ambrose on lighting Michael with Dion Beebe, ASC, ACS.