The gaffer is the head of the electric department — the person who turns the cinematographer’s lighting plan into reality. What the job actually involves, gaffer vs key grip, and how people get there.
The gaffer is the chief lighting technician — head of the electric department. The cinematographer decides how the frame should look; the gaffer decides how to make light do that, with which fixtures, how much power, and which crew. On a well-run set the DP speaks in images and the gaffer answers in equipment.
The gaffer owns the light itself; the key grip owns everything that shapes or supports it — flags, silks, stands, dolly track and rigging. The best boy electric is the gaffer’s second: crew, gear logistics and paperwork, so the gaffer can stay next to the DP. A simple set-floor rule: if it plugs in, it’s electric; if it holds something up or cuts the light, it’s grip.
Almost nobody starts as a gaffer. The path runs through the electric department: set electrician, then best boy electric, then gaffer — usually years of watching how different DPs light before running the department yourself. The craft is technical (power, color, fixtures) but the job is leadership: anticipating what the DP needs before they ask.
Look for credits in your genre — lighting a talking-head interview and lighting a night exterior are different trades — a reel that shows the mood you are after, and comfort with your scale of power and rigging. On Mooiev, gaffers carry portfolios with reels, credits and day rates, and once hired they slot straight into your schedule, day-out-of-days and call sheets.