From large-scale streaming dramas to major television productions, gaffer Andy Lowe has built a reputation for combining technical precision with highly adaptable on-set workflows. Having worked across everything from low-budget productions in Sheffield to internationally recognised projects including Silo, Lowe represents a generation of gaffers shaped by both traditional lighting techniques and the rapid shift into digitally controlled LED production environments. 

Known for his calm, problem-solving approach to lighting, Lowe has seen the industry transform dramatically over the last decade - from the decline of tungsten and fluorescent fixtures to the rise of battery-powered LED systems and high-output moving lights. In this conversation, he reflects on the realities of modern production schedules, the growing importance of flexibility on set, and why fixtures such as the Robe iForte LTX are opening up new creative and practical possibilities for film and television lighting. 

To begin, could you talk about your background as a gaffer and how that shaped your approach to lighting? 

I think my career started a bit unusually, but then again, there’s probably no “usual” route into the industry anymore. 

I went to Sheffield Hallam University almost by default. I didn’t get the grades I originally wanted, so instead of studying English, I ended up doing film and literature. 

The course was much more focused on film history than filmmaking, but there was a practical element in the final year. That’s where I started working on student films and music videos, and I quickly became interested in lighting. 

Because I was based in Sheffield, there weren’t loads of major productions coming through, but when projects did arrive, they needed people who could do a bit of everything. Early on, I was moving between roles constantly - gaffing one day, working as a spark the next. 

That variety really helped. Working on low-budget productions teaches you to think quickly and work efficiently because every setup matters and every decision counts. 

Even now, on much larger productions, that mindset still shapes the way I approach lighting. 

That agility must still be important, even on large productions. 

Definitely. There’s always a budget, regardless of the size of the production. 

You have to spend that money wisely and make sure it ends up on screen. Even the biggest projects aren’t unlimited - they still require planning, efficiency and careful decision-making. 

It’s hard not to say LED. That’s been the biggest shift by far. 

Lighting has effectively gone digital. Cameras moved first, and lighting followed. It feels like part of the same technological transition. 

But it’s not just about what’s arrived - it’s also about what’s disappeared. Fluorescent lighting has almost completely gone. Tungsten usage has dropped massively compared to when I started - probably by around ninety-five percent. 

Now, tungsten is more of a specialist choice rather than an everyday fixture. HMI still has a place, particularly when you need very high-output hard light, but LED is steadily taking over there as well. 

Another major change has been power. Productions rely far less on generators now and much more on batteries. That shift has accelerated rapidly over the last five years. 

So really, it’s change happening in both directions — new technology coming in while older technologies gradually fade away. 

How important are speed and flexibility when designing lighting setups today? 

They’re central to everything. 

You’re constantly trying to build setups that can deliver multiple looks - day, night, dusk -  while allowing quick transitions between them. 

Lighting desks have become a huge part of that process. It’s no longer simply about dimming lights; now you’re controlling colour, intensity and sometimes even softness remotely. 

What you’re really designing for isn’t just the script - it’s the schedule. Modern schedules are incredibly tight. 

You might need to move from a daytime scene into a night scene immediately without completely rebuilding the setup, and that’s where flexibility becomes essential. 

How do you approach creating daylight on location? 

The first step is understanding what “daylight” means creatively for that particular project - what the DOP wants, what tone the show requires and what kind of realism you’re aiming for. 

Then the practical questions begin: 

• Are you matching exterior scenes? 

• Is it multi-camera? 

• Can lights live inside the set, or do they need to come through windows? 

You also have to think about orientation - where the sun is, whether natural light needs controlling or supplementing, and how consistent the look needs to remain across scenes. 

Often, you develop a repeatable system for a show - a visual language that carries through different locations. 

But sometimes the story requires you to break that system. 

Lighting becomes a bit like solving a puzzle. There are multiple solutions, and choosing the right one is part of the creative process. 

Do moving lights reduce setup time and pressure on set? 

Absolutely, especially between setups. 

One moving light can serve several different purposes: daylight, moonlight, streetlight, effects. That flexibility is incredibly valuable. 

They also allow you to create effects like gobos without needing large amounts of additional rigging. Traditionally, those setups could take a significant amount of time. 

Now, you can create and adjust those looks remotely within seconds. 

Even though moving lights can cost more to hire, they often save substantial time during production - and time is one of the most valuable things on set. 

Do they also reduce disruption during shooting? 

Definitely. 

With traditional fixtures, even small adjustments could mean ladders, moving crew members and physically repositioning equipment. 

With moving lights, those changes happen from the lighting desk, often sitting directly beside the DOP while watching the same monitor. 

That’s much faster and far less disruptive, and sometimes those adjustments are happening during rehearsals or even takes. 

Anything that helps maintain momentum on set is a huge advantage. 

Have high-output LED moving lights opened up new creative possibilities? 

Yes, and one of the biggest improvements has actually been noise levels. 

Older moving lights, especially HMI-based fixtures, were often too loud for many filming environments. Modern fixtures are much quieter now, particularly with studio modes and improved fan systems. 

They’re also IP-rated, which means they can work reliably outdoors, something that wasn’t always possible in the past. 

It feels like we’re finally reaching a point where moving lights can be used in the ways people always hoped they could. 

How did you use the Robe iForte on Silo? 

We used it for a very specific effect involving mirrors opening and allowing daylight into the silo. 

The sequence required:

• clean, natural daylight 

• a moving fixture capable of sweeping movement 

• extremely high brightness 

The iForte ticked all of those boxes. 

It worked beautifully. The director, DOP and VFX team were all really happy with the result, and the practical lighting effect even informed the digital VFX work afterwards. 

Originally, the movement wasn’t intended to appear on camera, but once the director saw it, we decided to keep it. It became part of the storytelling language. 

Did you use the fixture for other applications as well? 

Yes, mainly for introducing hard daylight into otherwise soft-lit environments. 

What became really useful was consistency. Using the same fixture whenever daylight appeared helped maintain continuity across the series. 

Once the crew became familiar with the setup, it created a kind of shorthand on set where everyone understood the workflow immediately. 

How did you find the colour and skin-tone reproduction? 

Really impressive. 

The colour rendering stood out immediately because you don’t always expect that level of quality from a moving light. That was definitely one of the most positive surprises. 

Finally, if you had to describe “the Robe difference,” what would it be? 

For me, it’s the service and understanding. 

When we were looking for a very specific solution, the team at Robe genuinely listened and helped us find the right fixture for the job. 

I visited their facility, saw multiple fixtures being tested, and once I saw the iForte, it was obvious that it was the right choice. 

That level of support and expertise,  that’s the difference.