Jeff Pardee
Touring Lighting Designer / Lighting Programmer
I.A.T.S.E. Local 728
Begun as a hobby when just a teen, Jeff Pardee now has 21 years in professional lighting behind him, much of that on top tours and special events. Film and broadcast lighting is his present passion however, work the Californian calls ‘the best job on the planet.’ A Navy vet (and pyro specialist) with a wonderful appreciation for family and life, he offers up valuable advice for any lighting pro learning their craft.
Meet Jeff
Where did you grow up?
I grew up in Thousand Oaks, California. My parents moved into my childhood home the week I was born and still live there today. I went to Newbury Park High School where I started my lighting passion in tech theater and eventually theater design.
So you got into lighting pretty young?
Yeah, when I was roughly 15 years old, I started working with a small production company (Music Memories and More) where I truly found my passion for concert and live event show lighting. I did lighting for every type of show from small concerts, weddings, high school events, etc. My first official “lighting job” was more of a hobby job but I loved every moment of it. With lighting only being my hobby and with no clear career goals, I joined the US Navy and became an Avionics Electronics Technician. Stationed close to home, I continued working on theater and small venue concert shows while serving in the military, again, still just a hobby for fun.
Do you remember when you first became enamored with lighting and what is it about lighting that attracted you?
I was about 10 years old and my parents took me to my first ever concert at the Greek Theater in Los Angeles. The artist was “Earth Wind & Fire” I recall. I believe it was a special gift from my dad to my mom as she loves the group. I just remember sitting there in a massive crowd not sure what was going on, but I couldn’t stop looking up at the lighting rig. I remember thinking to myself “I have no idea what it is, but I want to do that.”
Later in life, I learned about lighting programmers/designers/etc. but as a young 10-year-old watching a band I never really knew beyond my parents listening to their songs here and there, it sparked what would turn into my passion for design. Fast forward to my working in the military and doing shows on weekends. I eventually came to the end of my military career and half defaulted into full time lighting work. I discovered a touring company “Ed N Teds Lighting” in Southern California and my professional lighting career took off from there.
What was your early career like?
A lot of weddings, high school events, theater shows, and private events! I did anywhere from 3 to 9 events a week, running from one show to the next, setting up gear, programming basic lighting looks, and creating party environments. On occasion, my boss would attempt to get me to DJ when we didn’t have guys to cover some events. It was a lot of fun with a massive amount of different experiences and show set ups that really helped me define my designing eye as every show and event brought different challenges and client needs. It really helped build my foundation of tricks and tools that I still rely on to this day.
When you think back on how you learned your craft, what do you see as the most important factor?
Learning from a variety of types of shows and events. We all eventually find our “talent” or “best at” when it comes to lighting. Some of us are amazing theater designers where others can’t light theater to save their life. But when we are green to our craft, studying from, learning from, and working in as many types of shows and events builds up a solid foundation of all lighting crafts. Then as you build yourself into what you like or do best, you can use those learned talents from all of those forms which can and do make you that much better.
You transitioned from lighting concerts and special events to lighting film and broadcast. Why did you make the switch?
To be quick, I was tired of the road. After years away from home, I was ready to settle down. I haven’t given up concerts and festivals, but my touring days are much more behind me than they are ahead of me. If the right show or tour comes up I would possibly hit the road again, but working in film gives me the freedom to go to work and be home with my family in the evening. It comes with its whole set of challenges, but with the years of touring and theater behind me, I have found the transition to be smooth and I quite enjoy what I do.
What do you like about lighting film?
A part of why I wanted to make the switch was I wanted my career to make a difference in someone’s life. A part of why I joined the military is the sense of making a difference. When it came to touring, yes, you touch people’s lives and some shows you remember for years, but that memory fades or gets replaced by the next great show. I couldn’t honestly look back and remember all of those perfect show days or all of the awesome moments. I have my highlight memories for sure, but over all those years, there are a lot of them that have faded away. I wanted something more than that, which is what turned me to lighting programming for film.
In film, I get to help create movies and TV shows that touch the emotions of so many people in so many ways at a global scale. At times, this can be an overwhelming feeling knowing my work will be seen by countless thousands, if not millions, but that feeling gets replaced quite often with being very blessed and humbled knowing that I’m bringing joy to so many people I will never meet. In its own special way, I have the best job on the planet.
What role do you typically have on a film set?
My roll is titled “Lighting Console Programmer” which basically equates to a board programmer/board op. I work directly with a Gaffer (Lighting Designer) who works for the Director of Photography. My level of input is completely up to the DP/Gaffer and how they work. On some shows, I’m in the thick of the conversation and have artistic input to help get the exact look they want. Other times I sit back and simply listen and push buttons. It all depends on them and their comfort level with allowing input. I have found that as you work with them and they see that you have solid input, ideas, and more importantly have solutions, they tend to request more input than not. One way or another, my cart and console are parked right next to the DIT (Digital Imagining Technician) cart where the DP/Gaffer views the monitor feeds from the cameras. That allows me to at least hear what they are looking at on the monitor and at times add to the conversation as needed.
What was the biggest transition you had to make from the touring/special event world?
The pace is a lot more relaxed! I was so programmed to festivals and tours where you have 8 hours to load in 12 hours of gear. When I worked on my first feature film “Call of the Wild” I was still in the concert mindset of urgency. Running around hustling, throwing in a network a bit too sloppy but getting it in and working. My supervisor stopped me one day and teased me about it, telling me to relax, take my time, do it correctly the first time, even if it took me a long time. So I turned sloppy into professional and worked just like before but found it a lot easier to manage and trouble shoot later down the road. Taking the time to make it clean and more “installed” took unlearning the festival hustle I was engraved with.
You’ve used the Proteus Maximus™ on several production sets recently. What role has it had in film production?
Everything from lighting a 1200’ section of a bridge in downtown Los Angeles to the sun cutting through rainy clouds in Paris (Universal Studios backlot). When you have a solid fixture like this, it opens up so many possibilities and uses. Rain or shine, literally, these fixtures just perform under the harshest conditions that Hollywood can throw at them.
Are you working on any projects at the moment?
I’m currently working on the Los Angeles Film Unit for a series of Marvel Movies set to release in 2022.
Is there something you’d like to accomplish in this industry that you haven’t already?
Honestly, I live my life to be as humble as I possibly can be …but it would be really cool to work on something that gets an Oscar for Cinematography. It’s already an absolute honor knowing I am working on the same sound stages as the Hollywood icons from the “Golden Age” of Hollywood, but if I worked on something that was honored with an award like that, it would truly be an amazing feeling knowing I helped make that happen.
What do you like to do when you’re not doing lighting?
Easiest question, hands down - spending every moment I can with my loving family, going to church, and loving every moment I’m blessed with on this earth.
What’s something about Jeff Pardee that people might find surprising?
I’m a certified pyro technician in multiple countries. I have shot fireworks shows all over the United States and overseas, and have been invited to design fireworks shows for international fireworks competitions representing “Team USA”…and all while having a phobia and being absolutely scared to death of being burned alive by a fire!
