Eric “TK” Androvich
Lighting Programmer, Lighting Designer
IATSE Local 728
By the 5th grade, Eric Androvich already knew that he wanted to work in film, later merging his two passions of filmmaking and theatrical lighting into a successful career in film lighting. Through thoughtful preparation and the application of both his technical and artistic skills, this 'gaffer's caddie' has not only established himself as an invaluable asset on set, he also takes an active role in shaping the creative aspects of a shoot.
Meet Eric
So what does TK stand for?
About 9 years ago I met the gaffer Jeff Ferrero and his crew on the set of “Straight Outta Compton”. On my first day, there was confusion on the radio since there was already an Eric on the crew. So Jeff just referred to me as “the kid”, which he shortened to “TK”. By the second day, the nickname stuck, and it’s spread to all the other crews I work with.
What have your 2023 highlights been and what are you working on at the moment?
This summer concluded my 11-month run working in Atlanta, Georgia, shortly before the strikes began. It was a fantastic experience living and working in a different market than LA. Two of the projects I did were directed by the Russo brothers, and so I was reunited with many of the same crew that I worked with on “The Gray Man”. They include some of the most passionate and talented filmmakers I’ve ever had the pleasure to work with, and I look forward to seeing them all again when the strikes conclude.
How much have you been affected by the Writers Guild and Actors Guild strikes?
It’s definitely had major impacts on my plans for this year and next. The long form projects I had lined up have been rescheduled well into next year and only commercial work remains, however it is far more sporadic than usual.
Where did you grow up? What was your youth like and what did you want to be when you grew up?
I grew up out in the country not far from Toledo, Ohio. Being an only child and living in a rural area meant I had to figure out ways to entertain myself early on. I became fascinated with the family camcorder and spent countless hours making my own movies and shows that I would screen to classmates and relatives. By 5th grade, I already knew that I wanted to work as a filmmaker and go to a film school. Luckily for me, my parents always supported me and encouraged me to follow that dream.
What led you into the world of lighting for camera?
In freshman year of high school, I volunteered to run the lighting board in the school’s theater productions. I became fascinated with the idea of using lighting technology to enhance the story and influence the audience’s emotions. I followed both passions independently, both theatrical lighting and filmmaking, all the way through high school. It wasn’t until starting my first year at UNCSA School of Filmmaking that I realized I could combine both interests into one career, and I committed myself to learning and succeeding in film lighting.
What do you like best about lighting for broadcast/film?
I like the collaborative aspects of it. I like that I can use my technical skills to make the lighting department run efficiently, while using my artistic skills to inspire and assist my colleagues on set.
How much influence/input does a lighting programmer have in the visual look of the shoot?
That can vary greatly depending on who you are collaborating with. The “old school” mentality is that a programmer does exactly what they’re told by the gaffer and nothing more. But these days, there are many gaffers and DPs that want input and ideas from their programmers. I seek out these collaborators because of how much I love lighting and how much I enjoy taking an active role in the creative aspects. I like to push the boundaries of this more than most programmers do; I like to call myself a "gaffer’s caddie”. When I’ve worked on collaborative jobs like this, I can definitely see my visual fingerprint in the finished product.
As a lighting programmer, what type of pre-shoot preparation do you do? Who do you work most closely with and what considerations do you take into account?
Commercials often have little to no prep, while long form productions like TV and features tend to have a lot. It begins by working closely with the gaffer and DP to devise lighting plans for every set and then drafting those plans to give to the rigging department. Then I typically patch the lights into the console and organize everything in a way that I find most efficient. If we have any particularly complicated lighting scenarios I’ll pre-program and test lighting looks as well.
What is your main role when you are on the set?
The basic function of any lighting programmer is to translate the wants of the gaffer and DP into the console to make it a reality. This boils down to setting levels, colors, and positions of lights, shot by shot. It’s also critical to keep note of all these settings so they can be recalled later. And in order to do all this, you need to quickly troubleshoot and remedy any technical problems that get in the way of doing your job properly.
You recently used Elation Fuze Max Profiles and Proteus Maximus on the science fiction adventure film “The Electric State,” scheduled for release by Netflix in 2024. What are some of the roles an automated moving head can play in film production?
“Movers” are the Swiss army knives of film lighting these days. We keep finding new uses and applications on every job. They are great for rigging in hard to reach places or in aerial lifts that are unmanned. They can replace many of the “hard” lights we use while providing a lot more flexibility and speed. We even use them indirectly by bouncing the light or putting them through diffusion.
What characteristics/features of a light are most important when working on a set?
It starts with the quality of the light source. Color accuracy is vital, and being flicker free at typical camera speeds is equally important. Smooth dimming from 100% to blackout can also be important too since we often hide subtle lighting changes during moving shots.
What is most important to ensure a smooth shoot?
For lighting programmers: Know the rig. Know where every light is and what it’s doing so the gaffer doesn’t have to remember. Pay attention during the lighting process, predict what’s coming next, and prepare yourself for it. You can help shave precious minutes off every setup and it will make you a valuable asset on set.
How do you stay up-to-date on the latest lighting equipment and technology?
Instagram has been a great resource, especially to see what tech people are actually using on jobs. Trade shows like CineGear are great for finding products or companies that haven’t gone “viral” yet.
What do you like to do when you’re not doing lighting?
I have a lot of hobbies! Electronic and circuit board design, software coding, web developing, graphic design, film score composition… Too many hobbies and too little time.
What’s something about Eric Androvich that people might find surprising?
In 2014, I was fired for being late to work at the beginning of a long TV show job. I had no idea it would be the best thing to happen to my career— less than a month later I met Jeff Ferrero, got my nickname “TK”, and started a run of career successes that continues today.
