Bill is back on the show with even more information about how he creates lighting for television, how the TV business works, and the protocols he works under on set during the pandemic. His nearly 40 years of experience on camera, first as a lighting designer and then as a director of photography, gives him insight into and informed opinions about nearly every aspect of the job.

After a multi-camera show finishes shooting, the DP’s job isn’t done until they have worked with the colorist to shade, adjust, recolor, and in some cases reframe shots. Bill walked us through the process, and gave us some of the documents he provided to the colorist on his latest project, Netflix’s The Crew, to illustrate his notes.

We discussed the safety protocols that The Crew – and any other project shooting under SAG-AFTRA rules – is required to follow, how they affected the workflow, and what people entering a set under these conditions need to know. Bill told us about his work on Disney’s Girl Meets World, and explained how he created two beautiful outdoor scenes (a night rooftop party and a night campfire scene) indoors on a stage with a live audience. He also told us about working in corporate theater, including the challenges he faced lighting stages as rear projection video screens became major scenic elements.

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