Professional Lighting Procedure

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Professional Lighting Procedure
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Design Responsibility

• Producer/Director
• Director works under restrictions of producer
• Designers (costume, lighting, sound)
• Selected by director
• Lighting Designer
• Prepare lighting design (lights and special
  effects) consisting of drawings and schedules
• Head Electrician
• Supervises lighting crews for set and run of
  production

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Design Responsibility cont.

• Production Electrician
• Facilitates lighting set up, assists with light
  ordering and coordinates crews and budgets
• Lighting Crew
• Install, hang cable and plug lighting equipment,
  responsible for adjustments and aiming fixtures
• Running Crew
• Responsible for nightly operation (follow spots,
  special effects)

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Design Procedure

• Script Analysis
• Talk w/ Director
• Set Costume Design
• Study the Theatre
• Time/Crew/Budget
• Attend Rehearsals
• Prepare the Lighting Design
• Supervise the Focus Level Setting
• Lighting Rehearsals

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Design Concept

• Statements of designers hopes
• Concept should be fundamental
• Based on emotional qualities indicated in the
  script
• Provides justification and direction for all
  decisions

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Design Communications

• Communication
• Visualize, Verbalize, Document, Direct
• Drawings
• Produce lighting plot-lighting fixtures,
  locations, and relation to stage (easy to use)
• Schedules
• Set up and daily maintenance, anything not
  clearly shown on light plot

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Design Planning

• Understand theatre and set design (visualize)
• Understand scale, distance and angles
• Utilize set plans, 3-D models, and possible
  computer designs

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The Lighting Section

• Cross-Section
• Drawn as a slice
• Sections stage floor, house, ceiling, scenery
  etc.
• Allows lighting designer to accurately measure
  throw distances

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The Lighting Plot"If it ain't on the page, It
ain't on the stage"

• physical design drawn
• Labels exact locations and stage relation of
  lights
• Must clearly communicate to others

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The Hook Up

• a numerical list of all channels used in a
  particular production.
• A typical hook-up will show the channel number,
  dimmer number, circuit number, or fixture number

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Scale Sizes

• May require 12-24 dimmers up to 24 channels or
  controls
• May require more than 500 dimmers to 300 control
  channels

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INSTRUMENT SCHEDULE

• The instrument schedule is a detailed list of all
  fixtures on a light plot.
• It allows the Head Electrician to rapidly
  identify all the details, for any fixture.

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Fixture

• Each fixture is normally given a number
• Example-
• 1 Bridge-5, 1 Pipe-12, 1Boom-8

Fixtures are in order just as the positions are
in a typical order From stage left to stage
right From top to bottom From down stage to up
stage
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The Positions

• The positions are normally in order
• From curtain line to rear of auditorium
• From curtain line to rear of stage
• Booms
• Floor positions
• Special effect equipment

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The Magic Sheet

• It consist mainly of a single piece of paper
• The paper is about 8.5 x 14 and divided into
  about 15 squares
• Each square represents a visual group of
  fixtures.
• The number of arrows indicate the number of
  fixtures and the direction of the light.
• The designer stands on the stage and asks for
  which channel number he wants to be active.
• A crew member will be directed on how to aim the
  fixture.

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The Focus Session

• In a focus session the lighting designer will
  check for the first time if he has the right
  equipment and positions
• The crew and light designer work in a darkened
  theatre
• An electrician will operate and work the lights
  from the stage or control booth.

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The Level Session

• When all the fixtures have been given to the
  dimmers and focused the designer lighting
  pictures called level or cue setting session.
• Sometimes the lighting designer may only have up
  to 4-8 hours to set all the lighting cues for the
  production.
• The designer will work with all the lighting
  going up or down and when he is done and will
  seek approval from the director.
• Last, everything is given a cue number

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Proving that the Lights are Right

• The lighting designer has to show that he has the
  expected lighting.
• Even though some things may be missing from the
  stage settings.
• Like, props, furniture, carpets or curtains.
• Missing objects can make the lighting designers
  job more difficult.

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The Cue Sheet

• This is a written documentation or each lighting
  cue
• Each cue is given a number and time and is
  clearly written down
• The cue sheet is needed to 2 reasons
• if the lighting control board is a manual system
  which means with no electronic memory, it is the
  only record of the lighting.
• Even if the lighting control board has an
  electronic memory, a written record of each
  lighting cue is kept for safty reasons.

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Print Outs

• Since systems come with a printer each cue can be
  recorded and printed at the same time.
• In rehearsals the designer might ask for
  printouts of all the cues
• the final print out should be ready prior to the
  production
• The designer and direct should have a copy of the
  print out also.

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PICTURE

• THIS IS JUST A PICTURE I THOUGHT WAS TYTE