Design Another First Dance Recital

[jmac]

Ok, like many others here, I am stuck doing lighting for my first dance recital (3 year olds thru HS; ballet, tap, jazz, hip hop, etc.). Checked out the school tonite (my alma mater of 38 years ago...). Just renovated, with two ETC Sensor racks and a shiny new Ion. But I don't think I'm going to learn the Ion in one rehearsal, so I'll use my Strand board..

I don't have time to move or re-focus anything; I just need help with dance colors. I'll have a few minutes before hand to swap out gels. Here's what's there. Stage is maybe 45' wide by 25' deep..

FOH pipe with 6 S4's that provide decent front light across stage; others are aimed at pit, etc. and won't be used.

1st and 2nd electric's each have 4 parnel downlights and 14 S4's arranged for 7 side lights each way; plus 3 S4's in center for down/back light. Side lights all look like NC Blue one way and NC Pink the other.

The third electric (US) has 4 parnel downlights also, plus 12 S4 backlights.

The FOH, and all the back lights and downlights are gelled with frost plus some kind of beigey translucent gel I'm not familiar with (sort of like R99 chocolate, but lighter and not see-thru..). Somebody know what this is..?

Everything looks very basic white light as is. They want more color. My question is how much color to add and how saturated? Use 1 or 2 colors for the 12 downlights? Change the sides to deeper colors, and have 1 or 2 colors per side?

Don't want anything too sophistated, but want to be able to change moods a bit. There is no cyc, just a black curtain. Any basic dance gel color suggestions appreciated.

They have also assembled two booms with head/mid and shin pipes. There are 4 others to come but they won't be ready. Worth it to put one on each side, or too much headache and worries with kids? I have 6 S4-26/36/50's I could use, 3 lights per boom. Colors?

Also, any place to use some breakup gobos??

Thanks!

 

[derekleffew]

...The FOH, and all the back lights and downlights are gelled with frost plus some kind of beigey translucent gel I'm not familiar with (sort of like R99 chocolate, but lighter and not see-thru..). Somebody know what this is..? ...

L184 Cosmetic Peach, perhaps? I've never felt the need to try L184 thru L191.

 

[DaveySimps]

Will anything be taped for video for DVD's to be purchased? Many schools offer this service. If they do, it will drastically effect your cuing and color choices. I have seen more than one designer for these types of shows not asked back because the parents who dished out the $50 for the DVD could not see the $3,000 dental work they paid for when their kid is on stage.

In general, I would be inclined to have a wash in medium amber in the parnels, a medium or slightly lighter blue and one in pink for the source IV's overhead, as well as some sort of break up gobo wash in the down/back light. That is just taking a stab in the dark though, giving you some tools to work with. I have no idea how big each group is, what the costumes look like, what the choreography is, or any other important info like that. Booms are great normally, but based on the info you gave, I'd go with out them, especially if I could only get one per side of the stage. The younger dancers might find them more of a hazard coming on and off of stage.

I would not go too saturated at all with your colors. When in doubt, error on the side of lighter. In this environment, parents and family members want to see kids, and are less concerned with the art. This is especially important since you are playing in front of a black background.

~Dave

 

[MrsFooter]

This month is dance recital season for me as well. I'll be doing several recitals involving varying degrees of design, depending on how much prep time I have and how much I like the particular dance company. Here's what I use in my rep rig:

FOH: 3 systems of front light in R60, R33, and NC

Overstage:

Top: R22 and R58
Bax: R27 and R74
Pipe Ends: R49 or R46
High Sides: L200 (I sometimes put a general breakup in this system, and it looks very nice.)
Booms:
High Cross: L202 and a lav that for the life of me I can't remember what is
Head highs: R73 in SL, R50 in SR
(I'm not allowed to use shins or mids, for fear that little Suzy would burn her little hands.)

This is my second year with this plot (more or less,) and according to my boss everyone was very pleased with the look of their shows last year.

I have to respectfully disagree to an extent with Mr Simps, however. Of course, you have to keep in mind that you're lighting a dance recital, and it's not high art. For the baby dances, I will always default to front light at 75%. But assuming that I have time to actually design for pieces, I never design with video in mind. Of course, I make sure faces can be seen; I usually keep front light around 50-60%, 30% at its lowest. And if the choreographer or teacher asks to brighten it up, I have no problem bumping it up a bit. But it's not my job to make sure the video looks good; that's the videographer's job. Make sure you co-operate, help them white balance and whatnot. But any videographer worth their salt will be able to handle whatever you throw at them. (Besides, me and my 20 or so recital tapes can assure you that with the exception of maybe a viewing for grandma, nobody watches the **** things.)

Lastly, try not to think of it as being "stuck doing dance recitals," as you put it. Sure, there's not a lot of art to a stage full of three year olds in duck costumes. And some of the music may make you want to apply a screwdriver to your temple. But even the worst dance companies usually pull out a couple pieces with the potential for a little art. It's still an opportunity to try new things and see your work on a live stage. Try to have a little fun with it!

 

[jmac]

L184 Cosmetic Peach, perhaps? I've never felt the need to try L184 thru L191.

Very close Derek. It's L188 Cosmetic Highlight..

 

[zmb]

Pipe Ends: R49 or R46
High Sides: L200 (I sometimes put a general breakup in this system, and it looks very nice.)

What's the difference between pipe ends and high sides? I've heard the both terms used to mean the same thing.

 

[DaveySimps]

From my experience, the terms mean basically the same thing.

~Dave

 

[Footer]

What's the difference between pipe ends and high sides? I've heard the both terms used to mean the same thing.

In her rig, pipe ends are the last two units on each batten. High sides are another sidelight system but they are spaced farther into the batten. One on batten, they are units 3 and 8ish and mirrored on the other side.

 

[SteveB]

We do a master plot (see attached) that all 7 dance recitals use, as well as serving the 35 high school and middle school grad's in the month of June. The dance plot is run on the Ion, then grads on a Status 2 scene console backstage.

As well as the 200+ conventionals there are 5 High End Studio Spot CMY/Zooms on a 1A electric just US of house 1 that do all the cyc images (see photo) as well as ton's of add'l images and washes, strobes, high lighting area's, house sweeps, etc... The Ion is especially good at running all this, especially with the dual touch screens.

There are no lighting/tech. rehearsals, just the house SM taking notes during the one or two spacing run-through's. Only one company brings an SM/LD and she cues her show. Badly in the opinion of the crew.

Running lighting as a one-off for a 4 hr./50 piece dance recital may be the most complicated event I do all year.

I do not light for video (the camera's are so good these days they get most of it) but keep it bright for the kiddies, and dramatic for the older kids. I try hard to keep the lighting interesting and moving, in a "fool the eye" style so the parents don't really see how awful the dancing is.

 

[Esoteric]

Two things.

1. When I was a student we were in a position to guest design a number each at a Tori Amos concert. Her lighting designer was right over our shoulder, and in the post mortem the one thing he said to everyone is "light the talent". He said that you can make all the beautiful looks you want, but the talent can never be "dark" (defined as not being seen in the back row) for more than a second or two.

2. You have to know your audience. Having done professional ballet and modern dance, I used to do tons of high school dance recitals (because they paid very well for all of 3 days of commitment). I started with one troupe I did two shows with them, and the next year I got 20 calls. Why? Because I did great designs AND I made sure that even grandma in the back row could see Betty Sue Dancer and pick her out of the line.

It is never about our art, it is about pleasing the client and giving them what they want. If they want 100% front light, then you try and build good looks around 100% front light. Don't tell the client what they want. Every time I have tried to do that it has backfired on me (once completely ruining a relationship with a very powerful Director in the city that I live in).

YMMV

 

[jmac]

In her rig, pipe ends are the last two units on each batten. High sides are another sidelight system but they are spaced farther into the batten. One on batten, they are units 3 and 8ish and mirrored on the other side.

I had same question re: pipe ends and high sides. Also, what are high crosses? And how are all three typically used?

In my case, there are 7 high sides on each side, and they basically just fan across the stage, each going a little farther than the previous one.

Would it be good to use two colors and alternate them on each side? Right now it's set up for orchestra with just NC pink on one side and NC blue on opposite..

 

[Esoteric]

See, I always used "high side" to mean a side wash, from a high angle, that keeps a consistent angle across the stage, while a "pipe end" is a side wash, but since all the lights are mounted to the end of the pipes, the angle changes dependent on where you are on stage. When I say "high cross" I usually only use that in live music in a haze environment, because to me that means that the light beams are crossing near the top of the beam. That is what we were taught in college.

I prefer to hang R33 and R60 from both sides if possible. If not then I do R33 from one side and R60 from the other and alternate any other washes.

 

[jmac]

Ok, next question: How are the heads/mids/shins typically aimed and shuttered, and do you typically use all three at same time, or as I'm guessing, mix and match for different effects?

Are we looking for sharp beams across, or wide flood?

I would like to try this even with only one boom per side, just to get some experience. Any thoughts as to whether S4- 26, 36 or 50's would be best?

PS- Hi again to Mr. and Mrs. Footer. I'm in Clifton Park, and have been to Spa Little Theater for a couple shows, and get to the Egg once in awhile (last saw Doc Watson last year). I'd like to see both your systems some time. Thx again!

 

[jmac]

See, I always used "high side" to mean a side wash, from a high angle, that keeps a consistent angle across the stage, while a "pipe end" is a side wash, but since all the lights are mounted to the end of the pipes, the angle changes dependent on where you are on stage. When I say "high cross" I usually only use that in live music in a haze environment, because to me that means that the light beams are crossing near the top of the beam. That is what we were taught in college.

I prefer to hang R33 and R60 from both sides if possible. If not then I do R33 from one side and R60 from the other and alternate any other washes.

So you would not go more saturated for the sides?

 

[Esoteric]

Okay, this is how I do things.... There are many ways to do it, this is mine.

I focus shins with the bottom edge of the beam at the leg line, mids I squat and focus them at my head, and heads I stand and focus them. They are usually done with a sharp focus to shutter cut off the legs on the other side.

You can do them individually or together for different effects.

Instrument type depends on how long it is from one set of legs to the other.

 

[Esoteric]

So you would not go more saturated for the sides?

I prefer my saturates in my tops, backs, scenic elements, etc. I will hang saturate sides if the show calls for them. But in professional dance where I never touch my fronts except to tone, I need them to pop the dancers.

 

[MrsFooter]

What's the difference between pipe ends and high sides? I've heard the both terms used to mean the same thing.

As Footer said, in my case, the different names refer to different hang positions. However, for dance I tend to use them for the same purpose, as a "high cross". After all, at the end of the day, the name is irrelevant, it's what you do with it that counts!

Two things.

1. you can make all the beautiful looks you want, but the talent can never be "dark" (defined as not being seen in the back row) for more than a second or two.

2. It is never about our art, it is about pleasing the client and giving them what they want. If they want 100% front light, then you try and build good looks around 100% front light. Don't tell the client what they want. Every time I have tried to do that it has backfired on me (once completely ruining a relationship with a very powerful Director in the city that I live in).

YMMV

1) Of course you have to light the talent. I don't think any of us are talking about leaving dancers in the dark. What we're talking about is not giving them a 1-100 @ FL, but something with a little shape and texture.

2) Here's the thing about not telling the client what they want: with exception, they have no idea what they want. That's why they hire a designer: to design. So I'm going to create lighting that I think looks great. Of course if the client doesn't like what I'm doing, I take their input and we figure something out together that makes them happy without compromising the artistic integrity. (Too much.) But 99% of the time, they love what I do, and I feel good about the work I put on stage.

I have to wonder, if it's "never about our art," then what's the point? Of course it's important to keep some perspective. But if you're not going to put even a little of yourself into it and just metaphorically crap light on the stage, then why do it at all? My boss has a saying: "If the client leaves happy and unscathed, it's a good day. And if we can make a little art while we're at it, it's a great day."

PS- Hi again to Mr. and Mrs. Footer. I'm in Clifton Park, and have been to Spa Little Theater for a couple shows, and get to the Egg once in awhile (last saw Doc Watson last year). I'd like to see both your systems some time. Thx again!

Holy crackers, small world! If you saw Doc Watson last year then you have, indeed, seen almost that exact rig in action, since I'm pretty sure I lit that one. Next time you're by the Egg, stop in and find me, I'd love to show you around!

 

[Esoteric]

Sorry, I think I was misunderstood.

I agree with your boss 100%.

For me it is about priorities.

1. No one gets killed
2. Satisfied client
3, On time and on budget













4. We got to make "art" (whatever that is)

In the end making art doesn't get the client to book me again, satisfying the client does. If the client wants 1-100@full, will I try to talk him out of it (and show him other looks in the process)? Of course! But if he still wants 1-100@full, then he gets 1-100@full. This has not failed me yet (making "art" and not listening to the client on the other hand has let me down a few more times than I care to admit). That is not to say that I don't bring myself to shows when I am able. I have a reputation for example as someone who brings a live music feel to everything I do with haze, saturate colors, patterns, angles, etc. So I get a lot of gigs where that is what the Director wants. But I also have a rep for doing realism very well.

I guess I take to heart what they taught us in college. Making art is fun and all, but it will not pay the bills. Client satisfaction is what pays the bills. You satisfy the client, do what the show wants, and maybe get to make a bit of art here and there.

Why do I do it? Not for "art". I do it because I can't think of anything I would rather someone pay me to do. Well, maybe a few, but nothing people would actually pay me for.

But back to the OP, at the end of the day as long as the client is satisfied, you have done your job and you can move on to the next one (hopefully).

And like MrsFooter said, it doesn't matter what you call the positions as long as you and your ME understand it.

 

[derekleffew]

...For me it is about priorities.

1. No one gets killed
2. Satisfied client
3, On time and on budget













4. We got to make "art" (whatever that is)

Put another way,
From Lighting Concept/Lighting Statement - ControlBooth :

There are exactly FOUR hard and fast rules for lighting.
(In order of importance):

1. Don't burn down the venue.
2. Use light to make it possible to see the performers.
3. Satisfy the Producer/Director/Artist.
4. Satisfy yourself.

 

[MrsFooter]

Put another way,
There are exactly FOUR hard and fast rules for lighting.
(In order of importance):

1. Don't burn down the venue.
2. Use light to make it possible to see the performers.
3. Satisfy the Producer/Director/Artist.
4. Satisfy yourself.

But #1 is optional, right? I think the saying goes: "Art first, flameproofing second," right?