First Lighting Design job--I'm LOST!

[Rosco]

Ok, so I am a freshmen in my Theatre Design and Tech program at the UA and I have been given a great opportunity to do the lighting design for the acting festival we host every year. There is a great Grad student that is suppose to supervise and help with the designs, but I really want to try and see what I can do on my own.

The problem is that since this is my first design I feel like I am jumping around with one eye trying to get this right. Soooo, I came to you guys for help!

So during this acting festival, high schools will be putting on one-acts in one of our main stages and a directing studio. The main space is a thrust stage(my biggest problem), and these one-acts could be anything, so the design has to be workable for a variety of shows, but I still want each to look really good.

I know I need front light, sides, back light, but the fact that I am lighting a thrust means my front light for some people will be sidelight for others. I have some color ideas, but I just dont know if I am going about this the right way.

I know this isnt the most challenging gig, but I really want to do my best with this, and take this like any other job. So any tips or advice would be most welcomed!

 

[derekleffew]

Welcome, Rosco. I edited this thread title a little, as it seemed to indicate that you'd lost your first lighting design job.

Normally, we'd start by asking about your Lighting Concept/Lighting Statement, but since this is a high school play festival, that doesn't really apply. You likely don't know the plays that will be presented, and probably won't, until the day of the performance. For this gig, you aren't really a Lighting Designer, more of an Illumination Provider. I don't mean to denigrate the position, but if it were important, would they let a freshman do it?

That said, you want to do your best, and that is understandable and admirable. Try these threads: http://www.controlbooth.com/forums/lighting-electrics/14665-lighting-thrust-stage.html , http://www.controlbooth.com/forums/lighting-electrics/6898-color-3-4-round.html , http://www.controlbooth.com/forums/lighting-electrics/12881-other-lighting-methods.html . Keep the design simple, use pale colors, and be flexible.

 

[gregeye]

Hello, I am now a senior in high school and have worked with every kind of lighting situation posibile. Recently I have also done a small show of one act plays. The first thing I had to remember was to focus on face light first and then specials. Now since it's a thrust stage I would suggest making areas. according to your lighting plot have 3 main areas focused on DSL DSR and DSC. have 2 lights placed on each side of the theater or catwalk, ext and focus them on the area, almost like a mirror affect. (2fer them together) According to the stage size I'd use an 19 and a 36 degree for each area. and then again, according to the stage size do the same for CSL CSR CS and UPS, USR, and USC. you might have to have 4 areas in some places. This will ensure that you'll only be lighting the faces in the areas you want.
Hope this helped

 

[Les]

Hello, I am now a senior in high school and have worked with every kind of lighting situation posibile. Recently I have also done a small show of one act plays. The first thing I had to remember was to focus on face light first and then specials. Now since it's a thrust stage I would suggest making areas. according to your lighting plot have 3 main areas focused on DSL DSR and DSC. have 2 lights placed on each side of the theater or catwalk, ext and focus them on the area, almost like a mirror affect. (2fer them together) According to the stage size I'd use an 19 and a 36 degree for each area. and then again, according to the stage size do the same for CSL CSR CS and UPS, USR, and USC. you might have to have 4 areas in some places. This will ensure that you'll only be lighting the faces in the areas you want.
Hope this helped

Also known as the McCandless Method.

Generally good advice, but avoid twofering your front lights if possible. You want a warm and cool side --- and the ability to separate them. Usually, each front light can be the same degree per area, but it varies depending on the plot. Ideally, you will want each front light at the same distance and relative angle to the subject [ /\ ]. Though not always possible, get as close as you can. Most stages can do with 15 areas at most. Try for an odd number so you have a true center area. Don't forget top light. Side and back lighting are a great idea, but can be omitted if need be.

Hello, I am now a senior in high school and have worked with every kind of lighting situation posibile.

Wow, that's quite a bold claim!

 

[gregeye]

Also known as the McCandless Method.

Generally good advice, but avoid twofering your front lights if possible. You want a warm and cool side --- and the ability to separate them. usually, each front light can be the same degree per area, but it varies depending on the plot. Ideally, you will want each front light at the same distance and relative angle to the subject. Though not always possible, get as close as you can. Most stages can do with 15 areas at most. Try for an odd number so you have a true center area.



Wow, that's quite a bold claim!

haha well thanks, I have come to follow that after so much work i've done without enough face light. But your right about the 2fering. And again, have a light straw or skin tone color rosco 13-15 i believe for straw and a mid tone blue one on each side for a area to help balance it out

 

[meatpopsicle]

Wow, that's quite a bold claim![/QUOTE]

Ahh, I remember when I was that young and that bold. We've all been there.

 

[Les]

Ahh, I remember when I was that young and that bold. We've all been there.

Oh yes. Myself included. I remember in 8th grade considering myself an 'expert' at stage lighting. Maybe I was an expert for an 8th grader, but at this point, I wouldn't consider myself an expert in anything! Well I don't know, I do play a mean game of Angry Birds.

 

[gregeye]

Oh yes. Myself included. I remember in 8th grade considering myself an 'expert' at stage lighting. Maybe I was an expert for an 8th grader, but at this point, I wouldn't consider myself an expert in anything! Well I don't know, I do play a mean game of Angry Birds.

good game!

 

[shiben]

Back to the problem at hand. I would go with a 4 point lighting solution, making Xs with your beams, basically, so that each chevron created is pointed toward the opposite audience position (does that make sense?). Opposites in similar colors would probably be the best option. Maybe make several color washes from the top. Maybe do some templates and maybe more face light in a different color yet from above each audience position? If you have a couple of I-Cues, make yourself some moving specials, and pre-program some focus points so that you can rapidly make looks while programing or running the show live. If you have scrollers, these might be useful at this point as well.

Hello, I am now a senior in high school and have worked with every kind of lighting situation posibile.

Doubt it.

 

[Rosco]

That said, you want to do your best, and that is understandable and admirable. Try these threads: http://www.controlbooth.com/forums/lighting-electrics/14665-lighting-thrust-stage.html , http://www.controlbooth.com/forums/lighting-electrics/12881-other-lighting-methods.html . Keep the design simple, use pale colors, and be flexible.

Thanks for the links! I know this isn't really a big thing, but it's an oppertunity most freshmen students don't get, so I really dont wanna screw this up.

Also known as the McCandless Method.

Generally good advice, but avoid twofering your front lights if possible. You want a warm and cool side --- and the ability to separate them. Usually, each front light can be the same degree per area, but it varies depending on the plot. Ideally, you will want each front light at the same distance and relative angle to the subject [ /\ ]. Though not always possible, get as close as you can. Most stages can do with 15 areas at most. Try for an odd number so you have a true center area. Don't forget top light. Side and back lighting are a great idea, but can be omitted if need be.

I know of the McCandless method, and have some warm and cool colors in mind to use for what I THINK might be a slightly modified version of it.

Back to the problem at hand. I would go with a 4 point lighting solution, making Xs with your beams, basically, so that each chevron created is pointed toward the opposite audience position (does that make sense?). Opposites in similar colors would probably be the best option. Maybe make several color washes from the top. Maybe do some templates and maybe more face light in a different color yet from above each audience position? If you have a couple of I-Cues, make yourself some moving specials, and pre-program some focus points so that you can rapidly make looks while programing or running the show live. If you have scrollers, these might be useful at this point as well.

The 4 point thing is kid of confusing me(Mainly because I cant get a visual of what your actually saying) but I like using different colors for top light. And then are you suggesting using pale warms and cools but with more saturated front light as fill or toners?

We have scrollers, but I think they mainly use them for special stuff, so I probably wont have access to them.

Another issue is that we just had a musical (Spelling Bee) in that space, and the grid was packed with instruments. Afterward all that was struck was the movers and Pars, so they left me with a sort of "rep plot" to work with, so I have a ton of ellipsoidal and fresnels hanging in the grid right now that I dont know what to do with.

 

[derekleffew]

...The 4 point thing is kid of confusing me(Mainly because I cant get a visual of what your actually saying) ...

From a thread I just added:

Using Grog12's clock analogy, and presuming 12 to be upstage, I'd use 4-point from 1.5, 4.5, 7.5, and 10.5. Generally paler tints for frontlights: R05, 60, 03, and 53, (LtPnk, NcBlu, LtAmb, and PaleLav); are a good combination so no one side of the audience gets "cheated." DNLT is your friend to add deeper colors and interest. Depending on the size of the stage, the FRLT alone can consume 24, 36, or 60 fixtures/channels. ...

 

[Rosco]

Thanks! The Clock analogy made that a lot easier to visualize. I think I'll try that 4 point idea. So then would I still be able to incorporate a back light/fill system at 12. or would that just throw things off?

 

[rochem]

While backlight is a great system in proscenium theatres, the problem you'll run into is that backlight from 12 will end up being sidelight for 2/3 of the audience, and will actually turn into frontlight for the audience members sitting furthest upstage. For this reason, toplight (direct downlight) is generally considered more appropriate for thrust stages, because it's the only angle that will look the same to all audience members no matter which way you look at it. I'd highly suggest having a number of systems of toplight to serve as your primary method of washing and toning the stage in deeper colors.

A theatre I once worked at had a 3/4 thrust stage and a couple-unit rep plot that consisted of a system of backlight. Most designers would end up using the backlight system, in addition to adding numerous other systems in their plots. What was interesting is that, without fail, each designer who had never worked there before ended up changing their backlight color during tech week because it was too strong of a color for those audience members seeing it as frontlight.

 

[mstaylor]

Depending on instrument amounts, dimmers and circuits, get your four points, try using your fresnels for your top wash, then with anything else add your back lighting.

 

[chausman]

... so they left me with a sort of "rep plot" to work with, so I have a ton of ellipsoidal and fresnels hanging in the grid right now that I dont know what to do with.

So you at least don't have to come up with something completely on your own. You have something to work off of. You said you had more than you knew what to do with. So keep it simple. If you don't know what is going to be happening, just light everything the best you can with different areas and basic colors. Unless someone said you have to use all of the instruments you have, don't. Things get hectic and if you can't program well, you probably won't end up using half the special stuff you hang.
(Anyone, if I am completely off-base, please let me know. Just going off what has happened to me.)

 

[rochem]

While I pretty much agree with chausman, I'd say that one good thing you can do with your extra units is just hang them as specials. I would probably focus a special to Center-Center (the exact center of the performing area), then probably one each on DSR and DSL, and maybe two more at USL and USR.

Keep in mind that "one special" isn't necessarily just one unit - since you're in thrust, a "special" could mean three or even four units focused to the same place, possibly all in the same channel.

When a soloist starts singing near one of these spots, you can bring up the tight special and ask the director to move the performer a few inches to be in the light. You keep from spilling light all over the stage, and the soloist looks great*.


*Disclaimer: No guarantees are made as to how the soloist sounds...

 

[techieman33]

I agree just keep it simple have some basic zones and specials. Any maybe a few extra lights scattered around in places where they might come in handy for any extra specials that might be requested once the productions arrive on site. On that same line I would contact the schools that will be performing and ask if there is anything special they would like to have.

 

[gregeye]

Back to the problem at hand. I would go with a 4 point lighting solution, making Xs with your beams, basically, so that each chevron created is pointed toward the opposite audience position (does that make sense?). Opposites in similar colors would probably be the best option. Maybe make several color washes from the top. Maybe do some templates and maybe more face light in a different color yet from above each audience position? If you have a couple of I-Cues, make yourself some moving specials, and pre-program some focus points so that you can rapidly make looks while programing or running the show live. If you have scrollers, these might be useful at this point as well.



Doubt it.

dont say things you dont know until your certain! I hate when people do that, and just because I'm a senior in high school doesn't mean I haven't worked on anything at all. My schedual is very tight and I am constently busy. I'm not trying to sound cocky or anything, I am just telling you not to write things that you don't know the answer to. But on the otherhand the 4 point is a good idea

 

[rochem]

dont say things you dont know until your certain! I hate when people do that, and just because I'm a senior in high school doesn't mean I haven't worked on anything at all. My schedual is very tight and I am constently busy. I'm not trying to sound cocky or anything, I am just telling you not to write things that you don't know the answer to. But on the otherhand the 4 point is a good idea

Gregeye,

While the responses to what you stated in your first post may have been succinct and harsh, I don't think anyone is implying that you have no experience. We have members on this board who work at the very highest levels of the industry - Broadway, Cirque, Las Vegas Casinos, and many whose employers are so well-respected that they can't even reveal where they work - and I'm sure that NONE of them would ever claim to have "worked with every kind of lighting situation possible." In fact, the more productions you work on, the more you will discover that every production comes with its own unique challenges and obstacles, and seeing someone state that they have "worked with every kind of lighting situation possible" actually makes me question their credentials more than if they had just said nothing. As with everything else in this industry, actions and knowledge speak louder than unsubstantiated claims.

I'm not trying to attack you or tell you that you have no experience - I have met and worked with many high schoolers whose knowledge and experience rivaled that of many college graduates working in the industry. I was a senior in High School not too long ago, and based on my experience working at a professional LORT theatre, programming corporate gigs across the country, and as a member of IATSE, I thought that I was the best there was. But college quickly taught me that that attitude was the worst possible thing you can have in this industry, and an employer will ALWAYS take the less experience person with a good attitude over the more experienced guy with a large ego.

I know you've been here a while, but stop by the New Member forum and formally introduce yourself. Stick around these forums for a while, make extensive use of the Search feature, ask questions, and answer where you can. The knowledge collected in these forums is a gold mine of information, and everyone from the most experienced technician to the brand-new middle school techie can learn so much by just reading.

Welcome to CB.

 

[Tex]

I'll speak from the HS one act director's point of view. Make sure that acting areas can be isolated. When directing a one act that will travel, I use very little scenery and use lighting areas to change place and time. I want to have an area or two up and the rest of the stage dark or color washed. If HS students are going to be running your board, it's best to patch by area (ch. 1 = area 1) and set the board up as a two scene preset.
If I were coming to your festival, I would want at least 9 (3 rows of 3) tight, slightly overlapping areas. 15 (3 rows of 5) would be better. Whatever method you use to create your areas, remember that directors want to see faces. Add in RGB stage washes and I'd be fine. A cyc would be nice too, but they're rarely used in Texas for One Act contest. They don't provide one at the final State Meet.