I am the techo for the community theatre here in Greymouth (new Zealand).
It's a good space with 10 metre by 10 metre stage green area with a 1.4 metre thrust. Between that and the 480 seat auditorium is a 15 metre by 15 metre orchestra floor. We often screen off half or two-thirds of the orchestra floor from the remaining floor and the stage so as to present performances on the remaining floor area.
We have to light these spaces with just 25 par64 (with another 10 available locally on loan from time to time), 1 par80, 2 fresnel luminaire and a variety of halogen floods, footlights and couple of bimbi (run through two 12 channel dimmers driven by a digital wide mode/dual mode board).
There are three lighting bars over the stage and two lighting bars (and two trees) for the floor area.
I've been in professional stage management (off and on) in England and in New Zealand for nearly 40 years, and during that time enjoyed staying well clear of lighting - but I've had to learn fast in the past two years, starting with grounding myself in lighting theory, learning best practice and gaining practical experience in rigging balanced lighting and producing professional and complimentary effects.
I am not the stage manager here, another guy (somewhat younger than me) is SM - he's not a pro and our philosophies differ somewhat but we work well together as a team. We have to - there's nobody else.
There are some technical issues that I hope members here can help me with elsewhere in the forum.
It's a good space with 10 metre by 10 metre stage green area with a 1.4 metre thrust. Between that and the 480 seat auditorium is a 15 metre by 15 metre orchestra floor. We often screen off half or two-thirds of the orchestra floor from the remaining floor and the stage so as to present performances on the remaining floor area.
We have to light these spaces with just 25 par64 (with another 10 available locally on loan from time to time), 1 par80, 2 fresnel luminaire and a variety of halogen floods, footlights and couple of bimbi (run through two 12 channel dimmers driven by a digital wide mode/dual mode board).
There are three lighting bars over the stage and two lighting bars (and two trees) for the floor area.
I've been in professional stage management (off and on) in England and in New Zealand for nearly 40 years, and during that time enjoyed staying well clear of lighting - but I've had to learn fast in the past two years, starting with grounding myself in lighting theory, learning best practice and gaining practical experience in rigging balanced lighting and producing professional and complimentary effects.
I am not the stage manager here, another guy (somewhat younger than me) is SM - he's not a pro and our philosophies differ somewhat but we work well together as a team. We have to - there's nobody else.
There are some technical issues that I hope members here can help me with elsewhere in the forum.
