Design Questions for dance designers

[SteveB]

Jump back, Jack.

New member [user]ChascoRed[/user], had a question regarding something previously discussed, and asked in the existing thread, rather than starting a new one. Quite different than someone answering a "how do I ...? for our upcoming production of ..." several years later. See the wiki entry necropost.

Yup, good point Derek, just wasn't sure if folks wanted to re-visit a lot of stuff previously discussed. Especially in light of I was about to post a lengthy post about my current rig, then noticed I had done so, then looked at the date.

At my (our) age, isn't a year long enough to qualify as Necro, given our (my) increasingly short term memory ?

 

[kicknargel]

I feel obsessively compelled to give my two cents, even though the topic has been thoroughly covered. My standard setup (which I violate frequently, based on the needs of the show) are below. I like to keep as much pale light as possible off the floor, and put color and pattern on it (even on black floor). As a personal style, I'm very sensitive to spill and washout on the floor, scenery, masking, house walls etc. I want strong focus on the performer, and I hate muddy, uninteresting light on the surfaces. I want the light there that I've chosen. So part of that is I put my paler colors lower and more saturated or patterns higher. I keep my edges pretty hard so I get sharp shutter cuts. I try to get my booms 1 as far downstage as possible (ideally right behind the proscenium) so I can shutter to the proscenium and not spill into the house.

-shins, typically 36deg, cut off the floor, pale color (often R53)
-knees, typically 36deg, cut off the floor, color varies
-hips, typically 36deg, sometimes cut to center, sometimes off the floor, often skin tone
-heads, typically 36deg, sometimes cut to center, sometimes uncut, color varies
-hats, often a PAR, often deep blue for toning (ala R79)
-sometimes more hats, often PAR, in amber (R22) or other for toning

 

[jglodeklights]

I usually work in spaces with only 2 or 3 levels of side light on booms. I have no set preference since I also only work on black decks/marley at this point. Everything I design is done to support the piece and within reasonable expectations of what I can do with the equipment in the space. If possible I try to get time between individual pieces to swap color in units reachable without ladders.

-I tend to use 36*/6x9's on Heads/Highs and Mids, with my Shins being 50*/4.5x6's. In larger spaces, or spaces where positions are ridiculously far off-stage (as was the case this summer where my SL Ladders were about 12 feet from the edge of the masking and SR units were visible as they protruded on-stage of the masking), I will switch my projection sizes accordingly to match. I've even had to use 90's before for a "motivated" side wash.

-Highs cut at 1/3 or 1/4, Heads at center, Mids at Center or far 1/3 or 1/4, shins just off of deck. Top cuts.........whatever is reasonable. Sometimes they fly, other times they cut off the ugly QSC monstrosity speakers hanging above the stage.

-If I don't have Leko's, I use Fresnels or PAR's. I make it work; I need the light to come from where it needs to come from even if the quality isn't quite right.

Attached is a color track sheet from my last dance concert. The groups performed at different times, with two pieces from each in a mixer performance. Foots were a 50* SL and SR just off the stage Down stage of it in the corners (actually chilling on the subwoofers). Heads were fitted with L201 the entire time since they couldn't be reached without a ladder or chair.