What's the most important part of your design process?
- Thread starterGrog12
- Start date
As with the above... read, re-read and read again in memorizing it. The director's vision and statement on the production is the next most driving force in production meeting and initial thoughts expressed in production meeting. Obviously for tour or specific space will be known or told at this point.
No firmed up design concept, research the heck out of it until I'm so absorbed into what I'm doing that I get a dream about it. This no matter where the research takes me.
After that dream, I start sketching.
No firmed up design concept, research the heck out of it until I'm so absorbed into what I'm doing that I get a dream about it. This no matter where the research takes me.
After that dream, I start sketching.
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I'd say it's definitely what kind of feel the show should have. You can get each kind of feel in a number of different ways with a number with a number of different director viewpoints and a number of different stages, but a show that should have an existential feel just wouldn't seem as well done with a big flashy design.
MPowers
Well-Known Member
Step 1. READ the script
Step 2. Research the time and place the script is set in.
Step 3. Read the script.
Step 4. Research the author and the background of his world.
Step 5. Read the script.
Step 6. Repeat steps 1-5 as many times as necessary.
When reading the script, ignore the stage directions and set descriptions. Those are from the original production and the theatre, director, cast, budget etc. are all different than what you will be dealing with. The original script may call for a door S.L. but your stage has a heating vent there, can't put a door there.
Also, read the script for what the play NEEDS, not what the words may ask for. Example: john and Mary are arguing, she runs and slams door in his face but they continue yelling at each other. Do you need a door? No, you need something to block his advance. she may pick up a weapon or get on the other side of a table or......! Read what the script NEEDS.
Now, repeat steps 1-5 and start drawing and sketching and talking with the director and....... design the show.
Step 2. Research the time and place the script is set in.
Step 3. Read the script.
Step 4. Research the author and the background of his world.
Step 5. Read the script.
Step 6. Repeat steps 1-5 as many times as necessary.
When reading the script, ignore the stage directions and set descriptions. Those are from the original production and the theatre, director, cast, budget etc. are all different than what you will be dealing with. The original script may call for a door S.L. but your stage has a heating vent there, can't put a door there.
Also, read the script for what the play NEEDS, not what the words may ask for. Example: john and Mary are arguing, she runs and slams door in his face but they continue yelling at each other. Do you need a door? No, you need something to block his advance. she may pick up a weapon or get on the other side of a table or......! Read what the script NEEDS.
Now, repeat steps 1-5 and start drawing and sketching and talking with the director and....... design the show.
Wait, are you, and others, saying to read the script?!
Since this thread is three months olds, let's expand/change it up a bit:
What if there is no script? Another thread had a question about designing lighting for a one-act play festival. What if it's a concert, dance, or talent show production? How about a corporate show, where all the script is going to tell you is what the sales figures projections are or what the marketing dept. is planning (and the speech won't be written until after you've hung and focused the lights anyway)?
Since this thread is three months olds, let's expand/change it up a bit:
What if there is no script? Another thread had a question about designing lighting for a one-act play festival. What if it's a concert, dance, or talent show production? How about a corporate show, where all the script is going to tell you is what the sales figures projections are or what the marketing dept. is planning (and the speech won't be written until after you've hung and focused the lights anyway)?
PadawanGeek
Active Member
When designing for the church/concerts, the bigest aspect I focus on is flexibility. Since our sets go up for about three (or more) months at a time, they always need to be made so that we can get a variety of different looks out of them. We have moved away from the traditional white corrugated plastic and white spandex look that lots of churches do so that we can have a lot more flexibility, heavily relying on the combination of our moving lights/LEDs and haze.
MPowers
Well-Known Member
I feel, IMHO, the directions still apply. Read the script and determine what the show "needs". The difference is now the definition of "script" changes quite a bit. Obviously the 3 scenarios you listed above will have vastly different needs, so half the battle is to find out just what the "script" is.
JustinTech
Member
For me as an aspiring TD, the most important part of ANY design process, whether it be sound, lights, set, props, costume, makeup, etc...is communication. Whether that be with the director to get his ideas and incorporate his vision, or with other departments to make sure things don't clash, or with your own crew to make sure things are done as they are supposed to be. Communication throughout the design process can take a lot of stress and possible future issues off of your plate.
Wait, are you, and others, saying to read the script?!
Since this thread is three months olds, let's expand/change it up a bit:
What if there is no script? Another thread had a question about designing lighting for a one-act play festival. What if it's a concert, dance, or talent show production? How about a corporate show, where all the script is going to tell you is what the sales figures projections are or what the marketing dept. is planning (and the speech won't be written until after you've hung and focused the lights anyway)?
Figure out what everything else is going to look like, then compliment it.
Who/what is the event for, can you pull from those design schemes?
A formal event will require a different feel than a sales kickoff or congratulatory meeting, same as a conference will have a different tone to it.
What is the seating like? A stage presentation with stadium seating is a lot different than a social gathering around tables.
Will there be music, projections, any special other things.
Most importantly, if there is not a script (or a very "loose" one) production design meetings will guide you and the rest of the team. No one wants to see Congo blue centered over maroon table clothes, on a cherry floor while everyone is wearing green blazers. The design team needs to communicate and essentially build on each other. No one should be trying to over power it should be balanced, stark lighting in the right venue for the right thing can look great, but subtleness does too. R&R is flashy, powerful, and saturated. Theatre is a playground; but not constantly overpowering. Corporate, dance, weddings, should blend and balance no one piece of the design should be over done. I consult the flower arrangement of talent, you layer the plants to be in balance, yes there is a center piece that stands out, but it does not overpower, one still sees the beauty of the entire arrangement.
Now, talent shows and festivals are another thing. For both I start with what I believe is simple elegance. I pick a few strong colors each for back and side lighting, and usually a strong color or two at an interesting angle. Simple cyc set ups: RGB(A). Front light I'll go with a light amber and a light blue, if I have the ability I'll also put up a more saturated of each. I like to keep my top simple and I'll usually just go with a slightly warm tint, or no color frosted like it's February.
Specifically to a festival, I'll try and contact participants to see what they are doing, if they can send some materials to get me an idea of their set and costumes, and I'll ask (while not guaranteeing) if they have any special requests for a look they would like. Get all that data together and go from there to refine color and locations, adding a few specials if I can.
For a talent show, top light is frosted no color or a light tinted cool. I'll put up blinders if possible; add some sort of foot light system (hopefully RGBA). If its a musical talent show and not just a general talent show, I'll go a little further and set up some more saturated colors and "cool" angles for lead, bass, backup, and the drum riser (including a floor mount back/up light (or 3) to blast through the drummer). If it's not a music talent show and more just general, then I'll keep it simpler and make sure everyone is visible, and that the opportunity for elegance is there.
Lastly, send out a plot and paperwork to the show/groups lighting designer. Label the board very clearly. Build 2 cue stacks, soft and simple, and a little more saturated and simple for the groups that don't have a designer or don't want to have anything above the basics.
For me, I'm a visual person. I like to compile as much info as I can - Venue, timing, dimension's, colors etc.etc.etc., then I like to put everything on a CAD program and look at it in 3D. I can spin the room, look for placemt errors, change colours with the lights and actually see the final look months, weeks before I walk into the room.
What this also does is let me have time " in the room" but at my desk with a cup of coffee. I am relaxed and can think outside the box along with adding and deleting as necessary to accomplish the look.
The greatest part is when the room is done live it already feels like I've been at the set for weeks so I can anticipate ant challenges. One last thing is I can hand finished drawings and cut sheets to all the people involved so it stops a lot of confusion and questions. Everyone has their file and they all beging and all work efficiently.
What this also does is let me have time " in the room" but at my desk with a cup of coffee. I am relaxed and can think outside the box along with adding and deleting as necessary to accomplish the look.
The greatest part is when the room is done live it already feels like I've been at the set for weeks so I can anticipate ant challenges. One last thing is I can hand finished drawings and cut sheets to all the people involved so it stops a lot of confusion and questions. Everyone has their file and they all beging and all work efficiently.
