Working on a project

[ZJH90]

I am working on a project, and I am dealing with the question "Why do lighting designers do what they do?". I have my reasons, but I wanted to see what other people had to say on the subject. All help is greatly appreciated. Thanks!

 

[icewolf08]

I am working on a project, and I am dealing with the question "Why do lighting designers do what they do?". I have my reasons, but I wanted to see what other people had to say on the subject. All help is greatly appreciated. Thanks!

That is kind of a vague question. Are you asking why people are lighting designers or are you asking why they make the design choices that they make?

 

[mstaylor]

If you are asking why does someone get into lighting design that's a pretty broad question. I started doing lights in school and just started designing because no one else did it. I continued working all facets of tech theatre, one show I would build the set, next run the lights, the next I would design the lights. Sometimes I SMed or TDed. No matter which area I was in charge of, I always assisted in the other areas. Not being the most creative person in the world, I was pretty good at light design.
I have been out of the theatre lighting game for a number of years but have done quite a few professional theatre productions in nontheatre venues I have learned a ton about tricks about texture and would design differently than I did before.

 

[ship]

In general with designers:
Because they can and you would also given their circumstancs and concept for what they are attempting perhaps. This or come up with somethign often just as wacky. Keep you employeed? Asking this concept they might have in art before its made? Would you have someone questioning you if in similar position?
Support it for all it's worth.
Make art not war.

 

[bishopthomas]

I will answer both questions, from a relative newcomer to concert lighting. I got into it after around 10 years as an audio guy, both live and live recording. Buying audio gear was expensive, never ending, and absolutely no ROI. I was also getting tired of dealing with musicians, lifting 100+ lb speakers, and dealing with musicians (worth mentioning twice since I was primarily a monitor engineer). I bought some truss because my friend wanted me to go in on it with him, then I bought a pair of Mac300's because I found an amazing deal on them. They paid for themselves in about 6 shows and I could do cool things with them, which inspired and invigorated me (something I desparately needed in this industry). I partnered with a sound company who had clients looking for lighting and now we're doing pretty good size gigs and I'm actually making money now. I really just started and am learning as I go, but I'm actually having fun doing it. Which brings me to the next question:

Why do I make the creative decisions that I do? Well, for me it starts with asking myself what gear do I have and can I sell that to the client. I have been lucky in that I am usually spec'ing the gear for most shows, so I can make sure it's the gear I own and not have to rent. Buying the gear is determined by how I plan on using it and making the most out of it. Whatever I buy has to be versatile enough to be used in several scenarios and work together with the equipment that I already own. So, beyond the gear itself and actually putting it to use... I am completely self-taught (and I'm a very inexperienced teacher) so I honestly don't have a clue what I'm doing. It always starts with visualizing what I want the end product to be then making that happen. The steps between sometimes are trial and error, sometimes help and ideas from friends, and sometimes just luck. Some things I have learned recently: Spandex shapes and LED's are an amazing combination. People like moving and blinking. Time to buy more Mac250's.

 

[Kelite]

Whatever I buy has to be versatile enough to be used in several scenarios and work together with the equipment that I already own. So, beyond the gear itself and actually putting it to use... I am completely self-taught (and I'm a very inexperienced teacher) so I honestly don't have a clue what I'm doing. It always starts with visualizing what I want the end product to be then making that happen. The steps between sometimes are trial and error, sometimes help and ideas from friends, and sometimes just luck.

Without sounding contrary to lighting classes and great teachers to apprentice under, your "Here I come, ready or not!" is refreshing. Everyone has their own opinion regarding entry into a certain discipline, and these opinions are not wrong- they just differ between people. The live events you serve apparently appreciate what you are doing, and you are learning as you go. GOOD! The art in lighting design is painting the canvas as you (and your paying clients) see fit. How trite it would be if we all saw the same plot and rig, like steak with no salt...

Keep your finger on the pulse, bishopthomas. It's what keeps the art interesting, fun, and fluid-

 

[bishopthomas]

Thanks for the kind words, Kelite. I guess I'm approaching lighting design like I did when I was learning how to mix/tech audio. Reading, reading, reading, and listening (and in lighting looking/visualizing) even more. Although there came a point where I went to work for a regional sound company and I learned more in a month than I learned in YEARS of the DIY approach. So I feel like I really need to get on with a lighting company (Bandit is close by, anyone have an in with them?) to exponentially increase my knowledge. I wouldn't mind learning some theory as would be taught in a classroom, but I'm more intereseted in learning the technical aspects (how to diagnose and repair moving lights, more controlled experience tying in to panels, etc).

 

[Kelite]

Michael Golden is the VP of Touring and may perhaps direct you to the right person/s- [email protected]