Introduction to Lighting Design

[An outline]
For further reference: Gillette, Michael J. Theatrical Design and Production, 3rd ed. Mountain View, CA: Mayfield, 1992. Chapter 12, pp. 288-317.

Controllable properties of Light:

• Distribution
• Intensity
• Movement
• Color

Functions of stage lighting:

• Visibility
• Selective Focus
• Modeling
• Mood

Color and direction:

• -Key and fill
• -Warm and cool

Types:

• Motivated light
• Motivating light

Functions and uses:

• Washes
• Area lighting
• Specials

Designing the Lighting

Begin with the same design process as the scenic designer:

1. Script analysis
2. Initial conferences with the artistic team
3. Research: sketching and collecting lighting images
4. Conferences with the artistic team
5. Presentation of lighting images and color ideas
6. Agreement and conceptual approval
7. Technical communication:
   • -Plots and schedules

Plot development:

1. Rehearsal research
   -Lighting keys and maps
2. Cue the show
   -Place all cues and describe all effects
   -Use rehearsal research keys to determine lighting angles and effects.
   -Colors can be determined and assigned in the research keys.
   
3. Create the effects list
4. Draft the section
5. Create a work plot
   -Mark all focus, lamp, color, other info on the plot at the instrument.
6. Go through the effects list one-by-one, and place instruments to create each.
7. Adjust work plot to conform to inventory and limitations
8. Develop instrument schedules
9. Analyze schedules for complete implementation of design in the plot
10. Do the dimmer assignment. This is most easily done with reference to the effects list.
11. Complete the hookup schedule.
12. Draw a finish plot.

Implementing the Design

Prior to first lighting tech:

1. The lighting designer confirms cue looks and placement with the director and stage manager.
2. The lighting designer works closely with the Master Electrician and the Production Manager to schedule and direct the focus of the lighting after it has been hung. This usually involves one or more focus calls.

The lighting designer must then set his lighting levels. This occurs in a number of ways, depending on the theatre and the production environment.

1. The designer sketches in major looks and submaster groups in rehearsals or other time after focus is complete (requires early completion of focus).
2. The designer explores the focus and control, then sketches in preliminary looks and submaster groups off-line, either on paper or on software that can be read by the controller.
3. The designer develops cue descriptions that can be translated easily into looks (requires uncomplicated control).

The first lighting tech:

1. In a separate session, with only the lighting designer, the stage manager, the lighting operator(s), necessary assistants, and some one to walk the stage in the lighting. The cues are shown later to the director and modified as appropriate.
2. In a separate session as above, with the director present as each cue is built.

After the first full lighting rehearsal with cast, the lighting designer:

1. Schedules any necessary focus pickups.
2. Prepares a complete set of paperwork for the lighting operator to use in setting up, operating, and troubleshooting the lighting for the show each performance. Minimally this includes
   • a complete and accurate hookup,
   • a current patch list,
   • an equipment schedule by location, and
   • a finish version (if possible) of the light plot.

Techs, dress and performance:

1. Modify settings live during rehearsals, provided there is efficient communication with the operator and sufficient time between cues to accomplish the change and record it.
2. Provide notes to the operator to modify specific cues in specific ways before the next rehearsal.
3. Modify the cues off-line using software that can be read by the controller.