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[MUSIC].
We're finishing up our discussion of stage lighting with a look at the process
that a lighting designer goes through in order to successfully design and execute
the lights for a stage play. As you probably already guessed the
lighting designer will need to go through a pre-design period in the same sequence
as the set and costume designers. Naturally the lighting designer will need
to read the play and develop a sense of the work itself.
Like the other designers the lighting designers will begin to formulate their
response to the assigned play. By reading the script and making notes as
to the possible light cues. A light cue is a point in the play where
a different lighting look will be required.
Once the production meeting is over, the lighting designer begins to organize the
technical and aesthetic requirements of the directors vision for the play.
One of the important initial working drawings for the lighting designer is the
lighting plot. The lighting plot is similar to the set
designer's floor plan, in that it is a scaled down top view of the theater with
the positions of the lighting instruments.
The areas to which each instrument is assigned is listed on the plot with a
template version of the instrument to be used.
The plot. Also includes color median to be used.
Once again, like the set designer's floor plan, the lighting plot puts the lighting
designers artistic vision into practical applicaiton.
The designer is able to determine how many instruments will be needed, where
they will be hung, and at what angles they will need to be focused.
The lighting plot serves as a master plan for the lighting designer.
After he gets completed this working drawing, he and his crew will go through
the process of hanging. This is where the appropriate light, as
scheduled on the lighting plot, is hung on a baton, pole, or electric.
The proper colour medium, or gel, is inserted.
Once the instruments have been hung, they will be patched into the lighting board
according to the requirements of the lighting plot.
The process of patching can be done with switches or a switchboard style
configuration whatever method patching is a process of hooking the appropriate
light with the assigned dimmer. In this way the slider on the lightboard
may control the assign lights. Typically three or more instruments are
assigned to a particular area. These instruments are all pathched into
an individual dimmer. Once the instruments have been patched
into the board the instruments are then focused into the appropriate areas of the
stage. The process of focusing involves the
proper placement and lens adjustment depending on the instrument used.
Each area of the stage are defined and any blending or shuddering off of light
spills will then occur. Once these lights have been hung,
patched, and focused, the designer begins to program each cue from a cue sheet that
indicates where the light changes will take place in a script.
From the light board, the cues are arranged in a cue-to-cue arrangement.
Once the cues have been programmed and the board is set for the running of the
show. The lighting technician who runs the
light board will take part in a dry tech rehearsal which is a rehearsal that
involves only the technicians. Here all the technical cues are executed
in a cue to cue sequence. It is as this time that adjustments are
made to the cues where necessary. During the Wet Tech, the queues are run
with the action of the play and timed out so that the action on stage and the
lighting queues are blended as part of the performance.
Once the play opens, the stage manager will go through what is referred to as a
light check prior to each performance to make sure that all of the instruments are
operating properly. Then is the play up in so ever.
The lighting design is worked for the most part, is done.
Well, there's lightning design from theory to execution.
Its time to go to your task for this section.
Lets see you in the next unit. [MUSIC] .
[MUSIC][MUSIC][MUSIC]