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Lighting Design


tommulliner

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Hi There BR.

 

I have only designed a few shows, and they have been for very small drama groups that had their own space and tech, so therefore nothing was needed on paper - I just took what they had and used it. Now I have had my name passed around a bit, more and more drama groups (youth and adult Ad-Dram) are contacting me to design/operate their lighting. These drama groups don’t have their own spaces etc and so they have to hire out theatres for the week. I am helping a girl with a design in a few weeks for 'little shop of horrors', at which she is at university studying lighting design so she is making up all the plans etc. I am pleased that I have this opportunity to learn from her.

 

My question is this: What kind of things to the professionals do when they design shows? Obviously they have to draw up plans to send off to the theatres etc, but that’s all I really know. Hopefully, this thread will be useful for me, but more importantly for others who are trying to get into technical theatre, and lighting design, so well presented replies would be much appreciated.

 

Thanks for your help as usual BR!

 

Tom.

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Too name but a FEW more things:

 

Check the design has been implemented correctly in the theatre, call the focus of all the lanterns, plot the show; like creating all the cues while the programmer pushes buttons... Then more than likely go back and edit all the cues during the tech rehearsals.

 

List is endless really and every designer has different methods etc.

 

Sorry to be blunt but I'm sure others will add to this!

 

ralphy :)

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This is the sort of question that you should be asking of the undergraduate lighting design student that you're helping on the show - for someone in your situation, it's an ideal opportunity to absorb some knowledge and experience working alongside someone who's being professionally trained and can pass her newly-accquired knowledge on to you.

 

Ask her to take you through the process from start to finish - see if you can accompany her to production meetings, rehearsals, etc. ; ask her to explain the process that she went through to turn her design from an abstract idea in her head to an actual rig plan ; maybe when she's calling the focus, you could be the one focussing the lamps, which will give you a bit more of an insight into how she's working, and you can ask her afterwards why she did certain things in a certain way. Basically, treat it as a tutorial (if she's willing for you to do this, of course!).

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see if you can accompany her to production meetings, rehearsals, etc. ;

 

I do, She lives down in london (which is where her course is), and the drama group are in shropshire, so I'm kinda her eyes and ears for all rehearsals!!

 

maybe when she's calling the focus, you could be the one focussing the lamps,

 

I am only 15 and the venue we are at is a profesional theatre so I am not allowed at heights... neither is anyone else bar the technicians for that matter, but I can see where you are coming from. Indeed I shall be treating this as a good learning opertunity.

 

List is endless really and every designer has different methods etc

 

The whole point is that I want peoples methods and routines so that I can choose the ones that can work for me. (and others that read the thread can do the same!)

Thanks for the posts guys... keep them going! :)

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The designer needs the theatre plans - they need to be proper and accurate plans, and if they don't exist, you need to produce some. From these you can see all the angles and plan where each item of equipment will be put. The plan needs to have the venues socket numbering, so you can start to produce the list of which kit goes where and what channel it's plugged up to. The colour call will be produced and matched up, so they can get everything ready. The LD needs to liaise with the people producing the production schedule to get their times confirmed, and breaks arranged. Hopefully, when the LD turns up, they'll have had the plans and documentation long enough to have rigged what you specified. If your design includes hire kit, then you'll also have arranged this too - so it should be there when you arrive. Once the rig is in place, you'll need focusing time - which everyone else will consider an opportunity to get in your way, and interrupt you with pleas for work light - the LD has to manage this too. Once the focus is done, then you move on to plotting - maybe pre-plotting without the director, or plotting with him/her - on a scene by scene basis. Some LDs like to operate the desk, but most would rather get the venue expert doing it, as it's usually much faster, especially if they have a desk you aren't familiar with. If the theatre is a professional venue, then you'll also be expected to have knowledge of their working hours system so breaks come at the right time - you'll probably have done a deal of some kind with the board op, so they'll be happy to work through - but the LX crew who may be walking the stage for you may have to vanish at certain points. If you are working late, then depending on circumstances, you may have to buy pizza/mcdonald/beer - whatever is the system at the venue.

 

One thing to remember is that this would be 'working' - which at 15, you can't do, unless there is a Children's License in operation. Even if there is, late working won't be allowed.

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