Standard wash

[taylord]

Again, thanks to everyone one for all the advice. I have a much clearer picture of what's needed now.

 

Just out of interest, what would you class as a 'panto' wash?

[Doric]

1461090613[/url]' post='537513']

Again, thanks to everyone one for all the advice. I have a much clearer picture of what's needed now.

 

Just out of interest, what would you class as a 'panto' wash?

 

Seems to me that you need to program at least two washes, one cool and one warm. This is easy if you use LEDs but it does steal channels off your controller.

 

[Don Allen]

How are you controlling your conventional lighting and how many channels of dimming do you have ?

 

The DMX channel charts show that the ideal mode is 7 channel, so the master dimmer does not have strobe as part of it's levels.

 

The led operator touch would be my preferred desk as it has timed fades. You may need to run two desks, one for conventional lighting and one for led's. If this causes a problem with you venue cabling, look at getting a DMX merge which will let you combine the two desk DMX streams.

 

To help you choose gel colours for a show look at this list of Lee Filters useage description or this Think Lee which is usually given away free by Lee stockists. I have the earlier version called Lee Filters The art of LIGHT The advantage of a book is giving it to the director or designer and asking them to pick a colour. There are also lighting swatch book apps on android and iphone.

 

Having trouble inserting links.

References - google for

Lee Filters The art of LIGHT

Lee Filters Think LEE

Rosco Filters The Rosco Guide To Color Filters

[alistermorton]

Just out of interest, what would you class as a 'panto' wash?

 

An unrealistic, somewhat exaggerated colour scheme. It goes with the (very broad) style of set and costumes. So more saturated colours in the washes, less pastel. You will probably still need a reasonably neutral and realistic face light for most scenes, though.

 

E2A

 

At least, that's my meaning of "panto" wash.

[paulears]

In your first post you mentioned CMY, and then later said you only had a few Fresnels and PARs?

 

Realistically the critical factors are the inventory, the space, and the essential features as indicated in the script. This will give you the number of areas that need lighting, and an indication of X number of different states - always in the script. Things like a "night time, city street", "drawing room at midday" "cornfield in summer". These might indicate that you need at least three different colours, dividing your inventory in three, unless you do have some colour changing fixtures? You might them decide how many fixtures would be needed to give the level of light on your size of stage. Maybe the nighttime scene could have a centre street light practical, and then the stage lit by a centre pair of your fresnels, in a street light colour. I know these scenes aren't in your show, but they make you think. Maybe some lights can be shared between scenes - just brighter or dimmer?

 

If it's low budget, and pretty much what is there is it, then a piece of paper with the stage ad the location of the fixed lights (if they cannot move) is a good starting point. print off one of these for each scene in the show, and add the stage elements - then see which lights will do the trick. Maybe you run out of light for one scene? Can it be robbed from a less important one?

 

Think practically and think in terms of direction and colour.

[taylord]

I have a Strand200 24/48 for the generics and have 24 channels of dimming available.

 

Thanks for the links to the LEE documents, they will definitely come in handy!

How are you controlling your conventional lighting and how many channels of dimming do you have ?

 

The DMX channel charts show that the ideal mode is 7 channel, so the master dimmer does not have strobe as part of it's levels.

 

The led operator touch would be my preferred desk as it has timed fades. You may need to run two desks, one for conventional lighting and one for led's. If this causes a problem with you venue cabling, look at getting a DMX merge which will let you combine the two desk DMX streams.

 

To help you choose gel colours for a show look at this list of Lee Filters useage description or this Think Lee which is usually given away free by Lee stockists. I have the earlier version called Lee Filters The art of LIGHT The advantage of a book is giving it to the director or designer and asking them to pick a colour. There are also lighting swatch book apps on android and iphone.

 

Having trouble inserting links.

References - google for

Lee Filters The art of LIGHT

Lee Filters Think LEE

Rosco Filters The Rosco Guide To Color Filters

 

Thank you Paul,

 

I have 12 x fresnel, 4 x Par 56 and 2 x Par 64 available along with 6 x profile spots (strand quartet 15/25)

 

I will be focussing tomorrow so I'll let you know how I get on!

In your first post you mentioned CMY, and then later said you only had a few Fresnels and PARs?

 

Realistically the critical factors are the inventory, the space, and the essential features as indicated in the script. This will give you the number of areas that need lighting, and an indication of X number of different states - always in the script. Things like a "night time, city street", "drawing room at midday" "cornfield in summer". These might indicate that you need at least three different colours, dividing your inventory in three, unless you do have some colour changing fixtures? You might them decide how many fixtures would be needed to give the level of light on your size of stage. Maybe the nighttime scene could have a centre street light practical, and then the stage lit by a centre pair of your fresnels, in a street light colour. I know these scenes aren't in your show, but they make you think. Maybe some lights can be shared between scenes - just brighter or dimmer?

 

If it's low budget, and pretty much what is there is it, then a piece of paper with the stage ad the location of the fixed lights (if they cannot move) is a good starting point. print off one of these for each scene in the show, and add the stage elements - then see which lights will do the trick. Maybe you run out of light for one scene? Can it be robbed from a less important one?

 

Think practically and think in terms of direction and colour.

[cedd]

Saw the original West Yorkshire Playhouse production twice and as other have said it's blues and magentas mainly. It's got a mixture of real world scenes like in school, at a bowling alley, outside etc. and also some more sci-fi stuff like in a computer mainframe and also in a planetarium. The planetarium really could do with some breakup gobo's for a starlight effect if you've got some. The original production had a beautiful trick with a backlight mover that they flew out at the same time as it tilted down. Very much had "wow" factor.

 

A warm wash, a blue wash and magenta will set you well on the way.