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Stage Lighting

Gelöschter Nutzer Der Nutzer hat seine Fachbereichs-Information gelöscht. Englisch 55 Karten

Stage Lighting

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  1. 1What is the purpose of stage lighting?Illumination
    Set Mood
    Contribute to time/place
    focus the eyes of the audience
    add dimension to set pieces
  2. 2What are the usable properties of light?INTENSITY - how bright the light is determined by the movement of the fader which alters the amount of voltage going through to the light.
    COLOUR - measured by Kelvin
    SHAPE - controlled by focus knobs, shutters, barn doors, gobos, donuts, top hats
  3. 3What are the stages in a lighting design?The lighting designer has a number of phases from pre to post production involving a number of creative, design, technical and budgetary decisions
  4. 4STAGE 1 PLANNING The Meetings1. meeting with director, producer, technical manager and other designers
    2. Venue visit
    3. contacting hire companies
  5. 5STAGE 1 PLANNING The Paperwork Lighting Cheat SheetLighting Cheat Sheet - the designer draws a rough plan of how the stage will be divided and which washes are neededSTAGE 1 PLANNING The Paperwork Lighting Cheat Sheet
  6. 6SECTION DRAWING cross section of the theatre and stageAllows to check vertical site lines and relative heights of objectsSECTION DRAWING cross section of the theatre and stage
  7. 7Lighting PlanAn overhead diagram showing:
    - the placement of lights, type of lights, patching, colours, accessories, number of lights    Lighting Plan
  8. 8ELEVATIONA drawing looking from the audience - useful to allow the director and designers to see how the stage looks, relative heights, and site linesELEVATION
  9. 9Lantern (or instrument) ScheduleA list of each light in order of light number. This list shows:
    Light number
    Lantern type
    focusing direction
    purpose
    colour
    accessories    Lantern (or instrument) Schedule
  10. 10Patch Scheduleshows the same information as the lantern schedule but in channel order. This makes the job of the patching team easierPatch Schedule
  11. 11Colour Call Sheetthe same information again but this time in colour gel order. This allows accurate calculation of the number of sheets of gel required.
  12. 12STAGE 2 BUMP INRIGGING
    PATCHING
    FRAMING
    GELLING
    FOCUSING
    PROGRAMMING
  13. 13RIGGINGthe process of hanging the lights
    WHS considerations: 3 points of contact on ladder, use of harness, hard hat, rubber soled shoes, licences for scissor lifts, gloves for working with heat, not having any equipment or tools hanging
  14. 14PATCHINGTo make electrical connections on a patch panel, i.e., hard patching, or, to assign dimmers to channels on a control console, i.e., soft patching
  15. 15TYPES OF PATCHING SOFT PATCHING (not permanent - can be changed during the show)SOFT PATCHING
    dimmers can be assigned to any one of any number of channels during the show. This type of patch system is usually found on memory boards and computers.
  16. 16TYPES OF PATCHING HARD PATCHING (permanent - can not be changed during the show)Patching into a dimmer rack located in the side stage area.
    This cannot be changed during the show.
  17. 17AUTOMATED LIGHTING (or patching• automated lighting, i.e. direct power and data lines required (no dimmer)
    •
  18. 18DISTRIBUTED PATCHINGdimmers located where requiredDISTRIBUTED PATCHING
  19. 19DISTRIBUTED PATCHINGpatch lines go from a single dimmer to lightsDISTRIBUTED PATCHING
  20. 20FRAMINGControlling the shape of the lighting beam through:
    shutters
    focus knobs
    barn doors
    gobos
    donuts top hats
  21. 21PLOTTING AND PROGRAMMINGPLOTTING is the period of time when the director asks the lighting operator to bring up the lights in a particular cue to check that the desired effect is achieved.
    PROGRAMMING is recording these states into the desk.
  22. 22TYPES OF LIGHTING DESKThe type of desk selected will depend on: the scale and budget of the show
    the technology available
    the ability of the operator to use the technology
  23. 234-PACKSimplest form of lighting desk for conventional lights. The unit has 4 inbuilt dimmers and 4 channels.
    Great for small theatres, school classrooms, domestic use    4-PACK
  24. 24LITE-PUTERSmallest operational system for LED lights. The lights are daisy chained and connected to the device through a DMX cable. This desk can control many lights but they must all be on the same colour at the same time as each LED light uses 5 channels and the liteputer only has 6 channelsLITE-PUTER
  25. 25PRESET BOARDS - conventional lights - operator has to create the scenes during the show according to the cue sheet- has an A and B level each with their own master
    - the level is made 'active' but moving the master up
    - when the level is not active it can be used to set the next scene    PRESET BOARDS - conventional lights - operator has to create the scenes during the show according to the cue sheet
  26. 26MEMORY DESKS a record button at the bottom of each fader. During the show the operator brings up the sub masters1. during plotting the scene will be created
    2. once the director is happy the operator will press the record button at the bottom of the channel
    3. the fader for this channel then becomes a SUBMASTER which will bring up the entire lights in the cue.    MEMORY DESKS a record button at the bottom of each fader. During the show the operator brings up the sub masters
  27. 27COMPUTER PROGRAMMING e.g. Light Factory SoftwareCues are recorded directly into the computer and changes are made with the click of the mouse.
    Both conventional and LED/Intelligent lights can be used.    COMPUTER PROGRAMMING e.g. Light Factory Software
  28. 28BOARD OPERATION DEFINITIONSthe action by which the lighting operator changes the lighting will contribute to the overall creative effect
  29. 29CROSS FADEchanging the lighting stage by moving Master A and Master B in opposite directions in a slow controlled manner. One lighting state will appear and the other will disappear often without the audience noticing
  30. 30SNAP FADEjump from one lighting state to another
  31. 31BUILDincrease the intensity of a lighting cue
  32. 32KILLrapidly take out a lighting cue
  33. 33BLACK OUT -Complete absence of stage lighting. Blue working lights backstage should remain on and are not usually under the control of the board.
  34. 34DEAD BLACK OUT (DBO)when there is no onstage light. Exit signs and other emergency lighting must remain on at all times.
  35. 35ADDadding an additional light to a cue
  36. 36FADELowering the level of light in a scene
  37. 37FEATURES OF STAGE LIGHTSALL LIGHTS HAVE:
    bulb (bubble)
    lamp base (for the bulb to fit into)
    lens
    reflector
    clamp for attaching to rigging
    colour frame
    electricity
  38. 38TYPES OF LAMP BASEThe lamp base is the structure that the lamp (bulb/bubble) attaches to inside the light. It is important to match the lamp to the lamp base of the particular light.
  39. 39Edison Fitting screwEdison Fitting screw
  40. 40Bayonet Fitting Click inBayonet Fitting Click in
  41. 41Bi pin Theatrical incadescentBi pin Theatrical incadescent
  42. 42ADDITIVE COLOUR MIXING 2 lights pointed onto the same place will produce a different coloured light Each light increases the total amount of light and therefore we get to WHITE RGBRED + GREEN = AMBER
    GREEN + BLUE = CYAN
    BLUE + RED = MAGENTA
    R+B+G = WHITE    ADDITIVE COLOUR MIXING 2 lights pointed onto the same place will produce a different coloured light Each light increases the total amount...
  43. 43SUBTRACTIVE COLOUR MIXING a. Printing b. a light pointed onto a piece of set, costumes, prop will change the colour CYMKCyan + Yellow = Green
    Yellow + Magenta = Red
    Magenta + Cyan = Blue
    All colours = Black    SUBTRACTIVE COLOUR MIXING a. Printing b. a light pointed onto a piece of set, costumes, prop will change the colour CYMKSUBTRACTIVE COLOUR MIXING a. Printing b. a light pointed onto a piece of set, costumes, prop will change the colour CYMK
  44. 44LIGHTING DESIGNThe lighting designer needs to understand how to manipulate all of the tools available to them to produce a design
  45. 45LIGHTING DESIGN Which type of light do I use?CYC - Cyc Flood
    General Wash - Par Can or Fresnel
    Specials - Profile Light
    LED - for pure colour due to no amber drift
    Conventional Lights - warmer colour due to amber drift
  46. 46LIGHTING DESIGN Lighting anglesIn order to have full coverage of the stage you should light from 2 angles in front and one from behind. This gives the body dimension.LIGHTING DESIGN Lighting angles
  47. 47LIGHTING DESIGN Lighting Angles For a natural effect you should attempt to light a face from 45 degrees.Lighting at angles other than 45 degrees will give interesting effects to the faceLIGHTING DESIGN Lighting Angles For a natural effect you should attempt to light a face from 45 degrees.
  48. 48LIGHTING DESIGN Lighting for dance- Lighting will be on stands from the side
    - usually one placed at upper torso, one at lower torso and one at the leg
    - this, in addition to front and back light, gives the dancer more dimension    LIGHTING DESIGN Lighting for dance
  49. 49LIGHTING DESIGN - the source of lightWhen designing light you need to consider the source of natural light so that you can place lights in the right directions. You need to consider:
    1. the effect of the natural light on the floor surface
    2. shaddows    LIGHTING DESIGN - the source of light
  50. 50LIGHTING DESIGN SpecialsA special is a light that is placed to achieve a special purpose on the stageLIGHTING DESIGN Specials
  51. 51LIGHTING DESIGN Practicals - a light that is put on the stage for the same purpose as it would be in real life e.g. lamp, fire place, street lampThe practical will be often complemented by other stage lights to amplify the effectLIGHTING DESIGN Practicals - a light that is put on the stage for the same purpose as it would be in real life e.g. lamp, fire place, str...
  52. 52CABELLING DMX CableDigital Multiplex Cabling
    Traditionally is 5 pin but 3 pin is often used with LED lights and for digital technology    CABELLING DMX Cable
  53. 53DISSIPATION OF HEAT FROM LIGHTS Electrical resistance creates 2 by products: 1. Light 2. Heat10% of the electricity in an incandescent (normal) lighting is converted to light and the rest is converted to heat.
    This explains why conventional lights get so hot!!!
  54. 54EFFECT OF HEAT IN LIGHTING Conventional Lights produce radiated heat and therefore get hot1. decrease bulb life
    2. decrease gel life
    3. WHS issue with touching a hot light
  55. 55EFFECT OF HEAT IN LIGHTING LED Lights DON'T produce radiated heat and therefore don't hotIn LED lights up to 60% of the electricity is turned into light and therefore these lights generate less heat energy

Informationen

Beschreibung
Stage Lighting revision notes
Erstellt von
Gelöschter Nutzer · Okt 2016
Aktualisiert
5 Okt 2016
Aufrufe
59
Verlauf
  • Erstellt von cmiller2889 · 9 Sep 2014
  • Kopiert von Grace Heath · 4 Okt 2016
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