5.10 - STRIPLIGHTS

1.) DESCRIPTION5.10 - STRIPLIGHTS

Often the simple compartment floodlight is combined into multiple units connected together, forming a STRIPLIGHT. The striplight is one of the oldest stage lighting fixtures first having been developed for oil and candles and later for gas lighting. The striplight is also sometimes referred to a BATTEN or BORDER light as it often hung between the overhead masking borders.

With the introduction of the electric filament lamp it was possible to wire (or gang) a number of compartment floods together, forming a long linear fixture. The striplight has changed very little in the past 100 years. The typical unit of today is 4-9 feet long and is wired in 3 or 4 electrical circuits. By using alternating color filters (usually red, blue, green and sometimes amber) the striplight makes a very flexible color wash lighting fixture.

2.) APPLICATIONS

Permanent striplights are often found installed in older theatres, auditoriums and schools. Typically several units are used, running continuously from stage-left to stage-right. The 'strips' are usually installed downstage, centre stage and upstage. Through dimmer control, and using the 3 primary colors of light, the designer can mix almost any color. One moment the entire stage can be bathed in deep cold blue and the next it can be transformed into a warm golden amber. Overhead striplights as a general source of 3 color illumination are seldom used today, most designer preferring the more controlled use of the fresnel spotlight or even the PAR64, for wash, toning and blending applications. (p> Today, 3 or 4 circuit striplights are commonly used to light the top and bottom of backdrops and cycloramas (sky cloths).

FOOTLIGHTS are simply striplights placed on the floor, along the downstage edge of the stage. Once a principal source of stage lighting, footlights were also often wired to provide 3 or 4 color washes. Although seldom used today, footlights still can prove invaluable for certain lighting applications. Used sparingly, they can provide excellent low 'fill' light to a performer's face and can help eliminate shadows from overhead lighting, from hats, roofs, etc.

3.) TYPES

The modern STRIPLIGHT typically consist of a row of MR16, PAR, R (reflector) or double ended halogen lamps, mounted into a single compartmented fixture approximately 6-9 ft. long. The modern striplight is also wired in 3 (or 4) color circuits. Striplights are manufactured in various sizes, to use lamps with wattages of 75, 150, 300, 500 or 1000 watts each. Striplight fixtures commonly use glass or plastic colored filters in removable color frames. The modern striplight is used both in overhead and floor mounted applications (downlight and uplight)


TYPE BEAM SPREADS WATTAGE DESCRIPTION
=====================================================================
Striplights 70-100 fixed 75-1000 VERY SOFT edge
---------------------------------------------------------------------

INCLUDED: - (a) power cord (usually 3 or 4).

OPTIONS: - (a) lamps, (b) pipe clamps, (c) color frames, (d) safety cables, (e) electrical connectors, 3 or 4, (f) hanging hardware, (g) floor mounting hardware.

5.03 - ELLIPSOIDAL REFLECTOR SPOTLIGHT

1.) DESCRIPTION5.03 - ELLIPSOIDAL REFLECTOR SPOTLIGHT

The ELLIPSOIDAL REFLECTOR spotlight, (sometimes known as the LEKO or LEKOLITE) is a common fixture for many stage lighting applications. The 'ER' as it is sometimes called is available from many different manufacturers and is available in a number of different sizes and beam spreads.

The ellipsoidal fixture was first introduced back in 1933 by Joseph Levy and Edward Kook, founders of Century Lighting, each giving half of their names to the new invention, 'Lekolite' or 'Leko'. About the same time, Kliegl Brothers introduced their EF fixture known as the 'Klieglight'. Although ER's are now commonly called 'Lekos', the name is now owned by Strand Lighting and correctly only refers to their ellipsoidal reflector products.

2.) APPLICATIONS

The ER spotlight provides a narrow, directional beam with a hard edge. It is able to provide a sharp focus of integral metal shutters, an iris or a metal projection template. The ability to project a metal etched pattern (template or gobo), makes this fixture particularly useful to the stage lighting designer.

All ER's also allow focus adjustments by moving the lens tube forward or backwards. This produces an adjustable beam edge ranging from very sharp and hard to very soft. Some ER's do not allow the edges of the beams to soften sufficiently for the proper blending and sometimes the edge may need to be further softened using diffusion material.

Ellipsoidal reflector fixtures have one (1) or more lenses, usually, 4.5, 6, 8, 10 or 12" in diameter. Most ER's particularly the wider units, have two lenses. Generally, the narrower the beam spread (in degrees), the heavier the fixture will be, due to the longer lens barrel and the larger diameter lens, required.

Some (American) manufacturers specify a fixture by indicating the lens diameter then the focal length. For example a '6x9' (pronounced "6 by 9"), indicates a fixture with a 6" diameter lens and a 9" focal length. This tells the designer nothing about the beam spread of the fixture. Most modern lighting manufacturers now specify fixture beam spread simply in degrees. Approximate spread angles for typical ellipsoidal reflector fixtures are as follows: (in degrees) 4.5x9 =50, 6x9 =40, 6x12 =30, 6x16 =25, 6x22 =15, 8x13 =12, 10x23 =9.

3.) TYPES

Modern ER spotlights have beam spreads of 5 to 50 degrees and are available in wattages of 500 - 2000 watts.

They are available in both fixed focal length and variable focal length (zoom) models. Standard focal lengths include 5, 10, 20, 30, 40, 50 degrees, and many others in between. Generally, the adjustable focal length units are less efficient, heavier and more expensive than their fixed focal length counterparts. Some modern 'zoom' ER's however do perform very well and may indeed be the choice over comparable fixed focal length units.

ZOOM ER'S with adjustable focal lengths have been available since the 1970's. A typical fixture might provide spread angles of 12-35 degrees or 25-50 degrees. No single zoom fixture is available to provide a wide zoom range of say, 10-50 deg.


TYPE BEAM SPREADS WATTAGE DESCRIPTION
=====================================================================
Ellipsoidal 5-50 (fixed) 500-2000 ROUND beam, HARD edge,
Fixed f.l. with shutters & gobo slot
Beam or image can soften
---------------------------------------------------------------------
Ellipsoidal 15-35 (zoom) 500-2000 ROUND beam, HARD edge,
Zoom (typ.) 25-50 (zoom) with shutters & gobo slot
Beam or image can soften.
---------------------------------------------------------------------

INCLUDED: - (a) power cord, (b) four framing shutters, (c) template slot, (d) removable lens tube.

OPTIONS: - (a) lamp, (b) pipe clamp, (c) color frame, (d) electrical connector, (e) safety cable, (f) template holder, (g) iris, (h) lens safety mesh, (i) special accessories including gobo rotators and color wheels.

5.02 - PLANO CONVEX SPOTLIGHT

1.) DESCRIPTION5.02 - PLANO CONVEX SPOTLIGHT

The ELLIPSOIDAL REFLECTOR spotlight, (sometimes known as the LEKO or LEKOLITE) is a common fixture for many stage lighting applications. The 'ER' as it is sometimes called is available from many different manufacturers and is available in a number of different sizes and beam spreads.

The ellipsoidal fixture was first introduced back in 1933 by Joseph Levy and Edward Kook, founders of Century Lighting, each giving half of their names to the new invention, 'Lekolite' or 'Leko'. About the same time, Kliegl Brothers introduced their EF fixture known as the 'Klieglight'. Although ER's are now commonly called 'Lekos', the name is now owned by Strand Lighting and correctly only refers to their ellipsoidal reflector products.

2.) APPLICATIONS

The ER spotlight provides a narrow, directional beam with a hard edge. It is able to provide a sharp focus of integral metal shutters, an iris or a metal projection template. The ability to project a metal etched pattern (template or gobo), makes this fixture particularly useful to the stage lighting designer.

All ER's also allow focus adjustments by moving the lens tube forward or backwards. This produces an adjustable beam edge ranging from very sharp and hard to very soft. Some ER's do not allow the edges of the beams to soften sufficiently for the proper blending and sometimes the edge may need to be further softened using diffusion material.

Ellipsoidal reflector fixtures have one (1) or more lenses, usually, 4.5, 6, 8, 10 or 12" in diameter. Most ER's particularly the wider units, have two lenses. Generally, the narrower the beam spread (in degrees), the heavier the fixture will be, due to the longer lens barrel and the larger diameter lens, required.

Some (American) manufacturers specify a fixture by indicating the lens diameter then the focal length. For example a '6x9' (pronounced "6 by 9"), indicates a fixture with a 6" diameter lens and a 9" focal length. This tells the designer nothing about the beam spread of the fixture. Most modern lighting manufacturers now specify fixture beam spread simply in degrees. Approximate spread angles for typical ellipsoidal reflector fixtures are as follows: (in degrees) 4.5x9 =50, 6x9 =40, 6x12 =30, 6x16 =25, 6x22 =15, 8x13 =12, 10x23 =9.

3.) TYPES

Modern ER spotlights have beam spreads of 5 to 50 degrees and are available in wattages of 500 - 2000 watts.

They are available in both fixed focal length and variable focal length (zoom) models. Standard focal lengths include 5, 10, 20, 30, 40, 50 degrees, and many others in between. Generally, the adjustable focal length units are less efficient, heavier and more expensive than their fixed focal length counterparts. Some modern 'zoom' ER's however do perform very well and may indeed be the choice over comparable fixed focal length units.

ZOOM ER'S with adjustable focal lengths have been available since the 1970's. A typical fixture might provide spread angles of 12-35 degrees or 25-50 degrees. No single zoom fixture is available to provide a wide zoom range of say, 10-50 deg.


TYPE BEAM SPREADS WATTAGE DESCRIPTION
=====================================================================
Ellipsoidal 5-50 (fixed) 500-2000 ROUND beam, HARD edge,
Fixed f.l. with shutters & gobo slot
Beam or image can soften
---------------------------------------------------------------------
Ellipsoidal 15-35 (zoom) 500-2000 ROUND beam, HARD edge,
Zoom (typ.) 25-50 (zoom) with shutters & gobo slot
Beam or image can soften.
---------------------------------------------------------------------

INCLUDED: - (a) power cord, (b) four framing shutters, (c) template slot, (d) removable lens tube.

OPTIONS: - (a) lamp, (b) pipe clamp, (c) color frame, (d) electrical connector, (e) safety cable, (f) template holder, (g) iris, (h) lens safety mesh, (i) special accessories including gobo rotators and color wheels.

5.01 - GENERAL LUMINAIRE TYPES

3.) LAMPS3.) LAMPS Most modern stage lighting fixtures still use incandescent (or electric filament) lamps, in order to provide a completely 'dimmable' source. Specifically it is the tungsten halogen lamp that is used almost exclusively for stage lighting applications. This type of lamp actually has a 'self cleaning' cycle whereby the tungsten that normally blackens the outer glass bulb is redeposited back onto the filament, resulting in a more consistent light output over the life of the lamp.

Stage lighting luminaires (and lamps) are available for either 120 volt, or 240 volt lamps operation from about 12 major manufacturers, world wide. The incandescent lamp however is largely inefficient, using most of its energy to produce heat, not light. New more efficient lamp sources are slowly being introduced to stage lighting, using discharge and other lamp technology, however inherent dimming and re-strike problems still exist with these sources.

HID and fluorescent lamps, although seldom used for theatre lighting applications, are now commonly being used for film and television lighting. These sources are much more efficient than the electric filament lamp and produce much higher 'lumen per watt' outputs. The use of HID and other ARC LAMPS for stage lighting however is slowly starting to develop. New automated luminaires of the future will use sophisticated new sources and will be capable of producing any color or pattern, upon demand (software based). Many of today's automated lighting fixtures do use arc lamp capable of excellent dimming through mechanical means. (Most fixtures are still quite noisy due to lamp cooling requirements).

4.) SPOTLIGHT FIXTURES

Spotlight fixtures include the PLANO CONVEX, ELLIPSOIDAL REFLECTOR, FRESNEL, PAR LAMP, BEAM PROJECTOR and FOLLOWSPOT. These fixtures are used to provide a narrow and controlled beam of localized light, to the stage. All spotlight fixtures have one or more lenses and are generally available in beam spreads of approximately 5 to 70 degrees.

Designers use spotlight fixtures for AREA and WASH lighting applications, at distances of 15-150 ft. Designers will often provide a series of 'tight', circular pools of light, to each acting area, approximately, 8' to 20' wide (depending on the application). A single acting area will usually consists of 1 to 6 fixtures positioned as; front, back, side or down lights.

5.) FLOODLIGHT FIXTURES

Floodlight fixtures include; SCOOPS, BOX FLOODS and STRIPLIGHTS. These fixtures provide a WIDE distribution of light over a broad area and are primarily used to light backdrops and scenery at close distances of from 3 to 25 feet. Almost all floodlight fixtures are lensless. The exceptions are flood PAR/R lamps that have either spread lenses or diffusion applied to the bulb. Floodlight fixtures generally have fixed beam spreads of 70-150 degrees.

1.) THE LUMINAIRE5.01 - GENERAL LUMINAIRE TYPES

A STAGE LIGHT is referred to as a 'fixture' an 'instrument' or a 'unit' in North America, as a 'light fitting' or a 'lantern' in Britain and as a 'luminaire' (the 'e' is silent), in other parts of the world and by the engineering and architectural communities All terms have one thing in common. They all refer to a complete lighting 'package' - consisting of a housing, lamp (bulb), socket, reflector, electrical cord, connector and sometimes a lens, mounting clamp and color frame.

2.) BASIC TYPES

Luminaires designed for stage, television and film lighting applications fall into two (2) main categories; SPOTLIGHTS and FLOODLIGHTS. A third specialized category includes PROJECTORS and special lighting effects. Fixtures are typically designed to be mounted from overhead pipes, from vertical pipes or from floor stands. In this respect all fixtures incorporate a mounting yoke and usually a pipe ('C') clamp. The yoke and clamp allow the fixture to pan, tilt or rotate into any position and then securely lock in place. All types are fitted with color frame clips to accept a square metal (or cardboard) 'color frame'. The color frame clips often accept other accessories including, barn doors, top hats, donuts and color wheels.

Stage lighting fixtures range in wattage from about 300 watts to over 10,000 watts in size and capacity. Common fixtures used for stage, film and television have wattages of 300, 500, 575, 600, 750, 1000, 1200, 1500, 2000, 5000, and 10,000 watts. The wattage required depends on the amount of light needed at a specific distance and the particular characteristics of the fixture itself. Needless to say, the larger the wattage, usually the larger the fixture. In the display lighting field for example, miniature fixtures may range from 50 to 300 watts. Fixtures used for theatre lighting usually range from 500 to 2000 watts, and television and film lighting frequently employs fixtures of 1000 to 10,000 watts (or more).

3.15 LANDSCAPE LIGHTING DESIGN

1.) LANDSCAPE LIGHTING3.15 LANDSCAPE LIGHTING DESIGN

The art of landscape lighting usually merges with the field of architectural lighting design. The field of landscape lighting also goes hand in hand with the relatively new architectural specialty, the landscape architect.

The landscape lighting designer is responsible for large outdoor (usually) lighting designs consisting mainly of flora and foliage. Often the lighting design includes, trees, pools, bridges, paths, fountains, sculptures, benches, rest areas and much more.

The landscape lighting designer has similar goals to other lighting designers. He is often lighting for visibility, mood, atmosphere and interest, just as does the stage lighting designer for a dramatic presentation. The landscape lighting designer also usually has an additional concern in that he often must light for safety first and atmosphere and impact second.

2.) LANDSCAPE LIGHTING - TECHNIQUES

Most landscape lighting makes use of miniature low voltage lighting fixtures. A low voltage system is mandatory to ensure greater safety and to reduce risk from electrical shock, as the fixtures and wiring are often operated under wet conditions.

Fixtures are typically located at ground level to uplight plants and shrubs or may be placed on trees to uplight (or downlight) the trunks. Other landscape lighting fixtures include the use of illuminated bollards. These post like fixtures come in a wide variety of types and are typically used to illuminate paths, foliage or other exterior areas. Decorative lampposts, available in an unlimited number of designs are also commonly used.

Usually landscape lighting is placed on a control system that turns the system 'on' or 'off' at specific times. Alternately a system might use a photocell control, turning the system on at dusk and off at dawn.

3.14 - ARCHITECTURAL LIGHTING DESIGN

1.) ARCHITECTURAL LIGHTING3.14 - ARCHITECTURAL LIGHTING DESIGN

Indirectly related to stage lighting design, architectural lighting design is a relatively new field, becoming popular in the 1970's. Architectural lighting design refers to the planned lighting of both interior and exterior spaces. See also: Landscape Lighting.

Typically, for most buildings (commercial and industrial) 'illumination' is prescribed by the ELECTRICAL ENGINEER. This consultant is usually responsible for; general electrical systems, power distribution, audio systems, fire alarm systems and lighting. Occasionally, an ILLUMINATING ENGINEER may specify the lighting. Typically when these engineers specify a lighting system, they are most concerned with providing proper illumination - for specific work related tasks.

The LIGHTING DESIGNER is a fairly new addition to the architectural team. Although usually not an engineer, this consultant will often specify all lighting and illumination criteria. He will work directly with the other consultants (architectural, structural, mechanical and electrical) to ensure that the lighting systems are properly designed, detailed and drawn.

Architectural lighting is far more than illumination however. The architectural lighting designer may be concerned with properly lighting buildings and spaces. He may be concerned with lighting levels, lighting efficiency and lighting safety. The architectural lighting designer however should also be very much concerned with the performance and well being of a human being, in an architectural space. Good lighting design always works towards solving specific criteria. Architectural lighting may provide basic 'seeability' for specific tasks, or may assist in effect, esthetics, comfort, health, safety and well being.

The architectural lighting designer must have a complete understanding of both the physics of light and the psychological effects of light. He must be well versed with the architectural design and construction process and must be able to design responsibly within budgets.

2.) ARCHITECTURAL LIGHTING - TECHNIQUES

There are many hundreds of manufacturers around the world that specialize in the manufacture of architectural lighting fixtures. Fixtures come in all grades, shapes and sizes. Literally, thousands of different fixtures exist, for different application. Fixtures may use incandescent, fluorescent of high intensity discharge sources. H.I.D. sources are generally used where possible as they are highly efficient and have lamps with extremely long life.

Stage lighting fixtures are seldom used for architectural lighting. Stage fixtures use 'photo' type lamps with relatively low hours, and fixtures are generally not designed for continuous operation.

Architectural lighting (as does stage lighting) uses a combination of flood and spotlight techniques. Fixtures are typically positioned as down lights, however some applications may require uplighting or side lighting for dramatic effect.

4.03 - DESIGN PLANNING

PROSCENIUM THEATRE - PLAN VIEW

PROSCENIUM THEATRE - CROSS SECTION

The drawings above show standard lighting positions found in most proscenium theatres. They include: CEILING COVE(S), BALCONY RAIL(S), WALL SLOT(S) (BOX BOOM), OVERHEAD STAGE PIPES, BOOMS, FLOOR LIGHTING AND FOOTLIGHTS.

The lighting designer must always obtain facility or venue drawings that accurately show the location and detail of all lighting positions (both in the auditorium and above the stage. The venue drawings and the scenic drawings should be drawn to the same scale. This will allow the lighting designer to superimpose one set of plans on the other, showing the lighting positions in relationship to the set. This 'composite' drawing will usually form the fist stage in producing the final 'lighting plot'.

4.) OTHER DESIGN TOOLS

Today many different computer aided design (CAD) programs exist to help the lighting designer visualize the performance space in 3-D. Modern programs allow accurately rendered models to be 'rotated in space' and viewed from any angle. Some programs have excellent light rendering capabilities and are great visual aids.

Regardless of how he does it, the lighting designer must quickly be able to visualize a particular production in a specific venue. He must also be able to accurately determine the distance and angle to any lighting position. The designer not equipped with this basic information is poorly equipped to proceed with any lighting design

1.) GENERAL DESIGN PLANNING

Lighting design is a two part process. First the designer must create the lighting in his mind. Next he must create it in the real world.

Any lighting design begins with the designer having a complete understanding of just what it is that he is lighting. Not only must the lighting designer be able to accurately visualize his proposed design, he must visualize it in the actual venue or performance space. This only comes from a through understanding of the script, the scenic design and the venue. All of this is very important!

2.) THE SCENIC DESIGN

Usually the set designer will provide a scale rendering and a floor plan of each scene. These drawings are tremendously useful to the lighting designer and will show each scene both drawn from the front (elevation) and from the above, (plan view). The set designer may also provide a cross section and detailed construction drawings. Sometimes the set designer will include an indication of the anticipated lighting.

Many set designers will also construct an 3-D model of the set, (built to scale and accurately painted). The model is worth it's weight in gold and should be monopolized by the lighting designer whenever possible. This is the best design aid the lighting designer will ever have. He can position the model on a drawing of the theatre and easily determine the distances and angles to any lighting position. It doesn't get much better than this.

3.) THE VENUE4.03 - DESIGN PLANNING

After a complete understanding of the scenic design, the lighting designer must gain a full understanding of the performance venue. In particular the lighting designer must know the locations, distances and angles to all permanent lighting positions. Without this understanding, at best the lighting designer will only be able to 'fumble' through his design. Maybe things will work, but if they do it won't be because of planning.

The following drawings show the lighting positions of a typical proscenium theatre in both PLAN and SECTION. Note how the two drawings directly relate to each other. Distances may be accurately measured using a 'scale rule' having the same scale as the drawings. In the U.S.A. and Canada, common scales used for theatre drawings are: 1/8", 1/4" and 1/2" = 1.0 foot.

3.12 - FILM and MOTION PICTURE LIGHTING

1.) FILM LIGHTING3.12 - FILM and MOTION PICTURE LIGHTING

Lighting for film is an art form within itself. Witness only, many of the fine (and not so fine) films produced during the past decades. In addition, film is a wonderful and valuable medium to capture and then study lighting and lighting techniques.

Lighting for film is a marriage between the cameraman, his film and the processing lab. Film lighting techniques are heavily dependent on the knowledge of how a particular film stock will react to a particular type of light - in respect to; intensity, contrast and color temperature. A multitude of image qualities are available by manipulating; exposure, color temperature and film processing.

2.) FILM LIGHTING - TECHNIQUES

Both daylight and artificial sources are commonly used for film lighting.

Lighting fixtures for the film industry are similar to stage lighting fixtures, except, they are larger and of higher wattage. Although incandescent fixtures are still used, many new fixtures using H.I.D. (high intensity discharge) sources, are now also commonly used.

The fresnel, open face flood (broad) and the '9 light' are all popular film lighting fixtures. The '9 light' unit, consists of 9 Par lamps mounted in a 3 x 3 matrix. This provides a 'large source size', and is excellent for 'key' or motivational lighting.

Color temperature and color balance is very important in film. Often the sources will be balanced using color correction filters, either over each individual fixture, or on the camera lens itself.

Film lighting makes extensive use of reflectors (with various different types of surfaces) to bounce and reflect light and to 'fill' in the shadows.

Fixtures are usually mounted overhead, on stands or on trucks. When 'on location' large generators and 'miles' of cable are often used to power the fixture

3.11 - PHOTO and PHOTOGRAPHIC LIGHTING

1.) PHOTOGRAPHIC LIGHTING3.11 - PHOTO and PHOTOGRAPHIC LIGHTING

Lighting for still photography is just as much of an art form as is stage lighting design. Generally however, there is no such thing as a 'photographic' lighting designer. Photographers usually do their own lighting and as such, they are responsible for all artistic elements of the image, including; light, contrast, balance, composition, style, impression, mood, etc.

The professional photographer must know the properties of his film in respect to proper exposure, saturation and contrast. Although the human eye can adjust to a wide range of 'brightness' all at once in the visual field, the camera and film cannot. Contrast must be limited to perhaps no more than 3:1 for some films.

Sometimes the stage lighting designer will be present during a production to work with a still photographer, taking documentary or public relations shots of a production. The designer can assist the photographer by ensuring that there is interesting light where needed. Also, background scenery and cycloramas that appear adequately illuminated to the eye, may appear dark, dingy and underexposed to the film. Add additional lighting to these elements as required to reduce subject to background contrast.

Typically theatre photographers will use a 'high speed', Black and white or color film. Positive transparencies (slides) are still preferred by most professional photographers, over a color print film, due to their higher color saturation and due to the fact that they 'reproduce' better than do prints, for most applications.

2.) PHOTOGRAPHIC LIGHTING - TECHNIQUES

Natural light and studio lighting are both commonly used for photographic lighting applications. Good studio lighting is often loosely based on the principals of McCandless. Two lights are placed at 45 degrees to each other, in front of the subject. Often one light is brighter (KEY LIGHT) and is used to provide a sense of direction and motivation. The other light (FILL LIGHT), is of slightly lower intensity and 'softer', and is used to fill in shadows caused by the main light. Often 'back' lighting to the subject to provided to help isolate the subject from the background. Additional lighting is then provided to the background as needed.

There are many photographic lighting techniques shown in many photography books. One of my favorite techniques however, is as follows: To photograph a very large room, (church, auditorium, etc.) with poor lighting do the following: Select a film speed and exposure that will allow a 3-5 minute exposure. Then, open the lens and walk throughout the room with a 1000 watt flood light, evenly painting all surfaces. All surfaces in the photo will be properly exposed, and the 'light painter' will be invisible if he moves quickly enough. Simply paint more light where darker surfaces or additional detail is required. Some experimentation with this process is required.

3.06 - CONCERT LIGHTING DESIGN

1.) CONCERT LIGHTING3.06 - CONCERT LIGHTING DESIGN

It was in the 1960's that the relatively new field of concert (or entertainment) lighting design was born. In New York at the Filmore East and in California at the Filmore West, popular music moved into permanent venues and with that, a new style of presentation was born. the best known American concert lighting designers of the time was Chip Monk. At the Filmore, lighting operation literally consisted of the operator actually 'dancing' on a wall of autotransformer dimmers in time with the music.

Many early performances at the Filmore's, the Electric Circus and elsewhere throughout America, were backed by a 'light show'. A wide array of projection effects would bombard a large rear screen behind the performers, causing dynamic and ever changing patterns of light. Projections would often make political statements, be downright dirty or be totally psychedelic and far out.

Today concert lighting design has become a recognized speciality and many designers work in this field only. The basic principals of design still apply -it's just that the toys are bigger, and more expensive.

2.) CONCERT LIGHTING - TECHNIQUES

Entertainment lighting today has become tremendously exciting. This industry now uses 'automated' lighting fixtures almost exclusively. Conventional lighting fixtures are still used, however less and less often. The PAR 64 fixture is still very popular for concert lighting, as this fixture is efficient and relatively inexpensive. It is not uncommon to also incorporate; color changers, motion effects, image and background projection, video, display panels, strobes, blacklight, fog, pyro, chase lighting and other visual effects. The sky's the limit...uh...the budget's the limit.

Typically all equipment is DMX controlled from a central location. Concert lighting that uses automated fixtures depends very much on two important people - the Lighting Designer and the Programmer. The position of 'programmer' was born in the 1980's as automated fixtures became more and more capable (and complicated). A good programmer will know his equipment well and will be able to rapidly construct a number of different 'looks', based on the designer's basic criteria. A poor programmer offers little and is able to make a million dollars of equipment look like ten cents! Alternately a good programmer can produce amazing results with very little time and equipment.

Most concert performers also tour, so concert lighting must be extremely durable, well packaged, and suited to a rapid set-up and take-down. The portable 'flown' lighting truss was developed for this industry and is often used to suspend all lighting fixtures above the stage.

2.09 - FEATURES AND SPECIALS

.) FEATURE LIGHTING2.09 - FEATURES AND SPECIALSi

Feature lighting (or specials) are lighting fixtures used for very specific applications - other than acting area and background lighting. Typically they are used to supplement the general area lighting or to provide specific lighting effects.

A 'special' might consist of a tightly focused fixture on the face of a clock or on a painting hung on stage. This can allow the designer to reduce the general lighting and 'feature' or draw attention to any object or part of the stage. (A cheap trick, but effective!)

This also works with actors. If three actors, seated at a table are each lighted with a tightly focused 'special', it will be possible to visually shift attention from one actor to another, or balance all three equally. The use of specials for actors also guarantees they will be properly illuminated when needed, for dramatic reasons.

2.) FEATURE LIGHTING - FIXTURES

The ellipsoidal reflector is usually the fixture of choice for features and specials. Typically narrow angle E.R. fixtures are used with beam spreads of 5-20 degrees. These fixtures are often used with framing shutters, irises, or with other beam shaping devices - to put the light only where needed. The beam edge may be adjusted from 'hard' to 'soft' depending on the design objectives.

Sometimes beam projectors and PAR type 'pin spots' are also suitable for use as specials. These narrow angle fixtures can only provide a soft edge beam, usually with a slightly oval shape.

When the designer uses tight specials for performers, sufficient time must be given during lighting rehearsals to allow the actor to properly 'find his light' and be confident that he can be 'on the mark' each time. An actor that is out of his isolated special generally makes everyone look bad, so spend the extra time to make specials work.

2.07 - TONING & BLENDING

1.) TONING & BLENDING2.07 - TONING & BLENDING

After lighting the actor with AREA LIGHTING, it may or may not be necessary to provide additional light to the surrounding scenery. Usually lighting specifically used to light the scenery is referred to as 'toning and blending' lighting - as it helps tone the scenery and blend with the acting area lighting.

Sometimes, for example when lighting a drama, in a box set, only area lighting may be required. No additional lighting is needed to light the set. This is due to the fact that reflection from the area lighting may bounce off the floor and illuminate the walls in a most naturalistic and appropriate way.

Alternately, however, if the production is a comedy, the set may feel a bit dark and dreary. No matter how the lighting designer tries to boost the acting area lights, the set still looks dark in comparison. In this case, additional lighting of the upper walls of the box set would probably provide an appropriate visual lift.

2.) TONING & BLENDING - FIXTURES

Toning and blending lighting, tend to use different fixture types, depending on the exact lighting application. Spotlights, floodlights and striplights all have their place.

3.) TONING & BLENDING - METHODS

Often toning and blending lighting is provided by soft flood type of fixtures. Both strip lights and box floods are suitable for this application.

Alternately spotlights may provide a more dramatic form of toning and blending. I personally like to use ellipsoidal reflectors with soft focus break-up templates to provide a textured toning and blending light to each wall of a set. These fixtures are usually located at a fairly low angle (box booms), and gently 'wash' and tone the scenery as needed.

During the early 1900's and until about 1960, toning and blending lighting was often provided from a series of three (3) or four (4) color strip lights, mounted above the stage. Strips (also called X-RAYS) ran from stage left to stage right, and were often used; downstage, center stage and upstage. Some theatres might have as many as five (5) sets of strip lights, permanently installed. Strip lights typically would be colored with glass or plastic filters in; red, green, blue and amber. Musicals, operas and variety shows, found strip lighting particularly useful in providing color washes. One moment the stage could be completely bathed in a night blue, the next in daytime amber. The red, green, blue, primary filters allowed just about any color to be mixed to provide an instant color wash to the stage, or the scenery below.

2.06 - AREA LIGHTING

.) TONING & BLENDING2.06 - AREA LIGHTING

After lighting the actor with AREA LIGHTING, it may or may not be necessary to provide additional light to the surrounding scenery. Usually lighting specifically used to light the scenery is referred to as 'toning and blending' lighting - as it helps tone the scenery and blend with the acting area lighting.

Sometimes, for example when lighting a drama, in a box set, only area lighting may be required. No additional lighting is needed to light the set. This is due to the fact that reflection from the area lighting may bounce off the floor and illuminate the walls in a most naturalistic and appropriate way.

Alternately, however, if the production is a comedy, the set may feel a bit dark and dreary. No matter how the lighting designer tries to boost the acting area lights, the set still looks dark in comparison. In this case, additional lighting of the upper walls of the box set would probably provide an appropriate visual lift.

2.) TONING & BLENDING - FIXTURES

Toning and blending lighting, tend to use different fixture types, depending on the exact lighting application. Spotlights, floodlights and striplights all have their place.

3.) TONING & BLENDING - METHODS

Often toning and blending lighting is provided by soft flood type of fixtures. Both strip lights and box floods are suitable for this application.

Alternately spotlights may provide a more dramatic form of toning and blending. I personally like to use ellipsoidal reflectors with soft focus break-up templates to provide a textured toning and blending light to each wall of a set. These fixtures are usually located at a fairly low angle (box booms), and gently 'wash' and tone the scenery as needed.

During the early 1900's and until about 1960, toning and blending lighting was often provided from a series of three (3) or four (4) color strip lights, mounted above the stage. Strips (also called X-RAYS) ran from stage left to stage right, and were often used; downstage, center stage and upstage. Some theatres might have as many as five (5) sets of strip lights, permanently installed. Strip lights typically would be colored with glass or plastic filters in; red, green, blue and amber. Musicals, operas and variety shows, found strip lighting particularly useful in providing color washes. One moment the stage could be completely bathed in a night blue, the next in daytime amber. The red, green, blue, primary filters allowed just about any color to be mixed to provide an instant color wash to the stage, or the scenery below.

1.01 - THE JOY OF LIGHTING DESIGN

INTRODUCTION1.01 - THE JOY OF LIGHTING DESIGN

One of the most rewarding professions today can be that of the lighting designer working in the arts. It can also be one of the most frustrating professions on the planet.

The lighting designer will never stop learning. Every production or project will present new challenges, new obstacles, new human dynamics and new problems to solve. There can and should be many failures along the way. This is part of the artistic process. The lighting designer shouldn't hesitate to make as many mistakes as possible - just don't make the same mistake twice.

There is great satisfaction in designing the lighting for a production that fulfills the needs of the playwright and also meets the objectives of the director and other designers. There is however far greater satisfaction in knowing that you have succeeded in your goals and objectives and that you have emotionally 'moved' an entire audience through the controlled and planned use of light.

Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics and sometimes even mind reading.

The stage designer quickly learns that things are not always what they appear to be. A director who asks for 'more light' on an actor, probably doesn't mean that at all. Instead he really just wants 'to see the actor better'. The designer might chose to reduce the lighting contrast around the actor, or simply ask the actor to tip his head up a bit. Both solutions solve the problem without 'adding more light'. So the lighting designer also has to be a good listener, a careful interpreter and a skilled crafts person.

Ultimately the lighting designer must be an artist! He must understand style, composition, balance, esthetics and human emotions. He must also understand the science of light, optics, vision, the psychology of perception and lighting technology. Using these tools the lighting designer must learn to think, feel and create with his heart.

When it's good lighting design - you alone will know.
When it's bad lighting design - everyone will tell you!