PROSCENIUM THEATRE - PLAN VIEWThe 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.
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