The Art of Lighting Design Part VI
By Stephen EllisonAs this is a series of articles, let me provide a quick review of where we are in the process of design. In the last article I started with the knowledge of what the director's concept is, and what the scene designer is providing. Based on this information, an analysis of the script, and an understanding of the limitations, the physical design process begins. The first step is to create some lists. You can use this sample list from "The Light of the World" to help get your design project started.
There are two aspects to lighting a stage. One is to provide basic illumination, the other is to light specific needs.
Take the script analysis and list all the specials you need. A special is typically a single instrument used for a single purpose; a good example would be a light on Jesus for the death on the cross. One important point to remember about a special is that it takes up a control channel.
Next, list all the systems required. A system is defined as a group of instruments focused and colored to light a section of the stage. Another term that is interchangeable with system is wash. A good example would be the downstage backlight. Systems provide basic illumination and basic illumination provides the bulk of any design. The basic systems are front, side, back, and top washes. These are also divided up by color, generally into warm and cool.
Back to the lists, the list of systems is based on how many different times of day you have to light for. If you have daytime and nighttime scenes then you would need at least a warm and cool front wash from left and right. As well as at least, a cool back wash. Each system can be broken down into groups based on dimming and control. When you create your list take into account how you would like to be able to control areas of the stage with systems.
Once you have your lists it is time to create a 'hookup'. The hookup is a chart that details how the systems and specials are assigned to dimmers and channels. When I start working on the hookup, my first step is to assign all of the systems to available dimmers. Then I begin to assign specials to the remaining dimmers. At this point I begin to play the game of what will fit. I will rearrange the hookup and begin to decide where I want to have the most control.
In very few situations do the limitations of either dimmers or control channels not come into play. The game is to choose which is most important to you, the special or the way you group your systems. When you reach this point, a discussion with the director may be required to sort out which is more important.
Now is the time to sit down at the drafting table, or kitchen table if that's all you have, and begin the lighting plot. Make a drawing of the stage, lay out the ground plan that the scene designer provided you, and the lighting positions. The more accurate and to scale you can be, the easier it will be to calculate the throw distance of the fixtures.
As of now, we have not picked the exact fixtures that will be used for any given system or special. I find it is better to wait until I am at the drawing board to work out the exact fixture selection. I may say that my front lights are going to be ellipsoidal reflector spotlights (lekos), but until I calculate the exact throw distance I won't commit to the beam spread. Better to wait and do the math than to end up with a fixture that produces a beam spread either too small or way too large.
Now with partial hookup in hand I begin to place fixtures onto the drawing. I typically make a small version where I can quickly sketch in the placement as a trial run before making a final commitment. As I go, I consider other limiting factors that can force me to change my plans. These factors include things like available circuits, available space, and available power. Lack of circuits can create the need for 'twofering', which will limit your control. Available space on the position is important to remember so that you aren't surprised during load-in.
When I'm ready, I make the commitment and place the fixtures onto the real plot. There are drafting conventions for producing a light plot in the professional theatre world. Most of these will not be necessary for most church productions, but I would like to recommend a few that would help. Start by numbering the instruments by position, starting from the stage left end. Create a symbol for each type of fixture, either a simple geometric figure, or obtain a template of fixtures at your local theatrical supply store. Create a key indicating what each symbol represents, and what information is found where; i.e. that the number in front of the fixture could be the color filter number.
There is a balance between how much information on the plot is too much - or too little. Here is a list of important information to include about each instrument:
Beyond this, any notes that you can add that will assist the crew in hanging the plot should be added. By the end of this exercise I am able to finish filling in the blanks in the hookup. At this point, if you are renting equipment, you can create a shop order now.
The next step is to get ready to go into the theatre, a topic I will take up in the next article.
