Lighting Management for a production (Units 6, 66, 67) Research on lighting Lighting Management for a production (Units 6, 66, 67)

FRESNELS Technical Specification KTTco Lighting Inventory Manufacture: Phillip Selcom Type: Acclaim Fresnel Amount in inventory: 13 Technical Specification Throw: 2-10meters Beam angles: 6º to 60º Weight: 5.50kg Cable length: 1 meter

FRESNELS Technical Specification KTTco Lighting Inventory Manufacture: Zero 88 Type: Focus 650 Amount in inventory: 4 Technical Specification Throw: 2-4 meters Beam angles: 6º to 60º Weight: 4kg Cable length: 0.5 meter

FRESNELS Technical Specification KTTco Lighting Inventory Manufacture: Pulsar Type: Pebble Connvex Amount in inventory: 4 Technical Specification Throw: 2-4 meters Beam angles: 6º to 60º Weight: 4kg Cable length: 0.5 meter

Profile Technical Specification KTTco Lighting Inventory Manufacture: Hutton Type: P650 Amount in inventory: 11 Technical Specification Throw: 2-10 meters Beam angles: 20º to 40º Weight: 6.8KG Cable length: 1 meter

Floodlight Technical Specification KTTco Lighting Inventory Manufacture: Strand Type: Batten Amount in inventory: 1 Technical Specification Throw: 2-7meters Beam angles: Weight: 13.5kgs Cable length: 1 meter

floodlight Technical Specification KTTco Lighting Inventory Manufacture: HUI Type: Hui020918 cyc/flood Amount in inventory: 1 Technical Specification Throw: 2-10meters Beam angles: 6º to 60º Weight: 5.50kg Cable length: 1 meter

follow spot Technical Specification KTTco Lighting Inventory Manufacture: CCT Type: Followspot Amount in inventory: 1 Technical Specification Throw: 2-12meters Beam angles: Weight: 14kg Cable length: 1.5 meter Requires 250v to power

Dimmers KTTco Lighting Inventory Manufacture: Strand Type: 6 pack Amount in inventory: 3 6x Dual 10amp channels DMX address option 2kW pulling power 32amp connector Output15amp

controls KTTco Lighting Inventory TALK ABOUT ADVANTAGES AND DISADVANTAGES

KTTco Lighting Inventory lighting accessories

KTTco Lighting Inventory lighting accessories

TYPE OF BULBS GKV600 Lamp 240V 600W G9.5 Base – Fresnels, Profiles. 500W K1 THD lamp – Flood/Batten CP60 VNSP PAR 64 Lamp – Very Narrow Spot. Beam Angle 12° approx. This PAR 64 lamp is good for really tight spots, thin light beams cutting through smoke or streaking across stage set/cloths. Also used on large music stages to provide spotlights to hightlight individual band members. The CP60 PAR lamp gives a really intense “splat” of light that can be a bit striated (streaky) across flat surfaces. CP61 NSP PAR 64 Lamp – Narrow Spot. Beam Angle 14° approx. The CP61 is the general spotlight of the PAR 64 family producing a tight beam of light that has more uses than the CP60. This lamp is a useful tage spotlight and makes fairly good beam structures in smoke. Could be used to for colour washes with a large throw distance ( further than 8m) although you would need a fair few CP61 PAR lamps to do this. CP62 MFL PAR 64 Lamp – Medium Flood. Beam Angle 24° approx. CP62 PAR lamps are pretty much everywhere doing jobs such as colour washes onstage, uplighting bits of set as well as spotlighting people onstage. These bulbs are great for washing intense colour around a stage or lighting up columns or architecture. The beam of this PAR lamp is extremely elliptical and their orientation, like other PAR bulbs, is set by spinning the bulb inside the PAR Can. EXG PAR 64 Lamp – Wide Flood. Beam Angle 50° approx. A wider flood PAR that can be used to colour washing with shorter throw distances though it can lack intensity. Used with a short nosed PAR Can. This PAR lamp is not too useful. CP95 WFL PAR 64 Lamp – Wide Flood. Beam Angle 70° approx. This PAR lamp is pretty darn wide, meaning that is lights all over the place but lack the punch and intensity of other PAR lamps. The CP95 is only useful when you needed a good sized beam of light, lit from very close. To get full width of this PAR bulb, use a short nose PAR can.

lighting inventory KTTco Lighting Inventory

Plays How to light different genres of theatre Lighting the actors faces is extremely important. (Face light) Naturalistic colours to give context to the setting. Red’s and oranges for summer, blues and colder colours for winter. It is advised to use colour from behind so it doesn’t show on the actors faces. Backlighting and uplight to create mood and atmosphere.

Musicals How to light different genres of theatre Moving heads. Colours Top lighting Side lighting All to help create a non-naturalistic world

Variety performances How to light different genres of theatre Moving heads for accessibility Wide range of colours within the colour wheels to enable the director a complete range of performance. Chase sequences to music to create a live vibrant atmosphere.

Dance How to light different genres of theatre The outline of the dancer is more important than their faces therefore less face light is used. Whereas colour is required which can be positioned from the above and behind. Side lighting - Booms . Tops, Mid tops, Mid Lows, Shins Top Lighting Back lighting Up lighting

The Role of a lighting designer - As the lighting designer I will begin by reading the script to produced notation of the different ways light could be used within each scene. - Lighting designers will meet with the director so they can share their ideas about how light could be used to enhance the production concept at their first meeting. Early meetings with the set designer are also important because the set and lighting designers must collaborate on how to achieve the desired "look" for the play. The plan for the set may influence the placement and direction of the necessary lighting instruments, so flagging any potential problems in this area as early as possible makes sense. - As the lighting designer I will attend rehearsals to get a feel for the lighting cues and to plan how to light the actors as they move from place to place on stage. - When the blocking is set, the lighting designer can start to work out which lighting instruments will be used and where each one will be located - As the lighting designer I will produce a scale rig plan, colour call and cue list for the production.

Kenneth Posner Lighting Designer - Kenneth Posner is an American theatrical lighting designer working on Broadway and in American regional theatre. His best designs include the musicals Wicked and Hairspray. He has been nominated for the Tony Award for Best Lighting Design 10 times. - “Night scenes are difficult to accomplish because there still needs to be general illumination but being that its night you want the mood lighting as well. A happy medium is doing a blackout over the majority of the stage with warm front light at between 25-50% strength as well as some warm down light in the the area required.” Down & Back lighting is where most of the mood and energy comes from.” - Posner is mainly known for large broadway musicals in which he has a large range of RGBW LED’S and Moving heads which enable him to create a very non naturalistic world such as wicked, however his points on mood and energy are important to Wind in the Willows as we want to keep the audience engaged with the performance as well show the directors deeper meaning within the story of the production

The Role of a lighting Operator The role of the lighting operator includes the following responsibilities : • Assist with the rig and focus of the lanterns. • Ensure all the Lighting equipment is working correctly before each run and report any problems to the Stage Manager before the run of the show. During the technical and dress rehearsal of the show you would work with the Deputy Stage Manager on the positioning of your cues and report any problems that occur during the run. You need to respond quickly and effectively to the Director and/or the Lighting Designer when asked to change a lighting state or any specific edits. • After the performance you will assist with the get out, by putting the Lighting equipment back to its original state.

Why do I make a good Lighting Manager? I am suited to the role of lighting manager because I go the extra mile to ensure the success of the production. I make sure all of my ideas are thought through coherently to ensure that when we arrive at a get - in I know what needs to happen when to ensure we get the whole production set and ready to go before the technical rehearsal. My time management skills are defined by the use of clear schedules which allocate myself and my team to work in time slots that have breaks to prevent tiredness being a cause of any accidents that may occur. These time slots coincide with Equity Guidelines for an ‘Equity Sub Rep’ Contract. The time slots are specific so each individual on the lighting team know what they are doing in what slot, saving thinking time, allowing the technicians longer rigging time. When in technical and dress rehearsals my communication with the Deputy Stage Manager, director and the lighting operator will be at a crucial point to ensure the smoothest running of the production. Any Lighting changes will need instructed by myself to the lighting operator who will then update the paper work and send to me to add to the master lighting folder which contains a copy of the script, rig plan, cue sheets etc.

references Images and technical specifications of equipment White Light Shop Stage Electrics On stage lighting American Association of Community Theatre