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Lighting designer

2007 Schools Wikipedia Selection. Related subjects: Theatre

   Lighting at the 2005 Classical Spectacular Concert
   Lighting at the 2005 Classical Spectacular Concert

   The role of the lighting designer (or LD) within theatre is to work
   with the director, set designer, costume designer, and sometimes the
   sound designer and choreographer to create an overall 'look' for the
   show in response to the text, while keeping in mind issues of
   visibility, safety and cost. The LD also works closely with the stage
   manager on show control programming.

   Some eminent lighting designers working in the world today are: Ken
   Billington, Marc Brickman, Howell Binkley, Peggy Eisenhauer, Jules
   Fisher, Paul Gallo, David Hersey, Donald Holder, Natasha Katz, Chris
   Kuroda, Allen Lee Hughes, Brian Mac Devitt, John McKernon, Dennis
   Parichy, Richard Pilbrow, Kenneth Posner, Mark Stanley, and Jennifer
   Tipton, many of whom have been honored with a Tony Award for Best
   Lighting Design. Leading lighting designers working in the UK include:
   Eddy Warren, Paule Constable, Rick Fisher, Howard Harrison, Mark
   Henderson, Jean Kalman, Peter Mumford, Paul Pyant, many of whom are
   recipients of an Olivier Award for Best Lighting Design.

   Pioneers in the industry include: Stanley McCandless, Jean Rosenthal,
   and Tharon Musser.

During pre-production

   The role of the lighting designer varies greatly depending on whether a
   production is professional or amateur. For a Broadway show or a touring
   production the LD is usually an outside freelance specialist hired
   early in the production process, but most smaller theatre companies
   will have a resident lighting designer responsible for most of the
   company's productions. At the amateur, Off-Broadway, or
   Off-Off-Broadway level the LD will often be responsible for much of the
   hands-on technical work (hanging instruments, programming the light
   board, etc.) that would be the work of the lighting crew in a larger
   theatre.

   The LD will read the script carefully and make notes on changes in
   place and time between scenes - such changes are often done just with
   lighting - and will have meetings (called Design or Production
   Meetings) with the Director, Designers, Stage Manager and production
   manager during the pre-production period to discuss ideas for the show
   and establish budget and scheduling details. The LD will also attend
   several later rehearsals to observe the way the actors are being
   directed to use the stage area ('blocking') during different scenes,
   and will receive updates from the stage manager on any changes that
   occur. The LD will also make sure that he or she has an accurate plan
   of the theatre's lighting positions and a list of their equipment, as
   well as an accurate copy of the set design, especially the floor plan.
   The LD must take into account the show's mood and the director's vision
   in creating a lighting design.

   Because lighting design is much more abstract than costume or scenic
   design, it is often difficult for the lighting designer to accurately
   convey his ideas to the rest of the production team. The lighting
   designer's chief tool, the light plot, is a very technical document
   that means almost nothing to someone unfamiliar with stage lighting. In
   some instances, a lighting designer may be expected to provide rough
   cue sheets or storyboards during pre-production. This non-technical
   document gives the rest of the production team a way to understand the
   lighting designer's vision without having to immerse themselves in the
   technical details of theatrical lighting. These cue sheets will
   typically include descriptions of each "look" that the LD has created
   for the show, using artistic terminology rather than technical
   language, and information on exactly when each look changes to the
   next.

   While cue sheets or storyboards provide the lighting designer with a
   means of communicating his ideas to others, it is of little value to
   the lighting designer himself. When designing a show, the most
   important document for the lighting designer is the light plot. The
   plot is a scale drawing of the theatre, with the lighting positions and
   instruments used in the show marked on it, also to scale. Next to each
   instrument will be information for any colour gel, gobo, animation
   wheel or other accessory that needs to go with it, and its channel
   number. Professional LDs usually use special computer-aided design
   packages such as Vectorworks or Auto-Plot to create accurate and easily
   read plots that can be swiftly updated as necessary. The LD will
   discuss the plot with the show's production manager and the theatre's
   master electrician or technical director to make sure there are no
   unforeseen problems during Load-In. In addition to the light plot the
   LD will generate paperwork that helps assist the master electrician
   during load-in, focus and technical rehearsals.

During installation (Load-In/Focus/Cue to Cue) and technical rehearsals

   The lighting designer is responsible, in conjunction with the
   production's independently hired "Production Electrician" who will
   interface with the theatre's Master Electrician, for directing the
   theatre's electrics crew in the realization of his or her designs
   during the technical rehearsals. After the Electricians have hung,
   circuited and patched the lighting units, the LD will direct the
   focusing (pointing, shaping and sizing of the light beams) and gelling
   (coloring) of each unit. Then the LD usually sits at a temporary desk
   (tech table) somewhere in the theatre where they have a good view of
   the stage and work with the lighting board operator/programmer, who
   will either be seated alongside him or her at a portable control
   console or talk via headset to the control room. At the tech table, the
   LD will generally have a copy of the light plot and channel hookup, a
   remote lighting console, a computer monitor connected to the light
   board (so they can see what the board op is doing), and a headset.
   After hang and focus, if scheduled, and depending if the production is
   following closely on schedule there is a period of one to two days that
   might be allowed for pre-lighting or "pre-cueing." At an arranged time,
   the performers arrive and the production is worked through in
   chronological order, with occasional stops to correct sound, lighting,
   entrances etc. The lighting designer will work constantly with the
   board operator to refine the lighting states as the technical rehearsal
   continues, but because the focus of a "tech" or "cue-to-cue" rehearsal
   is the production's technical aspects, the LD may require the
   performers to pause ("hold") frequently. Nevertheless, any errors of
   focusing or changes to the lighting plan are corrected only when the
   performers are not onstage. These changes take place during 'work' or
   'note' calls. The LD only attends these notes calls if units are hung
   or rehung and require additional focusing. The LD will be in charge if
   in attendance. If the only work to be done is maintenance (i.e.
   changing a lamp or burnt out gel) then the Production or Master
   Electrician will be in charge and will direct the Electrics crew.

   After the tech process the performance may (or may not, depending on
   time constraints) go into dress rehearsals. During this time, if the
   cueing is finished, the LD will sit in the audience and take notes on
   what works and what needs changing. At this point, the Stage Manager
   will begin to take over the work of calling cues for the light board op
   to follow. Generally the LD will stay on headset, and may still have a
   monitor connected to the light board, in case of problems. Often
   changes will take place during notes call, but if serious problems
   occur the performance may be halted and the issue will be resolved
   then.

   Once the show is open to the public the lighting designer will often
   stay and watch several performances of the show, making notes each
   night and making desired changes the next day during notes call. If the
   show is still in previews, then the LD will may changes, but once the
   production officially opens, normally the lighting designer will not
   make further changes.

   Changes should not be made after the lighting design is finished, and
   never without the LD's approval. There may be times when changes are
   necessary after the production has officially opened. Reasons for
   changes after opening night include: casting changes; significant
   changes in blocking; addition, deletion or rearrangement of scenes; or
   the tech and/or preview period (if there was a preview period) was too
   short to accommodate as thorough a cueing as was needed (this is
   particularly common in dance productions). If significant changes need
   to be made then the LD will come in and make them, however if only
   smaller changes are needed, the LD may opt to send the Assistant
   Lighting Designer (see below for ALD description). If a show runs for a
   particularly long time then the LD may come in periodically to check
   the focus of each lighting instrument and if they are retaining their
   colour (some gel, especially saturated gel, looses its richness and can
   fade or 'burn out' over time). The LD may also sit in on a performance
   to make sure that the cues are still be called at the right place and
   time. The goal is often to finish by the opening of the show, but what
   is most important is that the LD and the directors believe that the
   design is finished to each's satifaction. If that happens to be by
   opening night, then after opening no changes are normally made to that
   particular production run at that venue. The general maintenance of the
   lighting rig then becomes the responsibility of the Master Electrician.

   NB: There are different protocols between European technical theatre
   and American technical theatre.

Advances in Vizualization and Presentation

   As previously mentioned, lighting design is an intangible and abstract
   design that is often not fully understood until all the lights are hung
   and focused and all the cues are written. In the past story-boards and
   sketches have been the only method for lighting designers to
   communicate their ideas to the Director and the rest of the Design
   Team. However, there have been two developments in recent years that
   have given lighting designers addition (and in many ways more accurate)
   ways of communicating their ideas.

Computer Rendering/Vizualization

   With the advancement in computer processing and vizualization software,
   lighting designers are now able to create computer generated images
   (CGI) that represent their ideas. The way these programs work is the LD
   takes the light plot and enters it into the vizualization software.
   Then they enter in the ground plan of the theater and set design,
   giving as much 3 dimensional data as possible (this helps in creating
   complete renderings). This creates a 3D model in computer space that
   can be lit and manipulated. Then using the software, the LD can use the
   lights from his plot to create actual lighting in the 3D model with the
   ability to define paramaters such as colour, focus, gobo, beam angle
   and so on. The LD can then take renderings or "snapshots" of various
   looks that can then be printed out and show to the Director and Design
   Team.

The LightBox

   Next to computer vizualization, the LightBox is the most accurate way
   to dipect a lighting designers ideas. Invented by Charles Kirby, the
   LightBox is a tool that allows a user to light a scaled model of the
   set in virtually any space. The LightBox is set up so that is uses
   fiberoptic cables that run from a power supply up into what is
   essentially a box with scaled down lighting positions. For example, a
   set designer can create a model of the set in 1/4" scale and it can be
   placed in the light box. The lighting designer can then take the
   fiberoptic cables and attach them to scaled down lighting units that
   can accuratly replicate the beam angles of specified lighting fixtures.
   These 'mini lights' can then be attachted to cross pieces attached to
   the Lightbox simulating different lighting positions. The lighting
   designer can utilize the effects of colour, beam angle, intensity, and
   even some gobos. The fiberoptics are controllable through computer
   software or a DMX controlled Light board. This gives the lighting
   designer the ability to depict scaled down representations of specific
   cues or looks that would take place during the show. One advantage the
   Lightbox has over computer visualization is that the model as well as
   the lights lighting the model can be manipulated in real time, allowing
   the lighting designer to respond to changes and suggestions from the
   Director and Design Team.

Additional Members of the Lighting Design Team

   If the production is large or especially complex, the Lighting Designer
   may hire additional lighting professionals to help execute the design.

The Associate Lighting Designer

   The Associate Lighting Designer will help assist the Lighting Designer
   in creating and executing the lighting design. While the duties that an
   LD may expect the Associate LD to perform may differ from person to
   person, usually the Ass't LD will do the following:
     * Attend design and production meetings with or in place of the LD
     * Attend rehearsals with or in place of LD and take notes of specific
       design ideas and tasks that the lighting department needs to
       accomplish
     * Assist the LD in generating the light plot, channel hookup and
       sketches
     * If needed, the Associate may need to take the set drawings and put
       them into a CAD program to be manipulated by the LD (however, this
       job is usually given to the Assistant LD if there is one).
     * The Ass't LD may be in charge of running focus, and may even direct
       where the lights are to be focused.
     * The Associate is generally authorized to speak on behalf of the LD
       and can make creative and design decisions when needed (and when
       authorized by the LD). This is one of the biggest differences
       between the Associate and the Assistant.

The Assistant Lighting Designer

   The Assistant Lighting Designer assists the Lighting Desinger and the
   Associate Lighting Designer. Depending on the particular arrangement
   the ALD may report directly to the LD, or they may in essence be the
   Associates assistant. There also may be more than one assistant on a
   show depending on the size of the production. The ALD will usually:
     * Attend design and production meetings with the LD or the Associate
       LD
     * Attend rehearsals with the LD or the Associate LD
     * Assist the LD in generating the light plot and channel hookup. If
       the plot is to be computer generated, the ALD is the one who
       physically enters the information into the computer.
     * The ALD may run errands for the LD such as picking up supplies,
       getting the light plot printed in large format, or getting coffee
       (although sending the ALD for coffee is generally considered bad
       form).
     * The ALD will help the Associate LD in running focus.
     * In some instances the ALD may be the light board operator.

A note on focus

   During focus, the LD is up on stage directing members of the Electrics
   crew on where and how to focus each individual lighting unit. This can
   be a time consuming and frustrating process. Focus can run much
   smoother if the Associate LD and the Assistant LD are keeping good
   track of which lights have been focused, what's coming up next and
   directing the electrics crew so that there is minimal down time between
   focusing each light. They should also direct the LD to which units are
   next and even what their purpose is and a rough focus.

   Retrieved from " http://en.wikipedia.org/wiki/Lighting_designer"
   This reference article is mainly selected from the English Wikipedia
   with only minor checks and changes (see www.wikipedia.org for details
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