ASC LIGHTING BASICS

3

GET OUT YOUR NOTEBOOKS AND PENS!

NO SLEEPING, NO EATING, NO TALKING!

LISTEN, LOOK, AND THINK.

TAKE NOTES & ASK QUESTIONS.

YOU WILL SEE THIS MATERIAL AGAIN!

GET OUT YOUR NOTEBOOKS AND PENS!

NO SLEEPING, NO EATING, NO TALKING!

LISTEN, LOOK, AND THINK.

TAKE NOTES & ASK QUESTIONS.

YOU WILL SEE THIS MATERIAL AGAIN!

ALWAYS BE READY!

ALWAYS BE PREPARED!

ALWAYS EXPECT THE UNEXPECTED!

ALWAYS BE READY!

ALWAYS BE PREPARED!

ALWAYS EXPECT THE UNEXPECTED!

YOU WILL SEE THIS MATERIAL AGAIN YOU WILL SEE THIS MATERIAL AGAIN

YOU WILL SEE THIS MATERIAL AGAIN YOU WILL SEE THIS MATERIAL AGAIN

YOU WILL SEE THIS MATERIAL AGAIN! YOU WILL SEE THIS MATERIAL AGAIN!

THIS IS AN EXTRA SPECIAL BONUS TIP! THIS IS AN EXTRA SPECIAL BONUS TIP!

YOU WILL SEE THAT MATERIAL AGAIN YOU WILL SEE THAT MATERIAL AGAIN

YOU WILL SEE THAT MATERIAL AGAIN YOU WILL SEE THAT MATERIAL AGAIN

IT’S IMPORTANT SO HERE IT IS AGAIN. KNOW IT, DO IT. IT’S IMPORTANT SO HERE IT IS AGAIN. KNOW IT, DO IT.

IF YOU SEE IT ON THE BOARD OR ON THE COMPUTER, IT

SHOULD BE IN YOUR NOTES.

IF YOU SEE IT ON THE BOARD OR ON THE COMPUTER, IT

SHOULD BE IN YOUR NOTES.

Get out those pens and notebooks boys and girls because…

Get out those pens and notebooks boys and girls because…

YOU WILL SEE THIS MATERIAL AGAIN!

YOU WILL SEE THIS MATERIAL AGAIN!

NOT ONLY THAT YOU’LL USE THIS STUFF TOO!

BASIC LIGHTING CONCEPTS, TERMS AND TECHNIQUES

3

BASIC LIGHTING CONCEPTS, TERMS AND TECHNIQUES

3 YOU WILL SEE THIS MATERIAL AGAIN! YOU WILL USE IT IN THE NEAR FUTURE! YOU WILL SEE THIS MATERIAL AGAIN! YOU WILL USE IT IN THE NEAR FUTURE!

To be able to understand and use lighting properly and effectively you have to know about:

To be able to understand and use lighting properly and effectively you have to know about:

Electricity Lighting history Basic concepts, terms and techniques The instruments & equipment Dimmers & Controllers

Electricity Lighting history Basic concepts, terms and techniques The instruments & equipment Dimmers & Controllers

You also need to have a plan about what you want things to look like (just like you need a plan with anything you do).

You also need to have a plan about what you want things to look like (just like you need a plan with anything you do).

Before proceeding any further please be aware that lighting for theatre, concert, television and film are not always the same!

Before proceeding any further please be aware that lighting for theatre, concert, television and film are not always the same!

The theory, techniques and physics are the same but they are used differently to meet different

requirements and achieve the desired effects and goals for each

setting or medium.

The theory, techniques and physics are the same but they are used differently to meet different

requirements and achieve the desired effects and goals for each

setting or medium.

And now ladies and gentlemen on to the wonderful world of…

BASICS 3 BASICS 3

DIRECTION DIRECTION Where the light comes from plays an important role in what it does for the picture you want to create. Some effects can only be created by light coming from one or two directions.

Where the light comes from plays an important role in what it does for the picture you want to create. Some effects can only be created by light coming from one or two directions.

If poorly planned, light from some other direction will destroy the mood you are trying to create.

If poorly planned, light from some other direction will destroy the mood you are trying to create.

There are five basic positions to work

with: Front,

Side, Back, Down, and Backdrop.

There are five basic positions to work

with: Front,

Side, Back, Down, and Backdrop.

Front Lighting Front Lighting

Front lighting is generally used for visibility and color washes. The lights used to make performers visible are often gelled in pale colors (or no color).

Front lighting is generally used for visibility and color washes. The lights used to make performers visible are often gelled in pale colors (or no color).

It’s best if these lights shine down from about 30° to 50° off horizontal. Steeper angles create harsh shadows. Shallower angles tend to flatten out features.

It’s best if these lights shine down from about 30° to 50° off horizontal. Steeper angles create harsh shadows. Shallower angles tend to flatten out features.

45° from horizontal and 45° from full front are optimum

45° from horizontal and 45° from full front are optimum

Front lighting used to highlight a particular person or object (a special) is used at an angle of 50° to 80° to create isolation.

Front lighting used to highlight a particular person or object (a special) is used at an angle of 50° to 80° to create isolation.

Front light with a single

light source

Front light with a single

light source

Ellipsoidal are used FOH and onstage, fresnels only on stage and PAR’s on stage (sometimes FOH).

Ellipsoidal are used FOH and onstage, fresnels only on stage and PAR’s on stage (sometimes FOH).

Side Lighting Side Lighting Side lighting is used for effect lighting. Side lighting creates more extreme modeling and accents arm and leg movements. It is particularly dramatic when used with bold colors, often with contrasting colors from opposite sides of the stage.

Side lighting is used for effect lighting. Side lighting creates more extreme modeling and accents arm and leg movements. It is particularly dramatic when used with bold colors, often with contrasting colors from opposite sides of the stage.

Side lighting coming in at shallow angles sweeps the stage with minimal instrumentation.

Steeper angles isolate smaller areas covered by each instrument and can throw across stage without lighting closer objects.

Side lighting coming in at shallow angles sweeps the stage with minimal instrumentation.

Steeper angles isolate smaller areas covered by each instrument and can throw across stage without lighting closer objects.

The instruments commonly used for side lighting are ellipsoidals or PAR’s although fresnels and striplights are also used.

The instruments commonly used for side lighting are ellipsoidals or PAR’s although fresnels and striplights are also used.

Back Lighting Back Lighting Back lighting is also effect lighting. It is one of the most popular positions used in concert lighting, mainly due to the fact that back light instruments are more visible to the audience and become a strong part of the setting.

Back lighting is also effect lighting. It is one of the most popular positions used in concert lighting, mainly due to the fact that back light instruments are more visible to the audience and become a strong part of the setting.

Back lighting creates a halo effect on the performers’ head and shoulders. Back lighting also helps create a sense of depth onstage.

Coming up from a low angle, back lighting can help create a beautiful silhouette. Strong colors are often used in back lighting.

Back lighting creates a halo effect on the performers’ head and shoulders. Back lighting also helps create a sense of depth onstage.

Coming up from a low angle, back lighting can help create a beautiful silhouette. Strong colors are often used in back lighting.

When you position the instrument consider the people in the audience. It can be extremely uncomfortable to look directly into an instrument.

PAR’s, fresnels and sometimes ellipsoidals are used.

When you position the instrument consider the people in the audience. It can be extremely uncomfortable to look directly into an instrument.

PAR’s, fresnels and sometimes ellipsoidals are used.

Down Lighting Down Lighting

Down lights are good for highlighting specials or for color fills. They are often used to draw attention to one person or one particular action on stage. It can also be used to create an illusion of depth.

Down lights are good for highlighting specials or for color fills. They are often used to draw attention to one person or one particular action on stage. It can also be used to create an illusion of depth.

A down light wash can effectively separate one person from another on stage.

It can also provide visibility for the musician trying to read his or her music on a music stand.

PAR’s, fresnels and, at times, ellipsoidals are used as down

A down light wash can effectively separate one person from another on stage.

It can also provide visibility for the musician trying to read his or her music on a music stand.

PAR’s, fresnels and, at times, ellipsoidals are used as down

PAR’s, fresnels and, at times, ellipsoidals are used as down lights.

Background Lighting Background Lighting Background (or cyc) lighting is extremely powerful in creating a picture. If it is brighter and bolder than the rest of the stage, it can overpower the rest of the scene. Colors are generally chosen to accent the foreground with deeper and lower intensities.

Background (or cyc) lighting is extremely powerful in creating a picture. If it is brighter and bolder than the rest of the stage, it can overpower the rest of the scene. Colors are generally chosen to accent the foreground with deeper and lower intensities.

Cyc lighting can create an extremely beautiful and dramatic silhouette on stage. Most often striplights of some design are use for background lighting. Scoops are also sometimes used.

Cyc lighting can create an extremely beautiful and dramatic silhouette on stage. Most often striplights of some design are use for background lighting. Scoops are also sometimes used.

The last several slides dealt with stage lighting for more traditional theatre. Concert lighting is a little bit different but generally uses the same instruments (except for VARI*LITES), techniques and theory.

The last several slides dealt with stage lighting for more traditional theatre. Concert lighting is a little bit different but generally uses the same instruments (except for VARI*LITES), techniques and theory.

Television is a whole ‘nother ballgame. It will be dealt with, in detail, separately and in the video production class.

Here is a brief explanation just in case…

Television is a whole ‘nother ballgame. It will be dealt with, in detail, separately and in the video production class.

Here is a brief explanation just in case…

Briefly the key to shooting TV or video is to have light and a lot of it depending on the genre you are doing. Talking heads, newscasts and straight studio programs require bright, full, even light.

Briefly the key to shooting TV or video is to have light and a lot of it depending on the genre you are doing. Talking heads, newscasts and straight studio programs require bright, full, even light.

Music and drama shows allow more latitude but a lack of even lighting creates a very flat, “gumby” look on tape and on the television.

Music and drama shows allow more latitude but a lack of even lighting creates a very flat, “gumby” look on tape and on the television.

Key, spot and fill are the three terms usually heard. If you are going to use chroma key you have raised a whole different issue with its own set of requirements and problems.

Key, spot and fill are the three terms usually heard. If you are going to use chroma key you have raised a whole different issue with its own set of requirements and problems.

A few things to remember… A few things to remember…

• Do not blind your audience by pointing or aiming your stage lighting into their eyes. If your using a lot of backlighting make sure the coverage patterns of the lights are on the stage, not in the audience.

• Do not blind your audience by pointing or aiming your stage lighting into their eyes. If your using a lot of backlighting make sure the coverage patterns of the lights are on the stage, not in the audience.

• Any light mounted lower than eye level is going to cause garish shadows on a persons face. This can be an interesting effect but it’s generally a bad idea.

• Any light mounted lower than eye level is going to cause garish shadows on a persons face. This can be an interesting effect but it’s generally a bad idea.

• Backlighting can be effective if it highlights the outline of a performer so they standout more from the backdrop.

• Backlighting can be effective if it highlights the outline of a performer so they standout more from the backdrop.

• Black backdrops and walls soak up a lot of light, making patterns more controllable if you have the instruments to control that. White (or other highly reflective) walls or ceilings will reflect more light and the stage will be brighter but less dramatic looking.

• Black backdrops and walls soak up a lot of light, making patterns more controllable if you have the instruments to control that. White (or other highly reflective) walls or ceilings will reflect more light and the stage will be brighter but less dramatic looking.

• Never double up gels. They’ll get hot and wear out. It’s better off to just buy the color you need.

• Never double up gels. They’ll get hot and wear out. It’s better off to just buy the color you need.

ARE THERE ANY QUESTIONS ABOUT THE MATERIAL?

ARE THERE ANY QUESTIONS ABOUT THE MATERIAL?

IS EVRYONE ABSOLUTELY SURE? IS EVRYONE ABSOLUTELY SURE? BECAUSE YOU WILL SEE AND USE THIS MATERIAL AGAIN! BECAUSE YOU WILL SEE AND USE THIS MATERIAL AGAIN!

IS EVRYONE ABSOLUTELY 100% SURE ABOUT THAT?

IS EVRYONE ABSOLUTELY 100% SURE ABOUT THAT?

BECAUSE IT IS GUARANTEED YOU WILL SEE AND USE THIS MATERIAL AGAIN! BECAUSE IT IS GUARANTEED YOU WILL SEE AND USE THIS MATERIAL AGAIN!

LAST CHANCE. TELL THE TRUTH. DON’T BE EMBARRASED. ARE YOU COMPLETELY, ABSOLUTELY 100%

SURE YOU UNDERSTAND?

LAST CHANCE. TELL THE TRUTH. DON’T BE EMBARRASED. ARE YOU COMPLETELY, ABSOLUTELY 100%

SURE YOU UNDERSTAND?

WARNING WARNING TO REDUCE THE RISK OF

INJURY, ELECTRIC SHOCK, FIRE OR EQUIPMENT

DAMAGE, DO NOT EXPOSE ANY ELECTRICAL OR

ELECTRONIC EQUIPMENT TO RAIN, LIQUIDS OR MOISTURE!

TO REDUCE THE RISK OF INJURY, ELECTRIC SHOCK,

FIRE OR EQUIPMENT DAMAGE, DO NOT EXPOSE

ANY ELECTRICAL OR ELECTRONIC EQUIPMENT TO RAIN, LIQUIDS OR MOISTURE!

AIM FOR EXCELLENCE

STRIVE FOR PERFECTION

MEDIOCRITY IS NOT ACCEPTABLE

FAILURE IS NOT AN OPTION

AIM FOR EXCELLENCE

STRIVE FOR PERFECTION

MEDIOCRITY IS NOT ACCEPTABLE

FAILURE IS NOT AN OPTION

When working on a stage, set, in a studio or in any show environment you must always… When working on a stage, set, in a studio or in any show environment you must always… Be aware of your surroundings and what is

going on around you Think Look Listen

Know what you want to do, when you’re going to do it, where you’re going to do it

and how you’re going to do it Pay attention Be focused

You can’t walk around without a clue! You can’t be there doing nothing! You will be in the way and a distraction. People will get hurt. You must have a plan and a purpose!

Be aware of your surroundings and what is going on around you

Think Look Listen Know what you want to do, when you’re

going to do it, where you’re going to do it and how you’re going to do it

Pay attention Be focused You can’t walk around without a clue! You

can’t be there doing nothing! You will be in the way and a distraction. People will get hurt. You must have a plan and a purpose!

TEAMWORK

TEAMWORK

TEAMWORK

TEAMWORK

TEAMWORK

TEAMWORK

FOCUS

CONCENTRATION

ATTENTION TO DETAILS

FOCUS

CONCENTRATION

ATTENTION TO DETAILS

BE RELIABLE

BE RESPONSIBLE

BE DEPENDABLE EXERCISE INITIATIVE, FLEXIBILITY

AND DETERMINATION IN WHATEVER YOU ARE DOING

BE RELIABLE

BE RESPONSIBLE

BE DEPENDABLE EXERCISE INITIATIVE, FLEXIBILITY

AND DETERMINATION IN WHATEVER YOU ARE DOING

YOU WILL BE JUDGED AND YOUR GRADE PARTIALLY BASED ON HOW WELL YOU: • KNOW THE INFORMATION & MATERIAL ON THE PREVIOUS SLIDES. • UTILIZE THE INFORMATION & MATERIAL ON THE PREVIOUS SLIDES. • PARTICIPATE AND PERFORM BASED ON THAT INFORMATION & MATERIAL.

THAT’S THE WAY IT IS. IF YOU DON’T LIKE IT, TOO BAD. WELCOME TO LIFE.

DON’T WORRY ABOUT CONTROLLING WHAT YOU HAVE NO CONTROL OVER. INSTEAD TRY WORRYING ABOUT CONTROLLING WHAT YOU DO HAVE CONTROL OVER.

IF YOU FIND SOMETHING YOU DON’T HAVE CONTROL OVER AND WANT TO CONTROL IT THEN LEARN ABOUT IT AND FIGURE OUT A WAY TO CONTROL IT.

BIBLIOGRAPHY/REFRENCES/SOURCES Carter, Paul (1994) Backstage Handbook, Broadway Press Vasey, John (1993) Concert Sound and Lighting Systems, Focal Press Hurtig, Brent (1988) Multi-Track Recording, Alfred Publishing Moscal, Tony (1994) Sound Check: The Basics Of Sound and Sound Systems, Hal Leornard Corporation Cuningham, Glen (1993) Stage Lighting Revealed, Betterway Books Selden, Samuel and Sellman, Hunton D., (1964) Stage Scenery and Lighting Appleton-Century-Crofts Southern, Richard (1964) Stage-Setting for Amateurs and Professionals Theatre Arts Books Taylor, Bruce D. (1999) The Arts Equation, Back Stage Books Jewell, Don (1992) Public Assembly Facilities, Krieger Publishing Company Mountain Productions, Inc. Website: www.mountainproductions.com Peter Albrecht Company Website: www.riggingsystems.com Sapsis Rigging, Inc. Website: www.sapsis-rigging.com Boettcher, Burt J. (2000) Stage Rigging in Historic Theatres, internet article Rowoth, Alan (1997) Stage Lighting Basics, internet article Iacobucci, R. (1998) Stage Lighting Basics, internet article Columbia Encyclopedia (2000) Lighting, internet Columbia Encyclopedia (2000) Scene Design and Stage Lighting, internet

Markertek Video Supply Catalog (1999) Full Compass Catalog (1999) National Audio Video Supply Catalog (2000) Valiant Video Supply Catalog (1999) SLD Lighting Catalog (2000) Musicians Friend Catalog (2000) Bulb Direct Catalog (1999) Mackie Designs Product Brochure (2000) Mackie Designs New Product Brochure (1999) B&H Photo-Video-Audio Sourcebook (2000) Shure Brothers, Microphone and Circuitry Products Catalog (1999) Shure Brothers, Microphone Techniques: Sound Reinforcement (1997) Shure Brothers, Microphone Techniques: Studio Recording (1999)