![]() ![]() 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.Īfter focus has occurred the LD usually sits at a temporary desk (tech table) in the theater (typically on the center line in the middle of the house) where they have a good view of the stage and work with the light board operator, who will either be seated alongside them at a portable control console or talk via headset to the control room. The lighting designer is responsible, in conjunction with the production's independently hired production electrician, who will interface with the theater's master electrician, for directing the theater's electrics crew in the realization of their designs during the technical rehearsals. 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. ![]() ![]() Professional LDs generally use special computer-aided design packages to create accurate and easily readable drafted plots that can be swiftly updated as necessary. The lighting designer uses this paperwork to aid in the visualization of not only ideas but also simple lists to assist the master electrician during load-in, focus, and technical rehearsals. ![]() Often, paperwork listing all of this information is also generated by using a program such as Lightwright. Next to each instrument on the plan will be information for any color gel, gobo, or other accessories that need to go with it, and its channel number. The light plot is a scale drawing that communicates the location of lighting fixtures and lighting positions so a team of electricians can independently install the lighting system. Cue sheets are of the most value to stage management. Cue sheets communicate the placement of cues that the LD has created for the show, using artistic terminology rather than technical language, and information on exactly when each cue is called so that the stage manager and the assistants know when and where to call the cue. Examples of typical paperwork include cue sheets, light plots, instrument schedules, shop orders, and focus charts. Various forms of paperwork are essential for the LD to successfully communicate their design to various members of the production team. To help the LD communicate artistic vision, they may employ renderings, storyboards, photographs, reproductions of artwork, or mockups of effects to help communicate how the lighting should look. The LD must take into account the show's mood and the director's vision in creating a lighting design. The LD will also make sure that they have 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 ground plan and section. 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 read the script carefully and make notes on changes in place and time between scene-and will have meetings (called design or production meetings) with the director, designers, stage manager, and production manager to discuss ideas for the show and establish budget and scheduling details. At the off-Broadway or off-off-Broadway level, the LD will occasionally be responsible for much of the hands-on technical work (such as hanging instruments, programming the light board, etc.) that would be the work of the lighting crew in a larger theater. Smaller theater companies may have a resident lighting designer responsible for most of the company's productions or rely on a variety of freelance or even volunteer help to light their productions. For a Broadway show, a touring production and most regional and small productions the LD is usually an outside freelance specialist hired early in the production process. The role of the lighting designer varies greatly within professional and amateur theater.
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