1258978
Beschreibung
Karteikarten von cmiller2889, aktualisiert more than 1 year ago
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Erstellt von cmiller2889
vor etwa 10 Jahre
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| Frage | Antworten |
| What is the purpose of stage lighting? | Illumination Set Mood Contribute to time/place focus the eyes of the audience add dimension to set pieces |
| What are the usable properties of light? | INTENSITY - how bright the light is determined by the movement of the fader which alters the amount of voltage going through to the light. COLOUR - measured by Kelvin SHAPE - controlled by focus knobs, shutters, barn doors, gobos, donuts, top hats |
| What are the stages in a lighting design? | The lighting designer has a number of phases from pre to post production involving a number of creative, design, technical and budgetary decisions |
| STAGE 1 PLANNING The Meetings | 1. meeting with director, producer, technical manager and other designers 2. Venue visit 3. contacting hire companies |
| STAGE 1 PLANNING The Paperwork Lighting Cheat Sheet | Lighting Cheat Sheet - the designer draws a rough plan of how the stage will be divided and which washes are needed |
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SECTION DRAWING
cross section of the theatre and stage
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Allows to check vertical site lines and relative heights of objects |
| Lighting Plan |
An overhead diagram showing:
- the placement of lights, type of lights, patching, colours, accessories, number of lights
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ELEVATION
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A drawing looking from the audience - useful to allow the director and designers to see how the stage looks, relative heights, and site lines |
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Lantern (or instrument) Schedule
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A list of each light in order of light number. This list shows: Light number Lantern type focusing direction purpose colour accessories |
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Patch Schedule
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shows the same information as the lantern schedule but in channel order. This makes the job of the patching team easier |
| Colour Call Sheet | the same information again but this time in colour gel order. This allows accurate calculation of the number of sheets of gel required. |
| STAGE 2 BUMP IN | RIGGING PATCHING FRAMING GELLING FOCUSING PROGRAMMING |
| RIGGING | the process of hanging the lights WHS considerations: 3 points of contact on ladder, use of harness, hard hat, rubber soled shoes, licences for scissor lifts, gloves for working with heat, not having any equipment or tools hanging |
| PATCHING | To make electrical connections on a patch panel, i.e., hard patching, or, to assign dimmers to channels on a control console, i.e., soft patching |
| TYPES OF PATCHING SOFT PATCHING (not permanent - can be changed during the show) | SOFT PATCHING dimmers can be assigned to any one of any number of channels during the show. This type of patch system is usually found on memory boards and computers. |
| TYPES OF PATCHING HARD PATCHING (permanent - can not be changed during the show) | Patching into a dimmer rack located in the side stage area. This cannot be changed during the show. |
| AUTOMATED LIGHTING (or patching | • automated lighting, i.e. direct power and data lines required (no dimmer) • |
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DISTRIBUTED PATCHING
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dimmers located where required |
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DISTRIBUTED PATCHING
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patch lines go from a single dimmer to lights |
| FRAMING | Controlling the shape of the lighting beam through: shutters focus knobs barn doors gobos donuts top hats |
| PLOTTING AND PROGRAMMING | PLOTTING is the period of time when the director asks the lighting operator to bring up the lights in a particular cue to check that the desired effect is achieved. PROGRAMMING is recording these states into the desk. |
| TYPES OF LIGHTING DESK | The type of desk selected will depend on: the scale and budget of the show the technology available the ability of the operator to use the technology |
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4-PACK
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4PACK (image/jpg)
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Simplest form of lighting desk for conventional lights. The unit has 4 inbuilt dimmers and 4 channels. Great for small theatres, school classrooms, domestic use |
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LITE-PUTER
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Smallest operational system for LED lights. The lights are daisy chained and connected to the device through a DMX cable. This desk can control many lights but they must all be on the same colour at the same time as each LED light uses 5 channels and the liteputer only has 6 channels |
| PRESET BOARDS - conventional lights - operator has to create the scenes during the show according to the cue sheet | - has an A and B level each with their own master - the level is made 'active' but moving the master up - when the level is not active it can be used to set the next scene |
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MEMORY DESKS
a record button at the bottom of each fader.
During the show the operator brings up the sub masters
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1. during plotting the scene will be created 2. once the director is happy the operator will press the record button at the bottom of the channel 3. the fader for this channel then becomes a SUBMASTER which will bring up the entire lights in the cue. |
| COMPUTER PROGRAMMING e.g. Light Factory Software | Cues are recorded directly into the computer and changes are made with the click of the mouse. Both conventional and LED/Intelligent lights can be used. |
| BOARD OPERATION DEFINITIONS | the action by which the lighting operator changes the lighting will contribute to the overall creative effect |
| CROSS FADE | changing the lighting stage by moving Master A and Master B in opposite directions in a slow controlled manner. One lighting state will appear and the other will disappear often without the audience noticing |
| SNAP FADE | jump from one lighting state to another |
| BUILD | increase the intensity of a lighting cue |
| KILL | rapidly take out a lighting cue |
| BLACK OUT - | Complete absence of stage lighting. Blue working lights backstage should remain on and are not usually under the control of the board. |
| DEAD BLACK OUT (DBO) | when there is no onstage light. Exit signs and other emergency lighting must remain on at all times. |
| ADD | adding an additional light to a cue |
| FADE | Lowering the level of light in a scene |
| FEATURES OF STAGE LIGHTS | ALL LIGHTS HAVE: bulb (bubble) lamp base (for the bulb to fit into) lens reflector clamp for attaching to rigging colour frame electricity |
| TYPES OF LAMP BASE | The lamp base is the structure that the lamp (bulb/bubble) attaches to inside the light. It is important to match the lamp to the lamp base of the particular light. |
| Edison Fitting screw |
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| Bayonet Fitting Click in | |
| Bi pin Theatrical incadescent |
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| ADDITIVE COLOUR MIXING 2 lights pointed onto the same place will produce a different coloured light Each light increases the total amount of light and therefore we get to WHITE RGB | RED + GREEN = AMBER GREEN + BLUE = CYAN BLUE + RED = MAGENTA R+B+G = WHITE |
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SUBTRACTIVE COLOUR MIXING
a. Printing
b. a light pointed onto a piece of set, costumes, prop will change the colour
CYMK
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Cyan + Yellow = Green Yellow + Magenta = Red Magenta + Cyan = Blue All colours = Black |
| LIGHTING DESIGN | The lighting designer needs to understand how to manipulate all of the tools available to them to produce a design |
| LIGHTING DESIGN Which type of light do I use? | CYC - Cyc Flood General Wash - Par Can or Fresnel Specials - Profile Light LED - for pure colour due to no amber drift Conventional Lights - warmer colour due to amber drift |
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LIGHTING DESIGN
Lighting angles
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In order to have full coverage of the stage you should light from 2 angles in front and one from behind. This gives the body dimension. |
| LIGHTING DESIGN Lighting Angles For a natural effect you should attempt to light a face from 45 degrees. | Lighting at angles other than 45 degrees will give interesting effects to the face |
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LIGHTING DESIGN
Lighting for dance
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- Lighting will be on stands from the side - usually one placed at upper torso, one at lower torso and one at the leg - this, in addition to front and back light, gives the dancer more dimension |
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LIGHTING DESIGN - the source of light
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When designing light you need to consider the source of natural light so that you can place lights in the right directions. You need to consider: 1. the effect of the natural light on the floor surface 2. shaddows |
| LIGHTING DESIGN Specials |
A special is a light that is placed to achieve a special purpose on the stage
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| LIGHTING DESIGN Practicals - a light that is put on the stage for the same purpose as it would be in real life e.g. lamp, fire place, street lamp |
The practical will be often complemented by other stage lights to amplify the effect
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| CABELLING DMX Cable | Digital Multiplex Cabling Traditionally is 5 pin but 3 pin is often used with LED lights and for digital technology |
| DISSIPATION OF HEAT FROM LIGHTS Electrical resistance creates 2 by products: 1. Light 2. Heat | 10% of the electricity in an incandescent (normal) lighting is converted to light and the rest is converted to heat. This explains why conventional lights get so hot!!! |
| EFFECT OF HEAT IN LIGHTING Conventional Lights produce radiated heat and therefore get hot | 1. decrease bulb life 2. decrease gel life 3. WHS issue with touching a hot light |
| EFFECT OF HEAT IN LIGHTING LED Lights DON'T produce radiated heat and therefore don't hot | In LED lights up to 60% of the electricity is turned into light and therefore these lights generate less heat energy |
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