Practical Tools to Help Lighting Designers Start Working in the Field
A Thesis
Presented to
The Faculty of the Department of Television, Radio, Film and Theater
San Jose State University
In Partial Fulfillment of
The Requirements for the Degree
Master of Arts
By Jennie Yeung
May 2006
This thesis presents a methodology for novice lighting designers beginning work in the professional field. Some potential problem areas are identified along with recommendations for solutions. The writing is broken down into areas such as specific job descriptions and appropriate etiquette practices, human relationships from initially meeting the production company to the final performance and strike, involvement with the production team and theater crew, descriptions of the use of technical tools, equipment and paper work, and venue issues of physical space and budget with examples given in the appendices. Each of the areas is described in context: place of occurrence as well as according to the timeline. By using methods recommended in this thesis, lighting designers should be able to successfully prepare for a production.
TABLE OF CONTENTS
1. OVERVIEW 1
1.1 Statement of Problems 2
1.2 Literature Review 6
1.3 Methodology 13
1.3.1 Analysis 13
1.3.2 Observations 14
1.3.3 Interview Process 18
1.4 Chapters Break Down 20
2. RELATIONSHIP WITH THE PERFORMING
GROUP 21
2.1 Expectations and Obligations 21
2.2 Professional Structure and Relationships 25
2.3 Common Language 30
3. PRE PRODUCTION DESCRIPTION OF PARAMETERS
FOR THE PRODUCTION 32
3.1 Venue Problems 32
3.2 Equipment 40
3.2.1 A Venue Lighting Package 40
3.2.2 Power Supply and Control Protocol 42
3.2.3 Lighting Fixtures 44
3.2.4 Color Media 47
3.2.5 Paperwork 49
3.2.6 Lighting Control Board 51
3.3 Budgeting - Different Types of Charges 52
3.4 Crews Human Relationships 59
4. LOAD IN REHEARSALS PERFORMANCES-
STRIKE 69
4.1 Production Meetings 70
4.1.1 Designers’ Run-through 72
4.1.2 Meeting the Venue’s Production Manager 72
4.1.3 Parameters for Schedules in the Theater 73
4.1.4 Meeting the Whole Team 77
4.1.5 Paper Tech 78
4.2 Procedures in the Theater 78
4.2.1 Arriving at the Theater 79
4.2.2 Hanging the Plot 81
4.2.3 Setting the Trim 82
4.2.4 Focus Session 83
4.2.5 Programming the Light Control Board 85
4.2.6 Dry Tech, Cue-to-Cue 89
4.2.7 Technical Rehearsal 89
4.2.8 Dress Rehearsal 94
4.2.9 Performance and Strike 95
5. CONCLUSIONS AND FUTURE RESEARCH 97
5.1 Summary 97
5.2 Future Research 99
APPENDICES
I. List of Procedures According to Timeline 101
II. General Information Needed from the Performing
Venue 104
III. Initial Meeting With the Performing Group 108
IV. Form for Renting Equipment 111
V. Form for Purchasing Consumables 115
VI. Sample of Technical Requirements 119
VII. Information Needed from the First Production
Meeting with the Venue Production Manager 123
VIII. Typical In-theater Schedule 138
IX. A Lighting Plot 141
X. A Patch Sheet 143
XI. A Cheat Sheet 149
XII. A Cue Master 152
XIII. Magic Sheet 158
XIV. Instrument Schedule 160
XV. Sample of Contract for Lighting Designers 166
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