director lighting tech. dispute. Protocol?

Are we talking amateur theatre or professional theatre, although I suspect this is amateur theatre, where everyone seems to do their own thing, not from lack of enthusiasm, more from lack of training, although it sounds like the lighting tech has the right idea. It is because we do not like the audience to notice curtains and tabs flying in and out, we plot lighting cues to take the lighting off the offending curtain. This is because what is a good lighting design for a stage where the area to be lit is basically a horizontal surface, the beams of light are going to look really bad on a vertical surface such as the main house rag. On a large stage with fly's, it is normal practice to plot lx cues to take the light of any tab before it is flown out and then reestablish the previous lx state after the tab has finished flying. Normally a blackout is used, as the sequence is end of show, blackout, actors step back, rag flies in, possibly a curtain warmer if too long a set up time behind the rag, rag flies up and lights come up for curtain call. Then lights go down, usually blackout as rag flies in, if no bounce then curtain warmers and house lights. If you are milking the audience for a curtain call, then a blackout is preferred as they audience will wait to see what is going to happen. If you bring up an lx state to fly the rag in, they may think it is the curtain warmers and it is time to go home. Behing the rag, workers will exist so cast can move about, if necessary you can add some extra light if the casts eyes are not adjusted to the low levels of the work lights. If the director does not want a blackout at the end of the show, but wants the rag to fly in, then you need to plot a suitable state for the rag to fly in without it looking untidy. Of course all of these details are covered in your production meetings, well beforehand, aren't they ????????