ideas and suggestions
Wed, 7 Apr 2004, 08:14 pmryno7 posts in thread
ideas and suggestions
Wed, 7 Apr 2004, 08:14 pmI've got some questions about the rig I'm planning to use as LD of a small budget musical. It will be performed in a community hall. The stage is about 6x7x5, raised 1m off the ground, and the two FOH lighting bars angled into the stage are on the ceiling and about 5m out, one on prompt and one on O/P. I can't use our pushup stands as they don't achieve enough angle to stop washing out the cyc.
1. Would a pattern 23 be of considerably less intensity than an acclaim 650w PC? And would using 2 PC's across the front of stage at a 5m throw illuminate adequately? (I have no central FOH rigging position so I'll split the stage in two, and using 4 PC's across FOH will increase costs since I have two major lighting states gelled up differently).
2. I have to use 4 pairs of 110v par 64's somewhere as we are at a premium with lights to hire. I'm thinking of using them (at 50%) above stage as a general wash, however I'll need to diffuse them. How can I control the spill though? I'd rather use them on-stage rather than FOH since the spill looks worse when seen all over the proscenium rather than all over the stage.
Any opinions, suggestions?
Thanks,
Ryan Alexander
1. Would a pattern 23 be of considerably less intensity than an acclaim 650w PC? And would using 2 PC's across the front of stage at a 5m throw illuminate adequately? (I have no central FOH rigging position so I'll split the stage in two, and using 4 PC's across FOH will increase costs since I have two major lighting states gelled up differently).
2. I have to use 4 pairs of 110v par 64's somewhere as we are at a premium with lights to hire. I'm thinking of using them (at 50%) above stage as a general wash, however I'll need to diffuse them. How can I control the spill though? I'd rather use them on-stage rather than FOH since the spill looks worse when seen all over the proscenium rather than all over the stage.
Any opinions, suggestions?
Thanks,
Ryan Alexander
Re: ideas and suggestions
Thu, 15 Apr 2004, 11:57 pmWalter Plinge
I read your post. You seem to be on the right track. Please take what I say as modest suggestion, not advice or doctrine, as there are far too many people out here who claim to know what theyÂ’re talking aboutÂ…alasÂ…
My mentor and teacher in the art of theatrical lighting is a Georgian called Georgi Alexi. The most important thing about theatre is to keep simple. Put up a little and spend time making it look good – rather than the most common use of highly elaborate sets and ridiculously large lighting rigs that take forever to install, usually leaving truncated time to focus, set to block and paint and balance the space. You might also consider the use of open lights rather than rushing to the gel box to arouse the audience from the outset. Try withholding gels till a true climactic crescendo near the end and sit back and see the audience gasp in emotive awe. By all means use the par cans o/h and try some subtle blending and rim lit magic, let your imagination fly. Once you have lit from above you have the actors and stage covered when you need to, then push in light from the front to accentuate. The ideal could be around 16 overheads (4x4) with about 4 foh (2 close in and wide and hard angled across stage, and 2 pushing in from front). Consider the different combinations each focus lends to the other.
Enough of my prattle...
Cheers Craig Abbott
My mentor and teacher in the art of theatrical lighting is a Georgian called Georgi Alexi. The most important thing about theatre is to keep simple. Put up a little and spend time making it look good – rather than the most common use of highly elaborate sets and ridiculously large lighting rigs that take forever to install, usually leaving truncated time to focus, set to block and paint and balance the space. You might also consider the use of open lights rather than rushing to the gel box to arouse the audience from the outset. Try withholding gels till a true climactic crescendo near the end and sit back and see the audience gasp in emotive awe. By all means use the par cans o/h and try some subtle blending and rim lit magic, let your imagination fly. Once you have lit from above you have the actors and stage covered when you need to, then push in light from the front to accentuate. The ideal could be around 16 overheads (4x4) with about 4 foh (2 close in and wide and hard angled across stage, and 2 pushing in from front). Consider the different combinations each focus lends to the other.
Enough of my prattle...
Cheers Craig Abbott