Performance lighting design : how to light for the stage, concerts, exhibitions and live events

A practical guide to the art and technique of lighting for the stage, this book explains the complex mixture of craft, collaboration and creativity behind successful lighting design. The designer paints with light – revealing form and composing a living picture from collections of objects and bodies in a given space. This handbook for professional practice walks you through how to achieve this, from first concept to development of design ideas, planning to realisation and, finally, public performance. Now fully revised, this second edition of Nick Moran’s Performance Lighting Design has been brought up to date to consider advances made in the technology used for lighting design for live performance. Alongside this, Moran introduces new concepts and ways of working; includes a section on analysing the finished design; and discusses recent research into contemporary lighting practice, addressing emerging trends, particularly for drama. Combining practical information with aesthetic considerations, Performance Lighting Design is the ideal book for students and practitioners of stage lighting working on the contemporary stage. Cover page Halftitle page Title page Copyright page Contents Figures Tables Acknowledgements List of credits for illustrations Introduction Lighting design: light in space Performance light ing design: from craft towards art Performance light ing design as art Realism, natur al ism and reality onstage It’s not just for LDs 1 An introduction to light in performance An introduction to light What is light? Light and human perception A summary What makes performance? What is performance lighting? Performance and communication Lighting and audibility Summary 2 An introduction to the tools of lighting Overview of a performance lighting system Measuring the quality of light Moving lights Specials and washes Key light and fill Learning how to use the tools 3 Describing performance lighting Describing and controlling light Intensity, focus, colour, beam and time Intensity as a signifier Focus: the location of light in space4 Colour Beam and movement Describing performance light: a summary 4 From text to lighting concept Stage 1: what is a text? Creating the world of the performance What can light do? Initial text analysis8 Working with a director and other design ers The space and the lighting design How much work does the audience do? Next steps 5 Evolving the concept, developing a cue structure Stage 2: design ideas begin to be made real Lighting score Collaboration with music and sound design Storyboard Towards a cue synopsis Initial cue synopsis Watching rehearsals Moving towards realization One lighting design for the whole produc tion 6 From concept to lighting plan Stage 3: planning the rig Washes, specials, keys and fill Designing washes, thinking in boxes Planning washes Getting more specific Making choices and drawing the plan Maximum brightness and power? More on choosing colours Concert rigs: structure as part of the visual design The lighting plan: an evolving document 7 Plans, paper work and patching Good documentation aids good lighting design The lighting plan or plot1 Ways to make plans more readable Instrument schedule/equipment list Lighting spreadsheets The electrics bible 8 Working in the performance space, part I The fit-up Scale determines how much you do Preparation is the key to success The need for ‘spares’ Getting the rig hung The focus Focus from behind the lantern Calling a focus from the stage Focusing moving lights 9 Working in the performance space, part II Making states and cues The production desk Catching up with creative collaborators Making cues Making a start Making cue states Blocking cues Cue points and cue place ment Getting through to the end 10 Finishing touches Dress rehearsals Lighting notes The last days before opening night Opening night and after 11 Beyond opening night How did we do? Reflecting on the contract and other negotiations Reflecting on focus and tech Making the most of every show And on to the next show 12 Looking ahead What is the carbon foot print of your show? Pros and cons of large-scale moving light rigs Digital lighting or projection and video onstage Pixel-mapping The possibilities of precision Lighting operator as performer Towards more art in lighting for live performance Index