Photographic evidence

Here I am instructing my team on arrival, the box is carrying all the lights ready for the performance. I think I gave clear instructions to my team to ensure they knew what they were doing and what was being asked of them. We put the box at the back of the room so it was not in the way when we were setting up.

This is the space where it will take place. The size of the space in my opinion was enough and this meant that I did not need extra lights; everything would be lit evenly and at a good standard.




 











This is a boom with the lights already rigged on stage left
 This is the fire place which we could not light due to health and safety instead I used orange LED's to create the illusion it was working. I liked this effect because it showed that I had payed attention to the finer details of the house.















This is an Inventory list that I worked on on the day, we checked off everything as it came into the house so we knew we weren't short of anything. This was very useful as without it, I would have struggled to remember what we needed, how many and why certain equipment was required.   

Evaluation

In conclusion I think my lighting design worked well because I kept to the colour theme and used backlight to highlight the performers in their space. I am also pleased that I decided to not only highlight the performance space but also different elements of the stately home, such the arches, staircase and the main entrance. I did this to create an ambience. I think the simplicity of my design made it less complicated on the day when setting up, which therefore meant it took less time and we could concentrate on making it as professional as possible. 

At the start, my first job was to find out what lights were available to use as another show was happening at the same time and then I had to work out the colours that I would be using (i needed to find the correct colour codes on the LEDs) I did this my experimenting to see what looked best. I chose purple because it linked with the advertising posters. To do this I liaised with the marketing manager, Jordan, to confirm ideas. I used orange to highlight the fireplace. I did this to create a warm atmosphere as it was December and clearly lighting the fire would be too much of a risk. The open white fresnels were placed on booms on either side of the audience highlighting the performer. This worked well because they were clearly seen on stage and stood out even from the back row. I stuck to my deadlines and had completed this task ahead of schedule. I was glad about this because it meant I did not have to stress or rush my work. 

After this I was given the blueprints / ground plan of the room from the events manager who contacted Arley Hall on my behalf. These ground plans allowed me to do a proper design which gave me a better idea of where I would position the lights. This was also done before schedule. It was done quickly because nothing too extreme or extravagant was needed as it was a classical event. 

I was asked by my manager, Jordi to create a checklist for the equipment I would need to take for the get in. I wrote this list and passed it on. Jordi kept hold of all lists / plans. Next time I would prefer to keep my own copy in case Jordi was absent or it went missing. It would work well to have an online page to store our work and one that we could all access / use to put up our developments in the absence of a team member. 

On the morning of the event, I was responsible for collecting the lighting / technical equipment and loading it into the van. I used the checklist to ensure nothing had been left behind. We had everything and all equipment was where it was supposed to be, meaning the first step ran smoothly. 

When we arrived at Arley we began to set up straight away. I lead a team of first years, directing them where lights needed going. I had a group of 2 - 3 people helping me which was enough to make sure things got done. Unfortunately the plans had been left behind meaning I could not use it to help me. However I remembered what the design was and was able to clearly give instructions. Everyone knew what they were doing and were on task, therefore I think it was a successful get in. 

Next came the focusing part of the set up, which involved putting someone in the position of the performer on the stage. The downside of this was that I had to wait for the stage to be constructed which took longer than expected. Once the stage had been lit appropriately and light did not spill, I edited the positioning of the LEDs at the back (backlight facing upwards against the wall) I did this to ensure it looked symmetrical. 

Once the auditorium had been completely set up, I moved on to other areas of the venue. I used purple under the stairs to keep with the set colour theme to highlight the main features of the house and to provide some colour. 

In contrast I used orange for the main entrance to create a warm and inviting ambience on the audience's arrival. 

If I were able to do the design again, I would like to have taken more lights than what I had for this event. However overall I am pleased with the final result and the event was a big success.

2D Design

Here is my 2D design, for this I had to decide which lights I am going to be using, for this I chose to use the L.E.D floods and spots to highlight the performance space, including arch ways and the fireplace. I also decided to use booms to put either side of the audience facing the act. this would be used to make sure they are lit correctly. The colours I decided to use are purple colours as I believe it to be quite a classical colour for 'The Classical Serenade' thus fitting the theme. The L.E.D's used in the fire place were set to an orange colour to give it the ambience that the fire was lit. How ever it would be too dangerous to light them with how close the audience would be sat to them. To light the audience I have decided to use the lower tier of the chandelier, this would give quite a dim light but would be enough to see.

Here is the plan that I originally made before I finally decided how many lights were going where, this was a basic draft design where I had to work out how many lights would be available for me to use. 

Colour Call : A Classical Serenade

Colour Code/Gel	Colour	Light	Aim	Total Number
CL07	Purple	Parcan L.E.D	Back light	3
O/W	O/W	Minuette fresnels	Highlight the Permormer	4
CL06	Orange	Parcan L.E.D	Highlight the fire place	2
CL06	Orange	Parcan L.E.D	Highlight the stair case in the hallway	2
CL07	Purple	Parcan L.E.D	Highlight the main entrance	3

 Here is the colour call for my lighting design, due to it not being a theatre performance, and it is in a stately home it isn't too complicated. It included information to make it easier for my team and I to follow on the day when setting up. I wrote up the code for the gel in the light and the colour to make it simpler to recognise. I also gave the aim of what the light was supposed to do so the team could achieve what I wanted it to look like. I also gave the total number of the lights I would need. There is a consistent colour theme so it doesn't look too 'tacky' as it is a classical event. I also had to liaise with the marketing management team to decide on the colour theme with them as they would be using this for there fliers and tickets.

Focus Notes : A Classical Serenade

FOCUS NOTES
Light Focus Extra notes
CCT minuet Fresnel (top of both
booms)
LED Par 64 (middle of both
booms)
CCT minuet Fresnel (Bottom of
booms)
CCT minuet Fresnel on (on t-bar
at the back)
Top of head to shoulders lit Use barn doors to avoid spill on
Torso and waist height to be lit On open white setting
Foot and leg area Use barn doors to avoid spill on
General front on cover Eradicate shadows caused buy
the walls and seating area
LED spots To light up the wall either side
of the chimney breast
To give colour to bodies and
faces
LED Floods on the floor in
corners of the room
LED pars (back light) Angled SLIGHTLY inwards To give depth Colours decided
walls, audience area and floor
side booms. Wide barn doors,
but avoid lighting the tops of
people’s (audience) heads
Should only hit the ceiling
slightly if not at all Colours to
be decided on the night
Should only cover full boys
form several angles Colours to
be decided on the night.
on the night

The Drawing Room Focus Notes
Light Position
CCT Fresnel Stage Left – Boom Top
CCT Fresnel Stage Right – Boom Top
CCT Fresnel Stage Left – Boom Bottom
CCT Fresnel Stage Right – Boom Bottom
CCT Fresnel Stage Left – Front Light
CCT Fresnel Stage Right – Front Light
LED Par 64 Stage Left – Boom Middle
LED Par 64 Stage Right – Boom Middle
LED Par 64 Stage Left – Backlight
LED Par 64 Stage Right – Backlight
LED Par Spot Stage Left – Fire Place Side Light
LED Par Spot Stage Right – Fire Place Side Light
LED Par Flood Stage Left – Floor Light
LED Par Flood Stage Right – Floor Light
LED Par Flood Floor Light – Centre Stage
LED Par Flood Floor Light – Centre Stage

Analysis: Focus notes were important because it provided the details of each individual light and where it was being positioned. If I had not done this the team would not have been able to accurately set up and rig the lights correctly in relation to how I had planned it. It would have also taken more time.  

Lighting Comparisons

Dance Show Lighting

“Dancers live in light as fish live in water”

L.E.D Parcans to create a chase of colours, to compliment the theme of the show, I would use this because you can use different variations of colours.

Moving heads, used for solo performances to highlight that one person. This is so they can be lit while they are moving around the stage.

The designer would have to liaise with the choreographer so that the dancers could step into the light should they need to.

The side lighting used when lighting a dance show 

Dance may begin with sidelight, but that is not to say that other options are unavailable to the designer. Back lighting, top lights, front light and foot lights should all be considered part of the designer’s tool kit. In addition to all these, lighted drops and cycloramas play a critical role in dance lighting.

Back lighting and top lighting often play a very prominent role in dance. Because the primary lighting angles keep the majority of light on the dancer and off the floor, the floor is left relatively dark. From this place, the designer has at their disposal any combination of overhead lighting positions to design shadows and patterns on the floor itself.

Shop Window

The aim of lighting a shop window is the grab the customer’s attention as they are walking past (or to prevent them from walking right past).

To grab the customer’s attention, you lighting display needs to stand out from the general mall lighting. Most malls use an even, bright fluorescent lighting. If you use the same style of lighting for your display, no one will notice and you will be lost in the back ground of the rest of the mall. When lighting for a shop window display it is crucial that you hide all of the fixtures of the lights. If you don’t the display will very easily look tacky.

Music Concert

The aim of lighting for a music concert is to create a huge atmosphere, you will want to light the performers from behind, and this would normally be done using floods. As well as using the floods as backlight on the band it will also be used to light the audience. This will give an amazingly powerful feeling to the audience as well as having moving heads that can be programmed or cued to fit with the music that is being played. This will obviously be very fitting with the music, a variety of colours being used can be semiotics, in a rock concert the colour red could be used a lot as well as it being dark in the area the concert is happening. This could be seen as quite an aggressive colour, which during the concert could be quite effective and appropriate. Chases of light can be very effective as well which during a fast part of a song or ‘drop’ can really appease to the crowd.

General cover: Additional Lighting Designs

In the round: Profiles are used rather than minuette fresnels and 1ks as this will prevent the spill of light and there is no backlight needed to be produced, this is because the positioning / movements of the performers is unpredictable and the audience are seated all around the stage. Instead the performers are lit by all four corners in which ever area of the stage they stand. Using this method the actors will be lit from all directions no matter where the audience are sitting meaning there are no shadows. Profiles are a better choice because they do not have barn doors, there are shutters which can be used to focus the beam of light to how you want it to be (ie circular) this cannot be achieved with barn doors as they are not circular in shape.

I have used 1K fresnels for the backlight and minuette fresnels for the wash. The 4 corners system was applied for sections A - C because there is no backlight. The three point triangular lighting technique has been used for the back 3 areas, similar to End On theatre. using the 1k fresnels means that you can use barn doors to reduce the amount or prevent any spillage of the light onto the stage or above the cyclorama.

This is my manual drawing for a general cover of a Traverse stage. I have used 1K Fresnels as backlight and minuette fresnels for the wash again works well if you use the barn doors to prevent the spillage of unwanted light. Profiles could be used alternatively to achieve a more intensely focused / narrower beam of light as they have shutters instead of barn doors. The use of shutters can be effective for lighting a small area of the stage that may need to be lit.
A B C D E F G and H boxes represent where an actor will stand to make sure the entire stage is lit and nowhere is missed out.

This is my manual drawing for a general cover of an End On theatre. I have used 1K Fresnels as backlight and minuette fresnels for the wash. I have used the triangular technique / 3 point lighting the lights used on the right are symmetrical to those on the left, this will give a general cover of the whole staging area meaning everything is lit correctly without any dark spots. A B C D E F boxes are there to represent a space in which the performer stands. This means that there will be no areas that are missed (all of the stage will be lit equally)