Lighting Final

Front 1

Acting Areas

Back 1

- designers define these areas onstage to aid the creation of their lighting design
- elements that helps define acting areas: the set, instrumentation and then number of instruments you have

Front 2

A Special

Back 2

- a spotlight or other tight lighting area used to highlight a particular actor or moment

Front 3

Re-patching or AB switching

Back 3

- a trick that can be used when you need more channels than you have available to you

Front 4

Two architectural drawings that are vital to the creation of a lighting design

Back 4

- ground plan
- side section

Front 5

"Lighting Effect Categories"

Back 5

- general (visibility) lighting; used when the wash is to be the main lighting for seeing what is taking place on stage
- effect lighting; used when the wash is only used to help create a mood or look
- set lighting; used only when lighting the setting

Front 6

The Light Plot

Back 6

- a document that shows the layout of the theatre, hanging positions and instruments being used

Front 7

Instrument Schedule

Back 7

- a document that takes information and arranges it by hanging position and instrument

Front 8

Channel Schedule

Back 8

- a document that takes information and arranges it by control
- aka a channel hook-up

Front 9

A Light Key

Back 9

- a small diagram that is used to quickly show general angles and/or color of light
- what we made at the end of our projects

Front 10

Magic Sheets

Back 10

- group of small sketches (rough tiny plots), one for each control channel
- gold when trying to design on the fly or when something isn't working and you have to supplement fast
- keep the simple

Front 11

Cue Sheets

Back 11

- a listing of the levels of each channel of a scene for each different cue
- any layout can be used as long as it's easy to read
- information: channel setting, cue entrance speeds, cue exit speeds, and notes on when the cue is to occur

Front 12

Dimmer Check

Back 12

- this is done before every performance to ensure the lighting system is working properly

Front 13

Paper Tech

Back 13

- this is a type of technical rehearsal that concentrates on entering cues into the stage managers script

Front 14

A Work Through

Back 14

- this is a type of technical rehearsal that starts at the top of the show and slowly works its way through to the end

Front 15

A Cue-to-Cue

Back 15

- a technical rehearsal that starts from the top of one cue and then stop whenever you have what you need and go to the beginning of the next cue

Front 16

Dry Tech

Back 16

- happens in the space, without actors
- all the technical papers are setting lighting cues and sound cues, etc. without the actors

Front 17

10/12 Rehearsal

Back 17

- out of a 12 hour period the actors can only be called for 10 our of those 12 hours
- within that 10/12 we can do: a cue-to-cue or a work through

Front 18

Process of a "Load In"

Back 18

- if the stage already has a show on it, the show will have to be torn down (or loaded out) before a new one can be mounted; this is called a changeover
- load-in begins with actually loading in the equipment (lighting, settings, costumes, etc.); after this, a schedule must be followed so that different departments involved with the show have their share of time on stage

Front 19

Four Functions of Light

Back 19

Visibility, Composition, Reinforcement and Mood

Front 20

5 Controllable Properties of Lighting

Back 20

- Intensity, Color, Distribution, Angle/Focus, and Movement

Front 21

Focus Types of PAR Lamps

Back 21

- very narrow spot (VNSP)
- narrow spot (NSP)
- medium flood (MFL)
- wide flood (WFL)

Front 22

ERS

Back 22

- another name for an Ellipsoidal Reflector Spotlight

Front 23

Difference Between "hard" Focus and a "soft" Focus Instrument

Back 23

- hard focused instruments have a defined edge with them; you can specifically see where the light stops
- with a soft focus instrument, the light just sort of fades out

Front 24

Beam Angle

Back 24

- a beam angle of an instrument is when the edges of the light are at 50% intensity

Front 25

Beam Angle Affecting the Light Output Over Distance

Back 25

- the narrower the beam, the longer the light distance

Front 26

Instrument, Circuit, Dimmer, Channel

Back 26

- the correct control path from the lighting instrument to the lighting counsel

Front 27

"SCR" dimmers differ from resistance dimmers

Back 27

- SCR's work more like a light switch in which more light is let out, whereas a resistance dimmer impedes the flow of the light

Front 28

DMX512

Back 28

- very important
- it's a universal control board and it standardized the protocol so that all dimmers and circuits could be directed from the same light board

Front 29

Direction and Angle of Key Lighting

Back 29

- 45 degrees up from the object and 45 degrees across from the object

Front 30

Key, Fill & Back Convention

Back 30

- important
- it created a natural sense of lighting for the performer and subject; it's more realistic

Front 31

Primary Colors of Lighting

Back 31

- red
- green
- blue

Front 32

Formation of White Light

Back 32

- the combination of a primary color and its complimentary color will create a white light

Front 33

Red Light on a Green Shirt

Back 33

- the shirt will appear gray and black because there are no red rays be shown

Front 34

Three Components of a Circuit

Back 34

- source
- load
- conduit

Front 35

Relationship Between Gauge and Amperage

Back 35

- gauge number is highest when wire is thinnest
- the thinner the wire gauge, the less amperage it can handle