The Gel requirements for each lantern should be shown as a number within the lantern symbol. All profiles should use profile symbols, all moving lights should use moving light symbols etc, even if you don’t have access to the exact symbol for the fixture you’re using. You should use the correct ‘family’ of symbol on your plan. KeyĮach symbol used on the plan should be shown, alongside an indication of the instrument it represents. This box should be included, and shows the name of the production, the venue, the scale, your name, the date of the drawing and any revision number.
#Stage lighting design starlight how to#
See Lighting Rigging Positions for more information on how to represent lanterns rigged on floor stands, bars and booms on a plan Essentials: Title Block It’s not necessary to be absolutely accurate about the angle the lantern should be pointed in, as that happens as part of the focus, but pointing the symbol in roughly the right direction will aid you (and your crew) in seeing what is what. When drawing the symbols onto the plan ensure you leave enough space around the lantern so that when rigged, it can be focussed in the appropriate direction, and to allow the focusser to get their hands wherever is necessary.
A more straightforward option is LXFree, which enables the production of a perfectly good plan for smaller projects.
#Stage lighting design starlight software#
You can also use Capture software to produce a lighting plan. Both packages are expensive, and have learning curves. The standard software for theatrical lighting plan drawing is either Vectorworks or WYSIWYG. Computer-based plan drafting has simplified the process considerably, and also automated much of the paperwork that is associated with a lighting design. Drawing the plan involved marking out the lighting bars first in pencil, then drawing the symbols. You had a number of different plastic templates to choose from, which contained many of the popular symbols. In the days before computers, the options were limited. All of the hard-edged spots that appear on stage together, should be the same type / wattage of lantern so they look identical. For example, the lanterns doing the general wash from a particular location should all be the same, to ensure it looks completely even. Use coloured pens or other codes to identify which jobs are to be shared by a number of lanterns, so that you can see how many lanterns of each type you need. Stage 3 – Once all parts of the show are covered and you have lanterns in place to do all of those jobs, you can start allocating equipment to each job. Again, don’t worry about types of lantern at this stage. Stage 2 – The next stage is to draw a sketch of the rig, with arrows placed on lighting bars (or in other potential lighting positions) showing where you need lanterns. Use arrows to show where you want light to come from in each area.ĭon’t worry about which type of lantern you want to use at this stage. This is a roughly-drawn plan view of the stage, showing the areas that you’ve broken the stage into, and any pieces of set that need lighting.
Stage 1 – Once you have the cue list and a plan of the set, and have a clear idea of what is needed for the show and what the lighting needs to do, you can draw a pre-plan. The complexity of your lighting plan depends on how much time you have, who you need to communicate with, and the complexity of the show. Purpose: A layout (in plan view, from above) showing the individual lanterns, the bars on which they’re hung, their dimmer number, colour and any focus notes, drawn to scale. LIGHTING PLAN (UK) known as the LIGHT PLOT in the US When set, general state for scene 2 – dawnĢ. On clearance, house lights out and crossfade to light through windowĮnd of scene 1, check down to doorway as they exit
The complexity of this will vary according to the needs of the show. Purpose: A list of the lighting changes required during the show. See Lighting Design: The Process for the thinking behind each of the stages of the design.
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