A Practical Guide to Stage Lighting

588 Pages·2013·24.975 MB·English

by  Steven Louis Shelley, Jennifer Tipton (foreword)

A Practical Guide
to Stage Lighting
Third Edition
Steven Louis Shelley
First published 1999 by Focal Press
This edition published 2014
by Focal Press
70 Blanchard Road, Suite 402, Burlington, MA 01803
Simultaneously published in the UK
by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Focal Press is an imprint of the Taylor & Francis Group, an informa business
© 2014 Steven Louis Shelley
The right of Steven Louis Shelley to be identified as author of this work has been asserted by him in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any infor-
mation storage or retrieval system, without permission in writing from the publishers.
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our
understanding, changes in research methods, professional practices, or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any
information, methods, compounds, or experiments described herein. In using such information or methods they
should be mindful of their own safety and the safety of others, including parties for whom they have a professional
responsibility.
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and
explanation without intent to infringe.
Library of Congress Cataloging in Publication Data
Shelley, Steven.
A practical guide to stage lighting / Steven Louis Shelley. -- Third edition.
pages cm
Includes bibliographical references and index.
ISBN 978-0-415-81200-9 (Paper back) — ISBN 978-0-203-55327-5 1. Stage lighting. I. Title.
PN2091.E4S52 2013
792’.025—dc23
2013012974
ISBN: 978-0-415-81200-9
ISBN: 978-0-203-55327-5
Typeset in Bembo Std
By MPS Limited, Chennai, India
www.adi-mps.com
Table of Contents

Introduction ............................................................ v Define by Mode of Transport ..............................115
Foreword . ...............................................................v i Define the Performance Facility ...........................116
Preface ..................................................................v ii Summary .............................................................130
Acknowledgments for the Third Edition ..............v iii
Stage 2 Construction and Reaction:
Chapter 1 A Review ................................ 1 Preliminary Documents .........................1 31
Introduction ............................................................1
The Theatrical Space ...............................................1 Chapter 5 Create the Preliminary
Theatrical Stage Nomenclature ...............................2 Drawings ............................ 132
Hanging Position and Focus Nomenclature .............6
Introduction ........................................................132
Light Nomenclature and Mathematics ....................9
The Preliminary Drawings ...................................135
Color .....................................................................12
The Preliminary Section ......................................135
Electricity and Distribution ...................................14
The Preliminary Groundplan ..............................143
Control .................................................................19
The Front Elevation ............................................149
Lighting Instruments .............................................28
Summary .............................................................149
The Staff of a Production ......................................43
The Production Schedule .......................................46
Chapter 6 Creating the Preliminary
The Light Plot and Lighting Section ......................47
Lighting Section and
Summary ...............................................................48
Light Plot ...........................1 50
Chapter 2 Paperwork Overview ............4 9
Introduction ........................................................150
The Document Pre-Approval and Distribution Define the Hokey Lighting Systems .....................150
Charts ................................................................50 Construct the Lighting Systems ...........................159
Summary ...............................................................57 Backlight .............................................................171
Downlight ...........................................................181
Stage 1 Research and Analysis ..............5 8 Sidelight ..............................................................186
Frontlight ............................................................205
Chapter 3 Background Preparations and Scenic Light .........................................................219
Preliminary Design Backdrops and Translucencies: Analysis ..............221
Paperwork ............................ 59 Peripheral Light ...................................................233
Summary .............................................................237
Introduction ..........................................................59
Background Preparations ......................................59
Chapter 7 Compiling and Sending
Meetings ...............................................................67
Out the Shop Order ...........2 38
Hokey Re-Analysis ................................................90
Summary ...............................................................95 Introduction ........................................................238
The Lighting Rental Shop ...................................238
The Shop Order ..................................................242
Chapter 4 The Parameters ....................9 6 The Labor ...........................................................251
Introduction ..........................................................96 The Masking and Scenic Goods Rental Order .....253
Define the Contract ...............................................97 Summary .............................................................256
Define the Communication .................................105
Define the Production Schedule ...........................108 Chapter 8 Cuts and Changes ..............2 57
Define by the Budget ...........................................110 Introduction ........................................................257
Define by Type and Size of Production ................114 The Bidding Process ............................................257
Define by Origin .................................................114 The Budget Gets Slashed .....................................261
Define by Movement ...........................................115 Summary .............................................................279
iii
iv ● Table of Contents
Stage 3 Preparation and Implementation: Followspots .........................................................429
The Lighting Design is Hot Test the Position ...........................................431
Setting the Trims .................................................433
Documented and Installed ......2 80
The First Channel Check .....................................437
Summary .............................................................437
Chapter 9 The Light Plot, Section,
and Support Paperwork
Packet ................................. 281 Chapter 14 The Focus Session ............4 38
Introduction ........................................................281 Introduction ........................................................438
The Light Plot .....................................................281 Overview .............................................................438
The Lighting Section ...........................................287 Focus Analysis .....................................................439
The Support Paperwork ......................................293 Focus Techniques and Notes ...............................441
Summary .............................................................308 Focus Tips ...........................................................448
Focus Checklists ..................................................450
Chapter 10 The Load-In and Focusing the Hokey Light Plot ............................452
Summary .............................................................491
Focus Packet ..................... 309
Introduction ........................................................309
The Hang Plot .....................................................309 Chapter 15 The Light Cue
The Headset Layout Groundplan ........................309 Level Setting Session and
Computer Lighting Console Information ............312 Technical Rehearsals ........4 92
Focus Information ...............................................327
Introduction ........................................................492
Summary .............................................................341
Light Cue Level Setting Session Analysis. .............492
Before the Cueing Session ...................................495
Chapter 11 The Cue Construction The Cueing Session .............................................499
Followspots .........................................................507
Packet ............................... 342
The Technical Rehearsal .....................................512
Introduction ........................................................342
Prior to the Technical Rehearsal ..........................5 13
The Magic Sheet .................................................342
Before the Final Rehearsal ...................................519
The Cheat Sheet ..................................................345
Summary .............................................................523
The Cue Master ..................................................347
Forms ..................................................................351
Summary .............................................................367 Chapter 16 The Performance ..............5 24
Introduction ........................................................524
Before the Performance .......................................524
Chapter 12 Prior to the Load-In .........3 68
The Show Call ....................................................530
Introduction ........................................................368
The Performance .................................................532
Confirm Paperwork Distribution .........................368
After the Show ....................................................5 34
Reacting to Changes ............................................371
Prepping the Rental Light Package ......................374 Stage 4: Archive and Final Activities: The
Pre-Programming Lighting Console Information ......378
Lighting Design is Cleaned Up
The Production Schedule .....................................387
and Stored ................................... 536
Watching the Run-Through .................................388
Final Preparations for the Load-In. ......................392
Summary .............................................................394 Chapter 17 Archiving and Final
Activities ..........................5 37
Introduction ........................................................537
Chapter 13 The Load-In and
Archive Overview ................................................537
Setup ................................3 95
Summary .............................................................539
Introduction ........................................................395
Before the Load-In Begins ...................................395
The Load-In Begins .............................................406 Appendix A .........................................................5 42
Spiking the Deck .................................................410 Appendix B .........................................................5 44
Hanging the Light Plot ........................................415 Glossary ..............................................................5 55
Position the Booms .............................................420 Bibliography ........................................................5 63
Setting up the Lighting Console ...........................424 Index ...................................................................5 65
Check the Production Table ................................428
Introduction
A Practical Guide to Stage Lighting is intended for because they somehow impact the lighting designer
readers who want to understand the process and the or the lighting design. When it comes to schedules or
tools used in theatrical lighting design. other interdepartmental forms, hopefully someone
This book is not written for the person only else can take responsibility for it.
beginning to study theatrical lighting design. There’s While many of the methods and techniques I
more introductory information that needs to be describe in this text are not the only way to achieve
understood and practiced than can be presented in the desired end, they are the simplest ways I’ve found
the Chapter 1 Review, and there are many other to successfully reach it. In some cases, those meth-
texts that provide that. ods are presented merely as suggestions. Sometimes,
Likewise, this book is not written for those who they’re strongly suggested. And in particular cases,
want to learn about more specialized topics, such they are ironclad—those are the Golden Rules.
as designing lights for television, film, or concerts. To make it easy to distinguish one from the
While a lot of information is included in this book, other, several icons are included to highlight por-
those topics aren’t mentioned. There are also no tions of this book.
examinations of touring, intimate discussions about
Checklist: This icon indicates a list of items.
moving lights, the latest “how-to” for visualization
Although not every item is necessarily appli-
programs, or inside dope on designing for Broadway.
cable to every situation, the list can be
There are other books that cover those topics as well.
reviewed prior to addressing the task at hand.
A Practical Guide to Stage Lighting is intended
for the young designer who has some understand- Shelley’s Notes: This icon points to notes
ing of the lighting design process, the more experi- based on my own experiences. They’re
enced designer who is interested in viewing different included so others don’t have to make the
techniques, or the mature designer who just keeps same mistakes I did.
forgetting the list of things to remember. While I’ve
Sneaky Tip: This icon indicates a piece of infor-
been all of those designers, I now firmly place myself
mation that was a revelation when it was pre-
in the last category. This book got started long ago
sented to me.
when it dawned on me how helpful lists could be.
I’m not ashamed to admit that I’ve referred to this Shelley’s Soapbox: This icon marks my
book numerous times before embarking on a pro- own strong personal opinion.
cess that I haven’t encountered for a while.
Shelley’s Golden Rule: This icon high-
This book includes a lot of different forms and
lights a particular fact, situation, or
ways to present information that, if nothing else,
method that I’ve found to be irrefutable.
may be useful as templates. Every show is differ-
ent, and I believe it is the rare production that will Tales from the Road: This icon is used for
actually need every one of these forms. Likewise, stories. While the tire track implies the
just because a particular form appears in these pages story is “from the road,” it also indicates
doesn’t necessarily mean the lighting designer should the impression that’s left after being run over. That’s
be the one making it. These forms are included often how one feels after learning a painful lesson.
v
Foreword
At last. The third edition of the book that we in the well. Once that is done it becomes clear that any
theatrical lighting world have been waiting for has way—the student’s way—is possible. Steve Shelley in
arrived. This new, greatly expanded edition includes A Practical Guide to Stage Lighting, Third Edition ,
a wealth of additional information, stepping has dissected his own carefully devised process and
through the design process from the beginning (con- generously presented it to the reader. He shows us
tracts, budgets, bids, production schedules), through every aspect of lighting and how it becomes a part
development of the plot and tech rehearsal, and on of a total production. The emphasis is on craft but
to the end (archiving). It includes helpful discussions his experience in design allows us to see how the
of such disparate topics as what to do about trans- two go hand-in-hand. The h ow may well determine
port, how to approach meetings, or how to cope a large part of the w hat .
with changes during load-in or tech. Whether you It is through the light onstage that theatre com-
are a lighting designer on Broadway, Off-Broadway, municates with an audience. Only when one has a
in LORT theatres, for small or large dance compa- richly developed and organized language, a clear
nies who tour or give one-time performances, or for way of speaking, can one begin to express the light
any kind of theatrical venture, you will find a way with a nuance and subtlety that will reveal the depth
to get a handle on your lighting process, both the of fine performance. Once one has read and com-
craft and the design, in this book. prehended this third edition of A Practical Guide to
It is totally comprehensive and written in such Stage Lighting , one’s ideas in light cannot help but
a way that accomplished designers, as well as begin- become more organized and systematic, enabling
ners, can find information, know-how, and stim- one to communicate those ideas with greater depth
ulating ideas written in an organized and easily and clarity. This organization, coupled with a devel-
understandable manner. It is staggeringly complete oped eye for composition, is all that one needs to be
and therefore hardly a volume for one’s back pocket, a fine designer.
but I am sure it will find its way into many a work- I have no doubt that this book will stimulate the
box, as well as the shelves of studios and classrooms designing of better light onstage, and make better
alike. If you own either of the first two editions, lighting designers of us all. Bravo!
there’s still more than enough additional material to
warrant adding this third edition to your library. Jennifer Tipton
In my experience as a teacher, I have learned Lighting Designer
that it is important for a student to learn one way
vi
Preface
In my experience, there are three defining moments long before the load-in, but I had chosen to ignore
in the course of any lighting design. The first is when them—I was locked into an inflexible mindset and
the lighting designer is hired. The second is when the was somehow convinced “it would all work out,”
load-in starts and lighting instruments begin to get until reality could no longer be avoided. And then,
hung. The third and final moment is when the cur- all too often, it would be too late. Adapting while
tain opens to an audience. still modifying usually resulted in unfinished design.
In between, the realization of every lighting Finally I realized I needed to analyze and
design requires a progressive sequence of tasks. In acknowledge the constraints first, and then construct
addition to completing the tasks, every design has to a strategic design that not only addressed the artistic
be adapted—no design is ever realized without some needs of the show, but simultaneously addressed all
amount of change. Not only is every production of the given constraints. So, rather than walk in the
unique, the final product may be completely differ- door and make decisions slowly when modifications
ent from the initial plan. In order for a design to be piled onto these constraints, I began to construct
considered “complete,” both the initial tasks and the tactical methods that pre-addressed the constraints
adaptations must be executed. before walking in the door.
While the overall objective is to execute all of Analyzing how constraints potentially impact
these tasks within a scheduled framework that’s the original design concept for a show allows
often referred to as “the production period,” the options to be predetermined. When adaptations are
critical time clock starts at load-in and ends at the then required, the choices are simplified, quickly
opening. I call this s tage time . And this will come as made, and the design has a better chance to be real-
no great surprise: There’s never enough. Once the ized and completed on time.
load-in starts and the show enters stage time, the After years of watching and analyzing mis-
countdown really begins. After that point, any time steps and mistakes (both my own and those of oth-
spent trying to make a decision, rather than imple- ers), I’ve developed methods, tools, and techniques
menting a decision, is usually seen in hindsight as that I use to expedite the process. Doing the home-
wasted time that can never be regained. work allows lighting designs to be produced based
When I was a young student of lighting design, I on anticipating existing constraints. In the heat of
wasted a lot of stage time. I had attended classes and stage time, then, the production process can remain
read books, but no one said anything about acknowl- focused on adapting the lighting design to new
edging constraints or time management in a way that changes, rather than wasting time developing opti-
made me listen. From my perspective, no class stressed mal solutions that could have been anticipated in
the need to come to terms with harsh realities early on pre-production.
in the process of a lighting design. As a result, I started A Practical Guide to Stage Lighting illustrates
my career stumbling through production schedules these methods that I use to maximize the precious
that frequently resulted in unfinished products. commodity of stage time and to create theatrical
Eventually I analyzed these disappointments lighting designs. It presents nuts-and-bolts tools and
and came to realize that the unfulfilled designs techniques that address the realities of crafting or
were often my own fault. I ran out of time, typically recreating a light plot with minimal space, tools, or
because I couldn’t quickly adapt to changes in stag- time. Or, to put it another way, how to get the best
ing, set design, or creative interpretation. Much of lighting bang for your buck.
that was because the changes would come piling on
while I was still backpedaling to modify my initial Steve Shelley
design to challenges in the scene design, the venue, New York City
or the schedule. I was aware of these challenges 2013
vii
Acknowledgments
for the Third Edition
Like all books, this effort would not have been pos- Ruth Hutson, Ellen Jones, Martha Mountain,
sible without the assistance and cooperation of a Aaron Sporer, Nancy Schertler, and Jim Streeter.
lot of folks. All of the organizations and individuals The Assisting Ears: Julie Archer, M. C. Friedrich,
listed below had some hand in the realization of this Jimbo Griffith, Rhys Williams, and the staff and
book: patrons of Acqua’s. A special shout-out to Horace
Beasley and Bill Shapiro.
The manufacturers: Tony Sklarew, Phil Foleen, Filling in the blanks: Jim Bay, Sound Designer;
and John Ryan at Altman Stage Lighting; Gary Richard Cadena, author of A utomated Lighting:
Fails at City Theatrical; Ken Romaine and Keith The Art and Science of Moving Light ; Beverly
Gullum, lately of Color Kinetics; Sue Englund, Emmons, lighting designer and curator for
Traci Kelliher, David North, Tony Romain, and thelightingarchive.org; Erika Feldman, general
at Electronic Theatre Controls; Joe Tawil at manager of Theatre Row; Tom Folsom, project
Great American Market; Debi Moen at High End coordinator; Mike Pitzer, production electrician;
Systems; Don Phillips at LeMaitre Special Effects, Vickie Scott, director of design, UC Santa Barbara;
Inc.; Steve Lerman at Lycian Stage Lighting; Larry and Anne Valentino, EOS product line manager,
Beck at Martin; Beth Weinstein, Rob Morris, Electronic Theatre Controls.
and Tom Morris at SeaChanger; Josh Alemany, The creative team for Hokey:
Joel Svendsen, and Chad Tiller at Rosco Labs; Producer and General Manager: Erika Feldman
Jeremy Collins, Scott Church, Bobby Harrell, and Director: Sabrina Hamilton
Marie (Deanna Troi) Southwood at StrandSelecon Production Stage Manager: Judith Schoenfeld
Lighting. Costume Designer: Ginger Blake
The lighting rental shops: Meghan Marrer at Sound Designer: Jim Bay
High Output Boston; Al Ridella at 4 Wall Production Electrician: Mike Pitzer
Entertainment Lighting; Larry Schoeneman at
Designlab Chicago and Interesting Products. Thanks to the ever-patient Ms. Stacey Walker,
The organizations: United Scenic Artists 829 who garners the gratitude and bears the responsibil-
(Martha Mountain, Mitch Dana, Carl Baldasso, ity for making this third edition come to fruition. A
and David Goodman), ESTA (Karl Ruling and gracious thanks also to Ms. Denise Power, for her
Lori Rubenstein), Noah Price and the rest of the guidance at the end of the publishing process.
Stagecraft List (WWFWD?), and the United States Many thanks to two people who inspired
Institute for Theatre Technology. me into this strange business: Sara Boatman
The Usual Suspects: Kevin Lee Allen, Cris Dopher, and Michael Orris Watson. Thanks also to Todd
Andrew Dunning, David KH Elliott, Sam Jones, Randall, who provided a timely kick in the pants. As
and Kevin Linzey for their assistance with all always, this book is dedicated to my family and my
matters regarding Vectorworks;. John McKernon friends. Without their support, I might still be deliv-
for all matters Lightwright. Lorraine Hall, Suzie ering laundry.
Elliott, and Mitch Tebo for all matters regarding Finally, for her assistance, patience, and incred-
Word, Excel, or general grammaticism. ibly high tolerance level, big thanks to my Pookie,
The Assisting Eyes: Aaron Copp, Jeff Davis, Mitch Judith Schoenfeld. I could not have done this with-
Dana, Stephen Ellison, David Fleming, Jeff out you.
Flowers, Christina Gianelli, David Griffith, Greg A Practical Guide to Stage Lighting, Second
Goldsmith, Kevin Greene, Sabrina Hamilton, Edition , was written on Apple MacBook Pro, using
viii
Acknowledgments for the Third Edition ● ix
an HP Officejet 5610 All-in-One, and a Brother LeMaitre Special Effects, Lycian Stage Lighting,
HL-2140 printer. The following applications were Ocean Optics, Strand Selecon Performance Lighting,
used to initially create the text and graphics in this and Strand Lighting. Remaining lighting instru-
book: Adobe PhotoShop, Filemaker Pro, MacDraw, ment images courtesy of Altman Lighting. The digi-
Microsoft Office 98, and ScanWizard. The second tal photographs at the end of Chapter 8 were taken
and third edition relied heavily on Microsoft Office by Steven Louis Shelley of instruments focused
2004, Vectorworks 2013, Adobe Illustrator, Snapz for Steve Reich’s The Cave , lighting designed by
Pro X, and Graphic Converter. Matthew Frey. The original Front View High Side
Some material in Chapter  1 initially relied Beam Pool drafting provided by Martha Mountain.
on D esigning with Light , by J. Michael Gillette; All elements, concepts, and descriptions of
Stage Lighting, by Richard Pilbrow; and Lighting Hokey: A Musical Myth by Steven Louis Shelley. All
Handbook , by the Westinghouse Electric illustrations by Steven Louis Shelley.
Corporation. Material in the shop order section All lighting symbols included in this text
made supplemental use of information from John were created using either the Field Template™ or
McKernon’s home page: www.mckernon.com. The SoftSymbols™, both of which are designed exclu-
production schedule format is based off templates sively by Steven Louis Shelley. Field Template™ is
created by Susie Prueter for the Spoleto Festival registered patent 5,033,333.
USA. The mannequin figure used in the wireframe Cover photograph of Paul Winter’s Winter
focus diagrams courtesy of Andrew Dunning (w ww. Solstice Celebration at the Cathedral of Saint John
landrudesign.com ). the Divine, New York City, provided courtesy of
Images in Chapter 1 provided by a variety of Rhonda R. Dorsett (h ttp://rhondadorsett.com )
very kind manufacturers: Images of Source Four President and Co-Founder, The Phoenix Group
instruments and manufacturer's cut sheet are cour- ( http://phoenixgp.com ). Lighting Designed by Steven
tesy of Electronic Theatre Controls; images of a Louis Shelley.
gobo rotator and Rosco Designer Pattern #77733 Visit the Field Template Home Page:
are courtesy of Rosco Labs. Images of other instru- www.fieldtemplate.com.
ments and devices mentioned in the text are Copyright © 2014 by Steven Louis Shelley. All
included with the permission of Electronic Theatre rights reserved.
Controls, High End Systems, Interesting Products,