let_02 ld 2009

University of Derby Faculty of Arts Design and Technology

Electronics & Sound Subject Group

Ken Coker

October 2009

Lighting Design

Lighting DesignLighting Design- a brief introduction- a brief introduction

BSc Sound,Light and Live Event Technology Stage 2 -Live Event Techniques

5EJ 040



Ken Coker

October 2009

Introduction

• This lecture will cover:– Why the correct positioning of lights is

important– How this creates a basic method of lighting– Some conceptual issues on lighting design.



Ken Coker

October 2009

Direction and Focus

• The most vital decisions in planning a lighting design are:– Where we place the instruments– What we point them at– How we adjust the beams of the

instruments



Ken Coker

October 2009

Direction and Focus

• Where we place the instruments• What we point them at

– Creative decisions• How we adjust the beams of the

instruments– Technique, although should be considered

at the design stage



Ken Coker

October 2009

• Front light, side light, top light, back light, three quarter back light– all describe lighting positions

• Lecture will look at these terms more precisely.

• The example of theatre is used– could be any performance environment

Direction and Focus



Ken Coker

October 2009

What is Lighting Design?



Ken Coker

October 2009

What is Lighting Design?

• Selective Visibility

– “Each member of the audience must be able to see clearly and correctly those things that he is intended to see.”

– Richard Pilbrow, Stage Lighting Design, 1997



Ken Coker

October 2009

What is a Lighting Designer?



Ken Coker

October 2009

What is a Lighting Designer?

• The lighting designer needs to develop and maintain the visual logic of the piece, working with and enhancing the visual languages of the production

– Nick Moran, Performance Lighting Design, 2007

• The lighting designer should reveal the narrative of the event using the medium of light



Ken Coker

October 2009

Lighting the Performer

• Unlike television or film, the audience at a live performance can look at the entire stage– In TV/film the camera shot tells the viewer what to

look at • One function of lighting is to direct the audience

where to look



Ken Coker

October 2009

• Generally we wish to make the performer/s distinct from the background– Ideal would be lighting for performers independent

of lighting for scenic elements.– Often desirable to highlight features of the set– Usual to try and stop spill and shadow as this is

distracting and visually undesirable.

Lighting the Performer



Ken Coker

October 2009

Top Light

• The most natural place to put an instrument it may seem– Fixtures in rooms generally in the centre

above.



Ken Coker

October 2009

The Method

• A method of lighting the theatre stage was first codified by Stanley McCandless– McCandless, Stanley, A Method of

Lighting the Stage. 4 Ed. New York: Theatre Arts Books, 1958.(first ed 1934)

• Not the only way, but a good basis



Ken Coker

October 2009

The Method• McCandless proposed that :• The stage be broken down into areas

– 3m-4m wide, depending on luminaires available• Each area is lit from two sides

– 900 apart– 450 from the horizontal

• One unit in a cool shade • The other in a warmer shade• All units to have separate dimmers



Ken Coker

October 2009

The Method

• Added to this “general cover” or “wash” • Light from where the audience is

– lower angled front light• Light from the back

– adds form and atmosphere• Light from the side

– emphasises form



Ken Coker

October 2009

The Method

• Motivating light– any light source used onstage

• Motivated light– any lighting required to give the illusion of

light coming from an offstage source• Specials

– lighting required for a special effect; often merely a single luminaire.



Ken Coker

October 2009

Motivating Light -1• Multiple sources

trying to be point source

• Motivational light is the bare lamp

• Steep lighting angle(note shadows) emphasising the hanging lamp

Othello - LD Ken Coker



Ken Coker

October 2009

Motivating light - 2

Othello, The Cochrane Theatre, London/Dir:Chris Geelan/ Des:Bridget Kimak/ Photos:Bridget Kimak/Images: Ken Coker



Ken Coker

October 2009

Motivated Light

• Good example of motivated light and special

• Dramatic moment emphasised by white light through a doorway.

Sleuth - LD Nick Richings



Ken Coker

October 2009

Special• A special, a

backlight-all single point

• Combining to make striking image

• Starcloth in background

• Isolates a very small area

Romeo & Juliet - LD Patrick Woodroffe



Ken Coker

October 2009

Top Light• Unit 5• May seem a

natural position, but creates heavy shadow under eye sockets, nose, chin.

• Dramatic but not helpful for definition.

http://dolphin.upenn.edu/~pacshop/lab/lab.html



Ken Coker

October 2009

Top Light

http://lupus.northern.edu:90/wild/th241/ld02a.htm



Ken Coker

October 2009

• Unit 2• A useful position• Shows the important

features of a face• Looks relatively natural• Danger of flattening

features• Can “merge” figure into

back ground

Front Centre




Ken Coker

October 2009

Front Light




Ken Coker

October 2009

• Unit 3• Start of the modelling

process• Good for features

– At least on one side• Does not flatten figures

into scenery• Can, depending on

elevation and angle, miss any scenic elements.

Front SR




Ken Coker

October 2009

• Unit 1• Complements Unit 3• Slide 10:

Each area is lit from two sides– 900 apart– 450 from the

horizontal• Frequently only

imperfect positions available.

Front SL




Ken Coker

October 2009

• Unit 4• Not great for facial

features– Shadows of nose etc

• Good for revealing form• Note emphasis on body

shapeDefinition of flower vase on the SL side.

Side SL




Ken Coker

October 2009

Side SR• Unit 6• Complement to unit 4• This is high/pipe end

side light• Can be varied in

position from Pipe end to shin




Ken Coker

October 2009

Side/ Cross Light• The figure on the left is

side lit by two lamps. One mounted on a boom in the stage left entrance and the other hung on a boom in the stage right entrance. Notice the edges of the figure are well lit, but the front of the body is in shadow.




Ken Coker

October 2009

Side Light

• Even and from both sides

• Emphasises the line/movement of the body

The Seasons - LD Mark Jonathan



Ken Coker

October 2009

• Unit 8• Dramatic• Often a heavier colour

than front/side light• Emphasis on shape

Backlight




Ken Coker

October 2009

Backlight




Ken Coker

October 2009

• Unit 9• Not good for features• Excellent for form• Dramatic• Useful dance angle

– Remember benefits of seeing beam

SR ¾ BL




Ken Coker

October 2009

• Unit 7• Complement of Unit 9• Often used in

– contrasting– complementary colour

SL ¾ BL




Ken Coker

October 2009

Uplight• Another dramatic

position• Used for effect• Throws large

shadows behind figure– Depending on

closeness of unit




Ken Coker

October 2009

All• Balance is the

essence• Often trying to give

sense of light direction– Can be achieved by

balance of– Key– Fill– Backlight– COLOUR




Ken Coker

October 2009

(With that the sun came out between the clouds…)

CUE 18Rosco 07 pars very strong over the back of the barrells stage left, giving the sunlight direction.

Playboy of the Western World, Liverpool Playhouse/Dir:Robert Delamere/ Des:Simon Higlett/ Photos:Johanna Town

Some Examples



Ken Coker

October 2009

Some Examples

• Strong point source from stage left

• Clearly some light from right

• Harsh dramatic shadow

Wozzeck - LD Rick Fisher



Ken Coker

October 2009

Some Examples

• Motivated light• Daylight

– diffuse light from an unseen sun

• Note light fading away downstage away from the window.

Popcorn - LD Johanna Town



Ken Coker

October 2009

Some Examples• Same setting

– small hours of the morning

• Hint of dawn or city through the window

• Shadow from unseen light sources - through door?

Popcorn - LD Johanna Town



Ken Coker

October 2009

Plan


The Plan



Ken Coker

October 2009

Aims of Lighting• What are we trying to achieve when we

light an event/show?



Ken Coker

October 2009

Aims of Lighting

• Composition• Visibility• Modelling• Focus• Information: • Mood

• Selective Visibility

• Revelation of form.

• Composition• Mood• Information

• Illumination• Sculpture• Selectivity • Atmosphere • Interaction• Fluidity• Style

Gillette Pilbrow Reid



Ken Coker

October 2009

Aims of Lighting

• Composition• Visibility• Naturalism• Atmosphere

Stanley McCandless

• Selective Visibility• Establishing Given Circumstances• Colouring the Stage Picture• Shaping Space and Form• Focussing Attention• Composition of the Stage Picture• Establishing Rhythm• Establishing Style

Richard Palmer



Ken Coker

October 2009

Aims of Lighting• Selective Visibility

– “Each member of the audience must be able to see clearly and correctly those things that he is intended to see.”

– Richard Pilbrow, Stage Lighting Design, 1997

• The LD’s first and most important task is to achieve visibility (ibid)



Ken Coker

October 2009

Aims of Lighting• Selective Visibility• Only for effect should the audience need to strain to

see • Balance is a key concept

– Each object should receive the proportionally the correct amount of light

– This balance is reflected in our use of lighting angles and positions and other dynamics

• This balance is altered to emphasise different parts of the performance area



Ken Coker

October 2009

Aims of Lighting

• Revelation of Form• “Shade and shadow are equal in importance to light itself”

– Adolphe Appia• Performers and objects should be lit adequately and correctly• Their shape and form should be revealed as desired by the

visual team• People generally do not speak in the dark• Scenic elements are there to give their own visual clues



Ken Coker

October 2009

Aims of Lighting• Composition• “The intensity,colour and distribution of the light create

compositions of light shade and colour in the performance space.”

– Pilbrow

• Pilbrow goes on to say that an LD should never sacrifice visibility for the sake of an attractive visual picture

• I would disagree– Brighter and different instruments– Visually more literate

• Images from music videos, advertising



Ken Coker

October 2009

Aims of Lighting

• Composition• By lighting design the overall visual aims of the design team are

achieved• Light is used as an element of design in space,but it is dynamic-

unlike painting • Lighting design is visual design in space and time



Ken Coker

October 2009

Aims of Lighting• Mood• Mood should be the result of getting visibility,form, and composition right

• A hard task• By using intensity colour,distribution and movement the LD can exploit

the fundamental emotional and psychological effects inherent in light; we can mirror the complexities of the text.

How sweet the moonlight sits upon this bankHere we will sit, and let the sounds of musicCreep in our ears; soft stillness and the night Becomes the touches of sweet harmony.Sit Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold



Ken Coker

October 2009

Aims of Lighting

• Information • Lighting supports the storytelling/information that the event has

• We can use what the audience expects to see

• We can jog their visual memories

• We can surprise them by showing them the unexpected



Ken Coker

October 2009

Texts – Must Reads!

• Performance Lighting Design : how to light for the stage, concerts, exhibitions and live events

– Nick Moran, Methuen – ISBN 9780713677577 (2007)

• The Stage Lighting Handbook– Francis Reid, A & C Black, Sixth Edition– ISBN 0 7136 5396 5 (2001)



Ken Coker

October 2009

Texts • Stage Lighting Design

– Richard Pilbrow,Nick Hern Books– ISBN 1 85459 273 4 (1997)

• The Lighting Art : the aesthetics of stage lighting design – Richard H. Palmer,Englewood Cliffs– ISBN 013536566X (1985)

• Theatrical Design and Production – J. Michael Gillette, 4th edition. – Mayfield Publishing Company. (1999). – Chapter 12: Lighting Design



Ken Coker

October 2009

References

• http://dolphin.upenn.edu/~pacshop/lab/lab.html

• http://lupus.northern.edu:90/wild/th241/ld02a.htm

• Both links, sadly, now expired





Ken Coker

October 2009

Light A Car

• KC has been asked to light a car reveal– One speaker at lectern– One car on riser



Ken Coker

October 2009

Light A Car

• Before I start– Ascertain physical resources

• Place;budget;kit; duration ……

• Then apply • Selective Visibility

• Revelation of form.

• Composition• Mood• Information



Ken Coker

October 2009

Light A Car• Selective Visibility

• Who has got to see what, when?• Revelation of form.

• What are we trying to show?• Composition

• Overall stage picture• Mood

• Quiet?• Brash?

• Information• Speaker needs to be seen + heard• Car needs to be seen



Ken Coker

October 2009

Exercise

• You have been asked to light a small conference/presentation for the UOD

• Stage is 10m x 8m x 0.6m• Two tables• Lectern• BP Screen – short video only

– 4m x 3m



Ken Coker

October 2009

Exercise

• Create a list of questions you should ask the client

• Create an initial lighting design– Assume lighting positions, power are Ok– Budget reasonable….for UOD



Ken Coker

October 2009

Layout10m

8m

Table

Table

Chair

Chair

Chair

ChairChair

Lectern

Screen

let_02 ld 2009

Education