A Practical Guide to Stage Lighting

A Practical Guide

to Stage Lighting,

2nd Edition

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Focal press is an imprint of Elsevier

A Practical Guide

to Stage Lighting,

2nd Edition

Steven Louis Shelley

Focal Press is an imprint of Elsevier

30 Corporate Drive, Suite 400, Burlington, MA 01803, USA

Linacre House, Jordan Hill, Oxford OX2 8DP, UK

© 2009 Steven L. Shelley. Published by Elsevier Inc.

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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

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responsibility.

To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for

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use or operation of any methods, products, instructions, or ideas contained in the material herein.

v

Foreword ..............................................................xii

Preface .................................................................xiii

Acknowledgments for the Second Edition ............xiv

Introduction..........................................................xx

The Final Light Plot for Hokey ............................xvi

The Lighting Section for Hokey .........................xviii

Chapter 1 A Review ...............................1

Introduction..................................................1

The Theatrical Space ...................................1

Theatrical Stage Nomenclature.........................3

Theatrical Rigging ............................................3

Theatrical Backdrops........................................4

Theatrical Masking...........................................5

Theatrical Performance Surfaces.......................6

Hanging Position and Focus

Nomenclature ............................................6

Hanging Position Nomenclature.......................6

Theatrical Lighting Numbering Systems ...........6

Focus and Function Nomenclature ...................7

System Direction Nomenclature and

Analysis...........................................................8

Frontlight .........................................................8

Sidelight............................................................9

Overhead Sidelight .........................................10

Boom Sidelight ...............................................10

Downlight ......................................................11

Backlight ........................................................12

Other Lighting Systems...................................13

Backdrop Wash...............................................13

Overhead Template Wash ...............................14

Electricity and Distribution.................15

Basic Electricity ..............................................15

The Control Path............................................16

Dimmers.........................................................16

Circuitry .........................................................18

Load Calculations...........................................19

Control...........................................................20

Manual Control..............................................21

Computer Control ..........................................21

Computer Control Protocols ..........................22

Computer Memory Storage ............................22

Computer Lighting Console Control

Philosophies................................................23

Shelley’s Notes: Know Your Console ..............25

Cue and Memory Nomenclature.....................25

Computer Lighting Console Syntax ................26

Time Fades .....................................................27

Waits & Delays...............................................27

Lighting Instruments ...............................28

Components of Lighting Instruments..............28

The Lamps......................................................28

The Reflectors ................................................29

The Lenses......................................................30

The Individual Instruments.............................31

Lighting Console Support Software ................35

Computer Lighting Design Software...............35

Housing & Hanging Hardware ......................35

Accessory Hardware.......................................36

Atmospherics..................................................38

Color ................................................................38

Defining Color................................................39

Color Temperature .........................................39

Color Perception.............................................40

Color Mixing..................................................40

Color Media ...................................................40

The Staff of a Production.......................41

The Management and Creative Staff...............41

The Production Staff.......................................42

The House Staff..............................................42

The Lighting Department ...............................43

The Lighting Designer ....................................43

The Associate Lighting Designer.....................43

The Assistant Lighting Designer......................43

Staff Summary ................................................44

The Production Schedule .......................44

The Light Plot and Lighting

Section..........................................................45

Creating and Constructing a Lighting

Design..............................................................45

Table of Contents

vi ● Table of Contents

Properties of Light..........................................45

Objectives of Light .........................................46

Summary ..........................................................46

Chapter 2 Paperwork Overview ...........47

Shelley’s Notes: The Production Book.............47

The Document Pre-Approval and

Distribution Charts................................48

Document Pre-Approval Chart.......................48

Document Distribution Chart.........................49

The Three Document Categories.....................51

Document Analysis.........................................51

Title Block Information ..................................52

Soft Copy Distribution ...................................53

Hard Copy Distribution .................................53

Shelley’s Notes: Keeping Paper in the

Notebook....................................................53

Summary ........................................................54

Stage 1 Research and Analysis..............55

Chapter 3 Background Preparations

and Preliminary Design

Paperworks .........................57

Introduction................................................57

Background Preparations ......................57

Shelley’s Notes: Background Preparations.......57

The Piece: Script, Score or Treatment..............58

Hokey: The Treatment....................................58

Notes for Hokey.............................................60

Core Design Documents .................................60

Cue Master.....................................................60

Cue Master for Hokey; Version 1 ...................61

Shelley’s Notes: Cue Master............................62

Research .........................................................62

Research for Hokey ........................................63

Shelley’s Notes; Doing Research .....................63

System and Specials Sheet...............................63

System and Specials Sheet for Hokey ..............63

Meetings ..........................................................64

Production Meetings.......................................64

Shelley’s Notes: Tips for Production

Meetings........................................................... 65

Concept Meetings...........................................66

One-on-One Meetings ....................................66

Meeting: The Director ....................................66

Director’s Meeting Notes................................67

Talking Through the Show .............................68

Director Meeting Notes Summary ..................68

Meetings: The Creative Staff...........................69

Meeting: Production Electrician......................69

Meeting: Production Stage Manager...............70

Stage Management Notes ...............................70

Meetings Summary .........................................70

Hokey Re-Analysis........................................71

Scene Breakdown and Analysis.......................71

Hokey Cue Master Version 2..........................72

Hokey Systems and Specials, Version 2...........72

Hokey Preliminary Magic Sheet, Version 1.....74

Core Design Document Review ......................75

Summary ..........................................................76

Chapter 4 The Parameters....................77

Introduction................................................77

Define the Contract .................................78

Section One ....................................................78

Employee versus Independent

Contractor............................................78

Section Two....................................................79

Section Three..................................................79

Section Four ...................................................80

Shelley’s Notes: Contract Negotiation.............81

Shelley’s Notes: Contract Hints.......................81

Shelley’s Contract for Hokey ..........................82

Define the Production Schedule.........82

Production Schedule Analysis .........................87

Hokey’s Production Schedule..........................89

Define by the Budget..................................90

Shelley’s Notes: Movers or Not? .....................92

Define the Communication ....................93

Define by Type and Size of

Production.................................................94

Define by Origin............................................95

Define by Movement...................................95

Define by Mode of Transport.................95

Define the Performance Facility.........96

Tech Specs and Drawings................................97

Shelley’s Notes: Advancing the

Performance Facility .................................100

Shelley’s Notes: Advancing Venues ...............100

Shelley’s Notes: General Advance

Questions................................................... 101

Hokey advance questions .............................101

Shelley’s Notes: Can’t Get to the

Advance?......................................................101

Define the House Lighting System ................102

Define the House Lighting Console ..............102

Shelley Notes: Measuring the

Performance Space ....................................104

Measuring the Performance Space

Tactics.......................................................104

Basic Performance Space Measuring

Sequence ...................................................105

Photographing the Performance Space..........107

Shelley’s Notes: Advance Photography..........108

Shelley’s Notes: Not Enough Time................108

Shelley’s Notes: The Hokey Advance ............109

Shelley’s Notes: After the Advance................110

Summary ........................................................110

Table of Contents ● vii

Stage 2 Preliminary Documents..........111

Chapter 5 Create the Preliminaries

and Send out the Shop

Order.................................113

Introduction..............................................113

CAD Drafting...............................................113

Scales............................................................114

Printing Percentages......................................114

Departmental Coordination..........................115

Graphic Guidelines.......................................115

Shelley Notes: Drafting Hints .......................116

The Preliminary Drawings.....................116

Reference Information ..................................116

The Preliminary Section ........................117

Decisions: Which Side? .................................117

Decisions: Sectional Perspective in

Non-Proscenium Settings ..........................117

Decisions: How Much Architecture?.............118

Information Included on the Preliminary

Section....................................................118

Shelley’s Soapbox: Sectional Need?...............118

Tales from the Road: Why Bother with

a New Section? .........................................118

The Preliminary Section; Basic Drawing .......119

Step 1: Draft the Rough Outlines...........119

Step 2: Fill in Information Upstage

of Plaster line......................................120

Step 3: The Scenic Masking....................121

Leg Analysis .................................................123

The Preliminary Groundplan..............124

Information Included on a Preliminary

Groundplan ..............................................124

The Preliminary Groundplan; Basic

Drawing....................................................125

Step 1: Draft the Rough Outlines...........125

Step 2: Fill in Information Upstage

of Plaster line......................................125

Step 3: Define Scenic Masking................127

Step 4: Transfer Leg Locations

to Section............................................129

The Front Elevation ................................130

Reference Information for a Front

Elevation...................................................130

The Front Elevation; Basic Drawing .............130

Define The Hokey Lighting

Systems........................................................130

Step 1: Systems and Special

Analysis..............................................131

Step 2: Preliminary Magic Sheet.............132

Step 3: Preliminary Hookup...................133

Hookup Arrangements .................................136

Hookups and Cue Screens ............................136

Hookups and Monitor Rows........................137

Shelley’s Notes: Hookups..............................138

Hookup for Hokey .......................................138

Plotting Guidelines and The Slinky

Method.......................................................139

Basic Plotting Guidelines ..............................139

The Slinky Formula and Method ..................140

Overhead Electric Placement.........................142

Shelley’s Soapbox: Electrics Placement..........144

Construct The Lighting Systems .......144

Basic Construction Techniques .....................144

Reference Worksheets While Plotting............145

Instrument Spreadsheet.................................145

Dimmer and Circuitry Spreadsheet...............145

Reference Documents While Plotting............146

Illustration Notes..........................................146

Construction of the Backlight System ...........147

Backlight: Cut Sheet Analysis .......................147

Backlight: Front Elevations and

Calculations..............................................148

Backlight: Downstage Zone

Construction .............................................151

Completing the Preliminary Drafting............152

Peripheral lighting ........................................153

Shelley’s Notes: Avoid the Box......................154

Shelley’s Notes: Preliminary Plotting

Tactics.......................................................154

Shelley’s Notes: Plotting Observations..........155

Completing The Preliminary

Light Plot..................................................155

Prior to Completion......................................155

After the Completion....................................156

Shelley’s Notes: Distributing the

Preliminaries .............................................156

The Shop Order...........................................157

Selecting the Lighting Rental Shop................158

Shelley’s Golden Rule: Selecting

Vendors.....................................................158

Lighting Rental Shop Analysis......................158

Lighting Rental Account Rep........................159

The Cover Letter ..........................................160

The Shop Order............................................162

The Equipment List ......................................162

Shop Order Tips...........................................165

Shop Order Analysis.....................................165

The Perishable List .......................................166

Perishable Notes...........................................167

Rental Shop Rudeness ..................................168

Shelley’s Notes: Rental Order Thoughts........168

Shelley’s Notes: The Hokey Shop

Order........................................................168

The Shop Order Complete............................169

The Labor ......................................................169

The Masking and Scenic Rental

Order...........................................................171

Summary ........................................................171

viii ● Table of Contents

Chapter 6 Cuts and Changes..............173

Introduction..............................................173

The Bidding Process..................................173

The Shop Order Arrives at the Shops............173

The Quotes Arrive at the Management

Office........................................................175

The Budget Gets Slashed ........................177

Initial Analysis..............................................178

A General Plan .............................................179

Determine a Timeline .............................179

Notify All Concerned.............................179

Define the Parameters ............................180

Acquire Information...............................181

Analyze and Compare the Bids...............181

Decide on the Number of Shops.............181

Talk to the Shops....................................182

Show Analysis........................................183

Systems and Specials Sheet .....................183

The Cuts and Changes ...........................184

Negotiations and Decisions....................187

Reaction.................................................187

Making the Changes to the Preliminary

Light Plot..................................................188

The Cue Master, Version 2.6 and 2.7...... 188

The Instrument Spreadsheet, Version 2......190

The Preliminary Light Plot, Version 2.......191

Circuitry and Dimmer Spreadsheet.........191

The Labor Spreadsheet...........................194

Summary ........................................................194

Stage 3 Preparation

The Production Packets ..........197

Chapter 7 The Light Plot, Section,

and Support Paperwork

Packet ................................199

Introduction..............................................199

The Light Plot.............................................199

An Overview of the Hokey Light Plot...........200

An Examination of the Hokey Lighting

Systems .....................................................201

The Hokey Straight Frontlight Systems .....201

The Hokey Box Boom Systems...............201

The Hokey Downlight Systems ..............204

The Hokey Backlight Systems ................204

The Hokey Sidelight Pipe End Systems......204

The Hokey Template System...................204

The Hokey Sidelight Boom Systems........204

The Hokey Scenic Stack Systems ............204

The Lighting Section ...............................205

The Objectives of a Lighting Section.............205

An Overview of the Hokey Lighting Section ....205

The Layout of the Hokey Lighting Section....208

The Hokey Lighting Systems in Section ........209

The Support Paperwork...........................211

The Instrument Schedule...............................211

The Channel Hookup ...................................214

The Circuitry Schedule .................................214

The Dimmer Schedule...................................216

Color Cards and Floor Cards .......................218

The Color Cards ....................................218

The Floor Card ......................................220

The Combined Color and

Floor Card ............................................220

Cut Color Spreadsheet..................................222

Template Sheets............................................224

Manuals and Cut Sheets ...............................224

Summary ........................................................225

Chapter 8 The Load-In and Focus

Packet ................................227

Introduction..............................................227

The Hang Plot.............................................227

The Headset Layout

Groundplan .............................................227

Computer Light Board

Information ...................................................229

Memory Review ...........................................230

Numerical Mnemonics .................................232

Disk Master Chart........................................232

Focus Cue Block.....................................233

Act Cue Blocks.......................................234

Library Blocks........................................234

Cue Information and

Identification ......................................235

Act Preset Check Cues............................235

Autofollows ...........................................236

Ghost Channels......................................236

Time Stamp Channels.............................236

Blackout Cues........................................237

Shelley’s Notes: Key Memory

Numbers...................................................237

System Size.............................................237

Infrastructure Cues.......................................238

System Wash Memories..........................238

Hanging Position Memories...................239

Submasters.............................................240

The Submaster List.................................242

Submaster Notes....................................244

Groups...................................................244

Focus Information ...................................245

Focus Point Groundplans .............................247

Focus Charts.................................................253

Focus Charts from Scratch .....................255

Focus Chart Examples............................256

Shelley’s Notes: Digital Camera

Focus Shots...............................................258

Summary ........................................................259

Table of Contents ● ix

Chapter 9 The Cue Construction

Packet ................................261

Introduction..............................................261

The Magic Sheet..........................................261

The Magic Sheet Layout...............................262

The Cheat Sheet..........................................264

The Cue Master ...........................................266

The Spreadsheet Cue Master.........................266

The Movement Cue Master..........................268

The Script Cue Master..................................268

Forms...............................................................268

Light Board Operator Sheets ........................268

Manual Light Board Operator Sheet ......271

Computer Lighting Console

Operator Sheet ...................................271

Followspot Cue Sheet ...................................271

Three-Spot Cue Sheet.............................272

Repatch Sheets..............................................274

Repatch Work Sheet...............................274

Light Cue Sheet, Work Note Sheet,

and Cue Track Sheet .................................275

Light Cue Sheets.....................................276

Light Cue Sheet Layout..........................277

Cue Sheet Example.................................279

Work Notes Sheet...................................279

Light Cue Track Sheet............................281

Light Cue Track Sheet Layout................281

Program with Light Cue Track Sheet......283

Repatch with Light Cue Track Sheet ......283

Distributing the Paperwork ..........................285

Summary ........................................................285

Chapter 10 Prior to the Load-In .........287

Introduction..............................................287

Confirm Paperwork

Distribution..............................................287

Shelley’s Notes: Confirm Paperwork

Distribution ..............................................287

Shelley’s Notes: Don’t Assume

Communication ........................................288

Vendor Double-Check ..................................288

Certificate of Insurance.................................289

Truck Tactics................................................289

Acknowledgments and Thank-yous..............290

Reacting to Changes...............................290

React to Costume Change.............................291

React to Direction Change............................291

React to Producer Change ............................291

React to Schedule Change.............................291

React to Scenic Change.................................292

Prepping the Rental Light

Package.......................................................293

Prepping a Show...........................................293

Substitutions.................................................294

Reacting to Lighting Changes.................294

Perishables....................................................295

Console Pre-programming ............................295

Truck Pack....................................................295

The Production Schedule .....................295

Adapting Electrics to the Production

Schedule....................................................296

Watching the Run Through.................297

Prior to Attending the Run-Through ............298

General Run-Through Tactics.......................298

Watching the Run-Through

One Time............................................299

Watching the Run-Through

Two Times..........................................299

Watching the Run-Through

Three Times........................................299

Alternate Run-Through Tactics.....................299

End of Run-Through Tactics.........................299

Hokey Run-Through Notes....................299

Final Preparations for the

Load-In........................................................300

The Day (Week) Before the Load-in..............300

The Night Before the Load-in .......................300

Initial Paperwork and Tools..........................300

Summary ........................................................301

Stage 3: Application

Using the Packets ..................303

Chapter 11 The Load-In and Setup ....305

Introduction..............................................305

Before the Load-In Begins.............................305

Union Considerations...................................306

Information Distribution Check ...................307

The First Misunderstanding..........................307

The Masking Snafu.......................................308

The Masking Snafu Analysis..................310

Sneaky Tips: Shelley’s Unwritten

Rules of Masking................................311

Masking Snafu Comparisons and

Solutions.............................................313

The Load-In Begins.....................................314

Shelley’s Soapbox: Keep the Hot

Zone Clear................................................316

Shelley’s Soapbox: Count the Gear ...............316

Shelley’s Soapbox: Test the Gear...................317

Shelley’s Soapbox: Establish Your Base of

Operations................................................318

Shelley’s Notes: Paperwork Changes.............318

Shelley’s Notes: Keeping Paper and

Keeping Track...........................................318

Shelley’s Notes: Keeping Archives.................319

Shelley’s Notes: Delays During

Load-in .....................................................319

Spiking the Deck .........................................320

Define Up Center..........................................322

x ● Table of Contents

Shelley’s Soapbox: Provide Your Own

Measuring Tape ........................................323

Shelley’s Soapbox: My Spike Marks..............323

Tales from the Road: Spike Marks

Without a Performance Surface.................323

Tales from the Road: Spike Marks

Without Walls...........................................324

Hanging the Light Plot .........................325

Before the Light Plot Is Hung .......................325

Preparations to Speed the Hang....................326

Hanging Procedures......................................327

Position the Booms...................................329

On and Offstage ...........................................329

Up and Downstage .......................................330

Programming Information

into the Computer Lighting

Console ......................................................333

Set up the System..........................................334

Program Infrastructure Groups.....................336

Program Infrastructure Submasters...............336

Program Infrastructure Light Cues................336

Program Light Cues from Prior

Incarnations..............................................337

Record the Contents of Memory on

Older Consoles .........................................337

Recording the Contents of Memory on

Newer Consoles........................................338

Shelley’s Golden Rule: Save Early

and Often..................................................338

Check the Light Console Contents................338

Check the Production Table ...............339

Shelley’s Soapbox: BYO Production

Table Equipment.......................................340

Followspots.................................................341

Hot Test the Position ..............................342

Hot Test the Electronics and

Their Data ................................................343

Tales from the Road: Get Some

Cable-Grow in Switzerland .......................343

Setting the Trims.......................................344

Shelley’s Notes: Trimming.............................346

Tales from the Road: The Shrinking Legs .....347

Tales from the Road: Trim the Overhead

Electrics without Borders ..........................347

The First Channel Check .......................347

Summary ........................................................348

Chapter 12 The Focus Session............349

Introduction..............................................349

Overview........................................................349

Focus Analysis .............................................350

The Audience Angle of Observation .............350

Focus Techniques and Notes................352

Paperwork Techniques..................................352

A Focus Example..........................................353

Positioning the Hot Spot...............................353

Start the Focus from Center..........................353

Focusing with Ambient Light........................354

Focusing with Other Activity........................354

Focusing with Hand Signals..........................355

Shelley’s Notes: General Focus......................356

Shelley’s Notes: Focusing More

Than One Position ....................................356

Designer Do’s and Don’ts .............................358

Focus Tips .......................................................359

Sneaky Tip: Focusing Ellipsoidals.................359

Sneaky Tip: Focusing Orphans .....................359

Shelley’s Soapbox: Use the Hot Spot.............360

Shelley’s Golden Rule: Is There a Light Cue

Featuring This Instrument by Itself? ............360

Tales from the Road; The Un–called for

Channel................................................... 361

Focus Checklists ........................................361

The Environment..........................................361

The Lighting Designer ..................................362

Before the Electrician Departs

the Stage ...................................................362

Focusing the Hokey Light Plot ..........362

Front of House Positions ..............................362

Shelley’s Notes: Where’s the Downstage

Edge? ........................................................364

Straight Frontlight Focus ..............................364

Shelley’s Notes: Straight Frontlight

Tips and Workarounds..............................365

Box Boom Focus...........................................367

Shelley’s Notes: Box Boom Tips and

Workarounds............................................367

Sneaky Tip: Box Booms During Bows...........371

Frontlight Drop Wash Analysis.....................371

Frontlight Drop Wash Focus.........................371

Leg Wash Analysis........................................372

Leg Wash Focus............................................373

Shelley’s Notes: Leg Wash Workarounds.......373

Overhead Positions.......................................374

Overhead Frontlight Focus ...........................377

Overhead Sidelight Focus .............................378

Shelley’s Golden Rule: Cut Light Off

Close Combustibles...................................381

Overhead Template Focus.............................382

Overhead Downlight Focus ..........................383

Overhead Backlight Focus ............................385

Boom Sidelight Positions ..............................387

Boom Sidelight Focus ...................................388

Shelley’s Notes: Boom Sidelight

Tips and Workarounds..............................392

Scenic Stack Focus Analysis..........................393

Overhead Scenic Stack Focus........................393

Groundrow Scenic Stack Focus.....................394

Shelley’s Notes: Scenic Stack

Tips and Workarounds..............................394

Table of Contents ● xi

Shelley’s Notes: The Black Band ...................395

The Slinky Method Applied to the

Focus Session ............................................395

The Slinky Method of Calculating Focus......396

The Slinky Method of Focusing ....................396

After a Hanging Position Has Been

Focused.....................................................400

Shelley’s Notes: Turn off the Works

Before Leaving the Position.......................400

After The Focus Has Concluded ...................401

Summary ........................................................401

Chapter 13 The Light Cue Level Setting

Session and Technical

Rehearsals........................403

Introduction..............................................403

Light Cue Level Setting Session

Analysis.......................................................403

General Cueing Concepts .............................405

General Cueing Tactics.................................405

Before the Cueing Session......................406

Meeting with the Light Board Operator........406

Checklists Before Cueing ..............................408

Shelley’s Golden Rule: Save Early and

Often—Again............................................409

Shelley’s Golden Rule: Avoid Blackouts

Onstage.....................................................409

The Cueing Session.....................................410

The Opening: Act 1, Scene 1.........................410

The Storm: Act 1, Scene 2.............................412

The Beginning of Act 2, Scene 1....................415

The End of Act 2, Scene 1.............................417

After the Cueing Session ...............................417

Followspots.................................................417

Followspot Concepts ....................................417

Followspot Analysis......................................418

Followspot Tactics........................................419

Shelley’s Notes: Followspot Language...........420

Followspots Before the First Technical

Rehearsal................................................. 421

Shelley’s Notes: Followspots as Guide

Lights........................................................422

The Technical Rehearsal ......................422

Prior to the Technical Rehearsal ...................423

Shelley’s Soapbox: Headset Etiquette ............424

The Technical Rehearsal Begins....................424

Working with the Stage Manager..................425

The Assistant................................................425

Talking: Not on Headset...............................425

The Laptop During the Tech.........................426

Tech Rehearsal Lighting Tactics....................426

Before the End of the Technical Rehearsal ....426

End of the Technical Rehearsal.....................427

Before the Final Rehearsal..................427

End of the Final Rehearsal............................427

The Viewing Location...................................428

Summary ........................................................429

Chapter 14 The Performance..............431

Introduction..............................................431

Before the Performance .......................431

The Preshow Call .........................................432

Electrics Preshow Check ...............................432

Shelley’s Golden Rule: Complete the Check

Before Fixing the Problems......................... 434

Shelley’s Notes: Electrics Preshow

Checks ......................................................434

The Show Call.............................................434

Overhead Work Notes..................................435

Sidelight Check.............................................435

Lighting Console Notes ................................435

Final Light Board Check...............................436

The Viewing Location...................................436

The Performance.......................................437

Notes Taken During the Performance ...........437

Shelley’s Notes: Identifying the Mystery

Hot Spot ...................................................437

Intermission..................................................437

The Bows......................................................438

After the Show...........................................438

The Departure ..............................................439

Out of the Theatre........................................439

Summary ........................................................439

Tales from the Road: A Lifetime in Italy

One Night.................................................439

Glossary..............................................................443

Bibliography .......................................................451

Index...................................................................453

At last. The second edition of the book that we in the

theatrical lighting world have been waiting for has

arrived. This new, greatly expanded edition includes

a wealth of additional information, stepping through

the design process from the beginning (contracts,

budgets, bids, production schedules), through devel￾opment of the plot and tech rehearsal, and on to the

end (archiving). It includes helpful discussions of such

disparate topics as what to do about transport, how

to approach meetings, or how to cope with changes

during load-in or tech. Whether you are a lighting

designer on Broadway, off Broadway, in LORT the￾aters, for small or large dance companies who tour or

give one time performances, or for any kind of theat￾rical venture, you will find a way to get a handle on

your lighting process, both the craft and the design,

in this book.

It is totally comprehensive and written in such a

way that accomplished designers, as well as beginners,

can find information, know-how, and stimulating ideas

written in an organized and easily understandable man￾ner. It is staggeringly complete and therefore hardly a

volume for one’s back pocket, but I am sure it will find

its way into many a workbox, as well as the shelves of

studios and classrooms alike. If you own the first edi￾tion there is more than enough additional material to

warrant adding this second edition to your library.

In my experience as a teacher, I have learned that

it is important for a student to learn one way well.

Once that is done it becomes clear that any way—

the student’s way—is possible. Steve Shelley in A

Practical Guide for Stage Lighting, Second Edition,

has dissected his own carefully devised process and

generously presented it to the reader. He shows us

every aspect of lighting and how it becomes a part of

a total production. The emphasis is on craft but his

experience in design allows us to see how the two go

hand in hand. The how may well determine a large

part of the what.

It is through the light onstage that theater com￾municates with an audience. Only when one has a

richly developed and organized language, a clear way

of speaking, can one begin to express the light with a

nuance and subtlety that will reveal the depth of fine

performance. Once one has read and comprehended

this second edition of A Practical Guide for Stage

Lighting, one’s ideas in light cannot help but become

more organized and systematic, enabling one to com￾municate those ideas with greater depth and clarity.

This organization, coupled with a developed eye for

composition, is all that one needs to be a fine designer.

I have no doubt that this book will stimulate the

designing of better light onstage, and make better

lighting designers of us all. Bravo!

Jennifer Tipton

Lighting Designer

Foreword

xii

xiii

Preface

There are three defining moments in the course of

any lighting design. The first is when the lighting

designer is hired. The second is when the load-in

starts and lighting instruments begin to get hung. The

third and final moment is when the curtain opens to

an audience.

In between, the realization of every lighting design

requires a progressive sequence of tasks. In addition to

completing the tasks, every design has to be adapted –

no design is ever realized without some amount of

change. Not only is every production different, the

end result may even be completely different from the

initial plan. In order for a design to be considered

“complete,” both the initial tasks and the adaptations

must be executed.

The challenge is that both of these steps take place

within a scheduled framework that’s often referred to

as “the production period,” but is even more accu￾rately named stage time. And this will come as no

great surprise: There’s never enough. Once the load￾in starts and the show enters stage time, the count￾down really begins. After that second moment, any

time spent on stage trying to make a decision, rather

than implementing a decision, is usually wasted time

that can never be regained.

When I was a young student of lighting design,

I wasted a lot of stage time. I had attended classes and

read books, but no one said anything about time or

any other constraints in a way that made me listen.

From my perspective, no class stressed the need to

streamline the process of lighting design. Without a

system or enough experience, I started my career fol￾lowing production schedules that frequently resulted

in unfinished products.

Eventually I analyzed these disappointments and

came to realize that the unfulfilled designs were often

my own fault. I ran out of time, typically because

I couldn’t quickly adapt to existing parameters or con￾straints. The constraints had always been there – I

just didn’t understand them, or I was locked in an

ethereal mindset and chose not to understand them

until they could no longer be avoided. And then, all

too often, it would be too late.

Eventually I realized I had it backwards. I needed

to first scrutinize the situation, acknowledge the con￾straints, and then construct a strategic design that

not only addressed the ethereal needs of the show,

but simultaneously addressed all of the parameters.

Rather than walk in the door and slowly make deci￾sions taking constraints into account, I began to

construct tactical methods that pre-addressed the

parameters before walking in the door.

Studying how constraints potentially impact the

original design concept for a show allows many of

the potential choices to be examined ahead of time.

When adaptations are required, the choices are sim￾plified, quickly made, and the design has a better

chance to be completed on time.

After years of watching and analyzing missteps

and mistakes (both my own and others’), I’ve devel￾oped these methods, tools, and techniques that I use

to expedite the process. Doing the homework and

producing lighting designs based on realistic param￾eters, the production process remains more focused

on adapting a fully-conceived design into a realized

product, instead of spending time on the distraction

of knee-jerk reactions to information that should

have been analyzed beforehand.

A Practical Guide for Stage Lighting illustrates

these methods that I use to maximize the precious

commodity of stage time and to create theatrical

lighting designs. It presents nuts-and-bolts tools and

techniques that address the realities of crafting or rec￾reating a light plot with minimal space, tools, or time.

Or, to put it another way, how to get the best lighting

bang for your buck.

Steve Shelley

New York City

2009

xiv

Like all books, this effort would not have been possi￾ble without the assistance and cooperation of a lot of

folks. All of the organizations and individuals listed

below had some hand in the realization of this book:

The manufacturers: Tony Sklarew and John Ryan

at Altman Stage Lighting; Gary Fails at City

Theatrical; Ken Romaine and Keith Gullum,

lately of Color Kinetics; Sue Englund, Traci

Kelliher, David North, Tony Romain, and

at Electronic Theatre Controls; Joe Tawil at

Great American Market; Debi Moen at High

End Systems; Don Phillips at LeMaitre Special

Effects, Inc.; Steve Lerman at Lycian Stage

Lighting; Larry Beck at Martin; Beth Weinstein,

Rob Morris, and Tom Morris at Ocean Optics;

Josh Alemany, Joel Svendsen, and Chad Tiller

at Rosco Labs; Jeremy Collins, Scott Church,

and Marie (Deanna Troi) Southwood at

Strand•Selecon Performance Lighting; Tom

Folsom, Bobby Harrell, and Phil Foleen at

Strand Lighting.

The lighting rental shops: Meghan Marrer at

Scharff Weisberg Lighting; Al Ridella at 4 Wall

Entertainment Lighting; Larry Schoeneman at

Designlab Chicago and Interesting Products.

The organizations: United Scenic Artists 829

(Martha Mountain, Mitch Dana, Carl

Baldasso, and David Goodman), ESTA (Karl

Ruling and Lori Rubenstein), Noah Price and

the rest of the Stagecraft List (WWFWD?),

and the United States Institute for Theatre

Technology.

The Usual Suspects: Kevin Linzey, Sam Jones,

David KH Elliott, Cris Dopher, and Andrew

Dunning, for their assistance with all questions

regarding Vectorworks®. John McKernon for

all matters Lightwright. Lorraine Hall, Suzie

Elliott, and Mitch Tebo lent knowledge and

support for matters regarding Word, Excel, or

general grammaticism.

The Assisting Eyes: Aaron Copp, Judith

Daitsman, David Fleming, Greg Goldsmith,

Kevin Greene, Sabrina Hamilton, Ruth

Hutson, Ellen Jones, Martha Mountain, Aaron

Sporer, Nancy Schertler, and Jim Streeter.

The Assisting Ears: Julie Archer, Jimbo Griffith,

Rhys Williams, and the staff and patrons of

Acqua’s. A special shout-out to Naz Aykent,

Horace Beasley, and Bill Shapiro.

Filling in the blanks: Jim Bay, Sound Designer;

Richard Cadena, editor of PLSN and author

of “Automated Lighting; The Art and Science

of Moving Light”; Mike Pitzer, Production

Electrician; and Anne Valentino, Console

Specialist.

Thanks to the ever-patient Ms. Cara Anderson and

Ms. Danielle Monroe, both of whom garner the grat￾itude and bear the responsibility for making this sec￾ond edition come to fruition. Thanks also to Ms.

Maureen Moran, whose straightforward analysis and

guidance kept this project on course. Finally, thanks

to André A. Cuello, for his guidance and patience at

the end of the publishing process.

Many thanks to the two people who helped

inspire me into this strange business: Ms. Sara

Boatman and Mr. Michael Orris Watson. Thanks also

to Mr. Todd Randall, who provided a timely dose of

confidence. As before, this book is dedicated to my

family and my friends. Without their support, I might

still be delivering laundry.

Finally, for her assistance, patience, and incred￾ibly high tolerance level, big thanks to my Pookie,

Acknowledgments

for the Second Edition