Drama 16 Stage Lighting

 

 

 

 

 

 

Scene: A winter afternoon just before it snows.

Very often, winter has a very flat kind of lighting. In this situation, there is some light coming through the looming clouds that give the sky a dull look and reflecting off of the already fallen snow, which gives the space just off the ground a soft color of light greyish-blue. The light that is filtering through the clouds comes at small angle and casts short shadows, but is generally dull and grey.

White Backdrop: Top- G435 Full, Bottom- AP3300 Full

Figures: All lighting from SR. AP2330 @ 25% with 17′ elevation and 37′ side, and @ Full with 42′ elevation and 48′ back angle, AP2280 @ 75% with 31′ elevation and 29′ side, and AP3400 @ 75% with 52′ elevation and 21′ side angle

 

 

 

 

 

 

 

Scene: A Vermont sunset in the fall.

This scene painted a picture of a brisk fall night when the leaves are changing, and it’s perfect weather for a bonfire. From the pictures I saw, Vermont sunsets seemed to often have a very rich orange to them, and a purple. I tried to recreate that on the cyc and give a rich orange ambient light to the figures, while also using low front lights with gobos to create the appearance of a fire.

White Backdrop: Top-NC@ 13%, Blue @25%   Bottom- NC@25%, AP2190 @50%

All 3 figures: G342 @ 25% with 13′ elevation angle and 21′ side angle from R and L, G103 @ 50% direct backlight w/ 14′ elevation angle, G395 @ 25% direct sidelight at 43′ elevation angle from R and L, NC @ 25% front light w/ 54′ elevation angle, G101 @ 50% with 48′ elevation angle and 37′ back angle, G106 @ 25% with 0′ elevation angle and 56′ side angle, and AP7770 @ 50% with gobo at -37′ elevation direct front light

+ Rightmost figure: AP7450 @ 50% with -31′ elevation and 37′ side angle SR with gobo, AP6400 @ 25% with 23′ elevation and 56′ side angle

+ Center and Leftmost figures: AP6400 @ 25% with 0′ elevation and 56′ side angle, AP7450 @ 50% with -31′ elevation and 37′ side angle SL with gobo

 

 

 

 

 

 

Scene: An Easter sunrise inside a Gothic cathedral.

Trying to light this scene made apparent the gaps between VLL and really lighting a stage. I thought of an early morning Easter service about to begin, with the priest the only one there quite yet. Warm, yellow light is spilling through the stained glass windows, creating patterns of different colors, blues, reds, greens, yellows, and more on the floor and the priest. The natural light and the light from the few incandescent bulbs and the candles that have been lit give the grey walls of the cathedral just a hint of yellow, and the priest is touched by all of these light sources briefly as he stands in the center of the cathedral. The angle of light, and therefore the illumination, of each platform is supposed to show the “placement” of the windows high in the walls of the cathedral, but is is quite difficult to show that progression of angle with this program.

Grey Backdrop: Top- NC @ 75% and AP6800 @ 25%, Bottom- NC @ 50%

Human Figure: AP 6900 @ 25% from SL with 23′ elevation and 56′ side, and 42′ elevation and 48′, NC @ 71% direct sidelight SL with 43′ elevation. AP1800 @ 25% direct frontlight with 54′ elevation, NC @ 31% direct sidelight with 27′, 37′, and 51′ elevation angles. AP 2140 @ 50% with 37′ elevation 56′ side SR, AP6400 gobo @ 75% gobo with 42′ elevation and 48′ side angle SR, and AP2280 @ 25% with 48′ elevation and 37′ side SR.

Platform 1 (from SL to SR): NC Full with 27′ elevation and direct SR sidelight, NC @ 75% with 43′ elevation and direct SR sidelight, and NC @ 50% with 32′ elevation and 56′ side angle. G570 @ 50% with 37′ elevation and 56′ side angle, AP6400 gobo Full with 23′ elevation and 56′ side angle.

Platform 2: NC Full with 27′ elevation angle and direct SR sidelight, NC @ 50% with 43′ elevation and direct SR sidelight, and with 32′ elevation and 56′ side angle.  AP6900 gobo Full with 23′ elevation and 56′ side angle, AP3700 @ 50% with 37′ elevation and 56′ side angle, AP1800 @ 8% with 42′ elevation and 48′ side angle.

Platform 3: NC Full with 27′ elevation angle and direct SR sidelight, NC @ 75% with 43′ elevation and direct SR sidelight, and NC @ 25% with 32′ elevation and 56′ side angle. AP6900 gobo Full with 23′ elevation and 56′ side angle, AP8400 @ 50% with 37′ elevation and 56′ side angle, AP1800 @ 8% with 42′ elevation and 48′ side angle.

 

 

 

 

 

 

Scene: Noon on a hot summer day in the Caribbean.

As with the winter scene, this scene also has rather flat lighting, but for an entirely different reason. At noon, the sun is just about directly overhead and it seems there is nothing it doesn’t touch, especially in a location like the Caribbean. By using only bright yellow or amber, even slightly pink, lights from above, shadows are virtually eliminated and that bright, warm light so characteristic of a sunny day is achieved, while the cyc is lit with solid washes of blues to evoke the feeling of a tropical sky.

White Backdrop: Top- RE141 Full, Bottom- NC @ 50% and R392 Full

Figures: G460 Full with 90’elevation, G360 Full with 54′ elevation from direct back and front, and AP7900 Full with 61′ elevation angle from direct SR and SL

 

1) A Fall sunset in Vermont

The best part about sunsets is the backlight. The silhouette creates the mood of a sunset.

2) Easter sunrise in a Gothic Catherdral

The most beautiful thing about being inside a cathedral in the morning is seeing the sunlight come in through the stained glass windows. I tried to accomplish this by using different colored gels concentrated downstage as though there is a giant stained glass window on the fourth wall.

3) Noon on a hot Summer day in the Caribbean

I tried to create a full warm wash of beautiful sunlight using all angles and gel color.

4) Winter afternoon just before the snow

I tried to again, create sunlight using all angles and gel color, but this time, creating a cold mood as opposed to a warm Caribbean mood.

1) A Fall Sunset in Vermont

Backdrop:
AP3150 at 75%
AP6900 at 75%

Downstage left (top to bottom):
AP3150 at 100%;  32 degree elevation angle; 56 degree side angle
G180 at 100%;  23 degree elevation angle; 56 degree side angle
G315 at 100%; 0 degree elevation; 56 degree side angle
AP6900 at 100%; -19 degree elevation angle; 56 degree side angle

Upstage right (top to bottom):
AP1800 at 100%; 23 degree elevation angle; 56 degree back angle
AP7750 at 100%; 0 degree elevation angle; 56 degree back angle

I chose the colors for the backlighing because I wanted them to represent the colors of autumn that would be seen on trees. I made the front light the progression from lighter to dark the way a sunset changes as you look farther up in the sky. I made the backdrop similar to the front light to further show the sunset changes.

2) An Easter Sunrise in a Gothic Cathedral

Backdrop:
AP5800 at 75%
AP8500 at 75%

Center stage left (top to bottom):
AP5800 at 50%; 37 degree angle elevation
AP8500 at 100%; 0 degree angle elevation

Upstage right:
AP5800 at 75%; 23 degree elevation angle; 56 degree side angle
AP8500 at 100%; -19 degree elevation angle; 56 degree side angle

I like these colors because the pale pink and aqua make me think of easter eggs, and Easter in general. I wanted the lights to work the same way as they did with the sunset, with the lighter colors on the bottom and the darker on top, to recreate that sunrise/sunset feel.

3) Noon on a hot Summer Day in the Caribbean

Backdrop:
G841 at 100%
G455 at 100%

Front light:
AP7350 at 100%; -31 degree elevation angle; 37 degree side angle

Center stage left (top to bottom):
AP7350 at 75%; 37 degree elevation angle
AP7350 at 75%; 27 degree elevation angle

Center stage right:
AP6500 at 75%; 0 degree elevation angle

Upstage right:
AP6500 at 75%; 32 degree elevation angle; 56 degree side angle

I used the backdrop to create the lively feeling of the ocean and beach of the Caribbean, coupled with bright, warm, all around lighting on the figure to show the sunlight hitting her.

4) Winter Afternoon Just Before Snow

Backdrop:
G820 at 100%
G515 at 100%

Upstage left:
G515 at 75%; 0 degree elevation angle; 56 degree side angle

Center stage left:
G515 at 75%; -31 degree elevation angle; 37 degree side angle

Upstage left:
G515 at 25%; 0 degree elevation angle; 56 degree side angle

Upstage right (top to bottom):
G515 at 50%; 32 degree elevation angle; 56 degree side angle
G515 at 50%; 0 degree elevation angle; 56 degree side angle

I wanted the light to be kind of soft for the early afternoon, so I threw some blue into the backdrop. I really wanted to emphasize the coming of the snow, so everything is in stark white, and is fairly evenly lit the way it would be with light reflecting off the white of the snow.

1.A Fall sunset in Vermont

Backdrop
Top- AP3800-25%, AP8850-25%, AP4750-50%
Bottom- AP7750-Full, L179-25%, AP2190-50%

Top: (L to R)
AP4750 – Full, 75° elevation angle, direct side light house left
AP4750 – Full, 90° elevation angle, direct down light
AP4750 – Full, 75° elevation angle, direct side light house right
AP8850– 50%, 54° elevation angle, direct back light

Downstage (L to R)
AP7600 – Full, -31° elevation angle, 37° side angle house left
G450 – 25%, -37° elevation angle, direct back light
AP7600 – Full, -31° elevation angle, 37° side angle house right

I really enjoy the distinct colors in a sunset. When I think of one in Vermont, it is very strong colors such as violet and orange. The sunset is very apparent in the wilderness as well. Because of this, I created the background to show violet at the top and the exiting orange at the bottom. The girl is also covered by the orange glow and a tiny piece of the oncoming darkness appears near the top of her head.

2.Easter sunrise in a Gothic Cathedral

Back Drop
Top- AS3800 – Full, L258 – 75%
Bottom- AP7750 – Full, AP7770 – 50%

Top Light: (L to R)
AP3800 – 50%, 75° elevation angle, direct side light house left
L258 – 50%, 75° elevation angle, direct side light house right

Downstage
AP7600 – Full, -37° elevation angle, direct back light

A sunrise has a lot of similarities to a sunset but the shade vary a little bit. I feel there is more of amber in a sunrise and the color is darker. The dark night is also leaving and is mixing with the dark orange and amber. It forms a much lighter pink than the purple in the sunset. In a gothic cathedral, the light is reflecting through the stain glass, and the color of the glass adds to the color of the light. The amber fills the persons main view while leaving some darkness at the bottom.

3. Noon on a hot Summer day in the Caribbean

Back Drop
Top- AP3800 – Full, L353 – 75%, AP4870 – Full
Bottom- L256 – 25%, L285 – Full

Top
G725 – 50%, 75° elevation angle, direct side light house left
G870 – Full, 90° elevation angle, direct down light
G725 – 50%, 75° elevation angle, direct side light house right

House Left
G925 – 25%, 0° elevation angle, direct side light house left

House Right
G890 – 25%, 0° elevation angle, direct side light house right

Downstage
L285 – 75%, -37° elevation angle, direct back light

The summer in the carribean is filled with lots of bright blues and light beige colors. The sky and water are a light reflective blue,to the point where it is almost refreshing just to look at. The ground is extremely light colored and adds to the brightness of the scene. The person absorbs most of the bright light and a little bit of the blue from the sky.

4. Winter afternoon just before the snow

Back Drop
Top- L299 – Full, L353 – 25%
Bottom- L256 – 50%, L285 – 75%

Top
L200 – 50%, 75° elevation angle, direct side light house left
L226 – Full, 90° elevation angle, direct down light
L196 – 50%, 75° elevation angle, direct side light house right

Downstage
L257 – Full, -37° elevation angle, direct back light

The winter makes it very dark outside. The sky is grey with a little bit of the blue sky trying to break through the ugly color. This causes the two to mix a bit. It creates a dark and ugly shade of blue. The ground has the most light and is lighter than the actual sky. It is a light color but mixes with the grey shades as well as the sky. This causes an ugly light color. The scene itself is very cold and lonely. The girl picks up shades of grey with a little bit of blue.

1)   A Fall Sunset in Vermont

Backdrop Top (HL to HR):

G335@full, Red@0, Green@0, Blue@25

Backdrop Bottom (HL to HR):

L781@full, Red@25, Green@0, Blue@0

Source Light (Back/sidelight)(Sun from SR):

-AP6900@full, 23 degrees in elevation and 56 degrees back angle, the fixture is 12 feet above the deck, 12 feet stage right of the model, 8 feet upstage of model (back/sidelight) and has a 16 foot throw

-AP7770@full with template, 32 degrees in elevation and 56 degrees back angle, the fixture is 15 feet above the deck, 12 feet stage right of the model, 8 feet upstage of the model (back/sidelight) has a 17 foot throw

-AP7770@full with template, 27 degrees in elevation and directly from side, the fixture is 12 feet above deck, 12 feet stage right of model, the fixture is direct sidelight to the model and has a 13 feet of throw

Front light (Modeling):

-AP8100@50%, 13 degrees in elevation and 21 degrees SR of actor, the fixture is 10 feet above the deck and 6 feet stage right of the model, it is placed 16 feet downstage of the model (front light) and has 18 feet of throw

-AP4800@25%, 13 degrees in elevation and 21 degrees SL of actor, the fixture is 10 feet above the deck and 6 feet SL of the model, the fixture is 16 feet downstage of the model (front light) and has an 18 foot throw

When I think of a fall sunset in Vermont, I think of someone walking down a dirt path through a grove of rich, vibrant and saturated colors and lots of broken patterns and shadows on the ground. I created this image to have a rich red background with one area that acted as the rich yellow of the sun that was shining through the trees. I wanted to make sure that the figure was still modeled and visible to the audience so I added some softer light to her face. The side where the sun was coming from I gave her a warmer tint and the opposing side a cooler light to represent the darkness that was entering the scene.

2)   Easter Sunrise in a Gothic Cathedral

Backdrop Top (HL to HR):

AP2140@full, Red@25, Green@0, Blue@0

Backdrop Bottom (HL to HR):

AP3350@full, Red@0, Green@0, Blue@25

 

Front Light (hung SR)

-G375@full (Source light), 29 degrees in elevation and 37 degrees side angle, the fixture is 17 feet above the deck and 12 feet stage right of the model, it is placed 16 feet downstage of the model (Front Light) and has a 23 foot throw

-G328@50%, 17 degree elevation angle and 37 degree side angle, the fixture is placed 12 feet above the deck and 12 feet stage right of the model, it is 16 feet downstage of the model (Front Light) and has a 21 foot throw

Back Light (Hung SL)

-AP4720@30%, 29 degrees in elevation and 37 degrees side angle, the fixture is placed 17 feet stage left of the model and 12 feet stage left of the model, it is 16 feet downstage of the model (Backlight) and has a 23 foot throw

-AP4720@30%, 43 degrees in elevation and directly to left of model but serving as side light due to models position, the fixture is 17 feet above the deck and 12 feet stage left of the model, it is direct backlight (or sidelight depending of reference point) to the model and has a 16 foot throw

When I imagine an Easter Sunrise in a Gothic Cathedral, I imagine direct sunlight shining straight into the cathedral and then dispersing through out the entirety of the building. Even though the it is a spring morning, cathedrals are always massive and when the light enters the space is reflects off of the stone walls and creates a colder and airy feel to the space. I tried to represent the warm light at the top of the cathedral that dispersed into the cooler colors by the time it reached the bottom of the cathedral. I tried to illuminate the front of the figure with a strong and high intensity as the sun with other accented, cooler (reflected light) colors from behind and also lower than the source to create the airy and open effect.

3)   Noon on a hot summer day in the Caribbean

Backdrop Top (HL to HR):

AP1900@full, Red@0, Green@0, Blue@full

Backdrop Bottom (HL to HR):

AP4720@full, Red@0, Green@0, Blue@full

Top/Front light (HL to HR):

-G360@75%, 52 degrees in elevation and 21 degrees SR of model, the fixture is placed 17 feet above the deck and three feet SR of the model, it is 8 feet downstage of the model (Front light) and has a 14 foot throw

-G342@full (Source), 90 degree elevation angle and 0 degree left or right (Directly overhead, the fixture is placed 17 feet above the deck and is centered above the model (Top light) and has an 11 foot throw

-G360 @75%, 52 degrees in elevation and 21 degrees SL of the model, the fixture is placed 17 feet above the deck and 3 feet stage left of the model, it is 8 feet downstage of the model (front light) and it has a 14 foot throw

Bottom light (HL to HR):

-G327@30%, -31 degrees in elevation and 37 degrees HL of the model, the fixture is 0 feet above the deck and 6 feet SR of the model, it is 8 feet downstage of the model (Bottom/front light) with a 12 foot throw

– G327@30%, -31 degrees in elevation and 37 degrees HR of the model, the fixture is 0 feet above the deck and 6 feet SL of the model, it is 8 feet downstage of the model (Bottom/front light) with a 12 foot throw

When I picture a hot summer day in the Caribbean at noon, I imagine a couple standing on a white sandy beach. I tried to illuminate the couple with one, high intensity light from directly overhead to create a harsh effect on the head and little to no shadow. With colors that were slightly less saturated as this source light I added some high intensity front light to help illuminate the front of the model’s bodies. When I am on the beach I always feel as though the sun is inescapable and that the sun’s reflection off of the sand is almost as harsh as the sun itself; that is why I added the bottom light to mimic the sand’s reflection on the models. I also imagine a pure blue sky that looses saturation as it falls lower on the horizon.

4)   Winter afternoon just before the snow

Backdrop top (HL to HR):

L211@full, Red@0, Green@0, Blue@0

Backdrop Bottom (HL to HR):

G328@full, Red@0, Green@0, Blue@0

Front light (HL to HR):

-R3314@60%, 42 degrees in elevation and 48 degrees SR of the model, the fixture is placed 17 feet above the deck and 9 feet SR of the model, it is 8 feet downstage of the model (Front light) and has a 16 foot throw

– AP2030@75%, 42 degrees in elevation and 48 degrees SL of the model, the fixture is placed 17 feet above the deck and 9 feet SL of the model, it is 8 feet downstage of the model (Front light) and has a 16 foot throw

Back Light (HL to HR):

-R3314@60%, 37 degrees in elevation and 56 degrees SR of the model, the fixture is placed 17 feet above the deck and 12 feet SR of the model, it is 8 feet upstage of the model (Back light) and has an 18 foot throw

-AP2030@75%, 37 degrees in elevation and 56 degrees SL of the model, the fixture is placed 17 feet above the deck and 12 feet SL of the model, it is 8 feet upstage of the model (Back light) and has an 18 foot throw

Being from Colorado, I am very used to snow storms rolling in over the mountains and dumping the white blanket of snow all over the state. When I think about what a winter afternoon just before the snow begins to fall looks like I picture the dark and threatening clouds that roll in over the mountains that have a deep gray tone with a hint of brown or a deeply saturated red as the sun begins to fall. The clouds look heavy and they disperse the sunlight evenly throughout the sky. In this model I tried to make the background capture the two toned clouds while the actual fixtures I hung were placed in a way that was supposed to resemble the even and flat lighting that the clouds create. I tired to put the front lighting in a similar system to the McCandless system to model and show a warm and cool side. I have the front and back light in shades of gray and the intensity is also slightly lower to show that the clouds darken the sky and offer a more threatening atmosphere.

*All measurements given in feet are given based on the dimensions of the stage in the Light Lab not necessarily the dimensions of the theater I would be actually implementing these designs in.

 

 

Fall Sunset in Vermont

 

 

 

 

 

 

Backdrop:

Top- R83-25%, L713-25%, L119-25%, 67/95-25%

Bottom- R2003-25%, G250-25%, R2008-25%, RE179-25%

 

Top Light:

G350 – 100%, 37° elevation angle, 56°  side angle

LHT713 – 25%, 37° elevation angle, 56° back angle

L071 – 25%, 54°  elevation angle, direct back light

L120 – 25%, 37° elevation angle, 56° back angle

G410 – 100%, 37° elevation angle, 56° side a

 

Stage Left Side Light

AP7450 – 50%, -19° elevation angle, 56° back angle

G170 – 100%,  -23° elevation angle

L106 – 100%, -19° elevation angle, 56° side angle

 

Stage Right Side Light

AP8730 – 100%, 27° elevation angle

L020 – 100%,  -19° elevation angle, 56° back angle

L027 – 100%, -23° elevation angle

L024 – 100%, -19° elevation angle, 56° side angle

 

This sunset is the dark blurple of night sky as it fades gently into the fiery leaves of fall in Vermont, with the last bright glow of yellow sun highlighting the downstage woman before it disappears, leaving only starlight and the harvest moon behind.

 

Easter Sunrise in a Gothic Cathedral

 

 

 

 

 

Backdrop:

Top- AP2310 – 25%, RE209 – 25%, 0/0 – 75%, RE122 – 25%

Bottom- G1518 – 25%, L299 – 25%, G855 – 75%, RE090 – 25%

 

Top Light:

R4730 – 25%, 48° elevation angle, 37° side angle, with template

G170 – 50%, 54° elevation angle, direct backlight, with template

R34 – 25%, 48° elevation angle, 37° side angle

R4560 – 50%, 42° elevation angle, 48° side angle, with template

 

Stage Left Side Light:

G103 – 100%, 37 ° elevation angle

AP3600 – 100%, 32° elevation angle, 56° side angle

 

Stage Right Side Light:

AP3400 – 100%, 32° elevation angle, 56° side angle

AP8730 – 50%,  37° elevation angle, with template

The first rays of sun as they cross through old rose windows leave gothic cathedrals lit in lavender and forget me not, with elaborate patterns reflected on the floor and pews from the myriad of picture lines all across each window. The hope of new life, written all over the faces of the believers, in tiny triangles of pink and gold.

 

Noon on a Hot Summer Day in the Caribbean

 

 

 

 

 

Backdrop:

Top:  G835 – 50%, G780 – 25%, G848 – 50%, AP4350 – 50%

Bottom: AP4900 – 75%, AP4650 – 75%, AP5600 – 75%, RE090 – 75%

 

Top Light:

LHT010 – 50%,  37° elevation angle, 56° side angle

NC – 50%, 42° elevation angle, 48° side angle

AP6400 – 50%, 61° elevation angle

R13 – 100%, 54° elevation angle

AP6200 – 50%, 61° elevation angle

R96 – 50%, 37° elevation angle, 56° side angle

 

Stage Left Side Light:

R369 – 50%, 23° elevation angle, 56° side angle

NC – 50%, 0° elevation angle

 

Stage Right Side Light:

R376 – 50%, 23° elevation angle, 56° side angle

NC – 50%, 0° elevation angle

 

The Caribbean is perfect, bright bright blues over sea green water, with nothing but the hot sun to separate the two, it is all blindingly saturated color, that seems to bake right through your skin and turn your insides to sunshine.

Winter Afternoon

 

 

 

 

 

Backdrop:

Top – AP2320 – 50%, G780 – 25%, G848 – 50%, AP2330 – 50%

Bottom –  G107 – 75%, G108 – 75%, G109 – 75%, G155 – 75%

 

Top Light:

AP2330 – 100%, 75° elevation angle

NC – 100%, 54° elevation angle, direct back light

G888 – 100%, 75° elevation angle

G880 – 100%,  42° elevation angle, 48° side angle

 

Stage Left Side Lights :

AP2330 – 100%, 32° elevation angle, 56° side angle

 

Stage Right Side Light:

NC – 100%,  32° elevation angle, 56° side angle

 

People seem to think of winter as so grey and dark, when in reality is is just as bright sun as summer, just with a cooler tone. All of the sunlight feels white, brisk, against a sky that hasn’t quite figured out how to be blue, and as the snow begins to fall, the blanket it creates leaves the world feeling warm and pink-cheeked

Summer Afternoon

Backdrop from SR to SL:

NC @ 90, RED @ 00, NC @ 50, BLUE @ 00

NC @ 00, CYAN @ F, CYAN @ F, BLUE @ F

Model from SR to SL:

AP6500 @ 60. 37 degrees direct sidelight

AP 6400 @ F. 43 degrees direct sidelight

AP 6400 @ 70. 37 degrees direct sidelight

AP 6400 @ 70. 27 degrees direct sidelight

I have never been to the Caribbean, but I know what a hot summer day feels like, being from Texas. Looking at pictures of what a summer in the Caribbean would be like, I thought to myself that this looked a lot like the South with more blue skies.

Easter Sunrise in Cathedral

Backdrop from SR to SL:

NC @ 00, AP4500 @ 60, GRN @ 00, AP3500 @ 50

AP8200 @ 90, RED @ 00, AP 820 @ 90, BLUE @ F

Model:

AP2140 @ F

37 degrees elevation, 56 degrees backlight.

Whilst looking through photographs of past student’s Four Seasons projects on Google Images, I found a real picture of a sunrise in a Cathedral. I loved it because the colors were gorgeous and there was a silhouette.

Vermont Sunset

Backdrop from SR to SL:

AP8710 @ 70, AP800 @ 40, AP8800 @ 10, BLUE @ F

AP7650@ 70, AP8800 @ 10, AP7670 @ 50, BLUE @ 00

Model from SR to SL:

AP4870 @ 50. -23 degrees elevation.

AP 7670 @ 60. 37 degrees

AP 7670 @ 20. 27 degrees

I chose these colors for a sunset because I happen to be drawn immediately to any sunset with a pink hue in it. This particular sunset amazed me greatly and I knew I had to attempt to recreate it.

Winter Afternoon

Backdrop from SR to SL:

AP2140 @ F, RED @ 00, AP2040 @ 19, AP2140 @ 50

AP3520 @ 09, AP2140 @ 60, GRN @ 00, AP2240 @ 25.

Model from SR to SL:

AP2220 @ 70. 37 degrees

AP2220 @ 60. 27 degrees

AP1800 @ 60. 0 degrees elevation, 56 degrees backlight

Recreating a winter setting proved to be difficult for me considering the fact that I have not experienced much of a winter season ever in my lifetime. So I had to search for what I considered to be a seemingly ideal winter afternoon, should I ever have to encounter it in my lifetime.

1. Fall Sunset

Backdrop: Top Blue 25% Bottom Red 50% Green 20%

Model Light: 1. Front side light 32 degrees AP7500 75% 2. Front Side light 23 degree AP7750 50% 3. Side light 27 degree AP7770 50% 4. Back light 23 degree AP2190 50%

 

The colors used in both the model lighting and background are those of a rich fall in New England. Those colors are often found in both the setting (trees, leaves and plants) but also sunsets. It’s as if the mountain sides become a mirror for the sky. The angles are more powerful on the right since from my house that’s where the sun sets. There is a variety of angles since the sun is on its way down but not there yet creating an overall romantic wash.

1. Easter Sunrise

Backdrop: Top Red G280 50% Blue AP3800 10% Bottom Blue L120 20%

Model Light: 1. Front foot light 19 degree L020 with texture 50% 2. Front light 48 degree L029 50% 3. Front light 54 degrees L071 25% 4. Front Light 48 degree L029 50% 5. Side light 0 degrees L100 with texture 50% 6. Foot light -19 degree L105 with texture full

 

Cathedrals are filled with stained glass windows that create amazing colors and textures especially when the sun is moving across the filter. The blues, reds and yellows, are all common in glass art and the texture shows the pattern that would be giving shadows. The low and high angles show the variety of light reflection that can happen in the morning.

1. Noon Summer

Back Drop: Top White 50% Blue 20% Bottom White 40%

Model Light: 1. Top Light 85 degrees AP2180 90% 2. Front light 48 degrees AP2180 60% 3. Backlight 42 degrees AP2200 50%

 

Noon in a vacation location I imagine is serene and crisp. The light is pure and bright. This particular scene the couple is in a cove so the light is coming through the tree behind them but they are enjoying the warm breeze and relaxing water as everything before them is illuminated while they are shaded.

1. Winter Afternoon

Backdrop: Top Gray 50% White 10% Bottom Gray 40%

Model Light: 1. Top Light 60 degrees G885 60% 2. Front Light 48 degrees G885 50% 3. Front Light G885 80%

 

The clouds as they roll in before a storm especially over a lake bring such doom and gloom. It dulls everything under it, like a vacuum cleaner for color. This gray, dull tone just sits until the snow comes. There seems to be no specific source for this kind of light to be coming from since there is no angle for them to come in. It’s the little bit that finds its way through the clouds and just bounces of every surface losing luster with each reflection.

1. Fall Sunset in Vermont

Backdrop L to R:

• RE029 at full, top light
• P35900 at full, top light
• RE164 at full, top light
• RE029 at full, top light
• P31048 at 50%, bottom light
• P35200 at full, bottom light

Model L to R:

• LHT797 at 50%, side light 45 degrees
• P35600 at 75%, side light 45 degrees

I have never been to Vermont but I assume the sunsets are much darker and more intense than in Massachusetts, so I made the image a more intense version of a Massachusetts sunset. There is yellow on the horizon because the sun is still peaking through and that blends into an orangey red sky that is especially dark where the clouds are.

 

2. Easter Sunrise in a Gothic Cathedral

Backdrop L to R:

• L104 at 25%, top light
• G850 at full, top light
• L079 at full, top light
• L019 at 10%, top light
• AP6400 at 75%, bottom light
• G847 at 50%, bottom light

Model L to R:

• No color at 50%, side light 45 degrees
• L117 at 25%, side light 60 degrees
• L101 at full, top light
• L117 at 75%, back light
• L117 at 25%, side light 60 degrees
• No color at 50%, side light 45 degrees

When I thought of this I thought of stained glass and how the stained glass will make the blue light of the morning even bluer while the interior of the church will have more of a yellow light from the practicals mixing slightly with that intense blue.

 

3. Noon on a Hot Summer Day in the Caribbean

Backdrop L to R:

• AP3900 at full, top light
• AP4630 at full, floor light

Model L to R:

• AP4630 at 50%, side light 45 degrees
• R06 at full top light
• G370 at 50% side light 45 degrees

When I think of the Caribbean I think of blue. The sky is blue and the ocean so I made the top of the cyclorama a deeper blue that fades into a lighter one as it reaches the ground. On the person, I made a very bright light for the intense sun.

 

4. Winter Afternoon Just Before the Snow

Backdrop L to R:

• No color at 25%, top light
• L226 at full, top light
• No color 30%, bottom light
• LHT062 75 %, bottom light

Model L to R:

• L053 at 50 %, side light 45 degrees
• L130 at full, top light
• L130 at full, back light
• L053 at 50%, side light 45 degrees

Before it snow, the sky gets very white with gray as it gets closer to the ground. There are no shadows because the sun is not there to create them, and everything takes on this very flat gray light that is trapped between the ground and the clouds.

1. Fall sunset in Vermont

Backdrop Top (House L to R): AP4720 30%, NC 0%, AP4970 75%,

Backdrop Bottom (House L to R): AP8400 20%, AP7850 10%, AP7450 75%, AP8350 10%

Front light (House L to R):
NC 25%, 14 degree elevation angle, direct back light
AP7450 20%, 13 degree elevation angle, 21 degree side angle

Back light (House L to R):
AP4970 75%, 54 degree elevation angle, direct back light
AP4720 50%, 37 degree elevation angle, 56 degree back angle

Stage Left (top to bottom):
AP2200 75%, 37 degree elevation angle, 56 degree side angle
AP7770 50%, 32 degree elevation angle, 56 degree side angle

When thinking of sunsets, I think of the moment right as the sun is dropping and the blue of the night sky is just starting to stretch across the sky, the horizon still a blazing orange. For that reason, I chose the dusky blue color, and bright orange.

2. Easter sunrise in a Gothic cathedral

Backdrop Top (House L to R):
NC 0%, AP4830 75%, NC 0%, NC 0%

Backdrop Bottom (House L to R):
AP6500 75%, AP2000 50%, NC 0%, NC 0%

Front light (House L to R):
NC 20%, 13 degree elevation angle, 21 degree side angle
NC 10%, 13 degree elevation angle, 21 degree side angle

Stage Left (Top to Bottom):
Upstage:
AP8850 50%, 43 degree elevation angle
AP8750 50%, 37 degree elevation angle
AP6200 75%, 27 degree elevation angle
Downstage:
AP6200 10%, 37 degree elevation angle, 56 degree side angle
AP3800 50%, 32 degree elevation angle, 56 degree side angle
AP4600 50%, 23 degree elevation angle, 56 degree side angle

When thinking of sunrises, I think of the bright yellow coming up on the horizon, with the dusky grey-blue sky still visible. In a cathedral/church, there would be stained glass windows. So I chose the yellows and blue/greys for the backdrop, but had pinks and blues and yellows stage left, as if the sun was just shining through the window.

3. Noon on a hot summer day in the Caribbean

Backdrop Top (House L to R):
NC 0%, NC 0%, NC 0%, AP4830 FULL

Backdrop Bottom (House L to R):
NC 0%, NC 0%, NC 0%, L183 FULL

Front Light (House L to R):
NC 25%, 13 degree elevation angle, 21 degree side angle
NC 50%, 13 degree elevation angle, 21 degree side angle

Top (L to R):
NC 25%, 48 degree elevation angle, 37 degree side angle
NC 50%, 48 degree elevation angle, 37 degree side angle

Back light:
NC 20%, 54 degree elevation angle, direct back light

Stage Left:
NC 25%, 32 degree elevation angle, 56 degree side angle

When I think of the Caribbean, I think of the brightest blue sky possible. In choosing the colors, I chose a deeper sky blue and a slightly lighter one.

4. Winter afternoon just before the snow

Backdrop Top (House L to R):
NC 0%, NC 0%, NC 0%, L220 FULL

Backdrop Bottom (House L to R):
NC 0%, NC 0%, AP3800 10%, L202 60%

Front light (House L to R):
L203 50%, 13 degree elevation angle, 21 degree side angle
L203 50%, 13 degree elevation angle, 21 degree side angle

Top:
L203 50%, 90 degree elevation angle

When thinking about the lights and the sky right before a snow, I immediately thought of shades of grey. The sky is dark but bright at the same time, brewing with clouds in stormy shades of grey. Everything hit by the light is almost flat, because the clouds block any rays of light from coming through the clouds.