Drama 16 Stage Lighting

THEME: Fall Sunset in Vermont

LIGHTING INSTRUMENTS USED:

• Cyc-1, R15
• Cyc-2, R80
• Cyc-3,R27
• Par on 1st Pipe SL, R316
• Par on 1st Pipe SR, R 16
• Ellipsoidal on 1st Pipe SL, Leaves Realistic
• Ellipsoidal on 1st Pipe SR, Leaves Realistic
• Ellipsoidal on 2nd Pipe SL, Leaves Realistic
• Ellipsoidal on 2nd Pipe SR, Leaves Realistic

WHY? When I looked up “Fall Sunset in Vermont” all of the pictures were beautiful orangish-pink skies peaking through trees, and I tries to create the same essence

THEME: Easter Sunrise in a Gothic Cathedral

LIGHTING INSTRUMENTS USED:

• Cyc-1, R15
• Cyc-2, R80
• Cyc-3,R27
• Cyc-4, R126
• Par on 1st Pipe SL, R316
• Ellipsoidal on 1st Pipe SL, Church Window, G101
• Ellipsoidal SL Boom, R51

WHY? There’s something purple and clean about a spring sunrise so I tried to recreate the feeling here, adding the Church Window gobo to help with the Cathedral setting.

THEME: Noon on a Hot Summer Day in the Caribbean

LIGHTING INSTRUMENTS USED:

• Cyc-2, R80
• Cyc-4, R126
• Par on 1st Pipe SL, R316
• Par on 1st Pipe SR, R316
• Ellipsoidal on 1st Pipe SL, 5800
• Ellipsoidal on 1st Pipe SL, R361
• Ellipsoidal on 1st Pipe SR, 2100
• Ellipsoidal on 2nd Pipe SL, Fern, 5800
• Ellipsoidal on 2nd Pipe SR, Fern, 5800
• Par on 2nd Pipe SL, 2100
• Par on 2nd Pipe SR, 2100
• Ellipsoidal SL Boom
• Ellipsoidal SR Boom, R05

WHY? I went for a tropical vibe, warm and colorful, green from trees, blue from the ocean, and orange from the sun. I also used the Fern gobo to represent brush and nature.

THEME: Winter Afternoon Just Before the Snow

LIGHTING INSTRUMENTS USED:

• Cyc-1, R15
• Cyc-2, R80
• Cyc-3,R27
• Cyc-4, R126
• Par on 1st Pipe SL
• Par on 1st Pipe SR
• Par on 2nd Pipe SL
• Par on 2nd Pipe SR
• Ellipsoidal on 1st Pipe SL, Dec. Tree
• Ellipsoidal on 1st Pipe SR, Dec. Tree
• Ellipsoidal on 2nd Pipe SL, Dec. Tree
• Ellipsoidal on 2nd Pipe SR, Dec. Tree
• Ellipsoidal w/ Scroller 2nd Pipe Center, 2010
• Ellipsoidal FOH SR, R55

WHY? I tried to create a stark, cold vibe. I did not use a lot of color and the colors I did use were cool blue tones. I didn’t want to overdo it with the blue however, I wanted something more gray like the winter sky before a snow storm. I also used the Dec. Tree gobo to add to the barrenness.

Fall Sunset in Hawaii

• Backdrop Colors: G990 @ Full, G345 @ 75%, G133 @ 50%

• • AP7630 backlight 50% intensity:  37 degree elevation angle, 56 degree back angle, stage right of model

• AP7250 backlight 50% intensity: 37 degree elevation angle, 56 degree back angle, stage left of model

• AP7400 front light 50% intensity: 54 degree elevation, 75% intensity

I chose this inspiration because when I think of Hawaii I think of bright colors and a warm sun, and this image captures exactly that. The purple and the orange are colors you don’t generally see together, however in a sunset they become increasingly more beautiful and compliment each other wonderfully.

Spring Sunrise on Long Island

Backdrop Colors: Bottom: G335 @ 75% and G450 @ 50%  Top: G813 @ 100%

• RE022 sidelight 25% intensity: -19 degree elevation, 56 degree side angle, stage right of the model

• RE102 sidelight 75% intensity: 56 degree side angle, 0 degree elevation, stage right of model

• AP2790 sidelight 75% intensity: -23 degree elevation angle, stage right of model

I chose this picture as my inspiration because no matter what time of year it is, sunrise is always the coolest part of the day. The sun just peeking over the water in contrast with the cool blue sky gives it just a little bit of a chilly feeling, but the sunlight is sort of warm and has a home-y feel to it.

Summer Noon in New England

• • Backdrop Gels: Top- G740 @100% Bottom- L750 @100%

• R4530 front light @ 75%: 54 degree elevation angle with gobo template

• RE130 side light @ 75%: 21 degree side angle stage right of models, 52 degree elevation angle

• RE130 side light @ 50%: 21 degree side angle stage left of models, 52 degree elevation angle

I chose this photo because summer to me is clear skies and boat rides, and New England is the perfect place to do that. This picture captures the essence of summer in a perfect way. You can tell that its warm, but also breezy. Its very relaxing.

Winter Afternoon in Alaska

• Backdrop gels: Top- G785 @ 100% Bottom- G109 @ 100%

• AP3300 side light @ 50% intensity: 48 degree elevation, 37 degree side angle, stage left of the models

• G360 side light @ 75% intensity: 37 degree elevation, 56 degree side angle, stage left of the models

• AP2310 side light @ 75% intensity: 23 degree elevation, 56 degree side angle, stage left of the models

I chose this picture because Alaska’s afternoons especially in winter, can be very dark. So even though this photo was taken in the afternoon, it looks like its a few mere hours away from dusk. It makes the air feel cold and frigid, unwelcoming almost, and yet it seems to be very playful and enjoyable with how the sun’s rays bounce off the snow.

The lights used in this stage picture:

Cyc top: G995 (35%), G970 (17%), G740 (42%), BLUE (50%)

Cyc bottom: AP6300 (9%), AP1800 (90%), G395FULL

Stage: AP2220FULL, 54 degree elevation angle, direct back light; NC (47%), 42 degree elevation angle, 48 degree side angle; AP2200FULL, 32 degree elevation angle, 56 degree back angle, SL; AP2190FULL, 0 degree elevation angle, both SR/SL; AP1800FULL, -19 degree elevation angle, 56 degree back angle, both SR/SL; AP7250 (37%), -19 degree elevation angle, 56 degree side angle, both SR/SL.

This lighting depicts the moment because the bright orange-yellows setting towards the bottom of the photo, leave an ombré effect that fades into a lighter hue of blues and purples and then into a darker blue towards the top of the sky. The shadow and intensity of the reds and oranges against the sides of the model, along with the slight silhouette created, give even more of an effect that the sun gives while setting.

Cyc top: AP3520 (69%), AP3600 (29%), AP2140 (42%), RED 0%.

Cyc bottom: AP2110 (32%), G335FULL, AP8840 (29%), BLUE 0%.

Stage: NC (25%), 54 degree elevation angle, direct back light; YELLOW (25%), 37 degree elevation angle, 56 degree side angle, SL; YELLOW (9%), 37 degree elevation angle, 56 degree side angle, SR; AP3800 (30%), 23 degree elevation angle, 56 degree side angle, SL; AP3800 (16%), 23 degree elevation angle. 56 degree side angle, SR; AP2220FULL, -19 degree elevation angle, 56 degree side angle, SL; AP2020 (82%), -19 degree elevation angle, 56 degree side angle, SR.

Sunrises tend to bring in lighter and cooler tones that seem more gentle and create shadows with a less harsh effect and a brighter glow. This is a depiction of a sunrise because the orange of the sun rising blends into a very light purple and an even lighter blue that becomes the daylight sky The shadows on the model are also coming from higher angles as opposed to lower angles.

Cyc top: NC (85%), AP2000 (31%), BLUE 0%, AP2190FULL.

Cyc bottom: NC 0%, AP5400 (0%), AP3520FULL, AP2080 (39%).

Stage: NC FULL, 54 degree elevation angle, direct back light, center; AP6150 (73%), 42 degree elevation angle, 48 degree side angle, SL; AP6150 (30%), 42 degree elevation angle, 48 degree side angle, SR; AP6150 (56%), 51 degree elevation angle SL; AP6150 (51%), 51 degree elevation angle, SR; G680 (15%), 27 degree elevation angle, SL; G680 (47%), 27 degree elevation angle, SR.

This image portrays a hot day at noon in Hawaii. The sun is just about to reach its peak height creating a yellow-blue tinge at the top of the screen/cyc due to the sun’s position, and a clear blue sunny day closer towards the middle and bottom of the cyc.

Cyc top: G109 (95%), RED 0%, GRN 0%, BLUE (8%).

Cyc bottom: YELLOW 76%, RED 0%, GRN (0%), BLUE (69%).

Stage: NC FULL, 54 degree elevation angle, direct back light, center; AP6300 (42%), 42 degree elevation angle, 48 degree side angle, SL; AP4630 (66%), 42 degree elevation angle, 48 degree side angle, SR; AP2000FULL, 61 degree elevation angle, SL; AP2030FULL, 61 degree elevation angle, SR; AP2140FULL, 54 degree elevation angle, direct back light, center.

This is a portrayal of a winter afternoon in Maine as the days end earlier in the winter, and the sun is starting its descend. It isn’t quite a sunset yet, but the sky begins to glow a warm, pinkish hue, and a soft yellow can be seen towards where the sun is beginning to set. The shadows cast a blueish/yellow silhouette and, in this photo, are cast mostly by back light.

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.

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.

Fall Sunset, in Vermont:

Backdrop top: RED @ 10%, GRN @ 30%, BLUE @ FULL

Backdrop bottom: RED @ FULL, GRN @ 50%, BLUE @ 25%

-R38 @ 25%, 12’ above deck, 12’ SR, 16’ DS of model, 21’ throw, 17 degree elevation, 37 degree side light

-AP5850 @ FULL, 17’ above deck, 6’ SR, 8’ US of model, 15’ throw, 48 degree elevation, 37 degree back angle

-YEL @ FULL, 17’ above deck, 6’ SL, 8’ US of model, 15’ throw, 48 degree elevation, 37 degree back angle

-NC @ 25%, 12’ above deck, 12’ SL, 16’ DS of model, 21’ throw, 17 degree elevation, 37 degree side light

Here the backdrop is used to accentuate the fade from blue down to a orange and pink glow. It is made to appear that the light is shining from behind Lucy and Ray, from the sun in the uploaded image. The lighting for the models uses back lights and sidelights, making sure not to be above their heads yet, due to the “lighting source’s” location. Color choices were based upon the backdrop light choices, with similar colors of the suns orange.

Easter Sunrise, in a gothic cathedral:

Backdrop top: NC @ 90%, GRN @ FULL

Backdrop bottom: NC @ FULL

-R313 @ 50%, 17’ above deck, 12’ SR, Direct sidelight to model, 16’ throw, 43 degree elevation

-AP5700 @ 50%, 15’ above deck, 12’ SL, Direct sidelight to model, 15’ throw, 37 degree elevation

-40/27 @ FULL, 17’ above deck, 12’ SR, centered on model, 8’ upstage of model, 14’ throw, 54 degree elevation, direct back light

-L153 @ 50%, 17’ above deck, 3’ SL, 16’ DS of model, 20’ throw, 34 degree elevation, 11 degree side angle

For this one, my intentions were to create a general white wash of the cathedral backdrop, with tints of yellow close to the top to display the sun shining through. According to the backdrop there are window lights from the stained glass shining onto Lucy. I chose warm colors due to the sun aspect and stained glass colors.

Noon on a hot summer day, in the Caribbean:

Backdrop top: RED @ 10%, GRN @ 50%, BLUE @ FULL

Backdrop bottom: RED @ FULL, GRN @ FULL, BLUE @ FULL

-G980 @ 50%, 17’ above deck, 9’ SR, Direct sidelight to model, 14’ throw, 51 degree elevation

-G980 @ 50%, 17’ above deck, 9’ SL, Direct sidelight to model, 14’ throw, 51 degree elevation

-AP6100 @ FULL, 17’ above deck, Centered on model, Direct downlight on model, 11’ throw

-AP6100 @ 25%, 10’ above deck, 6’ SL, 16’ DS of model, 18’ throw, 13 degree elevation, 21 degree side angle

In this stage design, the backdrop fades from a harsh blue to a vibrant white. This emulates the noon sunlight coming from the sky above Ray. The model is being lit directly above himself with two additional lights on both sides of him. Another light is used SL to define some more of his side so we have more dimension. The colors used were whites with hints of yellow in them, and whites with hints of purple. These lights give the effect that ray is being lit from above him at noon.

Winter afternoon, just before the snow:

Backdrop top: RED @ 10%, GRN @ 25%, BLUE @ 50%

Backdrop bottom: RED @ FULL, GRN @ FULL, BLUE @ FULL

-G820 @ 75%, 15’ above deck, 12’ SR, Direct sidelight to model, 15’ throw, 37 degree elevation

-NC @ 50%, 15’ above deck, 12’ SL, Direct sidelight to model, 15’ throw, 37 degree elevation

-G885 @ 26%, 17’ above deck, 3’ SR, Direct sidelight to model, 11’ throw, 75 degree elevation

-G980 @ 50%, 17’ above deck, 3’ SL, Direct sidelight to model, 11’ throw, 75 degree elevation

This stage design captures the mist and dull shades before a snowstorm. The backdrop is lit from a dull blue to a plain white. Waltzing Ray and Lucy are lit with whites, dull blues, and a dull purple to give some dimension, but remain capturing the integrity if the setting.

Model Lit With:
G1590 at Full, front light approx, 45 deg
AP5800 at Full, full side light, approx 30 deg
YEL at Full, back light, approx 15 deg

Backdrop Lit With:
GRN at Full, down light
G335 at Full, up light
The lighting focuses on greens and oranges, which are the primary colors of fall. The colors are very deep because fall in Vermont is very romanticized as the perfect, most fall like fall. The model is lit from one side because the sun is setting.

Model Lit With:
Cyan, at Full, top front light, approx 70 deg
Yel, at Full, top front light, approx 110 deg

Backdrop Lit With:
NC at 75%, top light
Green at Full, top light
Cyan at 75%, bottom light

In order to capture the colors of spring, I wanted to make a light that, while cold looking, still captured the green promise of new growth that comes with spring.

Model Lit With:
L010 at Full, top front light, approx 90 deg
L105 at Full, top light, approx 90 deg
R41 at 75, top/side light, approx 70 deg

Backdrop Lit With:
L115 at Full, top light
G725 at Full, top light
AP6400 at Full, bottom light

I wanted to really make this image look hot, especially the model. That is why I focused on using the reds, yellows, and oranges. However, I also used green to bring out the feeling of summer and especially the Caribbean.

Model Lit With:
AP2330 at Full, bottom back light
G525 at Full, bottom front light

Backdrop Lit With:
L191 at 50%, top light
G845 at 50%, top light
AP4850 at 75%, top light
G1510 at Full, bottom light
AP1150 at Full, bottom

The main colors here are blues, with a lot of white and grey. The whites and greys are mean to evoke the way the world feels so cold and blank right before snow begins to small, and the blue is to keep the cold feeling of winter.

Caribbean Summer

1) AP4720 @ 61%, 17 ft above deck, 3ft SR, 16 ft DS, 20ft throw, 34 degree elevation angle, 11 degree side angle

2)AP6300 @ 41%, 17 ft above deck, 3ft SL, 16 ft DS, 20ft throw, 34 degree elevation angle, 11 degree side angle

3) AP7420 @ 60%, 10 ft above deck, center, 16ft DS, 16ft throw, 14 degree elevation angle, direct back light

4) AP1050 @ 66%, 17ft above deck, center, 8ft DS, 14ft throw, 54 degree elevation angle, direct back light

For the Caribbean sun I tried to create a realistic radiant light. If you’re in bright sunlight white is often very reflective and bright, and I also tried to bring a certain brightness to the photo. I used mostly lights overhead because it is noon. I also tried to incorporate some blue hues that are so present in places like the Caribbean.

Gothic Easter

Autumnal Vermont

Backdrop top: AP2040 @ 25%, AP1900 @ FL

Backdrop bottom: AP2200 @ 50%, AP2330 @ 75%

1) AP4650 @ FL, 12ft above deck, 12ft SL, direct sidelight, 13ft throw, 27 degree elevation angle

2)AP4650 @ 50%, 12ft above deck, 12ft SR, direct sidelight, 13ft throw, 27 degree elevation angle

3)AP2140 @ 25%, 10ft above deck, 6ft SL, 16ft DS, 18ft throw, 13 degree elevation, 21 degree side

4)AP4600 @ 25%, 10ft above deck, 6ft SR, 16ft DS, 18ft throw, 13 degree elevation, 21 degree side

5)AP2330 @ 75%, 10ft above deck, center, 16ft DS, 16ft throw, 14 degree elevation, direct back light

I tried to match the pictures tones of blue, gray, and purple (I made the backdrop a bit too dark). A blue-gray light that seems chilly comes over the model, similar to the mix of colors in the clouds. I tried to create a cool, natural light from above with some blue highlights on either side to accentuate the cold.

AP 7550 @ 17%, 6 feet above deck, 12 feet stage right of model, 8 feet downstage of model, 14 foot throw, 56 degree side angle.

AP 7750 @ 28%, 1 foot above deck, 12 feet stage right of model, direct sidelight to model, 13 foot throw, -23 degree elevation angle.

AP 7550 @ full, 1 foot above deck, 12 feet stage left of model, direct sidelight to model, 13 foot throw, -23 degree elevation angle.

AP 7750 @ 28%, 6 feet above deck, 12 feet stage left of model, 8 feet downstage of model, 14 foot throw, 56 degree side angle.

AP 7750 @ 29%, 17 feet above deck, 6 feet stage left of model, 8 feet upstage of model, 15 foot throw, 48 degree elevation angle, 37 degree back angle.

AP 7550 @ 90%, 17 feet above deck, centered on model, direct down light on model, 11 foot throw.

AP 6300 @ full, 17 feet above deck, centered on model, 8 feet downstage of model, 14 foot throw, 54 degree elevation angle, direct backlight.

AP 4150 @ 87%, 17 feet above the deck, centered on model, 16 feet downstage of model, 19 foot throw, 35 degree elevation angle, direct backlight.

— I focused on the yellowish aspect of the sunset.  I also wanted to blend a little bit of red in to the mix as well.  I think a sunset includes the colors yellow, red and orange which creates the sunset feel of lighting.  I really focused on the sky and how it fades from an intense yellow to an almost light blue. I thought this lighting depicted a sunset pretty well.

AP 4650 @ 59%, 1 foot above deck, 12 feet stage right of model, 8 feet downstage of model, 15 foot throw, -19 degree elevation angle, 56 degree side angle.

AP 4650 @ 60%, 1 foot above deck, 12 feet stage left of model, 8 feet downstage of model, 15 foot throw, -19 degree elevation angle, 56 degree side angle.

NC @ 21%, 6 feet above deck, 12 feet stage right of model, 8 feet downstage of model, 14 foot throw, 56 degree side angle.

NC @ Full, 17 feet above the deck, 6 feet stage right of model, 8 feet downstage of model, 15 foot throw, 48 degree elevation angle, 37 degree side angle.

NC @ 10 %, 6 feet above deck, 12 feet stage left of model, 8 feet downstage of model, 14 foot throw, 56 degree side angle.

NC @ 49 %, 1 foot above deck, 12 feet stage left of model, direct sidelight to model, 13 foot throw, -23 degree elevation angle.

—  The easter sunrise in a gothic church seemed to have a white, blueish and pink color to it.  The sunlight that comes in to the church is basically white but with the stained glass windows I thought and easter sunrise would mostly have subtle hints of blue and pink.  I thought the overall light should be bright and I think the hint of blue also makes it feel like a sunrise.

NC @ 63%, 1 foot above the deck, 12 feet stage right of model, 8 feet downstage of model, 15 foot throw, -19 degree elevation angle, 56 degree side angle.

AP 4680 @ 86%, 6 feet stage right of model, 8 feet downstage of model, 12 foot throw, -31 degree elevation angle, 37 degree side angle.

AP 4680 @ 27%, 6 feet stage left of model, 8 feet downstage of model, 12 throw, -31 degree elevation angle, 37 degree side angle.

NC @ 22%, 1 foot above the deck, 12 feet stage left of model, 8 feet upstage of model, 15 foot throw, -19 degree elevation angle, 56 degree back angle.

AP 4680 @ Full, 17 feet above deck, centered on model, 8 feet downstage of model, 14 foot throw, 54 degree elevation angle, direct backlight.

NC @ 12 %, 17 feet above the deck, 3 feet downstage of model, 16 feet downstage of model, 20 foot throw, 34 degree elevation angle, 11 degree side angle.

NC @ 31%, 17 feet above the deck, 3 feet stage left of the model, 16 feet downstage of the model, 20 foot throw, 34 degree elevation angle, 11 degree side angle.

—  A hot summer day in the Caribbean is depicted by bright white light and a very small hint of sky or light blue.  The key to creating this kind of lighting was to use lots of white light because a hot summer day will be very bright and have a lot of white light.  Again I focused on the sky and the color it turns in the particular setting.  In this case it is white and a very clear light blue which I think represents a hot summer day.

AP 2330 @ Full, 6 feet stage right of the model, 8 feet downstage of the model, 12 foot throw, -31 degree elevation angle, 37 degree side angle.

AP 2330 @ Full, Centered on model, 8 feet downstage of the model, 10 foot throw, -37 degree elevation angle, direct back light.

AP 2330 @ Full, 6 feet stage left of model, 8 feet downstage of model, 12 foot throw, -31 degree elevation angle, 37 degree side angle.

NC @ 7%, 17 feet above the deck, 3 feet stage left of the model, 8 feet downstage of model, 14 foot throw, 52 degree elevation angle, 21 degree side angle.

NC @ 95 %, 17 feet above the deck, 3 feet stage right of the model, 8 feet downstage of model, 14 foot throw, 52 degree elevation angle, 21 degree side angle.

—  A winter afternoon just before snow appears to me as a very grey/ white kind of lighting.  The clouds start to hover, creating that grayish color and the white comes from the sun trying to shine light through the clouds.  I think a stark white and a musky gray are the two primary colors that can make up this kind of lighting for this atmosphere.