Drama 16 Stage Lighting

Fall Sunset in Vermont

Back Drop:

Top: Gel AP1800 at  75%, Gel 7550 at 50%     Bottom: Gel AP 6800 at 50%, Gel Red at 25%     Image: Fall trees

Hung:

2 lights 60 degree, back of house bar, Gel AP6800 with texture template at 25%

1 light 0 degree, back of house bar, Gel AP7600 at 50%

1 light SR foot light, Gel AP1800 at 50%

1 light SL foot light, Gel AP6800 at 20%

This feels like a fall sunset in Vermont because of the intense reds and burnt orange, in a lot of my research of sunsets in Vermont specifically I kept coming across these intense reds and oranges and really wanted to incorporate that in this design. Also, the distribution of color on the model is really interesting and the use of the texture makes in look like she’s really standing amidst the tress with sun coming at her at an angle.

Easter Morning in Gothic Cathedral

Back Drop:

Top: NC at Full       Bottom: Yellow at 25%    Image: Cathedral Interior

Hung:

2 lights about 30 degree, US R and L, Gel L162 at 25%

2 lights about 30 degree, direct C top light R and L, Gel L102 at 40%

2 lights about 80 degree, back of house far R and L, Gel L162 at 25%

With this one I really wanted a lot of angles and shadows because especially in Gothic cathedrals the windows, which would be the main source of light, are really high up. In a production with this I would likely use a hazer to bring out the individual rays of light.

Caribbean on a hot summer day

Back drop:

Top: NC at Full     Bottom NC at 75%     Image: Beach chairs and Palm trees

Hung:

1 light 30 degree horizontal and vertical SR, Gel AP6100 with template at Full

1 light 45 degree, first bar in house SR, Gel AP 1050 at 40%

1 light o degree horizontal, first bar in house, Gel AP6100 at 40%

1 light 45 degree, bar in back of house SL, Gel 1050 at 50%

I decided to place my model partially under a palm tree because noon in the Caribbean is blindingly bright, so this location would give me more variety in the light. I feel like this represents a hot summer day in the Caribbean because it’s a bright, warm light like you would see at this time without much shadowing because it’s noonday.

Winter just before the snow falls

Back Drop:

Top: NC at Full in Grey scale    Bottom: NC at 10% in Grey scale     Image: Bare Trees

Hung:

2 lights center wing/ offstage side lights top bar,  Gel AP2330 with template at 75%

2 lights 30 degree horizontal and vertical DS bar, Gel G785 at 30%

1 light Center Center top light, Gel G390 at Full

1 light bar at back of house center, Gel AP2330 at 40%

The first thing that came to mind when reading this description was bare trees and grey storm clouds, that kind of overcast, I want to snow but I won’t sort of day. So I used a lot of grey and blue tones to create that dark , dreary and cold atmosphere.

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.

Fall Sunset in Vermont

Backdrop lit with:

• NC at 25% from above
• BLUE at 50% from above
• NC at 75% from below

Model lit with:

• R63 at 50%, 17 ft. above deck, 3 ft. SR of model, 16 ft. DS of model, 20 ft. throw, 34° elevation angle, 11° side angle
• R22 at FULL, 17 ft. above deck, 6 ft SL of model, 8 ft. US of model, 15 ft. throw, 48° degree elevation angle, 37° back angle

I wanted to focus on the backlight quality during a sunset.  The specific picture that I used as a backdrop really shows highlights of blue and orange, so I felt that those were important colors to use in the look.  The deep orange light of the sun as it is setting is shown through partial side backlight on the figure.  In addition, the light blue light of the sky illuminates the front of the figure.

Easter Sunrise in a Gothic Cathedral

Backdrop lit with:

• NC at 50% from above
• NC at 25% from below

Model lit with:

• L203 at 50%, 17 ft. above deck, 12 ft. SR of model, 8 ft. DS of model, 18 ft. throw, 37° elevation angle, 56° side angle
• R3409 at 50%, 17 ft. above deck, 12 ft. SR of model, Direct sidelight to model, 16 ft. throw, 43° elevation angle,
• L203 at 50%, 17 ft. above deck, 12 ft. SR of model, 8 ft. US of model, 18 ft. throw, 37° elevation angle, 56° back angle
• L203 at 50%, 17 ft. above deck, 12 ft. SL of model, 8 ft. DS of model, 18 ft. throw, 37° elevation angle, 56° side angle
• R3409 at 50%, 17 ft. above deck, 12 ft. SLof model, Direct sidelight to model, 16 ft. throw, 43° elevation angle
• L203 at 50%, 17 ft. above deck, 12 ft. SL of model, 8 ft. US of model, 18 ft. throw, 37° elevation angle, 56° back angle
• MAG at 25%, 15 ft. above deck, 12 ft. SR of model, 8 ft. DS of model, 17 ft. throw, 32° elevation angle, 56° side angle, textured
• RED at 50%, 12 ft. above deck, 12 ft. SR of model, Direct sidelight to model, 13 ft. throw, 27° elevation angle, textured
• BLUE at 50%, 15 ft. above deck, 12 ft. SL of model, Direct sidelight to model, 15 ft. throw, 37° elevation angle, textured
• YEL at 50%, 12 ft. above deck, 12 ft. SL of model, 8 ft. US of model, 16 ft. throw, 23° elevation angle, 56° back angle, textured

I wanted to focus on the high windows on either side of the model.  These also featured stained glass windows.  To achieve this effect, I used color temperature adjustment filters (mainly to a blue tinted daylight, but one on each side with a more warm tone) and colors at various angles with texture to simulate the stained glass.

Noon on a hot Summer day in the Caribbean

Backdrop lit with:

• NC at FULL from above
• NC at FULL from below

Model lit with:

• R4560 at FULL, 17 ft. above deck, 12 ft. SR of model, 8 ft. DS of model, 18 ft. throw, 37° elevation angle, 56° side angle
• R4560 at FULL, 17 ft. above deck, 12 ft. SL of model, 8 ft. DS of model, 18 ft. throw, 37° elevation angle, 56° side angle
• R4560 at 75%, 17 ft. above deck, 6 ft. SR of model, 8 ft. DS of model, 15 ft. throw, 48° elevation angle, 37° side angle
• R4560 at 75%, 17 ft. above deck, 6 ft. SL of model, 8 ft. DS of model, 15 ft. throw, 48° elevation angle, 37° side angle
• NC at 75%, 15 ft. above deck, 12 ft. SR of model, 8 ft. DS of model, 17 ft. throw, 32° elevation angle, 56° side angle
• NC at 75%, 15 ft. above deck, 12 ft. SL of model, 8 ft. DS of model, 17 ft. throw, 32° elevation angle, 56° side angle

In this look, I wanted to examine the front light nature of sunlight.  Sunlight on a beach has a specific yellow tone to it, but I wanted to add a bit of light with no color to fill out the face a bit more.  The yellow provides a good idea of what the sun is doing to the model, but the white light is similar to the light that would be bounced off of the sand.

Winter afternoon just before the snow

Backdrop lit with:

• NC at 75% from above
• CYAN at 20% from above
• NC at 75% from below
• BLUE at 20% from below

Model lit with:

• G872 at 75%, 17 ft. above deck, 6 ft. SR of model, 8 ft. DS of model, 15 ft. throw, 48° elevation angle, 37° side angle
• G872 at 75%, 17 ft. above deck, 6 ft. SL of model, 8 ft. DS of model, 15 ft. throw, 48° elevation angle, 37° side angle
• NC at 30%, 17 ft. above deck, Centered on model, 8 ft. DS of model, 14 ft. throw, 54° elevation angle, direct backlight
• NC at 50%, 17 ft. above deck, Centered on model, 8 ft. US of model, 14 ft. throw, 54° elevation angle, direct backlight

There is a cool gray-blue tint to the light right before it snows.  I chose to put a blue-gray color temperature filter on the front lights.  The direct front and direct backlights have no gel in them in order to fill out the face with light that bounces off of the snow already on the ground.

The backdrop is a Red lighting (AP7750) from the top and Orange lighting (G388) from the bottom.

The lighting on the person is two white lights at 20% on opposing 45 degree angles. As well as front purple lighting (AP3600) at 50%, top pink lighting (Ap8320) at 75%, and slight back orange lighting (AP7200) at full.

I felt that this lighting represented a fall sunset in vermont because the lighting in that area gives of a very purple feel especially as it gets darker. That why I focused on that color. I made it more torwards the end of the sunset when its almost night time.

The backdrop is two blue lights (AP3800) at full from the top and one gray light (Ap2330) at full from the bottom.

The lighting on the person is two yellow lights (AP6700) from the side at 75% one towards the front and one towards the back. As well a pink light (AP7670) from the side middle, a side front pink light (AP7670) at 50% and a side front white light at 10%, and a blue light (AP4600) from the bottom side.

I felt this lighting represented a sunrise in the spring in a cathedral because of the softness of the light. The light is almost entirely coming from one angle with a little coming from the other side which gives the effect of the lighting reflecting off the gray bluish stone in a cathedral.

 The backdrop is two blue lights (AP4850) from the top at full and two orange lights (AP7400) from the bottom at full.

The lighting on the person is one white light from the front at 50%, one red-orange light (AP7800) from the top front at 75%, a orange light (AP6900) from the top at 75%, and a yellow light (AP6200) from the top back.

I felt this lighting represented a noon day in the Caribbean because of the warmth of the lighting. The colors a very warm and mix well to create this glowing radiance around the model.

The backdrop is a one blue light (AP4830) at full from the top and one dark blue light (AP4150) from the bottom.

The lighting on the person is one white light from the front side at 20%, and three varying light blue lights one (AP4750) at full from the front side, one (AP4680) from the middle side at 75%, and one (AP4830) from the back side at 75%.

I felt this lighting represented a winters afternoon because of the icy feel to it. There is a certain crispy almost too white feeling to the light in the middle of the winter and I felt that this captured it.

Fall Sunset

FALL SUNSET:

Backdrop lit with:

• NC at 25% from above
• L713 at full from above
• AP3180 at 75% from above
• NC at 25% from below
• RED at 75% from below
• GRN at 50% from below

Model lit with:

• AP3180 at full, 17 ft. above deck, 3 ft. SR of model, 8 ft. DS of model, 14 ft. throw, 52 degree elevation angle, 21 degree side angle.
• AP 6800 at 25%, 0 ft. above deck, centered on model, 8 ft. DS of model, 10 ft. throw, -37 degree elevation angle.
• AP 6800 at 31%, 12 ft. above deck, 12 ft. SL of model, direct sidelight to model, 13 ft. throw, 27%  elevation angle.
• AP 6800 at 61%, 6 ft. above deck, 12 ft. SL of model, direct sidelight to model, 12 ft. 0 degree elevation angle.
• AP 6800 at 50%, 1 ft. above deck, 12 ft. SL of model, direct sidelight to model, 13 ft. throw, -23 degree elevation angle.

I chose to emphasize the sidelight created by the sun setting in the west. The darker and lighter shades of purple used as toplight on the backdrop are meant to give the feeling of the night sky still illuminated by the setting sun, which, at least in New England, is often purple in hue.

Summer Noon

SUMMER NOON:

Backdrop lit with:

• NC at full from above.
• AP 2140 at full from below.

Model lit with:

• AP1500 at 60%, 17 ft. above deck, 3 ft. SR of model, 8 ft. DS of model, 14 ft. throw, 52 degree elevation angle, 21 degree side angle.
• AP1500 at full, 17 ft. above deck, centered on model, direct downlight on model, 11 ft. throw.
• AP1500 at 60%, 17 ft. above deck, 3 ft. SL of model, 8 ft. DS of model, 14 ft. throw, 52 degree elevation angle, 21 degree side angle.
• AP2140 at 20%, 0 ft. above deck, 6 ft. SR of model, 8 ft. DS of model, 12 ft. throw, -31 degree elevation angle, 37 degree side angle.
• AP2140 at 20%, 0 ft. above deck, 6 ft. SL of model, 8 ft. DS of model, 12 ft. throw, -31 degree elevation angle, 37 degree side angle.

High noon in the Caribbean has a white-hot sort of feel to its sunlight, so I used almost pure white downlight (it being noon, when the sun is directly overhead) on the model, with some fill on either side to prevent unwanted shadowing. I thought adding light reflected off the sand would be interesting, so I found a gel that matched the sand color and used it for some footlight.

Spring Sunrise

SPRING SUNRISE:

Backdrop lit with:

• NC at 25% from above.
• AP3540 at full from above.
• NC at 25% from below.

Model lit with:

• R12 at 25%, 17 ft. above deck, centered on model, 8 ft. upstage of model, 14 ft. throw, 54 degree elevation angle, direct back light.
• L143 at full, 17 ft. above deck, 3 feet SL of model, direct sidelight to model, 11 ft. throw, 75 degree elevation angle.
• R4490 at 50%, 17 ft. above deck, centered on model, direct downlight on model, 11 ft. throw.
• L106 at full, 17 ft. above deck, 3 ft. SL of model, direct sidelight to model, 11 ft. throw, 75 degree elevation angle.

I was working with the idea of the model being at the altar, lit mostly by light coming directly in from behind her and from both sides through stained glass, hence the shadows and the saturated colors. It isn’t a naturalistic setup, but I feel it conveys the spirituality of the moment. For a fill of the cathedral itself, I used a pale blue that made me think of the sky on spring mornings.

Winter Afternoon

WINTER AFTERNOON:

Backdrop lit with:

• NC at 80% from above.
• NC at 60% from below.

Model lit with:

• G680 at 40%, 17 ft. above deck, 9 ft. SR of model, 8ft. DS of model, 16 ft. throw, 42 degree elevation angle, 48 degree side angle.
• AP3300 at 75%, 17 ft. above deck, centered on model, 8 ft. DS of model, 14 ft. throw, 54 degree elevation angle.
• AP6200 at 40%, 17 ft. above deck, 9 ft. SL of model, 8ft. DS of model, 16 ft. throw, 42 degree elevation angle, 48 degree side angle.

This was my experiment with the McCandless system: I used complementary colors at opposing (roughly) 45 degree angles in front of the model. I used breakup gobos to give the effect of light coming through the trees, and I added a wintry bluish-white direct frontlight to give the impression of the crisp feeling in the air just before snow.

Caribbean:

1) G327 @ 75%–> Ten feet above deck, 6′ SR of model, 16′ DS of model, 18′ throw, 13 degree Elevation angle, 21 degree side angle

2)G327 @ 25% –> Ten feet above deck, 6′ SL of model, 16′ DS of model, 18′ throw, 13 degree elevation, 21 degree side angle

3) G327 @ 20% –> 12 feet above deck, 12′ SR of model, 16′ DS of model, 21′ throw, 17 degree elevation, 37 degree side angle

As it is difficult to portray exactly where someone is if they are merely standing in sunlight, I added the background aid in showing the location. I lit the model from all sides but made one side significantly brighter to show that it is a bright sunny day, and still showing the location of the sun. I chose a warm amber to give her a warm glow.

Before Snow:

CYC: Top: G1583 @ 50, Blue @ Full, Bottom: G1583 @ 80, Blue @ 90

1) AP 1150 @ 75 –> 17′ above deck, 3′ SR of model, 16′ DS of model, 20′ throw, 34 degree elevation, 11 degree side angle

2) AP 4830 @ Full with template –> 17′ above stage, 12′ SL or model, direct side light, 16′ throw, 43 degree elevation

3) Ap 4830 @ 75 –> 15′ above deck, 12′ SL of model, direct side light, 15′ throw, 37 degree elevation angle

4) AP 4830 @ full with template –> 17′ above stage, 12′ SL of model, 8′ DS of model, 18′ throw, 37 degree elevation, 56 degree side light

5) AP 4830 @ 75 –> 12′ above, 12′ SL of model, direct side light, 13′ throw, 27 degree elevation

Before snow, the sky has gray that mixes in with the blue. A cold blanket seems to cover the ground. In order to portray this I used an icy blue wash over the model but added in a single slightly warm light so she didn’t look washed out. Then I added a template which created shadows across her body, adding to the feeling of cold and making her look more dramatic. 

1) R32 @ Full –> 17′ above deck, 12′ SR of model, direct side light, 16′ throw, 43 degree elevation,

2) R 32 @ full–> 17′ above deck, 12′ SL of model, direct side light, 16′ throw, 43 degree elevation

3) R03 @ full –> 17′ above deck, 3′ SR of model, 8′ US of model, 14′ throw, 52 degree elevation, 21 degree back angle

4) Ro3 @ full –> 17′ above deck, 3′ SL of model, 8′ US, 14′ throw, 52 degree elevation, 21 degree back angle

5) R03 @ full w/ template –> 17′ above, center stage, 8′ US, 14′ throw, 52 degree elevation, direct back light

6) R 06 @ 75–> 17′ above, center stage, 16′ DS, 19′ throw, 35 degree elevation, direct backlight

For my cathedral I attempted to recreate the glow that seems to be created by the stained glass windows on the side (I used the R32 from opposite sides). I also wanted to create a glow around the model, so I used three back lights, one with a template to add some texture. Then I had to balance out her face so she was well lit, and I used a light straight above her to create an almost angelic look.

CYC: Top: Blue @ Full, Red @ Full; Bottom: Yellow @ 50% Red at 25%

1) R43 @ Full –> 17′ above deck, 3′ SR of model, 8′ US of model,  14′ throw, 52 degree elevation, 12 degree back angle

2) R52@ full –> 17′ above deck, center stage, 8′ US of model, 14′ throw, 54 degree elevation, direct backlight

3)R43 @ full –> 17′ above, 3′ SL of model, 8′ US of model, 14′ throw, 52 degree elevation, 21 degree back angle

4) R 38@ 50 –> 10′ above stage, 6′ SL of model, 16′ DS of model, 18′ throw, 13 degree elevation, 21 degree side angle

5) AP6600@ Full –> 15′ above, 12′ SL of model, 8′ US of model, 17′ throw, 32 degree elevation, 56 degree side light

For the sunset I wanted to use a lot of color to recreate the pinkish glow that people get when standing near a sunset. I made sure all the brighter light came from one direction to show where the sun was. I used a few different pinks from all angles to create the pinkish glow, then hit her from the side with a brighter amber to fill in her face and create the look of the sun hitting her from the side.

Fall Sunset

Backdrop lit with:

–        G220, 32% intensity from above

–        R385, 50% intensity from above

–        G845, full intensity from above

–        R11, 90% intensity from below

Model lit with:

-G250, 50% intensity, 12 feet above the deck, 12 feet SR from model, 16 feet down stage of model, 21 foot throw, 17 degree elevation angle, 37 degree side angle.

-G460, 50% intensity, 1 foot above deck, 12 feet SR of model, 8 feet downstage of model, 15 food throw, -19 degree elevation angle, 56 degree side angle

-P4200, 50% intensity, 10 feet above deck, 6 feet SL of model, 16 feet downstage of model, 18 foot throw, 13 degree elevation angle, 21 degree side angle

-G780, 25% intensity, 17 feet above deck, 12 feet SL of model, 16 feet downstage of model, 23 food throw, 29 degree elevation angle, 37 degree side angle

-G840. 50% intensity, 1 foot above deck, 12 feet SL of model, 8 feet downstage of model, 15 foot throw, -19 degree elevation angle, 56 degree side angle

I used a lot of rich tones to demonstrate the fall sunset.  I wanted to have a cool feeling without it being cold, but also use warm colors without it seeming too summery.  The light all comes from one side to show that the sun is low in the sky.

Easter Sunrise

Backdrop lit with:

–        G790, full intensity from above

–        No color, 50% intensity from below

–        AP8730, 75% intensity from below

Model Lit with:

–        G450, 34% intensity, 17 feet above deck, centered on model, 16 feet downstage of model, 19 foot throw, 35 degree elevation angle, direct back light

–        L110, 50% intensity, 10 feet above deck, centered on model, 16 feet downstage of model, 16 foot throw, 14 degree elevation angle, direct back light

I wanted to show the pure fresh light that you see during a sunrise in early spring.  To capture the feeling of being in a cathedral I used light that came from the front as if Lucy was looking through a cathedral window.

Caribbean Noon

Backdrop lit with:

-R377, full intensity from above

– R66, full intensity from below

Model lit with:

–        L790, 34% intensity, 17 feet above deck, 9 feet SR of model, 8 feet downstage of model, 16 foot throw, 42 degree elevation angle, 48 degree side angle

–        R96, 7% intensity, 17 feet above deck, 3 feet SR of model, 16 feet downstage of model, 20 foot throw, 34 degree elevation angle, 11 degree side angle

–        R07, 85% intensity, 17 feet above deck, centered on model, 16 feet downstage of model, 19 foot throw, 35  degree elevation angle, direct back light

–        R06, 7% intensity, 17 feet above deck, 3 feet SL of model, 16 feet downstage of model, 20 foot throw 34 degree elevation angle, 11 degree side angle

–        L774, 34% intensity, 17 feet above deck, 9 feet SL of model, 8 feet downstage of model, 16 foot throw, 42 degree elevation angle, 48 degree side angle

The bright blue color of the backdrop was very important to display the color of a Caribbean sky.  I tried to light from above to show that it was noon, and I used warm toned colors to remind you of a hot summer day.

Winter Afternoon

Backdrop lit with:

–        G888, 75% intensity from above

–        AP3200, 25% intensity from above

–        G1514, full intensity from below

Model lit with:

–        G980, 25% intensity, 0 feet above deck, centered on model, 8 feet downstage of model, 10 foot throw, 37 degree elevation angle, direct back light

–        NC, 25% intensity, 6 feet above deck, 12 feet SR of model, direct sidelight, 12 foot throw, 0 degree elevation angle

–        AP2020, 25% intensity, 12 feet above deck, 12 feet SR of model, 16 foot throw, 23 degree elevation angle, 56 degree back angle

–        AP2090, 50% intensity, 17 feet above deck, 12 feet SR of model, direct sidelight, 16 foot throw, 43 degree elevation angle

–        G920, 75% intensity, 17 feet above deck, 6 feet SR of model, 8 feet downstage of model, 15 foot throw, 48 degree elevation angle, 37 degree side angle

I wanted to capture the brisk coldness you feel in the air before a snowfall by using various shades of purple and grey.  I chose to light to the side to give the impression that it was mid afternoon and it would be snowing through the night.

Autumn sunset.

The backdrop attempts to emulate the sky in autumn and at sunset: deep, full colours at the bottom, and that sort of autumnal gray on top. The light hitting the model is primarily from SL, and maintains a sort of warmness while fading into night.

Model lit with:

1 full intensity with a yellow gel, sidelight hung SL at a 32 degree angle of elevation and 56 degree side angle.

1 half intensity with a magenta gel, sidelight hung SL at 23 degree angle of elevation and 56 degree side angle.

1 half intensity with a red gel, backlight hung SR at a -19 degree angle of elevation and a 56 degree side angle.

1 half intensity with a blue gel, footlight hung SR at a -31 degree angle of elevation and 37 degree side angle.

Backdrop lit with:

1 half intensity with an AP1800 gel, footlight SR

1 half intensity with a G885 gel, from above CR

1 quarter intensity with a G925 gel, from above SR

1 full intensity with an AP2020 gel, from above SL

Caribbean noon. All the light hitting the model is from directly above. The proximity of the Caribbean to the equator and the time of day prompted that decision. The backdrop attempts to emulate clear blue water and clear blue skies.

Model lit with:

3 full intensity backlights with yellow gels:

– 2 at a 52 degree angle of elevation and a 21 degree back angle to SR/SL

– 1 at a 52 degree angle of elevation and a 0 degree side angle

2 full intensity sidelights with AP7550 gels, at 75 degree angles of elevation SR/SL

1 full intensity sidelight with an AP6500 directly above the model

2 full intensity frontlights with AP7550 gels at 52 degree angles of elevation and 21 degree side angles SR/SL

1 full intensity frontlight with no gel at a 52 degree angle of elevation and a 0 degree side angle

Backdrop lit with:

1 full intensity with a blue gel, from above SL

1 full intensity footlight with a cyan gel CL

Cathedral sunrise. I really played with the idea of an enclosed space here, where the only light was coming through a stain-glass window. The backdrop is mainly for mood, but I also sought to create a sense of the vastness of a cathedral by using darker colours. The model is lit entirely from SR, with direct sidelight at high angles, and in many rich full colours to emulate light coming through a stain-glass window.

Model lit with:

2 full intensity direct sidelights with red gels

– 43 degree angle of elevation

– 51 degree angle of elevation

1 full intensity direct sidelight with with a yellow gel at a 37 degree angle of elevation

1 half intensity direct sidelight with no gel at a 27 degree angle of elevation

1 full intensity direct sidelight with a blue gel at a 0 degree angle of elevation

Backdrop lit with

1 quarter intensity footlight with a red gel CR

1 quarter intensity with a blue gel from above SL

Winter afternoon. I used a lot of grays and whites here. There’s a certain grayness to the light in winter, like it is peaking through clouds to get to earth.

Model lit with:

1 full intensity sidelight with no gel at a 29 degree angle of elevation and a 37 degree side angle SL

1 half intensity backlight with a G515 gel at a 37 degree angle pf elevation and a 56 degree back angle SR

1 quarter intensity backlight with a G515 gel at a -19 degree angle of elevation and a 56 degree back angle SR

Backdrop lit with:

2 quarter intensity with G515 gels from above SR/SL

2 half intensity with G525 gels from above CR/CL

2 quarter intensity footlights with no gels SR/SL