Drama 16 Stage Lighting

I used 7 lights for this New England Sunset scene. I used #1 (Full) to represent the sun itself, which was gel #R15, deep straw. Beside it, I used lights 2 (50%) and 3 (50%) to be the bright white sunlight reflecting outwards from the sun itself, which used gel number #L201, Full CT Blue. Lights 6 (Full), 5 (Full), and 4 (50%) came from the top and angled downwards, and I made these #R26, Light Red. This was supposed to represent the deep red that moves outwards at the horizon during a sunset. Finally, to add some purple to the scene, I used light #7 (Full) with the gel color #R58, Deep Lavender. Ideally, I would’ve liked it if this light could be positioned higher up on the wall the way pink and purple starts to spread above a setting sun, But I couldn’t figure out how to do it. I also turned on the top and bottom cyc lights on Full with #L201, Full CT Blue. Overall, I think it fairly represents a sunset.

For the Spring Sunrise over a gothic cathedral, I used 5 lights plus the cyc. The top of the cyc was #R51, Surprise Pink, on Full and the bottom of the cyc was #R15, Deep Straw, also on Full. This created a pink-to-orange gradient that it present during a sunrise. For lights 1 and 2 (50%), I used #R15, Deep Straw, to show the orange color of the sky that spreads outwards from the actual sun. These came from the highest most downstage corners. For lights 4 and 5 (50%) , I used #R58, Deep Lavender, to get a pinkish, purplish glow that is reminiscent of spring sunrises. These were hung on the highest most downstage corners. Finally, light 3 (75%) was #R21, Golden Amber, which was meant to represent the sun itself, or the light emanating from most close to the sun. This came from the most downstage center overhead light and it shone directly onto the subject.

For the noon on a summer day in the Caribbean, I lit the cyc in the back with the bottom lights being #R68, Perry Sky Blue, and the top being #L151, Gold Tint. The rest of the lights were all No Gel and full light. I used the top three center lights, the upstage most top lights on the left and right, and the downstage most toplight on the left and right. This gave a bright, sunny appearance to the lighting.

For the winter in Canada, I used 7 lights. All lights used gel #R80, Primary Blue, and were at full lighting capacity. The center three toplights (1, 2, and 3) used the gobo “dots”, as did the downstage most corner lights on the left and right (4 and 5). The upstage most corner lights on the left and right (6 and 7) did not have any gobos in order to project the color more clearly.