Drama 16 Stage Lighting

Sunny day in Hawaii at noon

I chose to use different shades of blue and green for my cyc to represent the different hues in the ocean and in the sky, pair with sandy tan and yellow tones focused on the actors to represent the warm, pleasant sun light and sand.

Cyc light: top light at full intensity with a Gam 740 gel, bottom light at 50% intensity with a Gam 570 gel, light at 50% intensity with a Gam 690 gel. light at 50% intensity with a Gam 790 gel

• Light at 25% intensity with an Apollo 2120 gel at 29 degree elevation angle, 37 degree side angle
• Light at 50% intensity with a Rosco 388 gel at a 31 degree elevation angle, 29 degree side angle
• Light at 50% intensity with an Apollo 2140 gel at a 33 degree elevation angle, 21 degree side angle
• Light at 50% intensity with a Lee 159 gel at a 34 degree elevation angle, 11 degree side angle
• Light at a 25% intensity with a Rosco 321 gel at a 33 degree elevation angle, 21 degree side angle
• Light at a 25% intensity with an Apollo 2100 gel at a 29 degree elevation angle, 37 degree side angle
• Light at a 25% intensity with a Rosco 370 gel at a -31 degree elevation angle, 37 degree side angle

Winter afternoon in Maine

For this scene, I used blues, whites, and gray gels in my lights to show the cold temperature of the scene. In addition to this, I used a gobo in two of the light fixtures, which made it appear as if snow was falling onto the actors.

Cyc light: Top light at a 75% intensity with a Lee 710 gel, light at a 25% intensity with a Lee 299 gel, light at a 25% intensity with a Permacolor 43208 glass gel. Bottom light at full intensity with a Permacolor 43208 glass gel.

• Light at full intensity with a Gam 870 gel and a gobo at a 31 degree elevation angle, 29 degree side angle
• Light at 25% intensity with a Gam 920 gel at a 34 degree elevation angle, 11 degree side angle
• Light at 50% intensity with a Gam 870 gel and a gobo at a 14 degree elevation angle, direct back light
• Light a 75% intensity with an Apollo 3200 gel at a 34 degree elevation angle, 11 degree side angle
• Light at full intensity with a Lee 201 gel at a 29 degree elevation angle, 37 degree side angle

Montauk Sunrise

For this scene, I chose to focus primarily on the cyc, portraying light climbing up from the horizon and the sky still partially dark from the nighttime before. In addition, I chose to place my lights primary from the side, as to imply the sun rising from one direction and casting a shadow across the actor’s face.

Cyc Light: Apollo 3850 at full on top, Apollo 2190 at 70% and Apollo 3520 at 25% on bottom.

• Light at 50% intensity with an Apollo 3520 gel at a 37 degree elevation angle, 56 degree side angle
• Light at 50% intensity with an Apollo 3180 gel at a 37 degree elevation angle
• Light at 25% intensity with no color gel at 23 degree elevation angle, 56 degree side angle
• Light at 50% intensity with an Apollo 2120 at a 0 degree elevation angle
• Light at 25% intensity with an Apollo 2220 at a 0 degree elevation angle, 56 degree side angle
• Light at 75% intensity with a Lee 441 gel at a -19 degree elevation angle, 56 degree side angle

Vermont Fall Sunset:

For this scene, I used backlight to create a silhouette on the actor, as if they were looking at the sun setting in the background. I chose to use different hues of orange and red, to show the light fading into the horizon line.

Cyc light: Top Light at full intensity with an Apollo 2190 gel, light at 50% intensity with an Apollo 3000 gel, and a light at 10% intensity with no color gel. Bottom light at a 50% intensity with an Apollo 2190 gel and a light at 75% intensity with an Apollo 1800 gel

• Light at 75% intensity with an Apollo 2220 gel at 90 degree elevation angle
• Light at full intensity with an Apollo 2190 gel at a 37 degree elevation angle, 56 degree back angle
• Light at full intensity with an Apollo 2120 gel at a 37 degree elevation angle, 56 degree back angle
• Light at 50% intensity with a Rosco 22 gel at 32 degree elevation angle, 56 degree back angle
• Light at 50% intensity with a Rosco 22 gel at 32 degree elevation angle, 56 degree back angle

Fall Sunset in Vermont

I used mainly side light to complete this look with some floor light, some back light, and a teeny bit of front light. I forgot to save this as a scene before changing it and can’t list all the lights I used. My bad.

I used the silhouette of a forest on the cyc combined with a blue top light and orange bottom light to emulate a sunset. When I think of Vermont, I think of the mountains and woodsy views that are available there and tried to capture a moment of two people enjoying the view of a sunset from a peak somewhere.

Spring Sunrise in Montauk

Spring sunrises are gentle but bright and I imagined people hanging out on the beach watching the sunrise behind the lighthouse. I attempted to emulate the glow and energy that morning sunrises have as well as the muted quietness and tranquility that comes with them.

Cyc:

• Lighthouse silhouette image
• Top: AP3450 at 25% andG685 at 66%
• Bottom: G480 at 46% and G120 @57%

Model:

• G154 @ 20% – 34 degree elevation – 11 degree side
• AP4830 @ 27% – 52 degree elevation – 21 degree side
• Yellow @ 22% – 54 degree elevation – direct back light
• AP7330 @ 26% – 52 degree elevation – 21 degree side
• AP4720 @45% – -23 degree elevation – direct side light
• AP2090 @ 49% – 32 degree elevation – 56 degree back
• AP3450 @ 50% – 51 degree elevation – direct side light
• AP7670 @ 75% – 0 degree elevation – direct side light
• AP2190 @ 75% – -23 degree elevation – direct side light

Hawaiian Summer Afternoon

This one was challenging to re-create due to sunny afternoons having such an intense bright, near white light. I wanted to give dimension to the models while including a brightness. I added a fun silhouette of palm trees and a hammock to emphasize the illusion and continue the silhouette theme.

Cyc:

• Palm tree silhouette image
• Top: AP4500 @ 56% – AP6300 @ full – G685 @ 50%
• Bottom: AP5500 @ 25% and AP4850 @ full

Model:

• No Color @ 50% – 0 degree elevation – direct side light
• AP3300 @ 75% -32 degree elevation – 56 degree side
• AP4830 @50% – 52 degree elevation – 21 degree side
• AP2140 @ 25% – 51 degree elevation – direct side light
• No Color @ 50% – 32 degree elevation -56 degree side
• AP6150 @ 50% – 23 degree elevation – 56 degree back
• AP6400 @ 50% – 0 degree elevation – direct side
• AP7250 @ 25% – 0 degree elevation – 56 degree side
• AP3800 @ full – -19 degree elevation – 56 degree back

Winter Afternoon in Maine

For this scene, I had the challenge of creating a white/grey yet dimensional lighting. Winters up north are full of snow and a bright mystical atmosphere. I used an image of a snowy roadway in the background to enhance the lighting as well as establish a location. Yay snow!

Cyc:

• Snowy image
• Top and bottom: NC @ full

Model:

• AP3450 @ 50% – 33 degree elevation – 21 degree side
• AP4850 @ 22% – 52 degree elevation – 21 degree side
• NC @ 75% – 35 degree elevation – direct back light
• NC @ 25% – 34 degree elevation – 11 degree side
• AP7300 @ 22% – 27 degree elevation – direct side light
• AP7330 @ 17% – -23 degree elevation – direct side light

1. Fall Sunset in Vermont

This photo has four back lights. The one on the far left is at a 37 degree elevation angle with a 56 degree back angle. It is at 60% intensity with AP7770 gel. The second light is a 52 degree angle elevation with a 21 degree back angle. It has 50% intensity with gel G385. The next light has a 52 degree elevation angle with a 21 degree back angle. It has a 100% intensity with gel G430. The last and far right light has a 37 degree elevation angle with a 21 degree back angle. It’s intensity is at 50% with AP7750 gel color. The top cyc light (in order from left to right) R127 at 25% intensity, R21 at 10% intensity, R15 and 10% intensity, LHT 118 at full intensity. The bottom cyc light has RE019 and RE022 both at full intensity, as well as LHT0119 at 50% intensity, and LHT026 at 75% intensity.

I looked up a photo of a sunset in Vermont and it had a lot of bright orangey colors that blended into the blue of the sky. Also since it was sunset, I liked the idea of silhouetting the model as if she was watching the sunset and I was behind her and captured this image.

2. Noon on a sunny day in Hawaii

This photo uses 3 lights. The farthest left is front light with a 42 degree elevation angle and a 48 degree side angle. It has gel AP2080 at 75% intensity. The middle light has a 90 degree elevation angle with gel L140 at 50% intensity. The last and farthest right light has a 42 degree elevation angle and a 48 degree side angle. It has gel G515 at 75% intensity. The top cyc light has (in order from left to right) LHT713 at 75% intensity, LHT716 at 75% intensity, LHT363  at 75% intensity, and LHT721 at 75% intensity. The bottom cyc light has R369, LHT118, R66, R367 all at full intensity.

When I think of a nice day in Hawaii, I automatically think of the beaches. I wanted to show that it was a clear blue sky and used the same teal colors you might find in their clear ocean water. I also lit the model very well with top and front light, as if it were a bright day with the sun overhead.

3. Spring sunrise in Montauk

This photo uses 5 front lights. The farthest left has a 42 degree elevation level with 48 degree side angle. It has gel G480 at 50% intensity level. The next light has a 52 degree elevation level with a 21 degree side angle. It uses gel L135 at 25% intensity. The next light has a 54 degree elevation level and is direct front light. It has no color and it at 75% intensity. The next light has 52 degree elevation angle and a 21 degree side angle. It uses gel L101 at 25% intensity. The last and farthest right light has a 42 degree elevation angle and a 48 degree side angle. It uses gel G388 at 50% intensity. The cyc top light in order of left to right uses gel R85 at 75%, P35400 at 50% intensity, RE5085 at 50%, and P34200 at 70% intensity. The bottom cyc uses gel G420 at 25%, G350 at 40%, LHT778 at 25%, LHT022 at 50% intensity.

The image I used for inspiration was of the sun just coming up over the horizon lighting up a beach. I wanted to show that the night time was leaving, which is why I used darker blues and some purples at the top. I also wanted to show the bright intensity of the sun just coming up which is why I used a lot of strong orange.

4. Winter afternoon in Maine

This photo uses 5 lights. The first farthest left is a top light at a 51 elevation angle. It has gel G885 at 50% intensity. The next light is a front light at a 52 degree elevation angle with a 21 degree side angle. It has gel G920 at 25% intensity. The next light is a top light at a 54 degree elevation angle with no gel at 50% intensity. The next light is a front light at a 52 degree elevation angle with a 21 degree side angle. It uses gel L202 at 25% intensity. The last and farthest right light is a top light with a 52 degree elevation level. It uses gel L061 at 50% intensity. The top cyc light from left to right uses gel RE341 at 75% intensity, R76 at 50%, R77 at 50%, and RE344 at 50%. The bottom cyc light uses R63 at 75% intensity, R62 at 50%, R60 at 25%, and G842 at 25% intensity.

When I think of a snowy, winter day in Maine, I think of a grey, bland sky. Almost everything is grey with just a bit of blue sky trying to peak out. I tried to keep true to that image without it looking too flat and washed out.

1. A Fall Sunset in Vermont
   
   There were six lights used on the model. (From stage right to left and from downstage to upstage, there is a sidelight with a 43 degree elevation angle, 75% intensity, and a AP7350 gel; a backlight with a 56 degree back angle, a 37 degree elevation angle, 77% intensity, and a AP8250 gel; a sidelight with 45% intensity, a L793 gel, and a 75 degree elevation angle; a sidelight with a G395 gel, 50% intensity, and 75 degree elevation angle; a backlight with 75% intensity, a AP5960 gel, a 42 degree elevation angle, and a 48 degree back angle; a sidelight with a 43 degree elevation angle, 25% intensity, and a AP6300 gel.The top lights on the cyclorama are a light with a R126 gel at 14% intensity, a light with RED at 80% intensity, a light with a G315 gel at 9% intensity, and a light with a R367 gel at 71% intensity. The cyclorama is lit from the bottom with a 20% intensity No Color light, a 32% intensity light with a R12 gel, a 41% intensity light with a AP2190 gel, and a 33% intensity light with a L026 gel.This lighting depicts a fall sunset in Vermont through its used of color and positioning. Colors are often quite vibrant in the sky near sunset and colors are also usually quite vibrant on the leaves of trees in Vermont during fall. Light shining through fall leaves at the correct angle can be affected like a stage light being covered by a gel. The whitish sunlight can shine through the leaves and appear to be the color of whatever the leaves are. The fact that all the light comes from behind the model signifies the sunset aspect of this moment since the light is leaving. The colors of light on the cyclorama are bright like they would be at sunset.
2. A Spring Sunrise in Montauk
   
   There are five lights on the models. There is a front light with a 0 degree elevation angle, a 56 degree side angle, a LHT020 gel, and 49% intensity. There is a sidelight with a 0 degree elevation angle, a L793 gel, and 54% intensity. There is a front light with a 23 degree elevation angle, a 56 degree side angle, a LHT254 gel, and 77% intensity. There is a backlight with a 23 degree elevation angle, a 56 degree back angle, a L704 gel, and a 51% intensity. There is also a sidelight with a 37 degree elevation angle, a L135 gel, and 74% intensity.The cyclorama is lit from the top by a light with a RE202 gel and 40% intensity, a light with a RE219 gel and 31% intensity, a light with a L010 gel and 25% intensity, and a light with a R377 gel and 75% intensity. It is lit from the bottom by four lights as well: a light with a R24 gel and 39% intensity, a light with a YELLOW gel and 46% intensity, a light with a RE002 gel and 20% intensity, and a gel with a L172 gel and 20% intensity.The lighting is appropriate for the moment because the light on the models comes from one general area. This area could be understood to be the sun rising. The colors are warm and diverse but gentler, less intense, and less vibrant than the colors in the fall picture. The sunlight might catch some flowers or flowering trees that are blooming as it rises but it would not be as overwhelming as the changing colors of leaves in Vermont in fall.
3. Noon on a hot Summer day in Hawaii
   
   There are four lights on the model. One is a front light with a G335 gel, a 52 degree elevation angle, a 21 degree side angle, and 70% intensity. A second light is a front light with a 34 degree elevation angle, a 11 degree side angle, a L130 gel, and a 53% intensity. Another is a front light with a 34 degree elevation angle, a 11 degree side angle a L172 gel, and 25% intensity. Lastly, there is a light with a 48 degree elevation angle, a 37 degree side angle, a AP3550 gel, and 50% intensity.Lighting the top of the cyclorama are four lights: a light with a RE165 gel and 40% intensity, a light with a RE322 gel and 31% intensity, a light with a RE5336 gel and 25% intensity, and a light with a RE363 gel and 75%. Lighting the bottom of the cyclorama are four lights: a light with a RE212 gel and 39% intensity, a light with a RE130 gel and 40% intensity, a light with a RE243 gel and 50% intensity, and a light with a RE195 gel and 50% intensity.This lighting fits the scene described because all of the light hits the model hard blotting out details and casting harsh, dark but shallow shadows across the face like the noonday sun. The lighting also simulates the brightness of the middle of the day with the bright blue sky, and the combination of lights creates a slightly warm white-ish light, which seems appropriate to represent the summer heat at midday.
4. A Winter Afternoon in Maine
   
   There are three lights on the models. One is a front light with a 32 degree elevation angle, a 56 degree side angle, a L009 gel, and 71% intensity. Another is a direct backlight with a 14 degree elevation angle, a L249 gel, and 67% intensity. The last is a backlight with a 37 degree elevation angle, a 56 degree back angle, a L366 gel, and 60% intensity.The cyclorama has four top lights: a 17% intensity light with a G1514 gel, a 50% intensity light with a R19 gel, 10% intensity light with a L010, and a 87% intensity light with a R367. The cyclorama also has four bottom lights: a 87% intensity light with a L226 gel, a 30% intensity light with a R12 gel, a 41% intensity light with a AP2190 gel, and a 50% intensity light with a L026 gel.This lighting fits the moment described because there is warmth in some of the lighting’s color to signify afternoon and coolness to signify winter and the cold. The light also is more prominent on one side of the models to signify that the sun has past its peak point in the sky. There is also a combination of grays, blues, whites, and yellows on the cyclorama to signify the cold, bleak snowiness of Maine contrasting with the power of the afternoon sunlight to illuminate the world.

1. Fall Sunset in Vermont

Cyc: bottom AP7450 at 50%, top R76 at full

Back light: one AP7450 at full, two RE442 at 50%

Top light: one AP2100 at 25%

Angle: All back light with one top light

When I think of a sunset, I think of objects silhouetted against a warm sky that fades from one color to the next.  I wanted the warmer colors near the bottom of the cyc since the sun would be sinking towards the horizon and the cool blue of night higher up.  I also used only back light to show the sun was behind the person and that was the only source of light.

2. Spring Sunrise in Montauk

Cyc: bottom G990 at 50% with AP7450 at 25%, top G820 at 75%

Top side light: RE442 at 50% with G990 at 25%

Top light: AP2100 at 50% with texture, G820 at 50%

Angle: Top light and back side light

When I thought of Montauk, I thought of the beach with a sunrise.  Therefore I used a gentle purple and orange on the bottom of the cyc and a cool gray/blue for the top.  I then uses textures and golds, blues and purples to make the floor look like the sunrise reflecting off of the ocean water.

3. Summer Noon in Hawaii

Cyc: bottom R65 at full, top RE130 at full

Top light: two RE442 at 50% and one AP2100 at 25%

Top side light: three of AP2100 at 50% and three of RE442 at 75%

Angle: Top and side light

I have never been to Hawaii but I would assume a hot mid-summer day would have a crisp blue sky and a continuous flood of warm orange sunlight.  I used top and side light to simulate the sun coming down from directly above the person while the cyc is a cool piercing blue.

4. Winter Afternoon in Maine

Cyc: bottom Re442 at full, top L709 at 75%

Side light: 3 with RE442  at 50%, two with L709 at 25%

Top light: one with RE442 at 50%

Angle: Mainly side light with a  little top light.

I used mainly side light with a  little top light to simulate the sun slowly beginning to set. The colors of nature in winter to me also appear to always be cooler and therefore I used a crisp pale blue and cool toned yellow not he cyc.

Fall Sunset in Malibu

I feel this image is a good representation of a Fall sunset in a sunny place like Malibu. The dramatic sidelight gives the model a long shadow, indicating the end of the day. The purples in the backdrop give the moment the “tropical” feel of Malibu, but still contains the greenish color of a Fall sunset.

CYC
Above: G730 at 75%, G985 FULL
Below: L124 at 75% G290 at 10%, L026 FULL

MODEL
AP7200 FULL
37 degree elevation angle
56 degree side angle
In the light lab:
17 feet above the deck
12 feet stage right of model
8 feet downstage of model
18 foot throw

AP5600 at 50%
32 degree elevation angle
56 degree side angle
In the light lab:
15 feet above the deck
12 feet stage right of the model
8 feet downstage of model
17 foot throw

G950 at 35%
52 degree elevation angle
21 degree side angle
In the light lab:
17 feet above the deck
3 feet stage left of model
8 feet downstage of model
14 foot throw

Spring Sunrise in Maine

I think of re-imagining of The Seagull set in Maine when I look at this picture. Lucy and Ray are two characters on a patio by the shore. The yellow sidelight represents the inside light spilling from a screen door, because it is not quite bright enough to turn the houselights off. Those yellow lights contrast with the cool blue and pink colors of the rising sun. The peachy colors chase away the dull turquoise blue, and the mix between them is a greyish-green which softens the sunrise and tells us that this is going to be a gentle and easy day.

CYC
Above: G790 FULL
Below: G268 FULL, G250 at 50%

MODEL (both models)
AP8550 FULL
27 degree elevation angle
In the light lab:
12 feet above the deck
12 feet stage rigt of model
Direct sidelight to model
13 foot throw

AP4630 FULL
75 degree elevation angle
In the light lab:
17 feet above the deck
3 feet stage right of model
Direct sidelight to model
11 foot throw

AP7150 FULL
23 degree elevation angle
56 degree seide angle
In the light lab:
12 feet above the deck
12 feet stage left of model
8 feet downstage of model
16 foot throw

Summer at Noon in Mexico

The backdrop in this design is a representation of a bright, blinding Mexico sky. The turquoise-white color at the bottom of the blackdrop gives us the feeling of the sand and ocean. The lighting is bright and mostly above the model, because the sun at high noon is directly above as, and the top light is not likely to cast a dramatic shadow. I imagine that in this scene Ray is on some sort of high-speed adventure or treasure hunt through a tourist trap part of Mexico.

CYC
Above: G850 FULL, G770 at 50%, G725 at 25%
Below: G785 FULL, G860 at 50%, G770 at 50%

MODEL
L013 FULL
32 degree elevation angle
56 degree back angle
In the light lab:
15 feet above the deck
12 feet stage right of model
8 feet upstage of model
17 foot throw

NC FULL
35 degree elevation angle
direct back light
In the light lab:
17 feet above the deck
Centered on model
16 feet downstage of model
19 foot throw

L007 at 75%
90 degree elevation angle
In the light lab:
17 feet above the deck
Centered on model
Direct downlight on model
11 foot throw

Winter Afternoon in New England

The backdrop in this photo suggests that the winter day had been mostly white, as winter skies tend to be in the Northeast, but is clearing up as the day ends. There is yellowish light on the model so she is not washed out in the blue of the backdrop, and the warm yellow light indicates it is a later time of day. There is purple sidelight on the model which gives color to a white winter day.

CYC
Above: L174 FULL, G889 at 75%
Below: G920 FULL, G872 FULL

MODEL
AP6600 FULL
33 degree elevation angle
21 degree side angle
In the light lab:
17 feet above the deck
6 feet stage right of model
16 feet downstage of model
20 foot throw

AP4800 at 50%
52 degree elevation angle
21 degree side angle
In the light lab:
17 feet above the deck
3 feet stage right of model
8 feet downstage of model
14 foot throw

AP3150 at 50%
37 degree elevation angle
56 degree back angle
In the light lab:
17 feet above the deck
12 feet stage left of model
8 feet upstage of model
18 foot throw

1) Fall Sunset in Vermont:

Oranges and purples represent fall for me completely, the array. As for sunsets, they usually have so many colors in them and I tried to replicate that in my picture and still be true to the fall color-scheme. I chose to add a dark blue on top to show the night approaching. As for my models I wanted them to be shadowy. I added pink into the model lighting to give a warm , romantic feel to it.

Cyc Lights:

Top: L071 full, L126 at 50%

Bottom: G345 full, NC at 25%

Model Lighting:

G104:29 degree elevation angle/ 37 degree side angle. Intensity: 50%. SR

G375: 37 degree elevation angle/ 56 degree side angle. Intensity: 25% SR

G375: -19 degree elevation angle/ 56 degree back angle. Intensity: 25% SR

G341: 35 degree elevation angle/ direct back light. Intensity: 50%

G342: 54 degree elevation angle/ direct back light. Intensity: 50%

G104: 29 degree elevation angle/ 37 degree side angle. Intensity: 25%. SL

G375: 37 degree elevation angle/56 degree side angle. Intensity: 50%. SL

G375: -19 degrees elevation angle/56 degree back angle. Intensity: 25%

2) Spring Sunrise in New England

In this picture, I replicated a sunrise that had pink tones to it. I believe that the lightness and the vibrant colors are very reminiscent of the spring time! Yellows and pinks also remind me of flowers, which is why I think this is a perfect choice for a spring sunrise. For the model lighting I still tried to keep it a little shadowy cause the sun is coming from the bottom while still keeping her vibrantly lit.

Cyc Lighting:

Top: AP8445 on full, Ap4700 at 25%

Bottom: AP745 on full, Nc at 25%, AP4700 at 25%

Model Lighting:

G341: 29 degree elevation angle/ 37 degree side angle. Intensity: 50% SR

G342: –19 degree elevation angle/ 56 degree side angle. Intensity: 50%. SR

G325: 54 degree elevation angle/ direct back light. Intensity: 25%

G342: 54 degree elevation angle/ direct back light. Intensity: 50%

G342: -31 degree elevation angle/ 37 degree side angle. Intensity: 25% SR

G323: 33 degree elevation angle/ 21 degree side angle. Intensity: full SL

G323: -19 degree elevation angle/ 56 degree side angle. Intensity: 25% SL

3) Noon on a Summer day in Brazil!

Brazil at noon in the summer is light blue! It is always sunny and everything is almost overwhelmingly bright! I chose to lit my model as homogeneously as possible since in Brazil the light comes from everywhere, mostly the light is pretty white but I added some slight yellow tones to bring up some of the Brazilian warmness. The backdrop is the exactly color of the sky at noon time.

Cyc Light:

Top : AP1900 full, Ap200 at 25%, NC at 25%

Bottom: AP3520 Full, AP1900 Full, NC at 50%

Model Lighting:

L778: 32 degree elevation angle/ 56 degree side angle. Intensity: 25%. SR

L130: 23 degree elevation angle/ 56 degree side angle. Intensity: 75%. SR

L130: 32 degree elevation angle/ 56 degree side angle. Intensity: 50%. SL

AP2220: 23 degree elevation angle/ 56 degree side angle. Intensity: 50%. SL

L750: 54 degree elevation angle/ direct back light. Intensity: 75%

4) Winter Afternoon in Alaska

I chose to depict a post-snowstorm day in Alaska, when the sky is bright blue because the storm has passed but there is snow everywhere. I added some purple tones in the backdrop to make the blue cooler. As for the model lighting I added lights with very little color in them, I also did some front floor lights to represent the light that would be reflected from the snow.

Cyc Lighting:

Top: AP3300 at 25%, AP3150 at 25%, AP3450 Full and AP3800 at 75%

Bottom: AP3600 full, AP3500 full

Model Lighting:

Ap3300: 29 degree elevation angle/ 37 degree side angle. Intensity: 25%. SR

Ap3300: 23 degree elevation angle/ 56 degree side angle. Intensity: 50%. SR

AP280: -31 degree elevation angle/ 37 degree side angle. Intensity: 25%. SR

AP2180: 54 degree elevation angle/ direct back light. Intensity: 75%.

AP2180:  23 degree elevation angle/ 56 degree side angle. Intensity: 75%. SL

AP280: -31 degree elevation angle/ 37 degree side angle. Intensity: 25%. SL

Fall Sunset in Vermont.

For the fall sunset in Vermont, I chose a very deep orange red on the cyc to mimic the colors of an actual sunset. I decided that the top of the cyc should be darker, to signify the oncoming night.

Cyc lights:

• Above: gel colors G888 at 56% intensity, G985 at 46% intensity
• Below: gel colors G382 at 28% intensity, G315 at 21% intensity, G335 at 44% intensity, and G250 at 43% intensity

Model Lights:

• G1517: 45% intensity, 43 degree elevation angle, 17 ft above the deck, 12 ft stage right of model, direct sidelight, 16 ft throw
• G1518: 100% intensity, 52 degree elevation angle, 21 degree back angle, 17 ft above deck, 3 ft stage right of model, 8 ft upstage of model, 14 ft throw
• G338: 49% intensity, 31 degree elevation angle, 29 degree side angle, 17 above deck, 9 ft stage left of model, 16 ft downstage of model, 21 ft throw
• G335: 95% intensity, 37 degree elevation angle, 56 degree side angle, 17 ft above deck, 12 ft stage left of model, 8 ft downstage of model, 18 ft throw

Spring Sunrise in New England

For the spring sunrise in New England, I decided to give the rising sun a softer look. In the morning, the colors are less vibrant than when it’s setting, like everything is waking up. The warm yellow orange is rising, pushing the fading purple blue away as the night dissipates.

Cyc lights:

• Above: NC at 13% intensity, gel colors G888 at 74% intensity, G250 at 22% intensity, and G990 at 41% intensity
• Below: gel colors G108 at 28% intensity, G315 at 45% intensity, G470 at 48% intensity, and G250 at 78% intensity

Model Lights:

• G360, 100% intensity, 31 degree elevation, 29 degree side angle, 17 ft above the deck, 9 ft stage left of model, 16 ft downstage of model, 21 ft throw
• NC, 62% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage left of model, 8 ft downstage of model, 16 ft throw
• G990, 55% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage right of model, 8 ft downstage of model, 16 ft throw
• G985, 100% intensity, 54 degree elevation, direct backlight, 17 ft above the deck, centered on model, 8 ft upstage of model, 14 ft throw

Noon on a hot Summer day in Brazil

After researching, I saw that most Summer days in Brazil are full of sunny blue skies and beaches, so I decided to reflect that by showing the nice bright cyan sky from above, mixed with the yellow sunlight reflecting off the water from below.

Cyc lights:

• Above: NC at 64% intensity and gel color G725 at 100% intensity
• Below: gel colors G480 at 75% intensity and G813 at 100% intensity

Model Lights:

• G790 at 55% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage right of model, 8 ft downstage of model, 16 ft throw
• G890 at 100% intensity, 52 degree elevation, 21 degree back angle, 17 ft above the deck, 3 ft stage right of model, 8 ft upstage of model, 14 ft throw
• NC at 62% intensity, 13 degree elevation, 21 degree side angle, 10 ft above the deck, 6 ft stage left of model, 16 ft downstage of model, 18 ft throw
• G470 at 100% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage left of model, 8 ft downstage of model, 16 ft throw

Winter Afternoon in Alaska

During the winter there are only 0-7 hours of sunlight a day, depending on your location, in Alaska. I decided to show this by having the sky be a deep almost dark blue (not as bright as a sunny winter day in New York, but not as dark as night either), with a lighter base, because of the little sunlight reflecting off of the snow.

Cyc lights:

• Above: gel color AP4150 at 100% intensity
• Below: gel colors AP4700 at 100% intensity, AP 3800 at 100% intensity, and BLUE at 100% intensity

Model Lights:

• L717: 69% intensity, 37 degree elevation, 15 ft above the deck, 12 ft stage right of model, direct sidelight, 15 ft throw
• L198: 100% intensity, 42 degree elevation, 17 ft above the deck, 9 ft stage right of model, 8 ft upstage of model, 16 ft throw
• L708: 66% intensity, 43 degree elevation, 17 ft above the deck, 12 ft stage left of model, direct sidelight, 16 ft throw
• L202: 100% intensity, 37 degree elevation, 56 degree side angle, 17 ft above the deck, 12 ft stage left of model, 8 ft downstage of model, 18 ft throw
• NC: 31% intensity, 31 degree elevation, 29 degree side angle, 17 ft above the deck, 9 ft stage left of model, 16 ft downstage of model, 21 ft throw

1)Fall Sunset in Vermont

In this scene, I recreated a fall sunset in Vermont. The warm hues of ambers, golds and reds created here are like the colors of the trees and of the sky.

Cyc Lights Top Light  AP 2190 50%, AP6800 50%, AP2180 50% Bottom Light AP 2180 50%, AP1800 25%, AP7600 50%, AP8350 50%                                                                                                                Model Lighting AP7600 (2)(50% 0 degrees SR and SL side light), AP4300 (2)(Full 20 degrees SR and SL side light), AP2280 (25% direct center foot light), AP1800 (2)(50% 45 degrees SR and SL top light), AP5960 (2)(full 60 degrees SR and SL top light), AP5960 (2)(60 degrees SR and SL front light)

2)Spring Sunrise in New England

This scene shows a typical New England spring morning. It has deep blues which give a cold, morning chill to the picture, but warm yellows in the background, rising with the sun to burn away the morning mist.

Cyc Lights: Top Light AP4630 75%, AP6800 50%, AP6900 25%, AP3520 25% Bottom Light AP4630 50%, AP 6140 50%, AP4100 full   Model Lighting:  AP4850 (50% SR 30 degrees side light), AP4250 (75% SR 30 degrees side light), AP4250 (25% SR 20 degrees side light), AP4270 (50% SR 20 degrees side light), AP4100 (50% SR 45 degrees top light (2)), AP4350 (25%, direct top light), AP6400 (50% SL 50 degrees top light (3)), R3407 (50% SL 45 degrees top light), R3443 (50%  50 degrees SL top light), AP4630 (50% 30 degrees SL side light), AP4100 (50% 30 degrees SL side light)

3) Noon on a hot Brazilian Day

This picture shows a steamy Brazilian jungle. At high noon, the light would be filtering through the leaves, looking green and yellow and textured.

Cyc Lights: Top Light AP7770 full, AP6800 50%, AP4950 full Bottom Light AP 8250 50%, AP5600 50%, R39 50%, AP2190 50%             Model Lighting: AP 7800 (full 10 degrees SR side light), AP5800 (50% 45 degrees SR side light), AP5940 (50% 5o degrees SR top light), (AP 7800 (full direct top light), AP7150 (full 60 degrees front light with texture template), AP7350 (full 60 degrees SL front light with texture template), AP5500 (full 50 degrees SL side light), AP7350 (50% 30 degrees SL side light), AP5940 (50% 10 degrees SL side light)

4)Winter Afternoon in Alaska

This scene depicts a cold, wintry afternoon in Alaska. I tried to recreate the harsh lighting that would be reflecting off of the snow and the cold darkness that would be setting in.

Cyc Lights: Top Light AP3400 50%, AP2080 full, AP2240 50%, Bottom Light AP4720 50%, AP3300 75%, AP4600 25%                  Model Lighting: AP4800 (50% 20 degrees SR side light), AP3350 (75% 50 degrees SR side light), AP8600 (25% 60 degrees SR front light), AP2080 (50% 50 degrees direct front light), AP2080 (full 45 degrees direct front light), AP4750 (25% 60 degrees SL front light), AP3350 (75% 50 degrees SL side light), AP4800 (50% 20 degrees SL side light)

This is a fall Sunset on Venus.

Fall sunsets are purple and orange. I did my best to create the moment just before dusk on a fall sunset. Venus itself is a bright fiery orange and therefore I chose a gel that was especially saturdated to dramatize the presence of orange on the stage to signify Venus.

• Strip Lights (Top): AP3550 (25%), AP2190 (75%), AP1900 (25%) AP1900 (25%)
• Strip Lights (Bottom): AP3150 (75%), AP3800 (Full), AP3150 (25%), AP3800 (Full)
• SR Side AP1800 (75%) 37 Degrees Elevation, 56 Degrees Side
• NC (50%),  54 Degree Elevation, Front Light,
• AP3800 (Full) 54 Degree Elevation, Direct Back light
• AP3800 (Full) 37 Degree Elevation, 56 Degree Back Angle,
• AP3800 (Full) 0 Degree Elevation, 56 Degree Back Angle

This is Spring Sunrise in New England on Earth.

Spring sunrise’s in New Egland are filled with a mixture of warmth from the sun, and brisk cold air from the night. As the sun rises shades of blue and yellow slowly fade through the trees. I tries my best to capture that image in my design by using a combination of light yellows and blues.

• Strip Lights (Top): 4 G780 (25%)
• Strip Lights (Bottom): 4 G420 (Full)
• G450 (50%) 29 Degree Elevation, 37 Degree Side Angle SL
• G342 (75%) 35 Degree Elevation, Front Light Light,
• G770 (Full) 37 Degree Elevation, 56 Degree Back Angle SR

This is Noon on a Hot Summer Day on Mars

Mars is known for it’s shade of red. Hot summer’s days often have a  strong source of light from the sun. I went with the idea that the sun was red on mars, creating this strength of light and temperature on the stage.

• Strip Lights (Top): 4 G250 ( 2 Full, 2 50%)
• Strip Lights (Bottom): 4 G480 (25%)
• G435 29 (75%) Degree Elevation, 37 Degree Side SL
• AP8350 (75%) 54 Degree Elevation, Front Light
• AP8350 (75%) 37 Degree Elevation, 56 Degree Side Light SR

This is a Winter Afternoon on Saturn.

Winter afternoons are dark and gray. The light is stark and plain. Saturn is the same except for the ring of pruple circling the planet reflecting it’s beauty onto the surface of the planet. I used this theory to mix both winter and saturn to create my design.

• Strip Lights (Top): 4 L725 (Full)
• Strip Lights (Bottom ): 4 L701 (25%)
• RE061 (Full) 54 Degree Elevation, Front Light
• RE200 (75%) 43 Degree Elevation, Side Light SL