Drama 16 Stage Lighting

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

Virtual Light Lab Project

*All angle information came from the “Show Info” function on VVL.

1. Fall Sunset in Vermont.

Top Cyc Lights:

-NC at 50%.

-RE164 (Flame Red) at Full Intensity.

-G510 (No Color Straw) at 30%.

Bottom Cyc Lights:

-NC at 75%.

-L767 (Oklahoma Yellow) at Full Intensity

Model Lighting:

-RE164 (Flame Red), 37 degree elevation angle, 56 degree back angle, backlight from stage right at full intensity.

-L767 (Oklahoma Yellow), 42 degree elevation angle, 48 degree back angle, backlight from stage right at 50% intensity.

-NC, 43 degree elevation angle, sidelight from stage right at 25% intensity.

-NC, 27 degree elevation angle, sidelight from stage right at 25% intensity.

The shadings used in this photo are used to depict what a sunset in Vermont would look like. A red and a yellow light is shone in the direction the sun is facing representing the warm beams that the sun can create. They fit in with the tree just losing it’s leaves in the autumn. The two faintly lit white lights are used to show that the atmosphere around sunsets aren’t completely bereft of light. The colors used in the backdrop gives a warm feeling that a sunset would normally evoke.

2. Spring Sunrise in New England.

Top Cyc Lights:

-NC at 50%.

-RE007 (Pale Yellow) at 25%

-RE101 (Yellow) at Full Intensity.

Bottom Cyc Lights:

-NC at 50%.

-RE019 (Fire) at Full Intensity.

-RE141 (Bright Blue) at 90% Intensity.

Model Lighting:

-R22 (Deep Amber), 37 degree elevation angle, 56 degree back angle, backlight from stage right at full intensity.

-RE104 (Deep Amber), 42 degree elevation angle, 48 degree back angle, backlight from stage right at full intensity.

-NC, 0 degree elevation angle, sidelight from stage right at 50% intensity.

-NC, 0 degree elevation angle, sidelight from stage left at 50% intensity.

-RE141 (Bright Blue), -19 degree elevation angle, 56 degree back angle, backlight from stage right at 20% intensity.

The colors and lighting in this photo depicts a spring sunrise in New England. The warm atmosphere of the beach exhibits features of what spring can look like in the New England. The dark clouds above could possibly show an April shower about to occur. The red and yellow lighting comes from the angle the sun is rising from as it hits the subjects with and amber-ish glow. The two uncolored lights on the side represent the lighting around them. Just because there is one light source in the picture doesn’t mean everything around them is shrouded in shadow. The faint light on their feet is to show the very dim and blue glow upon their feet. The red and the deep golden amber in the backdrop give an aura of what a sunrise would give while the blue and red exhibit the light on the floor of the beach.

3. Noon on a hot Summer day in Brazil.

Top Cyc Lights:

-NC at 90%.

-R4560 (CalColor 60 Yellow) at Full Intensity.

Bottom Cyc Lights:

-NC at 30%.

-R4560 (CalColor 60 Yellow) at 75%.

-G120 (Bright Pink) at Full Intensity.

Model Lighting:

-NC, 37 degree elevation angle, 56 degree back angle, backlight on stage left at full intensity.

-RE5336 (Aztec Gold), 43 degree elevation angle, sidelight on stage left at 50% intensity.

-RE5336 (Aztec Gold), 61 degree elevation angle, sidelight on stage left at 75% intensity.

-RE452 (One Sixteenth White), -19 degree elevation angle, 56 degree side angle, front light on stage left at 65% intensity.

-RE452 (One Sixteenth White), 54 degree elevation angle direct backlight, front light center stage at full intensity.

-RE452 (One Sixteenth White), 37 degree elevation angle, 56 degree side angle, front light stage right at 50% intensity.

The shadow angle and sheer brightness in this picture shows what Noon would look like on a hot summer day in Brail. The backdrop exhibits shades of bright pink and pale yellow. These two color combine to create a wonderful shade of white that still exhibits colors of heat. The gold and white colors shine down from the back of the subject casting a bright beam of sunny colors as the sun is at it’s highest peek. The gold represents the sun and the white represents the light the sun emits. This beam of light creates a shadow in front of the subject. The shadow points in the same direction as the lady’s in the picture. The other white lights around the subject exhibit the quality of light that would shine around the subject. They are used to make just there are few shadows around the subject.

4. Winter Afternoon in Alaska.

Top Cyc Lights:

-NC at 50%.

-AP6500 (Bikini Yellow) at 30%.

-G770 (Christel Blue) at Full Intensity.

Bottom Cyc Lights:

-NC at 75%.

-G920 (Pale Lavender) at 50%.

Model Lighting:

-NC, 54 degree elevation angle direct back light, front light center stage at 65% intensity.

-AP3300 (Whispering Lavender), 54 degree elevation angle direct back light, backlight center stage at full intensity.

-AP4800 (Ice Blue), 37 degree back angle, 56 degree back angle, backlight on stage left at full intensity.

-AP4800 (Ice Blue), 37 degree back angle, 56 degree back angle, backlight on stage right at full intensity.

The shadows and cool colors here, represent the winter chill of an afternoon in Alaska. The backdrop uses white and blue on the top to simulate the chill of a winter. Yellow is mixed in with these colors to represent the light of the sun. Pale lavender is used to mix in with the white to give a shadow-like feel. There is use of icy blue colors and lavender, not because of the light but because it adds to the shadow effect that a sun would create at his time of day. The white front light represents the light that would still be around him. In this time of day, his entire body wouldn’t be completely surrounded by darkness.

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)