Drama 16 Stage Lighting

New England Sunset:

1. Light salmon, full intensity
2. Straw, 85% intensity
3. Red diffusion, 75% intensity
4. Gold tint, full intensity
5. Deep straw, 85% intensity
6. Golden amber, full intensity
7. Gold tint, full intensity
8. Deep straw, full intensity
9. Congo blue, full intensity
10. Cyc: Flesh pink, full intensity

I was inspired by photos I saw of sunsets in the White Mountains and how vibrant the colors of the sky were without the buildings and air pollution of the city.

Spring Sunrise in Gothic Cathedral:

1. Full CT blue, full intensity, window gobo
2. Full CT blue, full intensity, window gobo
3. Full CT blue, full intensity
4. Full CT blue, full intensity
5. Full CT blue, 75% intensity
6. Flame, 75% intensity, breakup gobo
7. Full CT blue, 75% intensity
8. Flame, 75% intensity, breakup gobo
9. Cyc: Primary blue, full intensity

I looked up photos to see the inside of Gothic Cathedrals, and there were often very geometric arches and designs across the ceiling, and there were lots of tall, decorative windows. I took inspiration from the darkness of early sunrises and tried to create geometric patterns with the lights through the air.

Summer noon in Africa:

1. Deep straw, full intensity
2. Deep straw, full intensity
3. Deep straw, full intensity
4. Full CT blue, 70% intensity
5. Full CT blue, 70% intensity
6. Full CT blue, 70% intensity
7. Full CT blue, 70% intensity
8. Cyc: Moss green, 75% intensity

I wanted to emulate the bright sun that happens at noon and also include the greenery of the jungles in Africa with the green cyc.

Winter afternoon in North Dakota

1. Hemsley blue, full intensity
2. Hemsley blue, full intensity
3. Hemsley blue, full intensity
4. Full CT blue, 70% intensity
5. Full CT blue, 50% intensity
6. Full CT blue, 70% intensity
7. Full CT blue, 45% intensity
8. Full CT blue, full intensity
9. Cyc: Parry blue, full intensity

I wanted to show how bright and white the sun feels in the winter compared to when it feels warmer in the summer. I wanted to use bright cooler toned lights for the sun, and then I made the cyc blue for the sky.

The first one is noon in Hawaii and I chose very warm colors with the light being the strongest directly above the person’s head because thats where the sun would be located at mid day. The next one is sunset in fall Vermont and there are also a lot of warm colors with the background being cool colors representing the sky and the colorful clouds I found in my research. The third picture is sunrise on a gothic Cathedral and the research I found showed very pink light and it felt very soft. The last one is the winter and it was all cool colors with light reflecting off of the snow so it is coming from all angles. I chose to think about the suns position in a lot of these and that influenced a lot of my choices.

Fall Sunset in Vermont

Instruments: For the first and second moving light I used the gel R15. Additionally I used the gel R26 for the third and fourth moving light. Finally I used the gel R68 for the top Cyc lights. Across the bottom row, I used the gels R15, R21, R58, and R68.

Justification: While researching I was particularly drawn to the crimson autumn trees in combination with a warm sunset. Because of this I chose to have the sun setting upstage stage right with a warm yellow and a combination of blues and purples for the sunset. Additionally the moving lights on the proscenium act as red washes, acting as the trees near the subject.

 

Spring Sunrise in Gothic Cathedral

Instruments: For the top Cyc lights I used gel R069. For the bottom Cyc lights I used gels R15 and R68. For the single moving instrument I used the gel R15.

Justification: I chose to light this spring sunrise with light blues and a warm yellow to demonstrate a crisp morning. The blues lend to the breeziness as the sun rises and begins to warm the Earth.

 

Noon on a Hot Summer Day in Hawaii

Instruments: I used gel R68 for the top Cyc lights and R069 for the bottom Cyc lights. In each corner of the grid I used no gel on the moving lights.

Justification: When researching noon in Hawaii, it was apparent that the notable features of the lighting included the vibrant sky and the bright wash over the entire area. Because of this, I direct four instruments toward the subject providing a general wash of light and included the blue Cyc to represent the beautifully blue sky.

 

Winter Afternoon in North Dakota

Instruments: I alternated using gel R80 and R201 on both the top and bottom Cyc lights. In each of the top four corners of the grid I used the gel R201 on the moving lights. The fifth and sixth light use the breakup gobo and gel 201 on the moving lights.

Justification: I used blue and grey on the Cyc to mimic a dark sky clouded with snowy weather. Additionally I used grey gels and gobos shining on the subject to make it appear as if it is in a snow storm.

Fall sunset in Vermont

Description: For the moving light I used gel R009, and for the cyc lights I used gel R052.

Justification: Fall weddings are popular, especially when the air is crisp, nature is in full swing with all the pretty colors, and Vermont is a natural spot for a wedding venue since it offers the perfect amount of natural beauty.

Spring Sunrise in a Gothic Cathedral

Description: For the moving lights and the middle cyc lights the gel is R051, and the left and right cyc lights are gel R095.

Justification: While Italy is not the birthplace of gothic architecture, there are lots of hints of it throughout the country. The sunrises are incredibly beautiful, and there are lots of natural photos taken while in the country.

Noon in Hawaii on a hot day.

Description: The moving light and top and bottom cycs are gel G888 with no gobo.

Justification: Noon in Hawaii gets incredibly hot, so people tend to go to the beach in order to cool off and to spend time with friends/family.

A winter afternoon in North Dakota

Description: The moving light and the top cyc lights (4 and 7-9), and bottom cyc lights at 75% are gel E174. The top blue cyc lights are a combination 10.815% red, 33.968% green, and 100% blue.

Justification: The sun is starting to set above the church, and as the last person leaves they get a photo of the scenery.

1) A Fall sunset in Vermont:

I chose to use an amber backlight from both upstage corners. I also used three lights with a dotted gobo, I used a golden color because the of the time of year and the time of day. I thought these spots looked like leaves. I looked up pictures of Vermont sunsets and theres lots of trees, so I places the lighting instruments at three of the top corners because I wanted them to be stretched across the majority of the stage to emulate the trees/nature. I also used one more light to light the actor from above. I felt that this was necessary to continue the glow of the sunset.

2) Easter sunrise in a Gothic Cathedral

I chose to use the window gobo (4 lights) to present something looking similar to stained glass windows behind the actor. I chose purple and yellow to tie into the Easter sunrise. I also left the lights a bit dim since its sunrise. I chose to have two side lights and one top light lighting the actor with a yellow-ish color.

The front of the actor is lit because the sun in coming up through the windows in front of them so the reflection of the stained glass is also refracted behind the actor.

3) Noon on a hot Summer day in the Caribbean

I chose to use lights only on the right side to emulate where I thought the sun would be at this time of day. I have 6 lights all lighting up different sizes of rings in different shades of yellow. I wanted the middle to be the most saturated yellow color so that it felt like a magnifying glass starting a fire. I lit the cyc with a cooler tone on the top and a warmer tone on the bottom. I wanted the top to be lit but not blend in to all the yellow I already had lit. I also had one more light down stage right that I used to light the actors body/face a little better.

4) Winter afternoon just before the snow

I chose to use a lot of cool tones, mostly blue, for this scene. I used the spotted gobo again (3 lights) to try and create a stormy affect. I wanted it to look like shadows of clouds or snow flakes falling. I chose to keep it pretty dimly lit because I always imagine winter as very sad and dark, even though this takes place in the afternoon. I using one top light and to sides to create a blue color on the actor. I wanted it to feel ominous of a big snow storm so I gave the top light a sharper focus and softened the gobos so that the actor appears to be alone.

A Fall sunset in Vermont

The colors of the backdrop portrays the color of the sunset while the lights on Lucy are darker but still amber like a normal sunset tends to be.

Lights:

1)

• Gel: AP3300
• Intensity: 63%
• Angle: 61 degree, front side

2)

• Gel: AP2180
• Intensity: Full
• Angle: 54 degree, direct backlight

3)

• Gel: AP2140
• Intensity: 65%
• Angle: 61 degree, front side

4) Backdrop

• Top
  • Gel: AP3600
  • Intensity: 20%
  • Gel: AP3550
  • Intensity: 70%
• Bottom
  • Gel: AP2190
  • Intensity: 30%
  • Gel: AP7350
  • Intensity: 66%

Spring Sunrise in a Gothic Cathedral

Here, the colors of the backdrop showcase the sunrising behind a gothic cathedral. Them, the lights on Ray are as if the sun is shining in from windows of the cathedral.

Lights:

1)

• Gel: AP2180
• Intensity: 25%
• Angle: 33 elevation, 21 degree side angle, front

2)

• Gel: AP2120
• Intensity: 44%
• Angle:48 elevation, 37 side angle, front

3)

• Gel: R313
• Intensity: 61%
• Angle: 90 degree elevation angle, direct on top

4)

• Gel: G970
• Intensity: 88%
• Angle: 48 elevation, 37 side, front

5)

• Gel: RE217
• Intensity: 63%
• Angle: 37 elevation, side boom

6) Backdrop

• Top
  • Gel: G970
  • Intensity: full
• Bottom
  • Gel: L015
  • Intensity: 14%
  • Gel: AP6400
  • Intensity: 87%

Noon on a hot Summer day in Hawaii

In this moment the backdrop is bright blue to show the summer sky, then the lights on the couple are bright and warm to show case how it is a hot afternoon day.

Lights:

1)

• Gel: R09
• Intensity: 78%
• Angle: 52 elevation, 21 side, front

2)

• Gel: AP2020
• Intensity: 92%
• Angle: 52 elevation, 21 side, front

3)

• Gel: RE013
• Intensity: 42%
• Angle: 17 elevation, 37 side, box booms

4) Backdrop

• Top
  • Gel: R361
  • Intensity: full
• Bottom
  • Gel: R363
  • Intensity: full

Winter afternoon in North Dakota

The cool toned lighting leads to an overall cold image. The backdrop color on the top is pastel blue to show the afternoon sky, but white near the bottom to show how it may be snowing.

Lights:

1)

• Gel: AP3520
• Intensity: 81%
• Angle: 42 degree elevation angle, 48% side angle, front

2)

• Gel: L205
• Intensity: Full
• Angle: 52 elevation, 21 side, front

3)

• Gel: L203
• Intensity: 42%
• Angle: 23 elevation, 56 side, boom

4) Backdrop

• Top
  • gel: R361
  • Intensity:79%
  • gel: R361
  • Intensity: 32%
  • gel: L278
  • Intensity:37%
• Bottom
  • gel: NC
  • Intensity: 78%
  • gel: R363
  • Intensity: 85%

1)A FALL SUNSET IN VERMONT

Ray is sitting on a dock in front of a lake over the cool fall breeze. The sun is setting and he looks down, this is supposed to give the feeling of a passing summer into a cold and dark. winter

Ray Sitting Side and Box Platform Lighting

• RE130 25%
  • 38 degree elevation angle, 56 degree side angle/ 17 feet above the deck, 12 feet stage left of model, 8 feet upstage of model, 18 foot throw.
• RE089 50%
  • 23 degree elevation angle, 56 degree side angle/ 12 feet above the deck, 12 feet stage left of model, 8 feet upstage of model, 16 foot throw.
• RE113 90%
  • 0 degree elevation angle, 56 degree side angle/ 6 feet above the deck, 12 feet stage right of model, 8 feet upstage of model, 14 foot throw.
• RE071 FULL
  • 29 degree elevation angle, 37 degree side angle/ 17 feet above the deck, 12 feet stage right of model, 16 feet downstage of model, 23 foot throw.
• RE450 75%
  • 31 degree elevation angle, 29 side angle/ 17 feet above the deck, 9 feet stage right of model, 16 feet downstage of model, 21 foot throw.

Cyc Lighting

• Upstage Right NC 10%
• Upstage Center Right RED 83%
• Upstage Center Left GREEN 50%
• Downstage Right L071 60%
• Downstage Center Right G987 FULL
• Downstage Center Left L075 FULL
• Downstage Left G995 FULL

2)SPRING SUNRISE IN GOTHIC CATHEDRAL

Two people sit quietly in a cathedral just as the sun is rising, the light having just breached the orange glass and going over the ground and climbing the walls. This is supposed to give a somber feeling with rising hope or possible intellectual thought.

Lucy Sitting Lighting

• NC 25%
  • 0 degree elevation angle, 56 degree side angle/ 6 feet above the deck, 12 feet stage right of model, 8 feet downstage of model, 14 foot throw.
• G250 50%
  • -23 degree elevation angle, 0 degree side angle/ 1 foot above the deck, 12 feet stage rightof model, direct sidelight, 13 foot throw.
• AP2190 50%
  • -19 degree elevation angle, 56 degree side angle/ 1 foot above the deck, 12 feet stage rightof model, 8 feet downstage of model, 15 foot throw.

Ray Sitting Lighting

• NC 25%
  • 0 degree elevation angle, 56 degree side angle/ 6 feet above the deck, 12 feet stage left of model, 8 feet downstage of model, 14 foot throw.
• G250 50%
  • -23 degree elevation angle, 0 degree side angle/ 1 foot above the deck, 12 feet stage left of model, direct sidelight, 13 foot throw.
• AP2190 50%
  • -19 degree elevation angle, 56 degree side angle/ 1 foot above the deck, 12 feet stage left of model, 8 feet downstage of model, 15 foot throw.

Cyc Lighting

• Downstage Right AP2190 FULL
• Downstage Center Left G250 FULL

3)NOON ON A HOT SUMMER DAY IN HAWAII

This is supposed to feel as if an intense moment or intimate one. The duality of the lighting with both the darkness but also the light that shines from the almost setting sun which adds some warmth.

Pair Lighting

• NC 25%
  • 14 degree elevation angle, direct back light/ 10 feet above the deck, centered on model, 16 feet downstage of model, 16 foot throw.
• BLUE FULL
  • 54 degree elevation angle, direct back light/ 17 feet above the deck, centered on model, 8 feet upstage of model, 14 foot throw.
• AP2190 FULL
  • 23 degree elevation angle, 56 degree back angle/ 12 feet above the deck, 12 feet stage left of model, 8 feet upstage of model, 16 foot throw.
• C730 FULL
  • 54 degree elevation angle, direct back light/ 17 feet above the deck, centered on model, 8 feet downstage of model, 14 foot throw.

Cyc Lighting

• Upstage Left BLUE FULL
• Downstage Right NC 50%
• Downstage Center Left G730 FULL
• Downstage Left AP2190 25%

4)WINTER AFTERNOON IN NORTH DAKOTA

This scene is meant to be deeply cold and dark. The weather is supposed to represent the cold and winter frost that covers everything and makes the day look as if night or afternoon.

Lucy Lighting

• NC 25%
  • -31 degree elevation angle. 37 degree side angle/ 0 feet above the deck, 6 feet stage right of model, 8 feet downstage of model, 12 foot throw.
• BLUE 50%
  • -37 degree elevation angle, direct backlight/ 0 feet above the deck, centered on model, 8 feet downstage of model, 10 foot throw.
• NC 25%
  • -31 degree elevation angle. 37 degree side angle/ 0 feet above the deck, 6 feet stage left of model, 8 feet downstage of model, 12 foot throw.
• G870 FULL
  • 90 degree elevation angle/ 17 feet above the deck, centered on model, direct downlight on model, 11 foot throw.

Cyc Lighting

• Upstage Right NC 50%
• Downstage Right NC 75%
• Downstage Left BLUE FULL

1. Fall Sunset in Hawaii

I chose this picture and the lights I did because I really like the purples and dark reds, and oranges that are made up in the sunset in Hawaii. I’ve never gotten to experience a sunset that has purple or creates purple and it really made me want to be right there.

• Light Used:
  • Gel: P35600
  • Intensity: Full
  • Angle/Type: -37 degree elevation angle, direct back light
  • In relation to model: Centered on model, 8’ downstage of model
• Light Used:
  • Gel: R347
  • Intensity: 50%
  • Angle/Type: 24 degree elevation, 37 degree side angle
  • In relation to model: 12’ SL of model, 16’ DS of model
• Light Used:
  • Gel: AP3180
  • Intensity: 75%
  • Angle/Type: 13 degree elevation, 21 degree side angle
  • In relation to model: 6’ SL of model, 16’ DS of model
• Light Used:
  • Gel: No color
  • Intensity: 25%
  • Angle/Type: 54 degree elevation, direct back light
  • In relation to model: centered on model, 8’ DS of model
• Light Used:
  • Gel: G270
  • Intensity: 50%
  • Angle/Type: 13 degree elevation angle, 21 degree side angle
  • In relation to model: 6’ SR of model, 16’ DS of model
• Light Used:
  • Gel: 67/95
  • Intensity: 60%
  • Angle/Type: 24 degree Elevation, 37 degree side angle
  • In relation to model: 12’ SR of model, 16’ DS of model
• Backdrop:
  • Top: G290 Full, AP3180 20%,
  • Bottom: G280 20%, G980 50%

 

2. Spring Sunrise on Long Island

I chose this picture because I really liked the contrast between the yellow and the blue and the way they blended together so seamlessly. I tried to incorporate that into the way that the model is lit.

• Light Used:
  • Gel: AP6900
  • Intensity: 75%
  • Angle/Type: 37 degree elevation angle, direct sidelight
  • In relation to model: 12’ SL of model
• Light Used:
  • Gel: R321
  • Intensity: 75%
  • Angle/Type: 13 degree elevation, 21 degree side angle
  • In relation to model: 6’ SL of model, 16’ DS of model
• Light Used:
  • Gel: G870
  • Intensity: Full
  • Angle/Type: 37 degree elevation, direct sidlight
  • In relation to model: 12’ SR of model
• Light Used:
  • Gel: R384
  • Intensity: 50%
  • Angle/Type: 0 degree elevation, direct sidelight
  • In relation to model: 12’ SR of model
• Light Used:
  • Gel: RE008
  • Intensity: 75%
  • Angle/Type: -31 degree elevation, 37 degree side angle
  • In relation to model: 6’ SR of model, 8’ downstage of model
• Backdrop:
• Top: L104 75%, L716 25%,
• Bottom: G848 75%

 

3. Noon on a hot Summer day in New England

I chose this because I really liked the warmth that these colors provided me event though they are cool colors. There may be a lot of blue and white but the brightness of it makes me feel warm just looking at it.

• Light Used:
  • Gel: 0/13
  • Intensity: 25%
  • Angle/Type: 0 degree elevation angle, direct sidelight
  • In relation to model: 12’ SL of model
• Light Used:
  • Gel: G720
  • Intensity: 75%
  • Angle/Type: 37 degree elevation angle, 56 degree side angle
  • In relation to model: 12’ SL of model, 8’ DS of model
• Light Used:
  • Gel: R2006
  • Intensity: 50%
  • Angle/Type: 13 degree elevation angle, 21 degree side angle
  • In relation to model: 6’ SL of model, 16’ DS of model
• Light Used:
  • Gel: L021
  • Intensity: 75%
  • Angle/Type: 13 degree elevation angle, 21 degree side angle
  • In relation to model: 6’ SR of model, 16’ DS of model
• Light Used:
  • Gel: AP7400
  • Intensity: 75%
  • Angle/Type: 37 degree elevation angle, 56 degree side angle
  • In relation to model: 12’ SR of model, 8’ DS of model
• Light Used:
  • Gel: 67/67
  • Intensity: 75%
  • Angle/Type: 0 degree elevation, direct sidelight
  • In relation to model: 12’ SR of model
• Backdrop:
• Top: AP4300 50%, R69 80%,
• Bottom: No color 75%, AP3900 50%

 

4. Winter afternoon in Alaska

I chose this picture because I liked how you cans see the yellow light coming from the side and just dusting the picture while the blue and white are also there. They accent each other nicely and the colors make and way it I lit my model make me feel cold.

 

• Light Used:
  • Gel: LHT132
  • Intensity: 75%
  • Angle/Type: 27 degree elevation angle, Direct sidelight
  • In relation to model: 12’ SL of model
• Light Used:
  • Gel: L101
  • Intensity: 80%
  • Angle/Type: 43 degree elevation angle, direct sidelight
  • In relation to model: 12’ SL of model
• Light Used:
  • Gel: R07
  • Intensity: 75%
  • Angle/Type: 35 degree elevation angle, direct back light
  • In relation to model: centered on model, 16’ DS of model
• Light Used:
  • Gel: L285
  • Intensity: 60%
  • Angle/Type: 54 degree elevation angle, direct back light
  • In relation to model: centered on model, 8’ DS of model
• Light Used:
  • Gel: L279
  • Intensity: 75%
  • Angle/Type: 43 degree elevation, direct sidelight
  • In relation to model: 12’ SR of model
• Light Used:
  • Gel: L781
  • Intensity: 40%
  • Angle/Type: 17 degree elevation angle, 37 degree side angle
  • In relation to model: 12’ SR of model, 16’ DS of model
• Backdrop:
  • Top: L159 80%, L767 10%
  • Bottom: 130 80%, L161 75%

1.) A Fall Sunset in Hawaii 

I used the picture above as inspiration. I loved the wide range of colors in Hawaiian sunsets. In the light lab I wanted to bring out the purples and orange colors seen in the sunset.

Model:

• AP2200 FULL

27 degree elevation angle

Direct sidelight

12′ stage right of model

• AP2190 FULL

13 degree elevation angle

21 degree side angle

6′ stage right of model

16′ downstage of model

• AP8440 25%

14 degree elevation angle

direct backlight

16’downstage of model

6′ stage right of model

• AP3700 50%

13 degree elevation angle

21 degree side angle

16′ downstage of model

6′ stage left of model

Backdrop:

• Palm tree silhouette
• Top:  AP3700 Full, AP8440 25%
• Bottom: AP2190 50%, AP2190 Full

 

2.) Spring Sunrise on Long Island 

I loved the contrast between the calm blue sky and the yellow/orange that is starting to peak through. I put orange light at the bottom to mimic the sun rising into the blue sky.

Model:

• AP4700 76%

35 degree elevation angle

direct backlight

16′ down stage of model

centered on model

• AP2190 72%

13 degree elevation angle

21 degree side angle

6′ stage right of model

16′ downstage of model

• AP7400 25%

14 degree elevation angle

direct backlight

centered on model

16′ down stage of model

• AP7350 14%

13 elevation angle

21 degree side angle

16′ down stage of model

6′ stage left of model

Backdrop:

• Top: AP4680 Full
• Bottom: AP2190 50%, AP6400 25%, AP2190 50%

 

3.) Noon on a hot Summer day in New England

I used all blue light to show the clear, cloudless day by the shore that one may have in New England on a nice afternoon.

Model:

• AP2220 FULL 

43 degree elevation angle

direct sidelight to model

12′ SR of model

• AP3500 50%

13 degree elevation angle

21 degree side angle

16′ downstage of model

6′ stage right of model

• AP2100 75%

14 degree elevation angle

direct backlight to model

centered on model

16′ down stage of model

• AP2010 FULL

43 degree elevation angle

direct sidelight to model

12′ stage left of model

Backdrop:

• Top: AP1900 full
• Bottom: AP4750 25%, AP4750 full

4.)Winter afternoon in Alaska

I decided to use a more icy blue for this image, found just above the trees in the photo I used for inspiration. The blue fades up into white to mimic light shining off of the top of the snow covered mountain.

Model: 

• G320 25%

31 degree elevation angle

29 degree side angle

16′ down stage of model

9′ stage right of model

• G343 75%

37 degree elevation angle

56 degree side angle

8′ downstage of model

12′ stage right model

• G780 75%

43 degree elevation angle

direct sidelight to model

12′ stage right of model

• G431 50%

13 degree elevation angle

21 degree side angle

16′ down stage of model

6′ stage right of model

• G430 FULL

43 degree elevation angle

direct sidelight to model

12′ stage left of model

Backdrop: 

• Top: G785 full, R

1) A Fall sunset in Vermont

Source photo by Paul O. Boisvert in November 2012, and can be found here. 14 lights used, detailed as follows.

#	Type of light & Direction (re: model)	Gel Used	Intensity	Elevation Angle	Side/Back Angle
1	DSR front-sidelight	L120 Deep Blue	46%	-19º	56º
2	USR back-sidelight	L198 Palace Blue	46%	-19º	56º
3	SR direct sidelight	AP7350 Fools Gold Amber	30%	0º	0º
4	USR back-sidelight	AP7770 Hot Wings	13%	0º	56º
5	DSR front-sidelight	R10 Medium Yellow	28%	32º	56º
6	SR direct sidelight	R12 Straw	39%	37º	0º
7	DSC direct backlight	L104 Deep Amber	30%	54º	0º
8	CS direct downlight	AP2190 Apollo Orange 2x CTO	74%	90º	0º
9	USC direct backlight	AP6500 Bikini Yellow	49%	54º	0º
10	SR direct sidelight	AP7570 Trick or Treat	39%	27º	0º
11	SR direct sidelight	L179 Chrome Orange	24%	0º	0º
12	DSR front-sidelight	L198 Palace Blue	46%	-19º	56º
13	USC cyclorama down light	Ap2190 Apollo Orange 2x CTO	82%	–	–
14	USC cyclorama up light	RE198 Palace Blue	35%	–	–

 

2.) Spring Sunrise in Montauk

Source photo by Edward Reese in March 2014, and can be found here. Source photo (enlarged) used as backdrop. 18 lights used, detailed as follows.

#	Type of light & Direction (re: model)	Gel Used	Intensity	Elevation Angle	Side/Back Angle
1	SR direct sidelight	RE162 Bastard Amber	54%	0º	0º
2	DSR front-sidelight	LHT007 Pale Yellow	40%	17º	37º
3	DSR front-sidelight	AP8200 Scandalous Scarlet	66%	23º	56º
4	SR direct sidelight	L176 Loving Amber	39%	27º	0º
5	USR back-sidelight	AP6900 Butterscotch	51%	23º	56º
6	DSR front-sidelight	RE108 English Rose	18%	24º	37º
7	DSR front-sidelight	AP6400 Pilsner Yellow	29%	32º	56º
8	SR direct sidelight	L104 Deep Amber	54%	37º	0º
9	USR back-sidelight	L105 Orange	43%	32º	56º
10	DSR front-sidelight	L102 Light Amber	50%	37º	56º
11	SR direct sidelight	L159 No Colour Straw	25%	43º	0º
12	USR back-sidelight	L103 Straw	48%	37º	56º
13	DSC direct back light	L101 Yellow	9%	14º	0º
14	SL direct sidelight	L048 Rose Purple	26%	27º	0º
15	SL direct sidelight	AP1900 Blue Diffusion	45%	0º	0º
16	USL back-sidelight	AP3700 Groovy Grape	43%	0º	56º
17	USC cyclorama down light	N/A	100%	–	–
18	USC cyclorama up light	N/A	100%	–	–

3) Noon on a hot Summer day in Hawaii

Source photo by Dennis Oda in August 2013, and can be found here. Backdrop image source here. 9 lights used, detailed as follows.

#	Type of light & Direction (re: model)	Gel Used	Intensity	Elevation Angle	Side/Back Angle
1	SR direct sidelight	L212 LCT Yellow	36%	61º	0º
2	DSC direct back light	L205 1/2 CT Orange	74%	54º	0º
3	DSL front-sidelight	L203 1/4 CT Blue	58%	34º	11º
4	DSL front-sidelight	L007 Pale Yellow	71%	52º	21º
5	DSL front-sidelight	L020 Medium Amber	39%	13º	21º
6	SL direct sidelight	G885 Blue Ice	45%	61º	0º
7	DSL front-sidelight	LHT053 Pale Lavender	41%	42º	48º
8	USC cyclorama down light	NC	100%	–	–
9	USC cyclorama up light	NC	100%	–	–

4) Winter afternoon in Maine

Source photo by Thomas Schoeller in December 2012, and can be found here. 18 lights used, detailed as follows.

#	Type of light & Direction (re: model)	Gel Used	Intensity	Elevation Angle	Side/Back Angle
1	DSR front-sidelight	R4307 CalColor 7.5 Cyan	36%	32º	56º
2	USR back-sidelight	L725 Old Steel Blue	39%	37º	56º
3	SR top-sidelight	L724 Ocean Blue	48%	51º	0º
4	DSR front-sidelight	L702 Special Pale Lavender	24%	13º	21º
5	DSC direct back light	R163 Powder Frost	24%	14º	0º
6	DSL front-sidelight	L750 Durham Frost	14%	52º	21º
7	DSL front-sidelight	L247 Lee Minus Green	4%	48º	37º
8	DSL front-sidelight	L253 Hampshire Frost	24%	42º	48º
9	DSL front-sidelight	G525 Lime Sun	18%	37º	56º
10	SL direct sidelight	G870 Winter White	55%	43º	0º
11	USL back-sidelight	L205 1/2 CT Orange	12%	37º	56º
12	DSL front-sidelight	L169 Lilac Tint	14%	32º	56º
13	SL direct sidelight	R62 Booster Blue	27%	37º	0º
14	USC cyclorama down light	NC	10%	–	–
15	USC cyclorama down light	GRN	56%	–	–
16	USC cyclorama down light	BLUE	80%	–	–
17	USC cyclorama up light	NC	62%	–	–
18	USC cyclorama up light	CYAN	88%	–	–