Drama 16 Stage Lighting

A Fall Sunset in Malibu, California

Description: I wanted to use the cyc to create the image of a sun setting. Malibu is known for being pink and fun, so I wanted my sunset to have some pinkish tones to really suggest location. I tried to light my actors naturally, using sidelight to show striking angles and shadows of an actual sunset.

Cyc Light:

Top: R39@Full

Bottom: R43@75%, R21@50%

Model Light:

Side Light: R41@Full, 19 deg. elevation, 56 deg. side angle, 1′ above deck, 12′ SR of model, 8′ DS of model, 15′ throw.

Top Light: R83@50%, 54 deg. elevation, direct back, 17′ above deck, centered on model, 14′ throw

Front Light: R33@Full, 14 deg. elevation, 10′ above deck, centered on model, 16′ throw

Spring Sunrise in Maine

Description: Unlike Malibu, I wanted this lighting to feel very simple and plain because Maine is a quieter place. I wanted the sky to be a very light blue and the sun to be a very light yellow. I wanted the two colors to really blend together. On the model, I used a yellow, low side light to look like a rising sun, and to create shadows on the box.

Cyc Light:

Top: R53@Full

Bottom:R14@75%, R66@50%

Model Light:

Side Light: R14@50%, 19 deg. elevation, 55 deg. side angle, 1′ above deck, 12′ SR of model, 8′ DS of model, 15′ throw

Front Light: R02@75%, 14 deg. elevation, direct back, 10′ above deck, centered on model, 16′ DS of model, 16′ throw

Noon on a Hot Summer Day in Mexico

Description: I used a lot of orange light to really simulation the beating down of a warm sun. Mexico has lot of warm colors from the deserts and hot sunlight. I also included a sidelight to brighten the models face and make him visible.

Cyc Light

Top:R07@50%, R23@Full

Bottom: R23@Full

Model Light:

Side Light: R23@75%, 23 deg. elevation, 56 deg. side angle, 12′ above deck, 12′ SR of model, 8′ DS of model, 16′ throw

Top Light:R23@Full 54 deg. elevation, direct back. 17′ above deck, centered on model, 8′ DS of model, 14′ throw

Winter Afternoon in New England

Description: I know a winter afternoon in New England very well. The amazing thing, is when it’s all light blue and white. I wanted to use the cyc to create a really bright light colored sky. The model is also in a cool and white colored lighting. The lighting should make the stage feel cold and barren.

Cyc Light:

Top: R121@50%, R60@75%

Bottom: R60@Full

Model Light:

Top Light: R53@Full, 54 deg. elevation, direct back light, 17′ above deck, centered on model, 8′ DS of model, 14′ throw

Front Light: R62@75%, 14 deg. elevation, direct front light, 10′ above deck, centered on model, 16′ DS of model, 16′ throw

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

Okay … I don’t know WHAT I was doing wrong with the VLL software, but using it was the most frustrating and confusing thing I have ever done for school. <endrant>. I don’t think I did this right at all, but here goes:

SPRING IN MAINE. I looked at photographs and many of them had purplish overtones from the water and from the sky (many of them also had lighthouses … oh, Maine). That created a big contrast between the orange of the rising Sun.

RE179, Full ; AP3100, 75%

Malibu in the Fall.

Mexico in the Summer. The cool blue from the water and the sky mixed with the hazy heat radiating off the sand.

AP4700, Full; Blue 75%, NC 25%, LH1778 75%

Winter in New England. Because I was struggling with the program, I couldn’t find the right balance. I would have created more long, diagonal shows cast by bare trees.

RE130 Full; Blue Full, L746 Full, Green 20%, RE159 70%.

Fall Sunset in Vermont

When thinking about a sunset, one imagines the hot orange color of the sun disappearing behind the horizon, and the dark night sky arriving. In order to mimic this, I chose to light the bottom of the cyc with an orange color. The top of the cyc is light with a night blue, in order to represent the sky. Since the light source during a sunset is low in the sky, I utilized a lot of bottom light. All of the gels I chose have either an orange or indigo type color, as well as some flesh tones in order to highlight the actor’s features, so they can be seen from the audience.

CYC:

• Above: R74 @ 75%
• Below: R23 @ 50% and R26@ 25%

MODEL:

• Bottom/Front Light: R127 @ 38%, right and left of model, 19 degree elevation angle, 56 degree side angle
• Bottom/Back Light: R22 @Full, right and left of model,  19 degree elevation angle, 56 degree side angle
• Top/Side Light: R59 @ Full, right and left of model, 32 degree elevation angle, 56 degree side angle
• Top/Side Light: R07 @ 25% right and left of model, 37 degree elevation angle, 56 degree side angle
• Top Light: R06 @ 50%, 54 degree elevation angle, direct back light, center stage

Spring Sunrise in New England

When researching spring sunrises in New England, I came across many images where light pinks and blues were the primary colors. I wanted to recreate the moment when the sun first peeks over the horizon. The cyc is light so that the pink on the bottom is the rising of the warm spring sun, however, the beautiful spring sky is already lit. The model is lit with many pinks and warm colors, representing the light that would be cast by this warm spring sun.

CYC:

• Above: R72 @ Full
• Below: R37 @ Full

Model:

• Footlight: R34 @ 25%, right  and left of model, -31 degree elevation angle, 37 degree sidelight
• Top/Side Light: R04 @ 75%, right and left of model, 43 degree elevation angle, direct sidelight to model
• Top/Front Light: R03 @ 25%, right and left of model, 33 degree elevation angle, 21 degree side angle
• Top/Front Light: R37 @ 75%, right and left of model, 34 degree elevation angle, 11 degree side angle

Noon on a Hot Summer Day in Brazil

All the research I gathered portrays a Brazilian summer with gorgeous blue skys, and a hot, white sun. In this image, I chose to try and recreate this brilliant blue color with my choice of cyc lights. For the model, I aimed to make the sunlight as natural as possible. In order to do this, I used a lot of gel colors in the RoscoSun collection.  By placing the sun in the background on SR, I chose to make this my source, and this shows in the shadows on the model.

CYC:

• Above: R72 @ Full
• Below: R363 @ Full, R63 @ 50%

MODEL:

• Top/Side Light: R07 @ 50%, right of model, 37 degree elevation angle, 56 degree side angle
• Top/Side Light: R07 @ 50%, right of model, 51 degree elevation angle, direct sidelight to model
• Top/Side Light: R07 @ 50%, right of model, 43 degree elevation angle, direct sidelight to model
• Top/Side Light: R14 @ 50%, right of model, 42 degree elevation angle, 48 degree side angle
• Top/Front Light: R07 @ 50%, right of model31 degree elevation angle, 29 degree side angle
• Top/Front Light: R01 @ 50%, right of model, 33 degree elevation angle, 21 degree side angle
• Top/Front Light: R63 @ 50%, 35 degree elevation angle, direct backlight on model
• Top/Front Light: R05 @ 25%, left of model, 33 degree elevation angle, 21 degree side angle
• Top/Front Light: R05 @ 25%, left of model, 31 degree elevation angle, 29 degree side angle
• Top/Side Light: R35 @ 25%, left of model, 42 degree elevation angle, 48 degree side angle
• Top/Side Light: R35 @ 25%, left of model, 43 degree elevation angle, direct sidelight to model
• Top/side Light: R64 @ 25%, left of model 37 degree elevation angle, 56 degree side angle
• Top/side Light: R64 @ 25%, left of model, 51 degree elevation angle, direct sidelight

A Winter Afternoon in Alaska

For this scene, I really wanted to play up the stereotype that Alaska was a cold, empty, desolate space. When someone thinks of Alaska, they usually think of whites and blues, which are heavily represented in this scene. I took more of an abstract view on the lighting here, and put the realistic aside. The cyc is lit in harsh blue tones, and the model is lit with high contrast and sharp angles. All of these things help contribute to the idea of Alaska’s desolateness.

CYC:

• Above: R132 @ Full
• Below: R125 @ Full

MODEL

• Top/Side Light: Unfiltered @ 20%, right and left of model, 29 degree elevation angle, 37 degree side angle
• Top/Side Light: R67 @ 70%, right of model, 37 degree elevation angle, 56 degree side angle
• Top/Side Light: R67 @ 70%, right of model, 42 degree elevation angle, 48 degree side angle
• Top/Side Light: R66 @ 750%, right of model, 37 degree elevation angle, 56 degree side angle
• Top/Side Light: R66 @ 70%, right of model, 42 degree elevation angle, 48 degree side angle
• Back/Sidelight: R62 @ 70%, right and left of model, 0 degree elevation angle, 56 degree side angle
• Bottom/Front Light: R63 @ 50%, right and left of model, -19 degree elevation angle, 56 degree side angle

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.

Fall Sunset on Venus

For the fall sunset on Venus, I chose vibrant colors in cyc lighting to mimic the emotions that we feel in fall on earth. I added dark blue top light and lighter side light, reflecting the physical direction of the sun, and the strange shadows you would find on a planet closer to the sun.

2 Front Lights: 23 degree elevation angle, 56 degree side angle, 40% intensity, gel color AP2140, one SL, one SR

2 Side Lights: 0 degree elevation angle, full intensity, gel color AP2140, one SL, one SR

2 Top Lights: 61 degree elevation angle, 25% intensity, gel color RE198, one SL, one SR

1 Top Light: 90 Degree elevation angle, 25% intensity, gel color RE198, one SL, one SR

Cyc Lights-

Bottom: gel color G290, full intensity

Top: gel color AP3800, full intensity

A spring sunrise in New England on Earth

In New England, spring barely exists, as it seems the whole world transitions directly from cold and grey into sunshine. This image depicts a colder spring morning, with the beginnings of some warm colors, and lots of top light to reflect the position of the sun.

2 Front Lights: -19 degree elevation angle, 56 degree side angle, 25% intensity, gel color G985, one SL, one SR

2 Front Lights: 52 degree elevation angle, 21 degree side angle, 75% intensity, gel color L009, one SL, one SR

1 Front Light: 54 degree elevation angle, direct front light, 50% intensity, gel color G364

2 Top Lights: 61 degree elevation angle, 25% intensity, gel color AP2140, template, one SL, one SR

Cyc Lights-

Bottom: gel color AP3300, 75% intensity

Top: gel color AP2140, 100% intensity

Noon on a hot summer day on Mars

As Mars is a red, dry planet with no water, the lighting reflects the harsh tones of the environment. The lighting from above washes out the model as though there was no protection between the model and the sun on the ragged, dehydrated rocks of mars.

2 Front Lights: 48 degree elevation angle, 37 degree side angle, full intensity, gel color AP2190, one SL, one SR

2 Front Lights: 52 degree elevation angle, 21 degree side angle, 75% intensity, gel color L009, one SL, one SR

1 Front Light: 54 degree elevation, direct front light, 50% intensity, gel color G364

2 Top Lights: 75 degree elevation angle, full intensity, gel color AP7850, one SL, one SR

1 Top Light: 90 degree elevation angle, full intensity, gel color AP6190

Cyc lights:

Bottom: P35900 gel color, full intensity

Top: G335 gel color, full intensity

Winter on Saturn is cold and icy, and not very bright. The grey tones reflect how little light passes the rings of Saturn in the winter, and the figure, mostly back lit, is only on a cold, perpetually dusk-y planet.

One Front Light: 37 degree elevation angle, 56 degree side angle, full intensity, gel color G870

Two Top Lights: 52 degree elevation angle, 21 degree back angle, full intensity, gel color AP3500, one SL, one SR

One Top Light: 42 degree elevation angle, 48 degree back angle, full intensity, gel color G987, SL

One Top Light: 48 degree elevation angle, 37 degree back angle, full intensity, gel color G987, SR

Cyc Lights:

Bottom: gel color L202, full intensity

Top: gel color G328, full intensity

1)

I used two lights for this description (A Fall Sunset on Venus). The light in the back is AP7600 Full and the light in the front is AP2190 Full. I decided to place the lights directly above the figure because I found it to be the closest color of Venus during this time of year. I think this image depicts the moment because Venus has an orange color to it and during the Fall, I thought this is what would be appropriate for this description.

2)

I used three lights in this image to make the lighting look like a (Spring Sunrise in New England on Earth). The two lights in the front are L767 Full and G345 Full and the light color in the back in LHT010 Full. I decided to place the lights this way because when I think of a sunrise on Earth, I think of a orange/bright yellow color getting lighter and lighter as the day begins. I think this image depicts the moment because these are the colors in which a sunrise looks like.

3)

I used six lights in this image to make the lighting look like (Noon on a hot Summer day on Mars). The three lights in the back are L100 Full, G480 Full, and AP6400 Full and the three lights in the front are L104 Full, L117 Full and NC Full. The reason I feel that this lighting depicts this moment is because during the day at noon, when you look up the sun is very bright and the color is sometimes white from the shine. I think of when I am in certain areas of the city and it is very bright, and I look up, the color of the shine and glare of the sun is this color for lighting.

4)

I used seven lights in this image to make the lighting look like (Winter afternoon on Saturn). The four lights in the front are Yellow Full, AP8300 Full, AP8250 Full, and AP1800 Full. The three lights in the back are AP7770 Full, Ap8300 Full, and AP8100 Full. I tried to make the lighting look appropriate for being on Saturn and I felt that this is what an afternoon in Saturn would look like. I felt that the bright yellow on the top hand side of the figure would signify that it is afternoon on Saturn.

1) A Fall Sunset in Vermont

Backdrop:
AP3150 at 75%
AP6900 at 75%

Downstage left (top to bottom):
AP3150 at 100%;  32 degree elevation angle; 56 degree side angle
G180 at 100%;  23 degree elevation angle; 56 degree side angle
G315 at 100%; 0 degree elevation; 56 degree side angle
AP6900 at 100%; -19 degree elevation angle; 56 degree side angle

Upstage right (top to bottom):
AP1800 at 100%; 23 degree elevation angle; 56 degree back angle
AP7750 at 100%; 0 degree elevation angle; 56 degree back angle

I chose the colors for the backlighing because I wanted them to represent the colors of autumn that would be seen on trees. I made the front light the progression from lighter to dark the way a sunset changes as you look farther up in the sky. I made the backdrop similar to the front light to further show the sunset changes.

2) An Easter Sunrise in a Gothic Cathedral

Backdrop:
AP5800 at 75%
AP8500 at 75%

Center stage left (top to bottom):
AP5800 at 50%; 37 degree angle elevation
AP8500 at 100%; 0 degree angle elevation

Upstage right:
AP5800 at 75%; 23 degree elevation angle; 56 degree side angle
AP8500 at 100%; -19 degree elevation angle; 56 degree side angle

I like these colors because the pale pink and aqua make me think of easter eggs, and Easter in general. I wanted the lights to work the same way as they did with the sunset, with the lighter colors on the bottom and the darker on top, to recreate that sunrise/sunset feel.

3) Noon on a hot Summer Day in the Caribbean

Backdrop:
G841 at 100%
G455 at 100%

Front light:
AP7350 at 100%; -31 degree elevation angle; 37 degree side angle

Center stage left (top to bottom):
AP7350 at 75%; 37 degree elevation angle
AP7350 at 75%; 27 degree elevation angle

Center stage right:
AP6500 at 75%; 0 degree elevation angle

Upstage right:
AP6500 at 75%; 32 degree elevation angle; 56 degree side angle

I used the backdrop to create the lively feeling of the ocean and beach of the Caribbean, coupled with bright, warm, all around lighting on the figure to show the sunlight hitting her.

4) Winter Afternoon Just Before Snow

Backdrop:
G820 at 100%
G515 at 100%

Upstage left:
G515 at 75%; 0 degree elevation angle; 56 degree side angle

Center stage left:
G515 at 75%; -31 degree elevation angle; 37 degree side angle

Upstage left:
G515 at 25%; 0 degree elevation angle; 56 degree side angle

Upstage right (top to bottom):
G515 at 50%; 32 degree elevation angle; 56 degree side angle
G515 at 50%; 0 degree elevation angle; 56 degree side angle

I wanted the light to be kind of soft for the early afternoon, so I threw some blue into the backdrop. I really wanted to emphasize the coming of the snow, so everything is in stark white, and is fairly evenly lit the way it would be with light reflecting off the white of the snow.

1.A Fall sunset in Vermont

Backdrop
Top- AP3800-25%, AP8850-25%, AP4750-50%
Bottom- AP7750-Full, L179-25%, AP2190-50%

Top: (L to R)
AP4750 – Full, 75° elevation angle, direct side light house left
AP4750 – Full, 90° elevation angle, direct down light
AP4750 – Full, 75° elevation angle, direct side light house right
AP8850– 50%, 54° elevation angle, direct back light

Downstage (L to R)
AP7600 – Full, -31° elevation angle, 37° side angle house left
G450 – 25%, -37° elevation angle, direct back light
AP7600 – Full, -31° elevation angle, 37° side angle house right

I really enjoy the distinct colors in a sunset. When I think of one in Vermont, it is very strong colors such as violet and orange. The sunset is very apparent in the wilderness as well. Because of this, I created the background to show violet at the top and the exiting orange at the bottom. The girl is also covered by the orange glow and a tiny piece of the oncoming darkness appears near the top of her head.

2.Easter sunrise in a Gothic Cathedral

Back Drop
Top- AS3800 – Full, L258 – 75%
Bottom- AP7750 – Full, AP7770 – 50%

Top Light: (L to R)
AP3800 – 50%, 75° elevation angle, direct side light house left
L258 – 50%, 75° elevation angle, direct side light house right

Downstage
AP7600 – Full, -37° elevation angle, direct back light

A sunrise has a lot of similarities to a sunset but the shade vary a little bit. I feel there is more of amber in a sunrise and the color is darker. The dark night is also leaving and is mixing with the dark orange and amber. It forms a much lighter pink than the purple in the sunset. In a gothic cathedral, the light is reflecting through the stain glass, and the color of the glass adds to the color of the light. The amber fills the persons main view while leaving some darkness at the bottom.

3. Noon on a hot Summer day in the Caribbean

Back Drop
Top- AP3800 – Full, L353 – 75%, AP4870 – Full
Bottom- L256 – 25%, L285 – Full

Top
G725 – 50%, 75° elevation angle, direct side light house left
G870 – Full, 90° elevation angle, direct down light
G725 – 50%, 75° elevation angle, direct side light house right

House Left
G925 – 25%, 0° elevation angle, direct side light house left

House Right
G890 – 25%, 0° elevation angle, direct side light house right

Downstage
L285 – 75%, -37° elevation angle, direct back light

The summer in the carribean is filled with lots of bright blues and light beige colors. The sky and water are a light reflective blue,to the point where it is almost refreshing just to look at. The ground is extremely light colored and adds to the brightness of the scene. The person absorbs most of the bright light and a little bit of the blue from the sky.

4. Winter afternoon just before the snow

Back Drop
Top- L299 – Full, L353 – 25%
Bottom- L256 – 50%, L285 – 75%

Top
L200 – 50%, 75° elevation angle, direct side light house left
L226 – Full, 90° elevation angle, direct down light
L196 – 50%, 75° elevation angle, direct side light house right

Downstage
L257 – Full, -37° elevation angle, direct back light

The winter makes it very dark outside. The sky is grey with a little bit of the blue sky trying to break through the ugly color. This causes the two to mix a bit. It creates a dark and ugly shade of blue. The ground has the most light and is lighter than the actual sky. It is a light color but mixes with the grey shades as well as the sky. This causes an ugly light color. The scene itself is very cold and lonely. The girl picks up shades of grey with a little bit of blue.