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stage lighting guide stage lighting guide a guide to lighting whatever the scale of a production - amateur or professional - lighting like other design processes is based on a sequence of logical decisions plus a good measure of creative inspiration. this brief guide offers a sequence of step-by-step decisions to form the basis of a lighting process for the smaller scale production. it has been prepared by a lighting designer with experience of working on productions of all types and sizes. i hope that it will be especially helpful to amateur groups, small touring companies and educational theatre. types of light floods soft spots profile spots beamlights choosing lighting positions lighting from the front lighting from the back and side finding a compromise dividing the stage dividing by area area planning for a play area planning for a musical colour planning for a play colour planning for a musical the decision process example plan for a play example plan for "in the round" example plan for a musical deciding which lights to use the rig plan lists focusing focussing in comfort what can we adjust? glossary types of light how do we choose which type to use in each position? as lighting equipment is so robust choice is further complicated, in that in addition to the range in today's catalogue, many earlier models are still in use. however lighting instruments group into families and it is convenient to consider our requirements in terms of what each family offers in terms of beam size, beam shape, and beam quality. floods floodlights are the simplest of all theatre luminaires, comprising of little more than a lamp and reflector in a box that can be panned from side to side and tilted up and down. as they have no lenses, the output characteristics of the floodlight are determined solely by the reflector and lamp type. the light is therefore suitable for lighting skies and cloths, it is not selective enough for lighting actors. floodlights are available in two variations - symmetric and asymmetric traditional symmetrical theatre floods use 'domestic' shaped lamps in a bowl shaped reflector, giving a uniform distribution of light in all directions. most modern theatre floodlights use linear quartz halogen lamps with a symmetrical half-pipe shaped reflector. the light is distributed equally above and below the horizontal axis of the lamp and, to a much lesser extent, equally to each side of the lamp. asymmetric floods, often called cyc {cyclorama} lights are a special type of the floodlight, used for illuminating back drops and scenery. they use a specially shaped asymmetric reflector in order to produce a light beam that spreads much further in one direction than the other relative to the horizontal axis of the lamp. this allows for a more even spread of light down the cyc cloth or back drop, or up the cloth if the cyc light is used as a groundrow. like floodlights, there is also some light distributed to the sides of the lamp. floodlights may be single units, or grouped into 3s or 4s to produce a battern, used for colour mixing. focus spots - fresnels and pcs fresnel spots the fresnel (pronounced: 'fren-el') lens is unique in its design and is easily identified by the stepped concentric rings that form the surface of the lens. the fresnel lens is named after its inventor augustin fresnel (1788-1827) who developed the lens for use in lighthouses to solve the problems presented by the basic plano-convex lens which was less efficient, too heavy and prone to cracking. the fresnel lens has since become one of the most popular lenses used in luminaires for stage lighting, largely for the same reasons. the fresnel luminaire is easily identified by looking at the lens from the outside of the luminaire where the concentric rings are easily seen. fresnel luminaires produce a soft edged beam of light that is brightest in the centre and gradually darkens toward the edges. this characteristic makes blending the light beams between adjacent fresnel luminaires into a continuous pool of light of even brightness quite easy. the fresnel luminaire is the workhorse of all theatre luminaires. fresnels are very versatile luminaires that are often used for stage colour washes, as well as for selective highlighting. the ease of blending the light beam from one fresnel with that of an adjacent fresnel makes them quick to point and focus onto the stage ready for use. pc spots plano-convex (pc) lenses are flat on the back (plano) and curve outward (convex) on the front. the glass may be completely clear or the flat side may have a textured surface, the latter sometimes being called pebble-convex lenses. the textured surface softens the beam a little to improve the overall beam quality. older pc lenses tended to produce a rainbow around the edge of the light beam and project the filament outline in the centre of the light beam. their glass was also prone to cracking. modern pc lenses have largely eliminated these problems. pc luminaires produce a light beam with a 'crisp' well defined edge with less light scatter than the softer edged fresnel luminaires. the light beam characteristics of the pc spotlight make it ideal for dramatic highlights when focused to a narrow spot or for more general colour washes when focused as a wider flood. adding a light diffuser, such as rosco 114 hamburg frost, changes the light beam to make it soft much like the light beam of a fresnel. pc luminaires are ideal for use as tightly focused specials for highlights such as when you want to pick out a single performer for dramatic effect. they are also suitable for use in front of house positions. plano-convex (pc) and fresnel luminaires belong to the same family of "focus spots" with the only difference between the two being the type of lens that is fitted. both types use a spherical reflector which, in conjunction with the single lens, provides a low cost optical system albeit a little less efficient than the more complex optical systems used in profile luminaires. the beam angle of focus spots is adjustable over a wide range, typically from a narrow spot of 4-10 degrees to a flood of 60-65 degrees. this adjustment is achieved by moving the lamp and reflector relative to the lens which is fixed in position on the body of the luminaire. some models achieve this movement by means of a locking knob at the bottom of the luminaire that you loosen then slide back or forward while other models have a screw thread system with a knob at the back and/or front of the luminaire that is rotated to move move the lamp tray. moving the lamp closer to the lens increases beam width towards its widest flood setting while moving it away from the lens reduces the beam width towards its narrowest spot setting. an accessory called a barndoor is usually fitted to the front of focus spots to provide a means of controlling the edges of the beam. profile spots fixed beam profile spots in a profile spot, the lamp and the reflector remain stationary while the lens is movable (whereas in the focus spot, the lens is stationary and it is the lamp and reflector that move). the lens movement in a profile spot controls the beam quality; the lenses are capable of producing a very hard precise edge which can be gradually softened by progressive movement of the lens tube. control of beam size and shape in standard profile spots is achieved by adjustments at the central point of the optical system known as the gate. at this point, all profile spots have four shutters which can be used to make any size of four sided shape. there is a slot with runners which accept either an iris diaphragm to give a full range of circular beam sizes, or a metal mask to produce any required beam shape. the profile spot is so called because it will project a profile of whatever two-dimentional shape is placed in the gate runners; and that profile can be projected to any required degree of hardness/softness by movement of the lens. a mask for use in the gate i

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