Transcript Theatrical Lighting - Webster's High School Drama Department

Theatrical Lighting
A Brief Introduction
2007
Webster’s High School Drama Dept
General Lighting
Provides a diffuse, shadow less, wash
of light over the entire stage space
2007
Webster’s High School Drama Dept
Specific Lighting
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2007
Introduced by the lime light in the middle of the 19th century, provides a sharp,
highly controlled shaft of light.
These shafts were used to highlight a small area of the stage, a principle actor,
or create the illusion of sunlight (or moonlight).
These units were typically placed in the balconies of the auditorium or the
galleries on the sides of the theatre.
Webster’s High School Drama Dept
Common Lighting Terminology
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Flood
A broad beam of light, less directional and intense than
a spot.
Spot
A controlled, narrowly-focused beam of light.
Tungsten
Light from an ordinary light bulb containing a thin
coiled tungsten wire that becomes incandescent (emits
light) when an electric current is passed along it.
Tungsten colour temperature is around 2800K to
3400K. Also known as incandescent light.
Fresnel
A light which has a lens with raised circular
ridges on its outer surface. The fresnel lens is used to
focus the light beam.
Types of Lights
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Flood
Fresnel
Pebble Convex
Profile
FollowSpot
Parcan
Birdie
Flood
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This is the simplest type
of lantern, consisting of a
lamp and a reflector in a
box, with no lens.
The reflector
concentrates the light
towards the opening in
the box. There is no
control over the focussing
of a flood, other than its
general direction.
Symbol for a flood
on a lighting plan
Fresnel Lights
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Stage Lighting Fresnels provide a
round soft edge circle of light that
can be adjusted from spot to
flood. You can change the color of
this theatrical light by placing color
gel in front of the unit.
Fresnel
• The Fresnel (pronounced "Frennel") is a
soft-edged spotlight with more control
over beam angle than floods, but less
control than profiles. The lens is a series
of stepped concentric circles on the front Strand Cadenza Fresnel
and pebbled on the back It was first used
in stage lighting in the late 1920s.
• The size of the beam can be adjusted by
moving the lamp and reflector closer to or
farther from the lens, either by a screw
mechanism or a simple slide. The beam
can be shaped by the four barndoors
attached to the front of the lantern.
Symbol for a
Fresnel on a
lighting plan
Fresnel
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Fresnel "spotted down" - lens further
from glass
Fresnel "flooded" – lens closer to
glass
PC (Pebble Convex)
• The PC is common in Europe, but is
rarely seen in the US.
• The basic design of this lantern dates
back to the first days of stage lighting,
but the modern version has one
important difference. This lantern uses
a modified lens with a pebbled effect
on the plano (flat) side. The pebbled
effect gives the beam its characteristic
soft edge. The edge of the beam is
slightly harder than a Fresnel, but is
not hard edged. The pebble convex
lens uses the efficiency of the plano
convex lens and gives the light a softer
edge.
• Like a Fresnel, there is one focussing
knob to change the beam angle.
Symbol for a PC
on a lighting plan
Profile
Profile lanterns produce clearly defined
spots of light and are the most
focussable and versatile of the
lanterns. They have a lens (some have
two lenses), a lamp and a reflector,
and they also have shutters and a
gate.
gobos
Profiles get their name from their
ability to project the shape of anything
placed in the gate of the lantern
between the lamp and the lens. These
shapes may be formed by the shutters,
or they may be cut out of thin metal (a
"gobo“).
Symbol for a profile on a lighting plan
Profiles cont.
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profiles with only one
lens have two sets of shutters,
one of which gives a hard
edge to the beam, and one
which gives a softer edge.
These are known as bifocal
profiles.
 Profiles
with two lenses
(zoom profiles) are best for
projecting gobos and other
shapes, as the size and
sharpness of the beam is fully
adjustable throughout the
beam angle range of the
lantern.
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A zoom profile lantern is known by
the range of its beam angle (e.g.
Prelude 16/30, Cantata 18/32 are both
zoom profiles from Strand Lighting's
range).
A followspot is a special type of
profile lantern with additional controls,
extra handles, sights, built-in colour
changer and iris, and is usually of
much higher power.
Ellipsoidal Profile Spots / Leko
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A Leko is an ellipsoidal profile spot. Leko's are
much more common in the US than the Zoom
Profiles we tend to prefer in the UK. They are of
fixed beam angle.
The name Leko is a contraction of the original
manufacturer's names (Joseph Levy and Edward
F. Kook - founders of Century Lighting). Leko's
were originally patented in 1933, and is still
manufactured today by Strand Lighting (which
now owns Century Lighting).
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Ellipsoidal profile spots are sometimes known as
ERS (Ellipsoidal Reflector Spots).
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Ellipsoidals or Lekos
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A stage lighting ellipsoidal light,
also known as a leko is the most
versatile conventional fixture of
stage lighting. While it emits a
circular beam of light, you have the
ability to adjust every aspect of it
for your theatrical lighting needs.
Leko Continued
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1 - You can change the diameter of the circle to
adjust to your stage lighting need.
2 - You can change the shape of the circle using
shutters that will help adjust to your theatre
lighting need.
3 - You can change the colour to help adjust to
your theatre lighting needs.
4 - You can project images and shapes with
gobos that can produce scenery with stage
lighting.
5 - You can have a sharp or fuzzy image.
6 - You can lock the focus of the light where you
need it.
ETC Source 4
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They are very similar to the Lekos, because
they are ellipsoidal and strong lights.
They are stronger and used more frequently
in theatres.
Followspot
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A stage lighting followspot is a theatrical
lighting unit that is manipulated by a
followspot operator (human) behind the
unit, to point the light at the desired
object.
Followspots have the ability (in general)
to change color, focus and size of the
circle easily. Some folks call it a theatrical
spot light. It is comprised of a stand, a
yoke, and the head.
Super Trouper Followspot
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When the Strong Super Trouper
followspot was introduced in 1956, it
was the brightest in the world. It
originally had a carbon arc source but
this was superceded in 1971 by a
Xenon discharge lamp.
Tonight the
Super Trouper lights are gonna find me
Shining like the sun
Followspot
With the lenses far apart, the beam is narrow
With the lenses close together, the beam is
wider.
Parcan
• This lantern first came into use in the
1970's in the Rock and Roll industry. It
quickly found favour due to the relative
cheapness of the lantern, the weight and
the ease of focussing.
• The lantern itself is simply a "can" in which the PAR
lamp is contained (hence "Parcan"). The PAR
(Parabolic Aluminised Reflector) lamps are available in
a range of beam angles depending on the amount of
diffusion on the front lens of the lamp. The lamp is a
sealed beam unit consisting of a lamp, reflector and
lens in one.
• Because the light produced can be very intense,
Parcans are especially suited to strong colours or for
special effect. Be aware that deep colours can burn
out quickly at full intensity.
Symbol
for a
parcan
on a
lighting
plan
Birdies
• A birdie is a miniature lantern that's
ideal for hiding in small parts of a set
or along the downstage edge of the
stage. It provides a surprisingly bright
soft-edged pool of light. Although the
beam is sometimes unevenly spread,
the benefits of having a punch of light
where no normal lantern can go are
massive.
• Where does the name come from?
Well, you see the birdie looks a little
like a parcan, but is a lot smaller? You
could say, it's "One under Par" - which,
as every golfer knows, is called a
"birdie".
Seneca's Oedipus at the Northcott Theatre,
Exeter UK, 1998.
Lighting Design: Jon Primrose.
A single narrow Parcan used as a backlight
through atmospheric haze. A birdie uplight
adds fill from the front.
Far from the Madding Crowd at the
Northcott Theatre, Exeter UK.
Lighting Design: Jon Primrose.
Glass Moon gobo used on the rear
cyclorama.
The Standard 3-Point Lighting Technique
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The technique uses three lights called the key
light, fill light and back light. Naturally you will
need three lights to utilise the technique fully, but
the principles are still important even if you only
use one or two lights. As a rule:
If you only have one light, it becomes the key.
If you have 2 lights, one is the key and the other
is either the fill or the backlight.
The Standard 3-Point Lighting Technique - Key Light
Key Light
This is the main light. It is usually the strongest and
has the most influence on the look of the scene. It is
placed to one side of the camera/subject so that this
side is well lit and the other side has some shadow.
The Standard 3-Point Lighting Technique – Fill Light
Fill Light
This is the secondary light and is
placed on the opposite side of
the key light. It is used to fill the
shadows created by the key. The
fill will usually be softer and less
bright than the key. To achieve
this, you could move the light
further away or use some spun.
You might also want to set the
fill light to more of a flood than
the key.
The Standard 3-Point Lighting Technique - Back Light
Back Light
The back light is placed behind
the subject and lights it from the
rear. Rather than providing
direct lighting (like the key and
fill), its purpose is to provide
definition and subtle highlights
around the subject's outlines.
This helps separate the subject
from the background and
provide a three-dimensional look.
Timeline of Lighting Developments
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Candles
Oil Lamps
Gas Lighting
Electric Lighting
Lime Light
Arc Light
Electric Spotlight
Some of these overlap each other so the
timeline deals with each separately and not
in true chronological order
Candles
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Italy - 1580-1618: Candles are introduced in
both the academic (Teatro Olimpico) and court
(Teatro Farnese) theatres.
England - 1600s: Used in the private (indoor)
theatres and Ingo Jones' (1573-1652) Court
Masques .
1660s: Reintroduced during the English
Restoration.
Mounting Positions: Chandeliers over both the
stage and the house, Front edge of the stage
(footlights), and "Ladders" between each pair of
side wings.
Oil Lighting
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1780s: Swiss chemist Aime Argand develops the
modern oil lamp that soon replaces the candle as
the primary light source.
Mounting Positions: The same as with candles-Chandeliers, Foot lights, and Ladders in the
wings.
Gas Lighting
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1816: The world's first gas stage-lighting system
is installed at the Chestnut Street Theatre in
Philadelphia.
1817: Gas-lighting systems are installed in
London's two legitimate houses: Drury Lane and
Covent Garden.
1820s: Gas light is in experimental use in most
countries of the Western World.
Gas Lighting
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1840s: Gas lighting is widely adapted and the
gas table (control board) makes its appearance.
1880s: The incandescent mantle (the Auer
burner) is introduced producing a much brighter
and safer light.
Mounting Positions: Footlights, Border Lights
(between each pair of scenic borders), and Wing
Lights (between each pair of scenic wings).
Electric
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1879: Thomas Edison perfects the first practical
incandescent electric lamp.
1881: London's Savoy Theatre installs the world's
first electric lighting system-- 824- 16 candle
power lamps were used to light the stage and an
additional 334 lights illuminated the auditorium.
1882: The first American installation of electric
lights is at Boston's Bijou's Theatre.
Electric
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1890s: By the end of the 19th century most
"modern" theatres have switched from gas lights
to the much safer electric lights.
1903: Kliegl Brothers installs an electrical lighting
system with 96 resistance dimmers (and 20
additional dimmers for house lights) at the
Metropolitan Opera House in New York City. See
the illustration below.
Mounting Positions: The same as with gaslighting: Footlights, Borderlights and Winglights.
Lime Light
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1816: The calcium light (also known as a
limelight or Drummond light) is demonstrated by
Thomas Drummond, it's inventor.
1837: English actor-manager Charles Macready
uses a limelight at London's Covent Garden.
1870s-1880s: The limelight is in general use in
"modern" theatres. By the end of the 1880s as
many as eleven units were used in productions at
Stockholm's Royal Theatre .
1890s: The limelight is beginning to be replaced
by the newer and brighter carbon arc lamp.
Arc Light
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1807: Sir Humphry Davy demonstrates a
carbon arc lamp powered by a 2,000 cell
battery. Further development is halted by
the lack of a readily available power
supply.
1832: Hippolyte Pixii, a French
instrument maker, builds an experimental
direct current dynamo (generator).
1849: An arc lamp is used to create a
sunrise effect at the Paris Opera's
production of Meyerbeer's Le Prophete.
Arc Light
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1878: Charles Brush develops a practical dynamo
making the carbon arc lamp a workable source of
light
1890s: The carbon arc lamp begins to replace
the calcium light in the "modern" theatre. The
illustration on the left is a Kliegl No. 5, a 5" Lens
Box with a 25 amp (2750 watt) carbon arc lamp
(1913).
1920s: The newer and safer incandescent
spotlight, using a modern 1000 watt lamp, begins
to replace the carbon arc for general theatrical
use.
1990s: Carbon arc lamps continue to be used as
a follow spot until the end of the 20th century.
Electric Spotlight
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1904: Louis Hartmann builds a small (5" lens)
spotlight, a baby lens, which used a 50 candle
power (approximately 50 watt) lamp for David
Belasco's production of The Music Teacher.
1906: Hartman uses 4-- 250 watt baby lenses (in
addition to 31-- 1,5000 watt carbon-arc spots) in
Belasco's The Rose of Ranchero.
1907: Edison introduces the 500 watt lamp.
1911: Edison introduces a "concentrated
filament" lamp for use in a lens hood (spotlight).
Electric Spotlight
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1913: Kliegl Brothers markets the No. 60, a 5"
Baby Spot built around a 100 candle power lamp.
According to the catalogue, the unit provided a
"mild ray of light."
1913: The 1000 watt lamp becomes available.
1916: Designer Norman Bel Geddes replaces the
carbon arc lamp in a lens box with a 1000w
incandecent lamp.
Electric Spotlight
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1920s: 5", 6" and 8" PlanoConvex spotlights
(lens hoods), using a 1000 watt lamp, begin
replacing the Lime Light and Carbon Arc lamp.The
illustration on the left is of a Kliegl No. 5N, a 5"
Lens Box with a 1000 watt lamp (1926). Note the
similarity between the No 5 and the No 5N.
1929: Kliegl Brothers introduces the Fresnel lens
spotlight.
1933s: Both Kliegl Brothers (Klieglight) and
Century (LekoLight) introduce the ellipsoidal
reflector spotlight
The End
2007
Webster’s High School Drama Dept