Update on Theatre Lights Project

I thought I had this written up somewhere, but I just can't find it.

Latest is that we did the filming Sunday September 21, after which I was away till the following Thursday.

At this stage, most of the footage is now on my Mac, ready to be edited.
Micky has promised to help me with extracting the sound from the Camino video with a view to hopefully improving the quality in Audition.

Still awaiting the fourth piece of footage before beginning the editing.

PROPS

So far I have got the two long sticks,
I also got two white coverall suits for the two stick bearers.
Am working on the soundtrack but with some difficulty. Let you know tomorrow how I get on.
E

REPORT meeting Wed Sept 17 at Kylemore Cafe

We met at 1800 on the dot, and finished at 1900 on the dot. I think we are marvellous!
Present Siobhan, Stephanie, Laura R, Elizabeth

Siobhan told us about a Conversation and Performance at IMMA Sept 26 1800-1939 (click link for info) This involves a shadow play.

Siobhan had printed out the Instructions/Script for us to discuss.

We covered various topics

PROPS
For the butterfly, possibly use a dismantled collander - the metalic ones that are used for shaking the wet of lettuce. The weight of this might provide an interesting effect. Siobhan will bring wire and toolbox on Sunday.

Could other domestic items be used to make interesting shadows?
Fan and net curtain blowing in the wind
Steam from hot water

What about deep breathing, and loud heart-beat as part of sound-track

If we can make our own GOBOs, would our images be better positive, or negative?
Could we create a human-shape GOBO to create a halo around walker

CAMERA
Elizabeth may be able to get her daughter to do some camera-work
Idea is to use 3 x fixed cameras at different locations, and 1 x close-up camera.
Important not to cross the 'camera line'.
What would happen if we videoed the reflection in a large mirror?
Is there a large mirror available to us at the theatre?

Laura is willing to take responsibility for checking fixed cameras are set up properly.

LIGHTS
Fading light during walking may provide a good effect.
I just realized that we didn't allocate anyone to manage the lights in the control room. Maybe Laura should do this rather than the cameras

SHADOWS
The single most important item we have not dealt with is the issue of a screen, or some surface on which to project shadows.
Elizabeth will bring a sheet and clothespegs.

SOUND
The soundtrack should be prerecorded, and the action fitted in to this, rather than attempting to record the sound live.
However, additional live sound might be possible e.g. tambourine

AGREED
Next getting together is this SUNDAY Sept 21 at 1130 at Tallaght Theatre when we will shoot the project.
Everyone will bring domestic items that they think might make unusual shadows related to the walking theme of the narrative.

We will also get together after the performance at IMMA on FRIDAY Sept 26 2008 around 1945. North Range is where the performance is. (Means we can't stay till the end of the wine reception.)
This meeting will be to discuss what if anything can be done about editing the footage we have before we return to college on the following Monday, Sept 29.

BELATED Reports part one

September
Part one OF REPORT (writing the reports seems to take much longer than the meetings themselves. - not sure there will be time to write the rest of this, seeing that we are currently planning to be filming whatever we are going to do this coming Sunday, September 21 2008. Howver its such good stuff, I'll see how I'm going. Might write it up later on - finding TIME being the challenge.)

LAURA IDEAS (missing from last report sept 11 2008)
Wants to experiment and get as much out of the experience as she can
to push the barriers,

***

2nd visit to Tallaght Theatre September 13 2008
Present: Michael L, Shane (theatre technician), Laura R, Sinead, Elizabeth. Dave was working, Stephanie unavailable.

SHANE ideas on using light to give a sense of movement into the distance by using a low light and walking away from it, causing the shadow to contract, and to pale. ILLUSION using shadows even though the person doesn't actually walk very far.

MICHAEL on using simple enough tricks, to give the effect we want, without using very technically complicated stuff.
Also might work using three people instead of just one, using the projection of continuity.

SHANE on possibility of conveying a longer time by having a young person, followed by someone older, then someone old gives more perspective of time

ELIZABETH Even though we are still at the ideas stage now, by next Tuesday or Wednesday, we need to know exactly what we are doing.
Need to throw out all the vague ideas, and get it down to what we are going to do - five minutes or less if possible.

MICHAEL on 'value for effort' - doing white make-up for such a short piece might be more work than the effects would be worth.
If we decide to use masks rather than makeup, they have to be directed.

ELIZABETH - even a hood/mask combined ....

SHANE: Have we blocked the show - where it begins and where it ends?

ELIZABETH: Need to decide how narrative it is going to be, or just a snapshot into the Camino.

ELIZABETH: Explains what is THE CAMINO - a pilgrimage across the north of Spain, started about 1200 years ago as a pilgrimage, but now is also a challenge for anyone who wants to do it.

SHANE We will have to come up with some sort of script - you have to have something to make a lighting design around
Lighting adds to the story, you have to have some sort of story to light. Try and keep it as simple as possible. One light can do loads - that's just as simple

Sometimes you can absolutely overdo it, and it just doesn't work.
I don't know what sort of piece ye are going to come up with, but keep it as simple as possible, and ye will be OK.

ELIZABETH: (on seeing the extent of the rig) there is so much in it, the difficulty will be so say what we are not using, and to limit ourselves to keep it simple.

SHANE, from listening to what ye are saying, I keep coming back to keep it simple. And keep your colours simple also.
... use of light for example to show harshness by shining light, only upwards to the face.
... take some close ups so these can be slotted in afterwards
...might do these with side lighting to emphasize the face

Sometimes in a live performance the emotion is much more obvious, but when its filmed, its not the same. You can help to bring the emotion through the camera by giving close-ups.

ELIZABETH On the actual Camino, starting in the darkness, the light really was coming up from behind.

SHANE - these lights can be faded in very slowly, even over two or three minutes to show approaching dawn.

Elizabeth: Great to see what's here ...
SHANE: .... to play with. Don't be afraid to experiment either, just try and keep it simple.

ELIZABETH: Joey's suggestion: Start with ONE LIGHT and push that as far as you can take it, before adding a second light.

SHANE: on work he has done with only three lights or less. Even though they had other lights, just because you have them you don't have to use them.
Trust your instinct. Go with your gut feeling and keep it simple, and you'll be fine.

ELIZABETH on her preference for black and white, shadows, reflections.

SHANE there must have been moments of joy on the walk ... well that's where you would put in the colour - to make it warm.
To show the harshness, keep it open white, black and white ...

ELIZABETH likes idea of keeping it black and white with just glompses of colour - actually that's how it was. examples of bowl of cherries, butterflies,

SHANE on how changing light can portray the 'bowl of cherries', also facial expression, especially face into the light, can give impression of hope.

TO BE CONTINUED

In case you aren't aware, Sinead has also been recording our progress on the Tulips Page if you want a look.

Performance INSTRUCTIONS aka SCRIPT

ACTION SCRIPT - includes ideas for lights and sounds.
To be Read while referring to sketches posted earlier (see below)
Scene 1
- Darkness
- Silence
- Empty stage all black -
Scene 2-
- Small light appears at left side facing existing stage.
- Sound of tapping sticks
- Walker appears from right, walks towards left
Scene 3
- About half way across Rosy light begins to fade in
- About half way across, marching music heard very softly
- Walker continues walking, vanishes into darkness at left side, small light vanishes when Walker vanishes. Music fades, not quite completely, tapping of sticks can still be heard.
Scene 4
- Darkness
- music fades in louder, tempo increasing slower,
- Purple light increases on stick Bearer in Black
- Stick Bearer in black raises stick slowly so that swinging weight moves within the beam of light, causing shadows on backdrop
- Music loud and slow (distorted) Begins to fade out
- Purple Light fades slowly
- Stick bearer lowers weight
Scene 5
- Darkness
- Small light fades in on left
- Light at floor level on right increases slowly
- Music sound increases, still very slow and distorted.
- Walker enters from right, walking more slowly as if climbing a hill
- Music slows even more while fading out
- Walker exits again from left
- Light fades out.
Scene 6
- Darkness
- music fades in louder, tempo increasing (faster, but not yet normal speed)
- yellow light increases on stick Bearer in white
- Stick Bearer in white raises stick slowly so that butterfly moves within the beam of light, causing shadows on backdrop
- Music loud and almost normal speed, then slowly begins to fade out
- Yellow Light fades slowly
- Stick bearer lowers butterfly as light fades
Scene 7
Darkness
Small light appears at left
Floor level light appears and brightens slowly
Tapping of sticks is heard
Walker appears, walking more briskly as light brightens
Music fades in, then increases in tempo as well as volume
Yellow and purple lights both fade in
Stick bearers raise their sticks simultaneously.
Various shadows mingle on backdrop
FINALE
Lights bright
Sounds loud and tempo brisk
Walker marking time with sticks
coming to end of music, it fades out
Ends with complete darkness again
ENDS
Walker

Drawings from last night's posting

Fig 1. This sketch is meant to show something like the layout we might use. Its a starting part for our ideas anyway.

In it you can see 9#(looking from top to bottom of sketch:
4 bars overhead across the stage on which lights can be hung, facing in either direction.

On Bar 2 from the front, you can see the crossing lights, purple for sad emotions, Golden for positive emotions. These lights shine towards the two 'stick-bearers' who will raise long sticks with shadow-creating objects. (See Fig 2 below)

Across the front of the stage area, which is also in front of the seating area, depending on which way you are looking at it, is the pathway of the Walker.

At the back of the seating area is a further bar, close to and paralell to the back wall of the theatre. From here a pink light could be shone to indicate sunrise.




Fig 2
This image shows one of the stick-bearers with a butterfly in the beam of the light. The idea would be for the movement of the cut out to cause interesting shadows.

Theatre Lights Project - SCRIPT IDEAS - 1st draft

PERFORMANCE SCRIPT:

Date: Monday, 15 September 2008

Authorship: Elizabeth,

What do we want to SAY? = MESSAGE/NARRATIVE

WHO do we want to say it to? = TARGET AUDIENCE(S)

WHY do we want to say this to these people? = MOTIVATION

HOW are we going to say it? VISUAL/AUDITORY/KINESTHETHIC

HOW are we going to make a RECORD of what we do/say? CAMERA/SOUND

MESSAGES/objectives

At the end of this process/performance, those who see the finished product will have an awareness of the following:

• • That theatre lights have a potential function in the making of art.


• • That performance art can be enhanced by the use of theatrical lighting


• • That in lighting, less is more (means possibly only one light shining at any one time.
  


• • That despite being fixed in position, a certain degree of light movement can be created by illusion.


• • That lighting can enhance, and even create an emotional atmosphere


• • That shadows can have a significant role to play in the use of light.


• • That a simple NARRATIVE can demonstrate the above messages.

PERFORMANCE NARRATIVE tells how walking the Camino to Santiago in Spain can be a mixed experience of pleasure, pain, inspiration, discouragement, triumph, even humour, and sometimes boredom.

TARGET AUDIENCE(S)

• • The participants will be the main audience, especially during the performance itself
  

• • Afterwards a potential audience might be the tutors in college, and fellow students.
  


• • Website ‘Don’t Eat the Tulips’ have expressed interest in the process of this project


• • If the results are satisfactory, the project might be built on for the DARKLIGHT event early 2009.

PEOPLE

What Performers do we need?

• The Walker
• Black stick bearers
• White stick bearer

What Technicians do we need?

Camera person to operate the zoom in camera

Lights person to manipulate light desk

Sound person to manipulate sound desk

Props/Continuity person (to make sure people have what they need next)

Locations: Where will they be?

Walker in the area between stage and seating

Black stick bearer to left of seating, (as seen from walkers perspective)

White stick bearer to right of seating (as seen from walkers perspective)

Actions: What will they be doing?

Walker will be walking; disappears at ‘end’ of walking area, goes backstage, reappears at start again.Uses different styles of walking/stick useage to indicate uphill, downhill, easy, difficult terrain.

Black SB will create shadows using negative cut-outs (perhaps images suggesting steep hills, rocks, )

White SB will create shadows using positive cut-outs ( perhaps flower, butterfly, bird etc)

THINGS

Props:

2 x Long sticks (one white, one black)

Shadow cut-outs:

Butterfly

Flower

Monster

Swinging Weight

Costumes

Stick bearers: long white/black gown and paper mask head-dress

Walker; Red kaftan, blue hat, backpack, two walking poles

Scenery/Location

Minimum – black walls, floor, red seats

LIGHTS

Lights Locations

A – WHITE light at Floor-level shining along front edge of stage

B – YELLOW lightOverhead ? bar 2 over stage,shining diagonally across set –On white Stick bearer, along the path of the stick

C – PURPLE light Overhead ? bar 2 over stage,shining diagonally across set –On black Stick bearer, along the path of the stick

D – Very SMALL WHITE light at ‘end’ of walk. Disappears when Walker goes back stage.

RECORDING

CAMERA

Camera Locations x 4

W – High left top of seating facing diagonally across set – fixed no operator

X – Medium right middle of seating facing diagonally across set – fixed no operator

Y – Low ground level facing slight diagonal along front of stage/seating – fixed no operator

Z – Low ground level centre , manually operated, mainly for close-ups

Camera Shots: During performance, close-up shots of Walker’s face, panning shots to show effect of shadow makers.

SOUND

Source:

Music from Group met on Camino.

Played at different speeds and different volumes to indicate different moods.

Management

Create a DVD to match the proposed movement of the performance

Theatre Lights Project Sept 2008

Some of you may remember that I mentioned that I had got permission to explore the idea of doing some kind of art work using the lighting at Tallaght Theatre. Well a few of us went there last night to see what it was like. Below is the notes I took on video.
Now we have to come up with ideas/an idea for how we could make ART out of this. Very exciting.

***
NOTES from session with Michael Lynchehaun at Tallaght Theatre, Sept 3 2008

The equipment in Tallaght Theatre at this time

1. Six sockets on the wall with roughly the same capacity as an ordinary house
2. Eight boards are plugged into the six sockets (two of the boards have a kind of ‘double adaptor’
3. Each board has 6 channels with 12 sockets (shared 2 per channel)
4. This means there are 8 x 6 = 48 channels, allowing the possibility of 96 LAMPS to be plugged in at the one time.
5. However these twinned lamps can only operate in tandem, not individually. NB not to use double adaptor with double twins ( but could use three)

When all the plugs are in the sockets, small lights can be seen on the boards showing they have power

The lamps are suspended from a bar over the stage, and plugged into sockets in the ceiling. It is these sockets that are plugged into the 6 x large sockets in the wall (see above)

The 8 x boards are connected to each other as a ‘daisy chain’ with the final board being connected to a Surge-protection BOX which in turn is connected by a long wire overhead and down to the mixing DESK which is in turn connected to a COMPUTER which must be switched on.

The desk controls all the 66 lighting points over the stage. Currently there are only 45 lamps, but more are being added by degrees.

In theatre for drama and comedy, usually MORE LIGHT is better, while to create a sinister atmosphere, LESS LIGHT.

COLOURED GELS are coloured plastic sheets which can be inserted in front of the light to alter the colour of the light

If a change of colour is required, two lamps are set up side by side, focused on the same spot. A CROSS-FADE is achieved by fading out one lamp from the desk, and fading in the other lamp at the same time.

Q. How does the COMPUTER connect to DESK?

It’s not USB, just a regular old monitor which uses the old style connector with pins and two screws. There are also some connectors like telephone leads

Q. What are the numbers we can now see on the monitor?

These show the levels of light.

A large ‘wheel’ switch at the top right hand corner of the desk is called a MASTER FADER. This can fade everything down.

The lamps currently over the stage were put in place for the last show. Ideally, all of these would be taken down so as to leave the rig ready for the next show. This is not always done.

Each show has a lighting DESIGN with exact instruction on the script for which light is where, and what is being illuminated.

LAMPS can be grouped in CLUSTERS, so that the same control (e.g.FADING) can be applied to each lamp with the movement of just one SLIDER.

Another way of doing this is to have the sequence of the changes programmed so that it is just necessary to tap one button on the centre bottom part of the desk, and each sequence follows the next, next, next etc.

This method is open to problems if the actors miss lines, or otherwise ‘change the script’

Q. Would it be possible to think of the lights themselves as ACTORS?

A sequence of lights going on and off could be created.

There are also special effects on this desk (flashing, disco style etc), but there is no manual, so they would have to be experimented with to find out how they work.

It is possible to set the speed at which the effects will appear as there is a TIME IN/TIME OUT switch.

Q. Are the lights on the stage numbered?

The actual CEILING SOCKETS are numbered. Also the BOARD SOCKETS are numbered, and it is these numbers (the board-socket numbers) that are referred to on the DESK.

It is in the course of the LIGHTING DESIGN that the two sets of sockets are ‘married’ and the appropriate SLIDERS identified to control the required lighting effects.

The LIGHTING DESIGN PLAN IS written in advance, and requires knowledge of which socket is which.

BARN DOORS like metal flaps on the edges of the lens make the spot wide or narrow.

Electrically, there are lights that can be controlled from the desk both the colour and the focus, but these are very expensive.

This means that all adjustments to the physical lamps, other than the dimming/brightening of the power to the lamp, is DONE IN ADVANCE.

Something like a work around for widening/narrowing of the beam could be achieved by having three lamps all focused on the same place on the set, with different diameters, and fading one in as the other is faded out.

LAMPS are hung from a BAR. This bar has to be very stable, so that the light is steady, and hold the focus it has been given when it was put in place.

Most of the lamps are fairly large diameter – say about 10 – 15 cm. There are smaller lamps around 8cm which are used for highlighting something in a corner, or for up-lighting a face to create horror, dark character, etc. like a torch under your

Q. Are there any other kinds of attachments that can be added to the lights?

Basically no. The LAMPS are very simple in design, technologically simple.

However some lamps have two sections. In one section it is possible to move the bulb near or further from the reflector, and in the other section there are two lenses, both of which can be moved back or forward independently. These two methods are used to adjust the focus. There are no barn-doors on this type of light. More precise than barn doors.

GOBO – filter that can slot into the light to give a shadow of something on the scenery at the back of the stage, e.g. Eiffel Tower, steeple of a church, sunset clouds etc

Thin metal cut to create required silhouette. (supplier: Stage Lighting Centre Brunswick Place off Pearse Street)

Could also possibly be made from tin if cut carefully.

What you are lighting

Lighting through

Watch for shadows – sometimes have to be eliminated by other lights.

What kind of a sequence of light do we want? Do we want to find an object and light it?

Idea of the gauze would be a kind of performance lit from in front of the gauze, and videoed from behind the gauze.

Number of challenges in the total control of light – no windows so all light is ‘created’ here.

Can have an empty black stage.

Q What control do we have over the lights from the control room once they have been set up

Basically, the ability to switch them on or off – and use a dimmer on them.

Where they are pointing is all fixed beforehand

Use opaque diffuser with a colour to make dimmer.

Basic Rules of theatre lighting

Can we see the actors

Actors have to collaborate – must face the light, find the light and perform in it. Need to ‘contend’ with the light which can be very bright in the eyes.

Crossing lights reduces shadows

Planning WHERE the action is going to take place is very important

Smoke machine to emphasize the

Follow spots done manually – could be supported by a rope from the Bar overhead to avoid having to carry it. Not easily feasible.

Make-up to add in features like eyebrows.

Modern lighting is from behind rather than from the front.

Q Do the casing of the lights get very hot

Bakelite handles don’t get as hot as the metal.

KNIFE SHUTTER to create sharp edge to lighting (combines with focusing the light.). Divides the light on the boundary of two rooms for example.

750w lamp has very good control

Only use this 750w bulb in this particular LAMP.

Intensity of light 100% to 0% done on DESK

Moving bulb to/from reflector can also weaken/strengthen

Can use

Audience shadows – lights can project to wall or screen

What time-frame do we have?

Difficulty of the other’s building their set so stage won’t be just empty.

Possibility of using the seating as a stage?

Discussion of whether something could be connected with the computer that operates the desk

Possibility of using Isadora

VGA out and 6-pin socket

SOUND

• Two speakers on stage.
• Used for sound effects
• Actors not miked.

DESK Name is Strand lighting, model number not available.

• SOUND EFFECTS Settings: type, rate, stop, Pause, go, sleep,
• EXPERIMENT : Record what you do, and then adjust
• LOG: Not sure how info can be retrieved.
• SUBMASTER Cluster in Script, with hint on previous page

AGREED

We will each go home and digest what we have heard tonight. Elizabeth will write up notes from the video.

We are to contact Michael for our next session, and see what time he has available to us.

Basically, we need to think about WHAT we want to light, and HOW we want to light it., and how to support the LAMPS if we are not using the bar, and how to connect the lights to the CEILING SOCKETS in the event that we are using them at a lower level.

ENDS