Here is as far as I got. I have lots more footage, but at least this is an idea of how the theatre lights can be used.
It's taking hours to upload this - so I'm going to cancel and start again. (2115)
0015, another 3 hours - think I'll leave the machine switched on all night and see will it finish.
0825 still not finished! AUTOSAVE failed. Hope that isn't a bad sign!
Disconnected at 1415
May not even get to post this part of the message
1515
Found the settings that You Tube likes, and it uploaded with no difficulty! HURRAY ... after all those hours last night!!!
This is not the most perfect video in the world, but it does give an idea of what theatre lights look like on amateur video.
One of the biggest advantages of working in the theatre was the amount of floor-space.
Thanks to all who where so helpful in the process.
Monday, August 3, 2009
Wednesday, October 1, 2008
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.
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.
Thursday, September 18, 2008
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
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
Wednesday, September 17, 2008
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.
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,
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.
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 2008Present: 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.
Tuesday, September 16, 2008
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
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.
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.
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