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Stu Robinson New user 4 Posts |
G'day, new member here. Something I should have done a long time ago.
Wondering if some people can give me advice on the best type of front lighting for an illusion show. I notice that a lot of illusionists simply use follow spots instead of a front lighting rig of fresnels, pars, etc. What do you guys think? Thanks |
Stu Robinson New user 4 Posts |
I should also add, we have previously been using pars and fresnels on the floor in front and on lighting bars. But now since we are doing larger and more frequent shows, time and practicality has become an issue. I was hoping a big follow spot may solve the issue. Thoughts?
Cheers |
james.ireland28 New user 6 Posts |
I would have thought that with some strong side- and back-light, a follow-spot or two is all that would really be needed from the front. Of course it depends what sort of effects you're presenting and how flexible the rig needs to be, but I doubt a full front wash would be necessary.
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Frank Simpson Special user SW Montana 883 Posts |
A followspot tends to be rather harsh for the sole means of front lighting, especially since it is coming from a single angle, usually straight-on. Personally I would avoid that option. I have done several shows with LED PARs, and you can get a pleasant wash in multiple colors quite easily.
I usually start with the McCandless method of lighting as it gives a very pleasant wash and is a versatile place from which to design. |
Scott Alexander V.I.P. 1471 Posts |
Way to bust out the McCandless method Frank!!!!! Nice!
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Stu Robinson New user 4 Posts |
Quote:
On Oct 14, 2017, james.ireland28 wrote: Which is pretty much what I was thinking, as with the mcCandless method which has also been suggested, it would be difficult to always have a front lighting bar or truss available in every venue. Obviously, as Frank has suggested the mcCandless method is the best example of consistent and smooth front wash. And not much is required, just not always practical. Thanks guys! |
thomasR Inner circle 1189 Posts |
Are you asking what you should purchase? Or what you should request from venues?
A theatre / performing arts center of any size should have a decent front wash. That's really all you need for front lighting. A follow spot can be useful for certain tricks but to take full advantage of a spot you need a real Lighting Director to call the spot cues (and a proper Com System for them to communicate, most theaters will have this but if you are bringing your own spot to events in gymns or convention centers you will need to provide this, or ask for this to be provided). Now if you are asking what you should purchase for non-theatre events (setting up an illusion show in gym, multi-use building, convention center, etc.) you aren't going to want to invest in a front truss or anything like that. I would say get some good quality LED Pars and a couple of "trees" for front lighting. If you want to go cheap, work lights from Home Depot can be put on a dimmer and they make great side / front wash fixtures. |
DavidThomas Loyal user 240 Posts |
Phase 1 - Two light trees with LED wash. If you can troupe with Genie super lifts to get wash 12 to 14 feet high that is best. Follow spot for key pickups. Phase 2 Genie Super lifts with 3 10 foot mini beam truss for FOH LED wash. 2 follow spots for key pick ups. Phase 3 - Add to Phase 2 movers on FOH truss, Movers on stage deck, Phase 4 - Add back of stage truss with LED Wash and movers. Phase 5 - Sky is the limit
David Thomas
TheWorldofMagic.com |
Ray Pierce Inner circle Los Angeles, CA 2607 Posts |
This is a huge variable in every show. If I'm lighting a book show or musical, yes, the warm/cool McCandless technique is very valuable... but not always for magic. In traditional theaters there are AP positions or coves for front lighting when you need to illuminate the entire stage. The question is... do you really need to do that? The more of the stage that's illuminated, the broader the visual field for the eye and the more distracted it can be. Yes, you can use down stage trees or higher genie lifts/towers to suspend some front lighting at the edge of the stage but it will still be a virtual side light when you get down stage creating a lot of shadows on your face. In traditional concert lighting, most of the traditional/moving lights are top, side and back lights and the front is all covered by follow spots. All of this just depends on the venues you're playing and the visual "look" of your show. I tended to not want the full stage lit up so much as I wanted the focus on me while I was performing so I used specials and follow spots for that, then other upstage lighting to frame the illusions/props. I do love strong side lights as it creates the look that works for me separating me from the background and creating more depth for the stage. I also work mostly in front of a black background to increase the focus. If you have a huge colorful backdrop, it needs to be illuminated but that can also make you look relatively smaller on the stage. Again, theatrical lighting is as much of an art form as music, staging, scenic elements and everything else. Study as many books as you can on lighting to get an idea of what could best interpret your look on the stage.
Ray Pierce
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DavidThomas Loyal user 240 Posts |
Ray is correct in saying that "lighting is a huge. variable in every show". But the reality of touring means you need a lighting plot that works for every environment you work in. Most of us perform in a variety of venues. Ballrooms, arenas, gyms, theaters, outdoor venues. Below is a basic touring rig that can be customized for most venues. If in a legit theatre then use what they have and augment with the "specials" you need.
Time is always of the essence in touring. You CAN't make money if load in and load out is not efficient. So a standard plot, already programmed, is a priority. Yes, every venue will be different, but massaging your programming, re focus of instruments if you are using conventionals takes little time on site. If you need a better understanding of this concept go see any touring name act. As mentioned use existing lighting, BUT advance the show, understand the the theaters existing plot and send well in advance your light plot. Phase 1 - Two light trees with LED wash. If you can troupe with Genie super lifts to get wash 12 to 14 feet high that is best. Follow spot for key pickups. Phase 2 Genie Super lifts with 3 10 foot mini beam truss for FOH LED wash. 2 follow spots for key pick ups. Phase 3 - Add to Phase 2 movers on FOH truss, Movers on stage deck, Phase 4 - Add back of stage truss with LED Wash and movers. Phase 5 - Sky is the limit David
David Thomas
TheWorldofMagic.com |
Stu Robinson New user 4 Posts |
Thanks guys, that is all helpful.
One point I found particularly helpful, using the lighting to bring more focus to the performer or point of interest instead of having a broadly lit stage would defi itely helpful. But I also really found helpful, the comments about have in a tree downstage, this could be another way to frame particular points of focus as well. cheers, stu |
Ray Pierce Inner circle Los Angeles, CA 2607 Posts |
In my effort to discuss the artistic component in lighting design, I did forget to go over the technical need of additional lighting to help increase visibility of the performer and related props. Increasing the brightness of the light in the performance space allows the audience to see more detail. That is a basic function of any type of stage lighting. Imagine doing a show in a ballroom on the dance floor with nothing but the typical chandeliers and wall sconces that exist in the space. It would be so dull visually and would have nothing to create a focus for their attention. Just adding a follow spot is a massive help. If it is a small self contained rig for an 8' x 12' platform act, 2 trees with some version of 2 PAR cans on each side greatly increases their attention. Ideally they should be at roughly a 45 degree angle to the stage but there are some challenges. If they have to be ON the small platform, the lighting might not be too bad at the rear of the platform but as you go to the front, you could end up with a very side lit look (if covered at all) which isn't as flattering. Again, it might be all that is practical. To move the trees to a better location to get the angle you need might be in the way of other elements or traffic. Let's say you place them 30 feet away against a wall so the wires are out of the way and not in a traffic pattern, you could eat up a lot of your light at that distance.
Where several 150 watt R40's would be fine from 6 feet away, they will be mostly useless at 30 feet for 2 reasons. Unless there is some modifiable lensing, the light that works up close will be too broad at greater distances due to the spread. Secondly there is a concept in lighting of the inverse square law which is basically that the strength (brightness) of a lamp is inversely proportional to the square of the distance from the source. How do we solve that? If you know the distance the fixture will be from you (the throw) you can calculate the correct lensing to project the light to the area you're trying to cover. Most contemporary lighting fixtures have 1 or more lens elements to help focus the light for the distance you require. Of course an instrument that would be perfect at 30' (or more) will be impractical at 6'. ETC Source Four Leko's (which have virtually replaced traditional Ellipsoidals) have a base housing that can be fitted with 19, 26, 36 and 50 degree lenses (although there are speciality lenses that go from 5 up to 90 degrees). These fixtures (although a lot more expensive than R40's or PAR cans) are a great tool for longer throw situations. Remember, the first goal is to be seen well. After that, you can get creative!
Ray Pierce
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ringmaster Inner circle Memphis, Down in Dixie 1974 Posts |
Based on your question, I'm going to guess you aren't touring a large show yet. No problem, everybody's got to start some where. I suggest you start by reading David Charvet's "The Banquet Magician's Handbook".
One of the last living 10-in-one performers. I wanted to be in show business the worst way, and that was it.
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