A Practical Guide to Stage Lighting, 2nd Edition

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A PRACTICAL GUIDE TO STAGE LIGHTING

Usually the top row is focused first, to reduce the

chance that there will be dark spots between the top

row and the bottom row. If the bottom row needs to

be raised to achieve smooth coverage, facial front-

light may fill in any darkness at the bottom of the

drop. After all of the instruments are pointed and

locked, Figure 12.14B shows how the shutters would

be cut to the shape of the drop. When the shutter cuts

are made, no tiny circular edges from the beams will

be left in the corners of the drop.

While the drop is now evenly lit it’s worth point-

ing out, however, that the hanging position is so low

that anyone standing in front of the drop will cast

his or her shadow onto the drop (Figure 12.14C).

If there will be extensive performer activity, it may

make sense to consider raising the focus of the instru-

ments (or consider a higher hanging location).

Figure 12.15A shows the focus of what will be

a partial drop wash. The focus points have been

raised so that after shuttering, more light gets out of

the instruments (Figure 12.15B). This provides more

light on the drop, and reduces the amount of shut-

ter burn inside the instrument. When shuttered, the

bottom cuts are above the performer’s head (Figure

12.15C).

The drop should be investigated before the plot is

constructed, and examined before the focus session.

If the drop has a painted sky or some other design

element, Figure 12.16A shows how a reduced drop

wash using only three instruments might be pointed.

Figure 12.16B shows the bottom cuts shuttered

in to blend into the horizon line of the drop. After

the shutter cuts are complete, the top “sky” of the

drop is illuminated, and the bottom cuts are above the

performer’s head (Figure 12.16C).

Leg Wash Analysis

Unlike black legs that try to disappear, scenic legs

contain a design element that’s intended to be seen.

In most cases, scenic legs are hung equidistant from

center, so that each pair of legs provides the same leg

opening width. Lighting scenic legs can be frustrat-

ing. Attempting to illuminate the legs with instru-

ments hung directly downstage on the balcony rail

will result in lighting only the first leg and leaving the

rest of the legs in shadow. If the same instrument is

panned across and focused onto the legs on the oppo-

site side of the stage, however, all of the legs receive

light. To light as much of the legs as far offstage as

possible (and reduce the chance of shadows being cast

on upstage legs), the instruments used for a leg wash

often get hung as far from centerline as possible, and

focused as cross-shots, across the stage.

The same light, focused onto the opposite legs,

will also cast light on the proscenium or borders,

causing sharp shadow lines on the legs. Because of

that, the lowest border is often viewed as the verti-

cal constraint. The top shutter, cutting light off the

border, eliminates the sharp border shadow. Once the

Figure 12.15 A Raised Partial Drop Focus Before and After Shuttering

B

C

A

Figure 12.16 A Reduced Drop Focus Before and After Shuttering

CB

A