BASIC DESIGN THEORIES FOR

THEATRICAL LIGHTING
AND ITS APPLICATION

by Dean A. Sternke

Basic information on lighting theory and the equipment necessary for the
design of theatrical style lighting in multipurpose facilities such as theaters,
churches, and other performance spaces.

2019 Edition
Published by:

MainStage Theatrical Supply, Inc.

Wisconsin
Florida
Tennessee
Texas
Louisiana

888.936.7697

This brochure is offered free of charge in printed form. It

is also available in PDF format from the Mainstage website,
www.mainstage.com.

Copyright Dean A. Sternke

DESIGN CONSIDERATIONS

Lighting a space indoors for the presentation of plays, musical reviews,

church services or even a speaker at a podium requires some knowledge
of the basic theories of stage lighting. The selection of lighting equipment
can only occur after the following theories are applied to the specific
performance space.

GENERAL LIGHTING THEORY

Indoor theatrical lighting is designed to emulate the natural highlights

and shadows created by the sun and, similarly, the sun’s refection off the
moon. Without these highlights and shadows the human mind will sense
incongruity in the lighting of an object and attempt to correct the view by
refocusing the eye. Eventually, both will tire and lose interest. Once this
occurs, the eye will seek other stimulation, resulting in not only the loss
of visual contact, but also audio contact since a person tends to look and
listen to what draws the most attention. Proper highlights and shadows,
at sufficient light levels, will maintain longer eye and audio contact which
keeps the audience’s attention focused on the event.

THE BASIS FOR THEATRICAL LIGHTING THEORY

The sun strikes the northern hemisphere at a relative 45-degree angle

producing specific highlights and shadows that the human eye is conditioned
to consider normal. We therefore expect to see this angle of light reproduced
indoors when a normal lighting look is desired.

The extreme intensity of the sun creates a strong highlight on one side of a
three-dimensional object. When lighting indoors, a primary set of lights are
used to emulate this function of the sun and are often called Key Lights.
The sun is so intense it generates a great deal of reflected (or fill) light off
the surfaces surrounding the three-dimensional object. This reflected light
fills in the shadows created by the key light at a reduced intensity. The lights
used to emulate this refection are often called Fill Lights.

The color of light from the sun is white and is considered warm and dominant.
As sunlight reflects off a surface adjacent to an object, it picks up the color
of that surface and fills the shadows on the object with the colored light
which appear less bright and cooler in relation to the direct sunlight. This
natural occurrence is the basic justification of colored lighting for theatrical
productions. It would be easy to simulate the sun and corresponding
shadows indoors if there was a lighting fixture that could produce the same
intensity as the sun. Unfortunately, such a fixture is not available so we must
use multiple lighting fixtures to simulate the sun’s brilliance and reflected
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coloring in an indoor setting.

The moon provides a similar source and angle of light but there are some
significant differences between sunlight and moonlight worth noting.
Moonlight is less bright by nature since it is reflected sunlight, thus it lacks
the intensity to create the same level of bounce or fill light. An increase in
contrast between the primary light from the moon and the corresponding
shadows is seen because of this reduced intensity of fill light. Any reflected
colors are significantly muted or non-existent.

THEATRICAL LIGHTING THEORY

Straight on Viewing
To duplicate the sun’s highlights and associated bounce light indoors, we
must provide a minimum of three lighting instruments to produce the same
360-degree coverage produced by the sun: one fixture must be used to
create the highlight (the key light) and two fixtures must be positioned to
create the associated fill light. Though positions can vary, a basic design
would include one fixture placed at a 45 degree angle above and 45 degrees
to one side of the object; this would be used as the key light. (See Figure 1).

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The second fixture at the same 45-degree angle above and to the other
side would be the first fill light. A third light needs to be placed directly above
(downlight) or up to 45 degrees from the rear (backlight) of the object as
a second fill light. Positioning the fixtures in this manner can adequately
illuminate a three-dimensional object on all sides, providing the highlights
and shadows the mind’s eye expects to see. The 45-degree angle is not
non-negotiable, but keep in mind that extreme angles cause extreme effects
(See Figure 2). A flat angle will create a generally shadow-less light, making
the person’s or object’s features appear too even and without definition due
to the lack of shadows.

To escape the undefined visual, the mind will work in conjunction with
the eye to insert shadows in order to correct the lack of definition, and as
described earlier, both will eventually tire and move on to something more
interesting. Conversely, an extremely sharp low angle of light from above
or below will create exaggerated shadows on
the face, which the eye is not accustomed
to seeing. For example, a monster effect
can be created by lighting a face from below
causing reversed shadows and an unnatural
look. Although completely different than
natural lighting, the mind and eye seem to
maintain interest in this lighting longer since
it is abnormal and does not require an internal
correction of the shadows. The lighting for a
night scene should use the same basic 45-degree angle arrangement since
the moon is at the same relative angle as the sun. For economic reasons
the same fixtures are normally used, but set at a lower intensity with a
different dominant color.

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Providing more options and colors to your lighting setup will require
additional fixtures to be installed using the same principle. First, add back
or down lights to increase the number of fill colors from the rear. Next, add
fixtures from the front for more key and front fill possibilities.

Multiple View Angles

The aforementioned
theory is the basic
design for one direction
of viewing. If there is
seating on three sides
of a platform the theory
remains the same,
however the minimum
layout of fixtures must
increase. Using only two
fixtures from the front
leaves viewers sitting on
the extreme sides seeing either all key light or all fill light, defeating the
modeling effect you are trying to create. It is necessary to maintain the key
and fill relationship for all viewing angles in order to create the shadows and
highlights for modeling the object. A four-light front lighting scheme, with two
keys and two fills, provides this necessary relationship for ¾ round seating.
(See Figure 3). The number of fill lights from the back remain the same.

One cost-effective option

to the four-light system is
the three-light system (See
Figure 4). Similar in theory
to using four lights, three
lights are positioned so that
each viewing angle sees a
key and a fill light. Two key
lights from the sides and a
fill light from the front will
allow the fill light to perform
double duty, acting as a fill
from the left for the right-
hand fixture and a fill from
the right for the left-hand
fixture. It also provides each
viewing angle with a key light. This method provides correct modeling but
does not allow directional control of the colors. For example actors could
reference the moon coming from house left, yet the highlight is aimed from
both directions.
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Expanded View Angles
Additional viewing angles will require more fixtures using the same methods.
Other positions can be used to enhance lighting effects while still maintaining
the theory-dictated parameters. Since bounce light radiates 360 degrees
from the source, fixtures that act as fill lights can be hung in any position in
relation to the key light. For example, lighting from a low side position can
act as appropriate fill light and provides excellent modeling of the body. This
position is often used in lighting for ballet to enhance the dance movements.

COLOR THEORY

Incandescent Lighting
Once the angles are chosen for illumination the next design element is color
selection. Humans, either from natural or artificial lighting, have been
conditioned to associate certain colors of light with specific times of the
day. Although it is actually white light, the sun in considered yellow or light
amber due to its yellow appearance in the sky. Most people associate a
middle to dark blue color with night. The eye has the most difficulty discerning
this color since it is higher in the color spectrum. Because moonlight is
less intense and harder to see in than sunlight, dark blue colors are easily
associated with moonlight (even though moonlight is actually white). Red
is connected with fire, although fire can include the full spectrum of light.
These ingrained color responses allow the theatrical designer to light indoors
while simulating outdoor lighting moods

Traditional theatre lighting fixtures are manufactured with a holder that

accepts thin plastic color sheets, originally made of gelatin, called gels.
Although gels are available in hundreds of shades, the selection and
application of color is very difficult to learn, even with a book or technical
manual. Given that sheets of gel are relatively inexpensive, trial and error
can be the best method for finding the colors that will suit your purposes.

Ideally, the correct selection of basic key and fill colors will emulate the
sun or moon. The key color should be warm like sunlight and the fill should
symbolize a reflection of sun from the surface behind the object which
typically is cooler than the sun, like gray concrete, brown wood or green
leaves. A good rule of thumb for basic lighting set ups is to choose a warm
and cool color with similar color intensities. A brilliant yellow light would
seldom produce a dark blue reflection; however, a deep lavender key could
produce this reflection. When using multiple key and fill angles, it is possible
to select gel colors which act as both a warm and cool light. For example,
when using three angles of front light, a rose tint could be used from the right,
light lavender in the center and a medium blue from the left. The lavender
would look cool when compared to the rose, yet warm when compared to
the blue. Potentially, the medium blue raised to full intensity could become
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the warm against a very low-intensity lavender. During a production with
many parts, the entire color look of the light could be altered from scene to
scene while still maintaining the basic lighting theory.

Gel colors must also be selected with scenery and costumes in mind. White
light is a combination of the primary (red, blue and green) and secondary
(magenta, cyan and yellow) colors of light. These colors, also referred to
as wavelengths, are necessary for viewing pigment colors. Pigment is the
substance that provides color in objects. A blue fabric has blue pigment
and will only appear blue if part of the light that strikes it contains a blue
wavelength. Since white light has all the colors of the spectrum, all pigments
are excited and look natural under the sun or an un-gelled lighting fixture.
When light that contains only a red wavelength hits blue fabric, the fabric
will appear as a shade of red (depending on the fabrics makeup of primary
and secondary pigments).

True red, being a primary color, contains none of the blue wavelength.
Similarly, the fabric would appear green if only the primary green light was
shone on it, warm blue if magenta was the only light and cool blue if cyan
was used (magenta and cyan being secondary colors that contain blue).
The shades of blue will appear different given that we base our “natural”
blue color on observance under white light. Removing one part of the light
spectrum will make any pigment look different. For beginners, the wrong
selection of color can become a great calamity.

The scenery, costumes and makeup can appear completely foreign to

the designers and directors because they have most likely been viewing
these items under relatively white incandescent light or slightly green
fluorescent light. Having the correct colors in the fixtures will keep directors’
and designers’ visions intact, avoiding any potential problems during tech
rehearsals.

Using this color knowledge, lighting design can greatly affect the emotion
of the presentation. A play’s dramatic turn from depressing to happy could
be made even more dramatic if the lighting transforms the entire set from
cool to warm. If the scenery was predominantly blue, the mood change
can be accomplished by changing the lighting from a cool blue-green light
that suppresses the blue fabric color to a blue or violet light that allows (or
enhances) the warm natural color of the fabric.

A limited selection of fixtures and colors does not necessarily mean a limited
color palette. If your lighting instruments are attached to dimmers, you can
change the colors of a single gel simply by increasing or decreasing the
intensity of the lamp (light bulb). The light from a lavender gel will become
increasingly red as its lamp intensity is reduced. This is due to both the
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change of intensity and the shift in color temperature of the lamp.With
practice and experimentation, you will learn how colors react to different
intensities and how they respond when used together.

LED Lighting
LED lighting fixtures for theatrical lighting are becoming the standard in
many new venues. A three, four or seven color LED emitter can provide a
large palette of colors from a single fixture. With the ability to dial up any
color from the fixture many people are losing sight of the need to remember
that all the same theories apply. In order to emulate normal lighting and
provide proper shadows, the correct lighting angles and key and fill lighting
concepts are still necessary.

With LED fixtures that are color changing additional lighting fixtures may
not be required to increase your color palette and you can stick with the
simplified layouts; however, with the availability of both key and fill colors
within each fixture it is easy to lose those concepts. Always remember to
maintain these relationships so that the fill color is in response to the key
color.

The colors available from LED fixtures are dependent on the type and color
of the light emitting diodes that are used in the manufacture of the fixture.
Although most utilize the primary colors of red, green and blue, man-made
pigments and dyes are seldom true to the color spectrum. This defect makes
it difficult to achieve secondary colors or even all the colors available in color
media form. If possible, select fixtures that include additional amber, cyan
and magenta LED’s, as these will reproduce most colors. Mixing different
manufacturers’ fixtures may seem like a good cost-cutting process until
you attempt to achieve the same color out of different fixtures. Sticking
with a line that uses all the same LED colored arrays will allow easy color
matching from fixture to fixture.

LIGHTING APPLICATION

The basic lighting theory is applied using standard theatrical equipment.

This equipment also dictates the physical layout of the three-fixture theory.
What follows is a description of lighting fixtures, their layout and an overview
of the equipment that is used to power and control the fixtures.

Determining Lighting Areas

To accommodate interior lighting, we must rely on multiple fixtures since we
do not have a fixture that can replicate the output of the sun. The fixtures
designed for theatrical use create appropriate light levels when they project
a 12 to 14-foot circular beam of light. To illuminate a typical stage many
fixtures are needed and the overall area to be lit must be broken down into
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smaller units called focus areas. It is easiest to create 8-foot to 10-foot
squares to allow the 12 to 14 foot beams to overlap for complete coverage
and even illumination from square to square. For example, if the stage or
platform to be lit is 16 feet wide by 16 feet deep there would be a minimum
of 4 focus areas using the basic design discussed above. For straight-on
viewing, utilize 8 fixtures from the front and 4 fixtures from above or back
(one key and fill from the front and one fill from the back per area). If the
platform is to be viewed from three sides, the number of fixtures should
be modified by adding one or two front lights per area for a minimum of 12
fixtures but still using 4 fixtures from behind.

The same lighting method is used to spotlight special areas such as a single
person or piano. In this case, the focus area may be smaller to cover only
the specified object, which will affect the fixture selection. These fixtures
are normally referred to as “specials.”

Determining Fixture Needs

Several types of fixtures are available, so different capabilities and uses must
be considered. To achieve proper illumination the fixtures must produce
a minimum of 100 foot-candles (an old light measurement based on the
illumination of one wax candle) of light on the object in the roughly 12 to
14 feet diameter. This level may seem bright, but the foot-candles will be
reduced when color is added to the lighting fixture; how much reduction
will depend on the transmission value of the gel, so this minimum output
is essential (the darker the gel, the less transmission of light). There are
several fixtures that have specific uses and most can utilize various wattage
lamps. Once the fixture is selected for the proper distance, the lamp must
be chosen for the proper foot-candles. Below is a brief list of the most
common fixtures and their uses.

Ellipsoidal Reflector Spotlights (Lekos, Ellipsoids,

Source Fours, ERS, 6x9, 6x12, etc.)
Ellipsoidal Reflector Spotlights are fixtures that produce
a beam of light that is well defined with a hard-edged
circular beam. The term is changing to Profile Spots
since the LED version have the same lensing but no
longer the ellipsoidal reflector. They are normally used
for front lighting since there is little spill light coming from
Altman 360Q
the fixture. Spill light is undesirable as it could light up
the audience or walls of the space. Also, these fixtures are equipped with
shutters used to shape the beam of light. Squares, rectangles and other
geometric shapes are formed with shutters. The beam can be cut off the
edge of the stage, or wall, eliminating the spill light. Typically, these fixtures
are also equipped with a template slot so the beam of light can also be
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shaped using patterns (templates, gobos, cookies, etc.). Patterns come
in many designs ranging from simple breakups, which add texture to the
light, to cityscapes or custom designs.

These fixtures create a cone-shaped beam of light. When

a fixed focal-length fixture is placed at different distances
from an object, the diameter of the beam of light directed
at the object changes (the further away the larger the
beam). The focal-length is a measurement of the lenses
in a fixture which determines the size of beam produced.
ETC Source Four More expensive Zoom versions are available that vary
Jr. Zoom the relationship between the lenses, effectively altering
their focal-length. With the expensive versions, the same beam size can
be achieved at different distances. Once the location and distance from
a focus area are determined, a fixture with the proper focal-length must
then be selected.

Scoops (Ellipsoidal Reflector Floodlights)

A fixture that produces a fixed open beam of light and is
intended to light large areas such as backdrop or cyclorama
curtains. Although Scoops have the same shape reflectors
as ellipsoidals they have no lenses to redefine the beam
which creates a soft diffused output. Scoops have fallen
out of use lately in favor of more efficient Cyc fixtures that Altman Focusing
are now utilized to light backdrop curtains and cycloramas. Scoops
Scoops are now relegated mostly to work light functions.

Fresnel Fixtures
Fresnel fixtures are spotlights that produce a very soft-edged beam of light.
These fixtures are often used for down or back lighting, although they can
be used as front lights if the spill will not be a concern.
They are less controllable than ellipsoidals in their
focus because they have no shutters or template
slots. Barndoors can be added in front of the lens of
these fixtures and will eliminate some of the spill light,
but the Fresnel lens will always create spill and can
never be completely shaped by the barndoors. These
Altman 65Q units are variable-focus fixtures by moving the lamp
in relation to the lens which changes the diameter
of the beam, making them very flexible. Fresnels are the recommended
choice for small systems and some touring situations because they cost
less than ellipsoidals, can be placed at different distances and still achieve
the correct beam size. LED versions are available using white emitters with
a handful of new fixtures being developed with color-changing emitters.

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PAR Cans
These fixtures are an addition to theatrical lighting from
the Rock & Roll business. They are housings that
hold lamps similar to an old car headlight. The lamps
produce an intense oval-shaped beam that has a fixed
beam spread. Because PAR lamps include the reflector,
filament and lens in one unit, the lamps determine the
width of the beam, not the fixtures. They are used for
Altman PAR 64
intense back lighting, but they can also be used for front
lighting when spill light and the shape of the beam is not an issue. The only
way to create a wider beam from a fixed position is
to replace the lamp. Lamps cost between $30 and
$55, so this can be an expensive stock item. The
modern additions to the PAR fixture line are energy-
efficient lensed units. ETC first introduced a theatrical
version called the Source Four PAR. This unit uses
the popular HPL lamp and has a fixed reflector with
interchangeable lenses. To create different size
beams the reusable lens is changed at a cost of
Source Four PAR approximately $4. These lenses are available in the
same beam spreads as the PAR lamps.Many new LED fixtures have been
introduced that have replaced the traditional PAR. These LED Wash lights
provide all the color changing advantages and the beam size can be altered
through plastic lens or via zoom focusing in the more expensive versions.

Borderlights (Striplights)
These units are continuous rows of lamps intended
to light a large linear area, usually from overhead.
They have also been used to light cyclorama
curtains and are typically installed in theaters
where they can be concealed behind curtains. Altman R40
This fixture has three or four alternating colors and can easily provide
separate color washes from above. However, each color is controlled as
one big area that cannot be isolated into smaller areas. Because of cost,
electrical efficiency and reduced availability of lamps, these fixtures are
rapidly being discontinued and replaced by Fresnels and Broad Cycs for
down lights, back lights and to light cyclorama curtains. There are linear
LED fixtures also available that could act as a replacement.

Broad Cycs
This style of wash light produces a fixed open beam of
light and is intended to light large areas such as backdrop
curtains and cycloramas. Broad Cycs are somewhat like
Scoops, but they have a specifically designed reflector
to produce a square shaped beam that collects more, L&E Broad Cyc
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and projects a greater level of, light onto a curtain with significantly better
energy efficiency.

Followspots
Followspots are fixtures that are physically controlled
by a person. They are mounted on a stand that allows
the operator to follow a performer with a sharp-edged
beam of light. The beam can vary in size, and the
fixture generally includes six or more colors. They are
available in many sizes and intensities to match any
throw distance. Although they are normally used from
the front, alternate positions from above can produce
interesting highlights on the performer. This is the
only sure method to follow a performer, especially
Altman Comet
while he or she is dancing or moving rapidly. Some
versions incorporate electronically controlled iris and color changing,
which can be remotely controlled by any DMX control console. This allows
preprogramming of the critical changes and allows the operator to focus on
only aiming the fixture to match the actors’ movement.

Moving Lights
Moving lights include a wide range of fixtures that are
controlled remotely. Each unit contains dichroic filters
or color mixing modules so the colors can change on
demand. The beam sizes are automatically variable
and multiple patterns can be included in each unit. The
fixtures can be used as front lighting, back lighting and Martin 350 Entour
special effects.

LED Fixtures
Several styles of LED fixtures have entered the
theatrical lighting world in the last few years. They have
just begun to meet the output levels that make them
viable alternatives to traditional fixtures. Ellipsoidals,
Fresnels, PARs, Cycs and moving light fixtures are
all now available in LED versions. The cost for the
initial purchase of LED based fixtures is significantly
higher than traditional fixtures, but the reduced long- ETC Desire D40
term electrical and lamp replacement expenses can
outweigh this large initial investment.

Many LED fixtures on the market have been designed for bar and nightclub
use. Although they have moved into the theatrical market, the purchaser
should take precautions when buying these units to ensure a wise investment
is made. The following are several key points for purchasing LED fixtures.
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1. Reliable Manufacturer: Many imported fixtures may seem like a deal,
but the quality of the unit will determine cost efficiency. The fixture is made
up of a power supply, LED emitters and electronics. LED emitters might be
rated for 50,000 hours of use, but the power supplies may not be. In addition,
many manufacturers overdrive their LED emitters with a higher voltage to
increase light output which shortens the life of the LED’s and they may not
achieve the energy savings desired. Stick with known manufacturers when
selecting these fixtures.

2. Quality Electronics: The electronics portion of the fixture is critical to

producing a subtle dimming curve of the light. Many fixtures are designed
for bar and nightclub venues where there is no need for a 50 count fade;
an example being a long smooth fade at the end of a romantic scene. Many
units may fade well at the top end of intensity but the light could appear to be
stepping down rather than fading at the lower end. High quality electronics
and designs are necessary in an LED fixture to produce good fading curves
for use in theater.

3. Proper LED Alignment: Most LED fixtures utilize multiple LED emitters
set in a circular or square array. Some of these fixtures position the LEDs to
combine to a point inside or in front of the fixture to mix the multiple beams of
light before producing the final beam that will be used to light the object. This
combination is important since each beam of the emitter has the potential of
creating a shadow. If all the LEDs are white, the multiple shadows are not
much of an issue since only one color of shadow is produced. If they are
individual red, blue and green, then separate red, blue and green shadows
will be created and the multiple shadows will be distracting to the audience.
Some fixtures use 50 or 60 LEDs to achieve enough output, providing the
potential for 50 or 60 shadows. Check the shadows created by the fixture
before purchasing.

4. Adjustable Color Tuning: Many imported fixture manufacturers change

models every year. They are also known to alter the supplier of their LED
emitters without notice. Purchasing 10 fixtures today and 10 more a year
from now will probably produce a mixture of hues even when sending the
same control signal value to each fixture. This will result in an unbalanced
stage look and frustration for the designer and board operator. Quality
manufacturers like Altman, ETC and Strand work hard to fabricate fixtures
that produce the same colors at the same control values from batch to
batch. Many of their fixtures can be tuned in the field by authorized service
technicians. It is important to purchase equipment from manufacturers who
have a known and reliable track record in this area.

5. Light Output: Buying the fixture with the correct light output is critical.
Many suppliers claim that their fixtures work in theatrical environments, yet
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some of the less expensive units won’t. A good rule of thumb is to purchase
an LED fixture of 100 watts, or preferably more, if it is intended to illuminate
a single lighting area. Those fixtures designed to be used in groups for
cyclorama lighting or large wash areas can be of lesser wattage since the
beams will be overlapping. Purchase higher wattage fixtures that will create
the appropriate output.

6. Know the Differences: Color-changing LED fixtures produce light by

combining the output of primary-colored LEDs (better fixtures include the
secondary colors as well) and using a white LED to alter the hues. More
light output is produced when all the LEDs are turned on as opposed to
when a single color is outputting. Traditional quartz lighting fixtures are
always at their maximum brightness when turned on at full power without
color, however their light output decreases the moment a gel is placed in
front of the lens. The new ETC Source Four LED fixtures are not as bright
projecting white light as the original 575 watt quartz Source Four without
color. However, if you add a dark blue gel to the original and set the LED
to the same color, the LED fixture is brighter. Compare the outputs of LED
fixtures to your traditional fixtures to make certain you will have the output
you need for your performance space.

Dimming and Distribution

Dimming varies the intensity of the traditional lighting fixtures. The
distribution equipment is the set of electrical boxes that
contain the individual receptacles the fixtures plug into.
For a new facility or portable installation, the quantity and
locations of the receptacles and dimming can be designed
once the quantity and position of the lighting fixtures are
laid out. In general, individual control of each fixture is the
most desirable. If this is not possible, group the control of
the fixtures by angle and/or color i.e., all front cools that
come from the house right direction could work together on
the same dimmer. Similarly, all same angle/color warms
and then all same angle/color backs could work together.
This control method is less flexible but allows you to dim ETC Sensor
the fixtures by color to change from day to night. Traditional Rack
dimming includes a centralized dimmer rack, such as
the ETC Sensor, that feeds the distribution equipment.
Distributed dimming systems using small dimmer packages
that mount adjacent to the fixtures can reduce wiring costs
and are excellent for portable systems. These systems
NSI Dimmer include portable packs and the higher quality Strand S21
Pack Dimmer Strips. With the advent of LED fixtures, emitter
dimming is done electronically and these traditional dimmers are being
replaced with electronically controlled relays.
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Control
The control of the lighting can be just as critical as the selection of color and
fixture angles. How the light changes from scene to scene is an important
part of the lighting design and can maintain or alter the continuity of the
show. An abrupt change of lighting at the end of a tender romantic scene
can destroy the entire mood
created by the actors. A good
dimming system with a quality
control console, preferably
computerized for accurate
playback, is important to any
lighting design. The basic
ETC SmartFade control console is termed a
“Preset Console” and has one
or two rows of potentiometers that are manually manipulated to set the
lighting levels. Some of these units are enhanced with memory that records
a full scene for playback from each potentiometer. A “Memory Console” is
a custom computer with both a keypad and potentiometers for playback of
prerecorded cues. These typically include a monitor for display of recorded
information. There are some memory consoles, such as the Jands Vista,
that are created by adding software and an output module to a standard
personal computer.

Any console purchased should produce DMX512 signal outputs to

allow full operation of dimmers, moving lights and effects. The size of
console is highly dependent on
the number of these devices
that may eventually be used
in the facility and should be
purchased for the maximum
number of control channels
that will be required. LED
fixtures require multiple times
the number of control channels
since each color of the emitter
ETC ION
can be altered separately. A
console designed specifically to manage LED fixtures is the best choice
for the new technology.

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Designing Process - RECAP
This concludes the basic description of the lighting theory and equipment
necessary to fulfill the theory for a theatrical style lighting setup. Many
factors are necessary to develop a complete setup of this equipment;
however, this information will aid you in developing appropriate designs.
Below is a short recap of the design and equipment selection process:

1. Design your lighting layout for proper three-point illumination. Break

your platform into 8 to 10-foot focus areas. Include any additional “special”
lighting areas.

2. From the layout areas, select the proper positions for the lighting fixtures.

3. Select the lighting fixtures to produce 12 to 14-foot beams based on the

distance between the mounting and the desired area of illumination. The
wattage of the fixture should also be selected for the proper foot-candle
distance.

4. Connect lighting fixtures to the dimming system to allow for individual or

angle/color groupings. Watch the wattage of your fixtures to be certain not
to overload the dimmer or relay.

5. Select the gel or LED colors to give the production the appropriate moods,
taking into consideration the scenery and costume colors.

6. Create lighting cues that enhance or direct the mood of each scene,
including the timing of lighting changes.

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