Chapter 6 designer part 7
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The document discusses the role and responsibilities of the lighting designer. It begins by outlining the design process, which includes reading the script, meeting with the director, deciding on style, researching, and coordinating with other designers. It then discusses how lighting can be used to create mood, atmosphere, focus, and the appearance of different locales in a production using a single set. The rest of the document details the lighting designer's responsibilities in creating a lighting plot and cue sheets, the goals of visibility and focus/atmosphere, common lighting instruments, and examples of using gobos to enhance mood and texture.
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• Aperture
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• ISO
• Mode dials (Short Overview)
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This document discusses the concept of mise-en-scene in media analysis. Mise-en-scene refers to everything visible within a single shot, including color, costume, props, set/location, blocking/performance, and lighting. It examines how these elements are used symbolically and to provide meaning. Specific examples are provided from films like The Village to demonstrate how directors use elements of mise-en-scene purposefully to convey themes and character traits. The document also briefly discusses related concepts like semiotics, the study of signs and codes, and how audience understanding is based on our ability to decode the signs present in a work.
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Enjoy yourself with the find five errors game... (I do know they are there!)
...or use it for inspiration to search information on theories on function, affordances, and use.
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Chapter 6 designer part 7
- 1. THE DESIGNERS PART SEVEN: THE LIGHTING DESIGNER Chapter 6
- 4. The The Designer Design Process • Read the Script – analyze • Conference with the director • Decide on stylistic approach • Research – historical, otherwise • Coordinate color schemes with scenic & costume designers • Watch blocking rehearsals
- 5. Light as Mood Look at the model for a modern day version of Hamlet. This is a “unit” set….meaning one structural unit is used through the whole play. Notice how different locales (and moods) are created just by changing the “light”.
- 6. HAMLET
- 7. HAMLET
- 8. HAMLET
- 9. HAMLET
- 10. HAMLET
- 11. Backdrop
- 12. Wall of light
- 13. Responsibilities of The Lighting Designer • Creates lighting plot • Shows placement and angle of lighting instruments • Includes wiring, connection info & color • Cue sheets – list of occasions – referred to by number and keyed to a particular moment in the script.
- 14. Lighting Designer at work
- 15. Lighting Design 2 main functions: • Visibility – what can we see? • Focus – what do you want us to see?
- 16. Lighting 2 common goals: •Verisimilitude (lifelike - does it appear real?) •Atmosphere – and mood
- 17. moo lif e like d atmosphere
- 19. Instruments “intelligent ligh t” Fresnel Strip ligh t So ur c PAR e4
- 20. The light plot
- 22. The Gobo • Patterns • Create mood
- 23. CLYTEMNESTRA Gobos on textured background
- 24. CLYTEMNESTRA Gobos on textured background
- 25. CLYTEMNESTRA Gobos on textured background
- 26. CLYTEMNESTRA Gobos on textured background
- 27. Proof
- 28. Use of Gobo
- 29. Lighting effects