Visual observation of lighting
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This document is a checklist for visually inspecting lighting equipment used in film and television production. It contains 8 yes or no questions about whether critical safety and functionality elements are properly attached or configured, such as the safety chain, plug, orientation, gel frame, barn doors, and G-clamp. The checklist also includes a comments section and requires a date and signature to confirm any problems have been addressed.
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![Visual Observation of Lighting
[Tick box if answer is ‘yes.’]
1. Is the Safety Chain Attached?
2. Is the light plugged in properly?
3. Is the light the right way up?
4. Does the light have a Gel Frame (if required)?
5. Does the light have Barn Doors?
6. Is the G-clamp attached properly?
7.
8. Have all Problems (If any) been fixed? No. Yes.
Any additionalcomments?
Date: Signed:
If the answer to any of these questions is ‘no.’ consult the
‘How to fix guide’ to remedy the problem.](https://image.slidesharecdn.com/visualobservationoflighting-140710054121-phpapp01/85/Visual-observation-of-lighting-1-320.jpg)
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To operate a lighting desk, place the desk in the desired position, plug in the power cable to the desk and wall, and connect the DMX cable from the desk to the lighting rig but do not turn on the desk. Turn on the dimmer pack to provide power and plug the correct lights into the numbered dimmer positions that match the rig. Finally, turn on the desk to test that the lights work properly.
How to fix guide (lights)
The document provides instructions for fixing minor problems with lighting equipment:
- Safety chains must be securely attached to prevent lights from falling. Spare chains are stored on a hook in the back of the hall.
- Lights must be properly plugged in to receive power. Do not turn power on until any issues are fixed to avoid electrocution.
- Lights need to be oriented correctly with the beam angle dial facing the floor. Ladders may be needed to access and adjust lights.
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Evaluation
The document discusses amendments made to several guides about lighting equipment. The summaries clarify locations of equipment if missing, show what equipment looks like, specify accessories needed for lights, and add documentation for fixing broken lights. The amended guides also provide more specific locations of equipment, clearer instructions for tasks like installing barn doors, and address errors like incorrectly stating bulb colors and assuming any bulb will fit. The amended version remedies issues like not accounting for broken sockets and not having an option to record broken light information.
Equipment inventory
This document lists equipment in the drama studio including a Toshiba laptop, projector with power speakers, CD player, iPod connector, Zero 88 dimmer pack, Strand lighting desk, and 10 CCT Minuette Fresnel lights with gel frames stored in a drawer next to the lighting rack. Additional Fresnel lights are kept on the lighting rack at the back of the hall if needed.
Equipment inventory
This equipment inventory for a drama studio lists 7 items including a Toshiba laptop, projector with power speakers, CD player, iPod lead, Zero 88 dimmer pack, Strand lighting desk, and 10 CCT Minuette Fresnel's with gel frames. The projector can be used with either the Toshiba laptop or the CD player, and the lighting equipment includes a Zero 88 dimmer pack and Strand lighting desk.
How to use equipment (sound desk)
1. To set up the sound desk, plug the main desk into power, then plug speakers into power and desk using XLR cables. Connect audio sources like a CD player to the desk using phono or audio jack cables.
2. Turn on equipment in the correct order: sound desk first, then audio source, then speakers to avoid popping noises.
3. Operate individual channels by powering them on and adjusting gain until lights are at maximum yellow, then pan each channel to the correct speaker. Use the master fader and channel faders to control overall and individual volume levels.
How to fix guide (lights)
The document provides instructions for fixing minor lighting issues such as ensuring safety chains are attached, lights are plugged in properly and oriented correctly, and installing gels, barn doors, and adjusting G-clamps. More demanding problems like replacing a blown bulb in a CCT Fresnel light require unscrewing the light panel, checking the bulb, unclipping and replacing it with a new 650W bulb if necessary. Issues that can't be resolved should be documented and referred to a technician.
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This document provides instructions for using Q-Lab to play front-of-house music cues during a performance. It explains that the "Go" button or spacebar can be used to start each cue, and cues with effects like fading are highlighted with colors to help the user locate them. It also notes the times of each track to help determine if tracks are too short or long and properly time sound effects between tracks.
Focusing a fresnel
Focusing a light is an important production skill that involves adjusting the position of a rigged light using a tallescope to ensure it illuminates the stage space as desired by the lighting designer.
On the lighting desk
The lighting desk allows the operator to program and operate lights for cues by entering a 'Program' mode where lights can be turned on as needed for each cue. The desk also allows the operator to set lights to a specific percentage, such as entering '001-100@65ENTER' which would set lights 1-100 to 65% brightness.
Cutting a gel frame
Cutting gel frames is important to get the right color for lighting needs, as gels come in one standard size and may need trimming to fit larger lights. The color call, or specification, helps determine which gel is required and if it will need cutting to ensure it is not too small for the light.
Cue sheets
Cue sheets are used in rehearsals to plan lighting routines for shows, allowing operators during performances to simply press "Go" and minimize the chances of activating the wrong lights. This particular cue sheet specifically relates to drama exams for the AS level.
Focus notes
Focus Notes list the position of every light in the rig to provide instructions on how to manipulate the lights to suit the space and show. Without focus notes, it would be difficult to fix the lights into positions that work for the performance. Focus Notes are essential as they record the lighting designer's vision for how each light should be positioned.
Colour call
The document discusses the importance of a colour call, which lists the colours of lights available in a rig. A colour call allows one to check if a specific colour light is available for use. This particular colour call relates to drama exams that were produced.
Lighting plan
The lighting plan shows where the lighting designer has positioned lights. This particular lighting plan shows the positions of lights for an AS Drama exam. It provides the essential information of lighting positions in a concise 3 sentence summary.
Lighting plan
The lighting plan shows where the lighting designer has positioned lights. This particular lighting plan shows the positions of lights for an AS Drama exam. It provides the essential information of lighting positions in a concise 3 sentence summary.
Rigging a fresnel
Rigging lights is important for proper stage lighting and requires attention to health and safety. Lights must be rigged to hang in designated positions around the stage. It is crucial to ensure clamps are tight and safety chains are always attached to prevent lights from falling in the event of a clamp failure and endangering performers below, as well as preventing light damage from falls.
Focusing a fresnel
Focusing a light is an important production skill that involves adjusting the position of a rigged light using a tallescope to ensure it illuminates the stage space as desired by the lighting designer.
Research of job roles in the production arts industry
The document discusses several job roles in the production arts industry, including stage manager, sound designer, sound operator, lighting designer, lighting operator, deputy stage manager, assistant stage manager, costume master/mistress, props master/mistress, and front of house manager. It provides brief descriptions of the responsibilities for each role, such as coordinating all aspects of a performance for the stage manager, designing sound and music for the sound designer, and managing customer service staff and the patron experience for the front of house manager. It also notes that a hierarchical structure is used to define everyone's role and reporting relationships within a production.
Technical operator
The technical operator programmed several lighting cues for a performance, including a blackout at cue 24, a lamp turning on during a song at cue 25, general cover lighting for actors at cue 26, another blackout at cue 27 once an actor gave a cue, and the audience lights switching on at cue 28 while keeping the stage dark for actors to exit.
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Visual observation of lighting
- 1. Visual Observation of Lighting [Tick box if answer is ‘yes.’] 1. Is the Safety Chain Attached? 2. Is the light plugged in properly? 3. Is the light the right way up? 4. Does the light have a Gel Frame (if required)? 5. Does the light have Barn Doors? 6. Is the G-clamp attached properly? 7. 8. Have all Problems (If any) been fixed? No. Yes. Any additionalcomments? Date: Signed: If the answer to any of these questions is ‘no.’ consult the ‘How to fix guide’ to remedy the problem.