In our first lighting session we were introduced to different types of lights such as fresnels and profiles and in our groups we rigged up lights on a stand, focussing the lights and using a dimmer to make the light brighter and darker. The week before I had a day’s work experience helping rig lights from a production of Volpone at The Cockpit Theatre in London, where the lights were mainly lit with yellow and blue gels from above. I learnt a lot that day but it was interesting to work with lights on stands at this session.
- Wing nut
- Spanner to fix the spigot, washer and bolt to the light
Once we had set up a light we played around with lighting the actor by angling, focussing and changing the dimmer. We looked at how to make light naturalistic and non-naturalistic.
- Back lighting – put the actor’s face in the dark and create a shadow, perhaps appropriate for an ominous, non-naturalistic scene
- Front lit – Bright on the actors’ faces, perhaps creates good daylight, naturalistic.
Session 2 – Colour
We began to test different gels to see what they would do to the lights. It was challenging to get the profile light on a stand to light the actor without being too bright on their face.
I thought the green light was too harsh on the actor’s face even when it was dimmed down. I liked the blue lighting because it highlighted the actor’s expression and complimented the pose rather than distracting.
We also tried out LED lights which I liked because you can pick whatever colour you want rather than having to cut out the right gel.