View the Lighting Designer's Resource Guide

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EPISODE 3 LIGHTING DESIGNER Click on logo to learn more about the series. RESOURCE GUIDE RESOURCE GUIDE RESOURCE GUIDE RESOURCE GUIDE RESOURCE GUIDE RESOURCE GUIDE RESOURCE GUIDE V-o-c-a-b-u-l-a-r-y back light—the process of In theatre, lights are hung over the heads intensity—the degree of strength, Spotlight illuminating the subject from behind. In of the audience and pointed at the stage, force, energy, or feeling a certain lighting theatre, lights are hung upstage (towards so the performers can be clearly visible instrument emits or projects. the rear of the stage) and shine back to the audience. side light—the process A lighting designer creates towards the acting area. In other words, gel—also known as a color gel or as of illuminating the subject from the side. the lighting concept and the lighting instrument and the a lighting gel, a gel is a transparent In theatre, lights are hung on the left and audience face each other, with the equipment requirements colored material that is used in theater to right sides of the stage, so performers performer in between. color light or to correct the color of are lit from the side. This type of lighting for a production. They cyclorama or cyc—a seamless, flat existing light. is often used to highlight dance and work most closely with the white or natural panel that is hung at the gobo—a stencil or template placed movement. very back of the stage and is used in a director and the technical inside or in front of a light source to texture—the feel, appearance, or variety of ways, including with traditional control the shape of the emitted light. consistency of a surface or substance. director and the scenic, stage lighting to create special illusions. Lighting designers typically use them wash—a general “fill” of light and color costume, and projection focal point—the central or principal with stage lighting instruments to evenly distributed across the stage which designers to create a point of focus for the audience. manipulate the shape of the light cast is created using lighting fixtures and front light—the process over a space or object—for example to colored gels. lighting concept that of illuminating the subject from the front. produce a pattern of leaves on a floor. communicates the feeling of the production and guides the audience’s More to Explore Extension Activity attention in specific Create a lighting design for the ways throughout the https://careers.broadway/ following scene. Be sure to decide performance. http://www.stagelightingprimer.com what your focal point or points will be? What colors, shapes, and textures you http://www.theatrecrafts.com will use to create the mood? And, how https://www.usa829.org/ you will use the lighting to establish the https://www.forbes.com/sites/darrynking/2018/10/26/what-do-broad- scene’s time and place? ways-best-lighting-designers-actually-do/#390c98e78db2 On a boat stranded in the middle of the ocean, a group of six sailors frantically devise a rescue plan before the storm clouds in the distance unleash This series is made possible through the generous support provided by: a massive storm..

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2020 Profoto Price List
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10 Tips on How to Master the Cinematic Tools And
10 TIPS ON HOW TO MASTER THE CINEMATIC TOOLS AND ENHANCE YOUR DANCE FILM - the cinematographer point of view Your skills at the service of the movement and the choreographer - understand the language of the Dance and be able to transmute it into filmic images. 1. The Subject - The Dance is the Star When you film, frame and light the Dance, the primary subject is the Dance and the related movement, not the dancers, not the scenography, not the music, just the Dance nothing else. The Dance is about movement not about positions: when you film the dance you are filming the movement not a sequence of positions and in order to completely comprehend this concept you must understand what movement is: like the French philosopher Gilles Deleuze said “w e always tend to confuse movement with traversed space…” 1. The movement is the act of traversing, when you film the Dance you film an act not an aestheticizing image of a subject. At the beginning it is difficult to understand how to film something that is abstract like the movement but with practice you will start to focus on what really matters and you will start to forget about the dancers. Movement is life and the more you can capture it the more the characters are alive therefore more real in a way that you can almost touch them, almost dance with them. The Dance is a movement with a rhythm and when you film it you have to become part of the whole rhythm, like when you add an instrument to a music composition, the vocabulary of cinema is just another layer on the whole art work.
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The Synergy of Visual Projections and Contemporary Dance
Edith Cowan University Research Online Theses : Honours Theses 2011 The synergy of visual projections and contemporary dance Hannah Molly Timbrell Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Performance Studies Commons Recommended Citation Timbrell, H. M. (2011). The synergy of visual projections and contemporary dance. https://ro.ecu.edu.au/ theses_hons/1366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Thesis The Synergy of Visual Projections and Contemporary Dance Bachelor of Arts Honours (Dance) Hannah Molly Timbrell WA Academy of Performing Arts Edith Cowan University February 2011 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. Abstract Projections are becoming an increasingly common part of contemporary dance performance, however, I believe that choreographers do not always integrate the media to form a dependent synergy.
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Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................
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(Purple Masque) Scenic Design Checklist
SECOND STAGE (PURPLE MASQUE) SCENIC DESIGN CHECKLIST MANDATORY ATTENDANCE AT: All director/designer meetings Minimum of two meetings with Faculty Scenic Designer: one prior to preliminary deadline, and one prior to final deadline. All production meetings Minimum of one run-through rehearsal prior to crew watch Crew watch All technical and dress rehearsals Strike Any conflicts with attending the above meetings/rehearsals must be cleared ahead of time with the faculty designer and the director. IMPORTANT INFORMATION There is a very limited time frame for installation and painting of scenery in the masque. Therefore, it is extremely important for you to be organized prior to your load in date. Some things to consider: You will be working late nights/weekends during load in and tech, so plan ahead to have papers/homework/studying done ahead of time. “I had to write a paper so the set didn’t get done until opening night” is not a valid excuse. EVERYTHING needs to be built prior to load in. It is best if you can paint pieces beforehand, also. If you are building a large unit, make sure it will fit through all doors. Large units in pieces should be “dry fit” in the scene shop to make sure they assemble as planned. Make sure you arrange for help ahead of time. People will be more willing to assist you if they know a week or two beforehand. This is not just your show. Having the scenery unfinished not only affects the actors, but the lighting and costume designs as well. ROUGH DESIGNS Rough designs will include research image boards of conceptual, architectural and detail inspirations for the set.
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Production Handbookfinaldraft
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Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave
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Programmable Image-Based Light Capture for Previsualization
ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual eﬀects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform.
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Lighting for the Workplace
Lighting for the Workplace AWB_Workplace_Q_Produktb_UK.qxd 02.05.2005 10:35 Uhr Seite 3 CONTENTS 3 Foreword by Paul Morrell, 4–5 President of the British Council for Offices INTRODUCTION 6–7 The Changing Corporate Perspective 6–7 WORKPLACE LIGHTING – PAST, PRESENT AND FUTURE 8–51 Lighting Research versus the Codes 10–11 – The Lessons of Lighting Research 12–15 – Current Guidance and its Limitations 16–23 Key Issues in Workplace Lighting 24–29 Natural Light, Active Light & Balanced Light 30–37 Further Considerations in Workplace Lighting 38–47 Lighting Techniques – Comparing the Options 48–51 WORKPLACE LIGHTING – APPLICATION AREAS 52–97 Open Plan Offices 56–67 Cellular Offices 68–71 Dealer Rooms 72–75 Control Rooms 76–79 Call Centres 80–83 Communication Areas/Meeting Rooms 84–87 Break-Out Zones 88–91 Storage 92–93 Common Parts 94–97 WORKPLACE LIGHTING – LIGHTING DESIGN 98–135 Product Selector 100–133 Advisory Services 134–135 References & Useful Websites 135 IMPRINT Publisher: Zumtobel Staff GmbH, Dornbirn/A Design: Marketing Communication Reprints, even in part, require the permission of the publishers © 2005 Zumtobel Staff GmbH, Dornbirn/A Paul Morrell President of the British Council for Offices (BCO) London aims to continue being Europe’s leading financial centre and will need more, higher quality office space in the future (photo: Piper’s model of the future City of London, shown at MIPIM 2005) FOREWORD 5 The UK office market, in particular in London, is changing, driven by a number of long-term trends in international banking and finance. Informed forecasts, such as the recent Radley Report*, point, firstly, to a shift towards our capital city, at the expense of Paris and Frankfurt, as Europe’s leading financial centre, with a commensurate pressure on office space.
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Jeffrey N. Kahn, Ies Senior Lighting Designer
JEFFREY N. KAHN, IES SENIOR LIGHTING DESIGNER EDUCATION LIGHTING PROJECTS (partial list) Temple University 30th Street Station. Philadelphia, PA Bachelor of Arts; Radio, Television and Film Facade lighting design and interior concourse for historic landmark and train station in West Philadelphia EXPERIENCE Entercom. Philadelphia, PA Senior Lighting Designer, BEAM, 2017–present Interior lighting design for 60,000sf headquarters for local Director of Lighting Design, Jacobs, 2014-2016 and national radio stations and offices Senior Lighting Designer, Kling/Jacobs 2006-2014 Mitten Hall Career Center at Temple University. Lighting Designer / Project Manager, Grenald Waldron Philadelphia, PA Associates, 1999-2006 Interior lighting design for renovations including training rooms, student labs, offices and support spaces PROFESSIONAL AFFILIATIONS Prior to focusing on architectural lighting design, Jeffrey Hotel Rock Lititz. Lititz, PA worked in lighting for film, television and theater where Member 1999-present, IES (Illuminating Engineering Society) lighting is considered another character, reinforcing the Interior, exterior and facade lighting for new construction thematic boutique hotel emotion and the story. Recognizing the link between HONORS AND ACTIVITIES visual storytelling and how we experience our planned environments, Jeffrey brought his skills to architectural Contributing author Sustainable Design of Research Celgene Incubator lab. Summit, NJ lighting design, using current and appropriate technologies Laboratories, Wiley Publishing, 2010) Interior lab and office renovation for rental chemistry and enhancing that experience. biology labs designed to stimulate innovation Campbell Employee Center: Campbell’s Soup Company, Art Yard. Frenchtown, NJ Jeffrey has been practicing his passion for light in the built Camden NJ Interior and exterior lighting for the new home of an art environment for over 19 years.
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SPOTLIGHT REPORT Lighting Design for Health and Sustainability: a Guide for Architects Editors
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David Becker, Chair of the Certified Lighting Designer Commissio
Certification is Serious (but don’t just take my word for it) David Becker, Chair of the Certified Lighting Designer Commission, speaks to lighting designers around aving been involved with the Certified Lighting Designer (CLD) programme from the world on the its stirrings, initially as a member of the Certification Feasibility Task Force and in recent years as Chair of the CLD governing importance of gaining H Commission, I’ve had the pleasure in various ways and at various times to present the value and importance of certification. proper certification. We are kidding ourselves, deluded even, if we blithely think our vocation can forever skirt the norms and standards expected of other professional services. Fellow Aussie, Andrew Jaques, CLD and Director of Australian and German firm, The Flaming Beacon, underpins the problem of the profession: “Certification is a much needed and important step for the maturing of our young industry, one that would help architects and clients to have greater confidence in us as professional architectural lighting designers.” Luke Ellis, CLD and Associate IALD, and Senior Lighting Designer at EOS Lighting in Vancouver, Canada also recognises the need for professional recognition: “I saw CLD as the epitome of assessment for our unique and global profession, which would justify our role in the AEC industry.” “The significance of certification is the unassailable fact that a mature profession must be able to define competence within its ranks. Yet whilst this is standard practice in other industries, it eludes architectural lighting design.” David Becker, Chair, Certified Lighting Designer Commission Anyone Can Call Themselves A Lighting Designer It’s simply untenable that anyone, without regard to talent, aptitude or experience, can trade as an architectural lighting designer.
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