The Assistant Lighting Designer’s Handbook
A reference for students and aspiring assistants
By: Ben Pilat
INTRODUCTION
The assistant lighting designer plays an important role in the creation and maintenance of lighting designs. Assistants perform a variety of duties, but first and foremost, they are keepers-of-information. As a secretary for the lighting designer, an assistant manages the details of a design, allowing the lighting designer to perform his or her job as efficiently as possible. Successful assistants need to be highly organized, detail-oriented individuals with the ability to remain calm and think on their feet in extremely stressful situations. Many assistants find it helpful to approach their work with a designer’s eye. When an assistant understands the designer’s goals and methods, clear communication is a simple matter. This type of assistant lighting designer is also able to give an informed opinion, if asked.
Theatre, opera, and dance are the most common live-performance events that employ the services of an assistant lighting designer, although other opportunities, such as corporate industrials and theme parks, are available. Exceptionally large undertakings such as Broadway musicals often employ multiple assistants, each with different responsibilities. Opera and ballet companies usually perform in repertory and add an extra level of difficulty to the job, such as daily refocusing and maintaining the integrity of multiple shows. Unless an assistant is a full-time employee of a design firm, he or she probably works on a freelance basis. Freelance assistants are hired by designers on a project by project basis and might work for multiple designers. Other assistants are hired by a specific organization as resident assistants, who work exclusively with in-house and guest designers for that company. Although many assistants are aspiring designers who view their work as a stepping-stone in their own career, some individuals base extremely successful and fulfilling careers solely on assisting.
PRE-PRODUCTION WORK
The assistant’s work begins long before setting foot in the theatre. One of the first things an assistant should do is become familiar with the show. This task is sometimes overlooked, but it can make all the difference in the world. He or she needs to know the plot, who the characters are, and in what order the scenes play. This is an investment of time, but it will pay off later in the production. If the
1 show has multiple sets, the assistant will have a better idea of how to organize focus. During tech, the designer will be able to give notes faster and easier if the assistant is familiar with the show.
The next step is to acquire floorplan of the space so a light plot can be drafted. In most cases, a Vectorworks or AutoCAD drawing of the theatre will already exist. The designer can usually acquire this with a phone call to the theatre or a colleague, but in certain instances (especially if the show is in an unconventional space) this drawing will need to be generated from scratch. The assistant might then make a trip to the theatre to take measurements. Even if plans for the space already exist, a designer might want to verify measurements if a show is going to be especially large.
The first piece of information that will come due during a production is the shop order. This list of all the equipment needed to realize the designer’s vision will need to be submitted to several shops as soon as possible so they can begin bidding on the show. The shop order needs to be extremely detailed and should specify all the dimmers, lights, effects equipment, accessories, hardware, and spare equipment that a show will need. Most shop orders simply state, “Cable as per Production Electrician,” because the amount needed is rarely known this early in the process.
However, before a shop order can be completed, a light plot (or at least a rough version) needs to be drafted. This process will vary with every designer. Some designers need to do this themselves to be more familiar with their design when they arrive at tech. Some designers will draft their plot by hand because they need to be able to see the entire sheet of paper to visualize the design. They may then have an assistant draft their plot in a CAD program to make sharing the information and making changes easier. Other designers will make a rough plot themselves using tick marks or basic CAD symbols to represent lights and have an assistant clean up the drawing to make it presentation-ready. Regardless of how the assistant receives the plot, he or she should start to learn it. This doesn’t mean that memorization is required, but the assistant should understand what positions and colors the designer is using and how he has broken down his systems. This way, the assistant knows exactly what lights the designer is talking about when he refers to “downstage cool high sides”. These are the kinds of details that the assistant can free the designer from worrying about.
2 PAPERWORK
Once the light plot is finished, paperwork needs to be generated. Lightwright is the industry standard and will import from Vectorworks fairly easily. In a repertory situation, a database program like Microsoft Access is better suited to handle the specific challenges of rotating shows. Whatever program is being used, the designer or assistant will submit an instrument schedule, channel hookup, and any other requested information to the Production Electrician. The assistant will also need to manage his own copies of this information. It is usually best to keep a single binder that contains the current copies of all paperwork.
The assistant will usually make magic sheets, but this is an extremely personal document and every designer will want something slightly different. The designer will need to explain what he wants, or at least give the assistant a sample magic sheet from an old show. Sample magic sheets, both numeric and graphic, are included in Appendix A. A piece of nonstandard but highly valuable paperwork is a “changes” form. On one side of the page is a space to write notes, changes, or additions and series of checkboxes on the other side of the page. These checkboxes indicate pieces of paperwork that need to be updated with a given note. These columns can include: notes, instrument schedule, channel hookup, LD’s magic sheet, ALD’s magic sheet, plot, lightwright, and whether the change has been accomplished. I have found that this is a great way to record information when things are moving quickly. These updates can then filter down through all the pieces of paperwork when the pace becomes less frantic; it also frees the assistant’s already taxed memory and attention span from having too much to do in a short amount of time. A sample “changes” form is also included in Appendix B.
The assistant’s life revolves around paperwork, so it is very important to skillfully manage all these documents. All paperwork, without exception, should be dated. The current “active copy” should be labeled “master” and old paperwork should be labeled as such with the date it was “retired”. Old copies should be kept in a separate well-labeled folder or envelope and nothing should be thrown away. When I cross out old information, I only use one pencil line; it will usually be important to know what the information was before the change. When I am formatting my paperwork, I make sure that every column has enough room to pencil in a change. This helps me stay neat and organized so I can easily process all the information the designer is giving me.
3 FOCUS
Prior to focusing, the designer and assistant should organize a plan of attack, especially if there are multiple sets needed to focus. Once focus begins it is the assistant’s job to keep things moving quickly and efficiently. The designer will be focusing onstage and the assistant will have a plot and paperwork in the house so he can call out channel numbers to the board operator. As soon as a light comes up, the assistant will tell the designer the light’s purpose so he can begin focusing it. If multiple positions are being focused at one time, the assistant needs to know where all the electricians are and should be able to keep them all moving. If color or templates need to be dropped, the assistant should communicate that information to the electrician before that light is ready to be focused. No one should have to wait on the assistant at focus.
The assistant should always stay a few steps ahead of the designer. Try to anticipate what the designer needs before he or she has to ask for it. It is often helpful to have a magic sheet at focus, because the designer might want to see other lights near the one being focused, and it is very time consuming to decipher this information from an instrument schedule. It is also important to develop a system to keep track of which lights have been focused. Lightwright will do this, but simple circles and check marks work just as well. Keep in mind, it is important to keep track of which light is currently being focused and any lights that are only partially focused.
If a show will move to a new location or is being entered into a theatre’s repertory, the assistant is also responsible for creating focus charts. Using a grid system, the focus of the light is recorded along with shutter cuts and any other pertinent information. Again, Lightwright has the capacity to handle these, but sometimes they are done by hand and entered into the computer later. If a show is being focused symmetrically, the focus charts from one half of the stage will be very helpful if the goal is to “reverse and repeat”. Samples of focus charts sorted by channel and position are included in Appendix B.
CUEING / TECHNICAL REHEARSALS
Computer consoles are now so reliable that the days of hand-tracking channel levels are long gone. However, there is still a significant amount of work for an assistant to do at tech. If a show is using moving lights, an assistant may be asked to record how and when they are used. The designer will need to know in what cue
4 a light presets (or “marks”), when the light turns on (and in what color, position, template, etc.), and when the light turns off. This can be done visually with mini- groundplans, numerically on a spreadsheet, or a combination of the two. For extremely complex Broadway shows, specialized computer programs exist to make this task easier and can even interface with certain lighting consoles. Much of the same information applies to tracking followspots, since they are simply moving lights with operators. The best advice is to keep records thoroughly detailed as though the assistant needed to call followspot cues himself, which is sometimes the case during tech.
Another helpful job that assistants normally do at tech is watching the monitor. Because the designer’s eyes are nearly always on the stage, he or she may not catch potentially dangerous typographical errors. Any mistakes should be brought to the attention of the designer or board operator in the most diplomatic way possible. The show is important, but so are the egos and positive attitudes of those around you.
NOTES
Taking notes is another important duty of an assistant lighting designer. Like everything else, this will vary by designer. Some designers prefer that notes be hand written on legal pads, others prefer excel, Filemaker Pro, or Lightwright. However they are recorded, the assistant should be prepared to break them down by category, including work notes, focus notes, cue notes, scenic/costume/sound notes, and stage management notes.
It is important to keep in mind that nearly everything the designer says will result in a note. What seems like thinking out loud is often a note in disguise, even if it is a thought that needs to be re-visited. Assistants need to understand that not every note begins with “take a note” or instructions to write anything down. Eavesdropping is often helpful to get a handle on upcoming notes. An assistant shouldn’t begin working based on a conversation like this, but it might warrant asking the designer if he or she is still thinking about such-and-such. When the designer does give a note, it is important to interpret the note and know what it means. If you don’t understand, ask. An assistant who simply writes what the designer says is just a robot, but an assistant who can help organize the designer’s thoughts is a valuable asset.
Toward the end of the night, the assistant should begin organizing the day’s notes so they can be dispersed to the other departments. Timely dispersal of well-
5 organized notes gives no excuse to leave important work undone. Each department should only receive notes that directly apply to them; the master electrician does not need to see the next day’s board notes. If there is more work to do than time allows, it may be necessary to consult with the designer to prioritize the notes on the list. Otherwise, work and focus notes should be broken down by position to make them as electrician-friendly as possible. There is not a standard format for dispersing notes, but they should be aesthetically formatted and printer-friendly with room to pencil in notes. Notes to the master electrician should consist of a sentence that includes where the change is taking place, what the change will be, and all of the pertinent information (unit number, channel, dimmer, etc.) for the affected or nearby lights. The master electrician should not need to reference his plot or paperwork if the assistant’s notes are complete.
PREVIEWS
The schedule and format of previews will vary based on the designer’s and assistant’s schedules. In some cases, the designer will leave for the next project after a few previews, leaving the assistant with the show. In this instance, the assistant will have permission to adjust levels and cue timings, but the designer should be informed if the director wants to make major changes or re-stage scenes. Other designers like to stay with a show until it opens, so they might send their assistant on to the next venue to supervise load-in and possibly focus the show before the designer arrives.
TOOLS OF THE TRADE
Because an assistant can never predict what theatre or city he will be in next, it is wise to be as self-sufficient as possible. Every assistant should consider creating a traveling office in a tackle box or similar receptacle. The small expense and extra luggage will pay off enormously when you have exactly what you need when you need it. Suggested supplies include:
• Stapler and refills • Pencils and lead • Eraser • White-out
6 • Legal Pads • Post-it Notes • Scissors • Single and three-hole punch • 50’ tape measure • Spike tape • Scale rule • Template catalogs • Gel swatchbooks • Small flashlight
A laptop computer with Vectorworks, Lightwright, and Microsoft Office is another essential item. The use of other programs, such as WYSIWYG, is at the discretion of the designer. It is helpful to have a working knowledge of as many different kinds of software as possible. An ideal addition would be a small printer for notes and paperwork. At the very least, however, keep an extra printer cable handy.
ASSISTANT ETTIQUETTE
Lighting designers feel pressure from many directions in the theatre, and they receive input from many people. An assistant who adds to this stress will be out of work very quickly. Every designer-assistant relationship is different, but knowing when to talk and when to be quiet is vitally important. Unsolicited advice is rarely appreciated. Some designers welcome creative input from their assistants, but it is much safer to wait to give your opinion until asked. Designers don’t have the time or energy to tell you to be quiet, so you need to be able to do this on your own.
Most designers are happy to answer questions about their work, as long as they are timed appropriately. Dinner can be an acceptable time to ask questions, but be conscious of the designer’s mood. Talking about the show might be the last thing he or she wants to do during a short dinner break. The same judgment call will apply to joking with a designer. Be aware of your relationship with the designer and his or her mood before making any wisecracks.
7 WORKING PROFESSIONALLY
Fortunately for aspiring assistants, most lighting designers are fairly willing to interview someone who is looking for a job. Designers are extremely busy people, so it may take time to get this interview. However, if you keep after them with respectful calls and emails, your drive will usually be rewarded. Be prepared with a resume at the interview, regardless of how casual it may seem. Portfolios are generally not required, but it may give the designer insight into your organizational skills. It will also give the designer an opportunity to see your handwriting. People with neat, precise handwriting usually have similar personalities. Everything an assistant writes at tech needs to be legible to everyone, not just himself.
Making and keeping contacts is essential to continuing to work as an assistant. It will usually mean going out for drinks after the show or attending events, like fundraisers, where designers will be. Keep in touch with designers you have worked with previously. It is perfectly acceptable to make a phone call to ask if they need any help with upcoming work. Fortunately or unfortunately, word travels fast in the lighting community. Designers constantly talk amongst themselves, so good assistants will rarely be out of work.
ADDITIONAL RESOURCES
Thanks to a partnership with Lighting and Sound America , I conducted a survey of professional lighting designers. Through a series of simple questions, I hoped to gain insight on the qualities designers look for in their assistants. The results of this survey are available in Appendix A.
It is very difficult to find any significant quantity of published information about the work that assistant lighting designers do. It seems that although designers don’t have any qualms about discussing their assistants, the subject rarely comes up. However, there are still some additional resources out there. For a complete list of referenced works, please refer to Appendix C.
Both Scene Design and Stage Lighting by Parker, Wolf, and Block and Linda Essig’s Lighting and the Design Idea devote at least a page to a description of the assistant’s role. Both texts list some of the common duties performed by assistants, but point out that every designer has different needs. One common task that is
8 nearly always performed by the ALD is the creation and updating of instrument schedules and channel hookups. Scene Design and Stage Lighting adds other paperwork to the list, such as shop orders and focus charts and recommends that assistants be proficient in the necessary computer software. It also notes other common duties such as drafting the light plot, calling out channels during focus, and taking notes during rehearsals. Scene Design and Stage Lighting also gives more esoteric advice to aspiring assistants. The authors recommend that every young lighting designer begin as an assistant, and that they work with multiple designers. The authors say, “A good assistant is a silent observer who is not afraid to ask questions when necessary”. They urge assistants not to be intimidated by designers, and to use the time as an assistant to observe the otherwise secret inner workings of the business.
In Lighting and the Design Idea , Linda Essig provides even more information about assistant lighting designers. She defines the assistant as, “an archival secretary for the lighting design who records the position, focus, and intensity of the lights throughout the load-in and technical rehearsal period”. She notes the usual tasks, but adds a possible pre-load in theatre survey to the list. Essig also points out that larger shows, such as Broadway musicals or corporate events may have multiple assistants with separate tasks such as tracking cues, follow spots, or special effects.
Craig Miller published a magazine article in which he gives a great deal of advice to aspiring lighting designers. Although Miller admits that his thoughts mainly apply to his own assistants, there is a great deal to be learned by any assistant lighting designer. Miller advocates that his assistants keep certain supplies, listed previously, at the tech table at all times.
Miller reminds his readers that nearly anything the designer says or does is a change or note. Staying near the designer is a good way to stay on top of changes. In this instance, eavesdropping becomes a job requirement. This allows the assistant to take notes pro-actively, without needing to be told explicitly. Miller also gives his thoughts about focus. Miller advises assistants to stay several steps ahead of the designer. Having channel numbers on the tip of the tongue and sensing the rhythm of the designer and electricians will lead to a smooth, efficient focus. His last piece of advice about focus is to never forget “please” and “thank you”.
Miller’s final thoughts relate to the assistant and work notes. His advice could be condensed to “organize and prioritize”. The assistant should assemble work notes by position so the electrician can complete them as efficiently as possible. Each day’s notes should also contain a list of any gel or templates that need to be pulled. If the amount of work will exceed the scheduled notes call, the assistant should
9 urge the designer to prioritize the notes. Less important notes (ones that could be accomplished the next day, if necessary), should be placed at the bottom of the list so they don’t grab attention. However, the most important thing an assistant brings to a notes call is confidence. A positive attitude “will be contagious to electricians”, and work will be accomplished quickly and effectively.
Richard Pilbrow’s Stage Lighting Design is another excellent resource. It contains interviews with a variety of lighting designers who talk about their days as assistants or their current assistants. Pilbrow himself, in anecdotal form, recalls his early assistants. He jokes about how busy his new hires were, saying, “He arrived for work on Monday and went home three weeks later”. Pilbrow was a believer in performing the work himself. He didn’t like to pawn off designs on his assistants; he preferred that they begin working in the rental shop. However, he gradually gave them more and more responsibility as he brought them in as full assistants. Pilbrow acknowledged that all of his assistants were aspiring designers, and eventually helped them make it on their own.
David Hersey relates a slightly different tale. He claims there is no money in England for assistants, so if the designer needs one, in most cases, the fee comes directly from him or her. This reality has led Hersey to perform many of the assistant’s duties himself, except on especially large shows. Jim Moody has a very open approach about his assistants. He recognizes that assistants are seeking knowledge as much as seeking a job. He looks for open-minded people who are ready to learn, as opposed to young hot shots from the best schools. This fact reinforces the idea of a designer as a teacher, but not all are so open.
Tharon Musser is very specific about what she looks for in her assistants. First of all, they need to have a sense of humor. She points out that designers and assistants spend an enormous amount of time together, so they need to get along. Musser takes a very hands-on approach, leaving the assistant to keep records. She stresses the importance of accuracy because the assistant’s paperwork might not be looked at until the show is being re-mounted. Musser is a firm believer in beginning as an assistant. She feels that it is the only true way to learn the business because no school can replicate real-world situations.
Like Musser, Tom Munn is adamant that designers begin by assisting. It provides valuable contacts as well as insights into the business. And usually, good assistants can receive work when their designer is too busy to design every show he is offered. Munn adds a description of a successful assistant: “You must have an awareness, a sharpness, an alertness, a sensitivity, to what is going on on the stage but also to whom you are assisting. The chemistry has to be there.”
10 FINAL ADVICE
Working as an assistant lighting designer is not an easy job, but it can be an exhilarating and extremely rewarding one. Fear is one of the largest obstacles an assistant needs to overcome. Don’t be intimidated by designers; they are your colleagues. They want you to succeed because they need your services to perform their jobs effectively. Also, be an interesting person who can carry on a non- theatre-related conversation. All other things being equal, designers will surround themselves with people they enjoy working with. Similarly, a sense of humor is a valuable asset during late-night breaks around the tech table. Most importantly, be honest with those around you. No one knows everything and everyone makes mistakes. How you handle yourself in these situations will make all the difference. I would like to end with a quote from Andrew Bridge that I hope puts everything in perspective: “Assistants are vital. I like to make sure they know that their input and ideas are welcome. But I do like them to get me a cup of coffee occasionally.”
11 APPENDIX: A
The following survey was performed in cooperation with Lighting and Sound America. One hundred twenty-six members of the professional lighting community responded to a call for their input on the role an Assistant Lighting Designer should play. Special thanks to everyone who gave so generously of their time to make this project possible, including Jackie Tien, David Barbour, and the entire staff of Lighting and Sound America .
My assistants should have a Previous experience as an “designer’s eye”. assistant is very important. 70 50 60 60 50 40 42 39 47 40 30 30 20 21 20 16 10 15 10 2 2 8 0 0 1 2 3 4 5 1 2 3 4 5 DISAGREE ------AGREE DISAGREE ------AGREE
I will interview potential assistants I welcome creative input if they are seeking work. from my assistants. 50 60
40 50 40 51 37 40 30 34 41 30 20 27 20
10 12 5 3 10 2 0 0 1 2 3 4 5 1 2 3 4 5 DISAGREE ------AGREE DISAGREE ------AGREE
12 My assistants should be pro-active I want to pass along my and work independently. knowledge to my assistants.
60 100 50 53 80 79 40 44 60 30 26 40 20 37 20 10 3 7 2 1 0 0 0 1 2 3 4 5 1 2 3 4 5
DISAGREE ------AGREE DISAGREE ------AGREE
My ass istants should only focus My assistants should be
on details, not the “big picture.” “silent observers.” 50 50 40 44 40 44 33 30 31 30 33 32 20 20 10 15 3 10 11 6 0 0 1 2 3 4 5 1 2 3 4 5 DISAGREE ------AGREE DISAGREE ------AGREE
I am annoyed when my assistants I prefer assistants with MFAs. ask for clarification. 50 70 46 66 40 60 50 35 30 40 28 20 30 35 20 10 10 10 13 5 5 5 0 0 1 2 3 4 5 1 2 3 4 5 DISAGREE ------AGREE DISAGREE ------AGREE
13 I am annoyed when my assistants My assistants should be near ask design questions. me at all times. 80 50
69 40 43 60 36 30 40 20 23 30 20 18 20 10 3 3 6 0 0 1 2 3 4 5 1 2 3 4 5 DISAGREE ------AGREE DISAGREE ------AGREE
I give qualified assistants design My assistants should not work when I’m too busy. work for other designers. 50 60 57 50 40 42 36 40 30 34 30 20 29 20 26 10 4 10 9 5 5 0 0 1 2 3 4 5 1 2 3 4 5 DISAGREE ------AGREE DISAGREE ------AGREE
I like my assistants to get coffee. 60 50 55 40 30 30 20 20 15 10 4 0 1 2 3 4 5 DISAGREE ------AGREE
14 APPENDIX: B
Penny Jacobus at New York City Ballet and Keri Thibodeau at New York City Opera deserve special thanks for these images and for their generous donation of time, energy, and ideas.
NUMERIC MAGIC SHEET...... Figure A.1
GRAPHIC MAGIC SHEET………………………………….Figure A.2
FOLLOWSPOT TRACKING SHEET……………………….Figure A.3
FOCUS CHART (BY CHANNEL)…………………………..Figure A.4
FOCUS CHART (BY POSITION)…………………………...Figure A.5
CHANGES / ADDITIONS FORM…………………………...Figure A.6
15
Figure A.1
16
Figure A.2 17
Figure A.3 18
Figure A.4 19
Figure A.5 20
Figure A.6 21 APPENDIX: C
Essig, Linda. Lighting and the Design Idea . Wadsworth Publishing: Portsmouth, 2004.
MacKay, Patricia. “Broadway, Las Vegas, and the Road: Ken Billington- Lighting Designer.” Theatre Crafts, February, 1981.
MacKay, Patricia. “Jennifer Tipton: Lighting Designer.” Theatre Crafts, May, 1983.
Miller, Craig. “A Guide for Assistant Lighting Designers: Some Modestly Proffered Notes.” Theatre Crafts, January, 1989.
Parker, W. Oren, R. Craig Wolf, and Dick Block. Scene Design and Stage Lighting . Belmont: Wadsworth/Thompson Learning, 2003.
Pilbrow, Richard. Stage Lighting Design: The Art, the Craft, the Life . New York: By Design Press, 1997.
Sommers, Michael. “Drafting Help: Tharon Musser on the Designer/Assistant Relationship.” Lighting Dimensions, March, 1990.
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