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LIGHTING DESIGNER/OPERATOR


The area of lighting could be the responsibility of two people. The lighting designer
would create the lighting design and lead to the execution, then hand the lighting over to
the second person the operator who would actually run the lights for the
performances. Both individuals would be involved in striking of the lights. The
following outlines the duties of the lighting designer/operator.

PLANNING

1. Become thoroughly familiar with the play. Scripts are available from the
administrative producer.
2. Attend planning meetings with the director, producers and crew heads to discuss
basic production schedule and deadlines.
3. Obtain the floor plan and cross section of the theatre showing the hanging
positions from the properties manager. Obtain similar plans of other theatres in
the event of festival or touring situations.
4. Obtain instruments, schedule sheets, pre-set cue sheets and electrical plots.
5. Confer with the director and the designer to ascertain the style of the production,
dramatic importance of areas, color, intensity and apparent source of light and
shadows.
6. Ascertain complexity of lighting task and acquire assistants and or lighting
operator(s).
7. Check to make sure you have enough safety chains/cables for lighting
instruments.

WORK

1. As soon as available obtain a floor plan and cross section view of set from the set
designer study the model.
2. Begin to design a working (rough) lighting plot and instrument schedule chart
based on design discussion with the director.
3. Based on this working plot experiment where necessary to check out angles,
effects, etc. Get an okay from set designer and director where appropriate.
4. Attend appropriate rehearsals to get general impression of action as it relates to
lights.
5. From instrument schedule chart ascertain number of lighting instrument types,
lamp wattages, gels, circuits and dimmer assignments, gobos, hanging positions,
cables, etc., which will be required.
6. Determine as soon as possible equipment and/or supplies, which need to be
repaired, bought, rented or borrowed.




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LIGHTING DESIGNER/OPERATOR

7. Generally consider the cleanliness of lenses and reflectors: condition of lamps or
plugs and clean or replace as necessary.
8. The entire lighting system (dimmers and lights) is under the jurisdiction of the
properties manager. Consult with him/her regarding the need for repair,
adjustments, or purchases.
9. Although the lights and gels are bought by the properties manager under season
supplies, special purchases may be necessary which are then debited to the current
production. Check purchasing system with administrative producer and
properties manager. Order any special equipment early gobos etc.
10. Confer as early as possible with costumes, props, set dcor and set designers
regarding coordination of colors and textures.
11. With assistant (operator) begin as soon as possible to hang equipment. Coordinate
the timing of this work with rehearsals and work parties to avoid interfering by
having lights going on and off, using ladders, and creating noise etc.
12. Usually the execution of a lighting design follows these four steps:
a. Hang instruments, plug into a circuit, patch into hot line and rough focus.
Unplug. Circuits 49 72 can take 1200 watts maximum
Circuits 1 48 can take 2400 watts maximum
BE AWARE OF DIMMER LOAD LIMITS.
b. Sort out circuit assignment and plug instruments into correct circuits. (a)
and (b) are often done together.
c. Sort out dimmer assignment and patch in instruments/circuits to assigned
dimmer.
d. Sort out gel assignment, barn doors, shuttering, focus requirements and
begin one instrument at a time to gel and fine tune the focusing and
beam shaping.
e. Safety chain all instruments to pipes.
13. In conjunction with the director, assistant to director and technical producer,
prepare a Lighting Operators script with rough cues, sequences and levels
recorded in pencil.
14. As early as possible show progress to the designer and director for their approval.
Try to coordinate this process with rehearsals and work parties so as to interfere
as little as possible.
15. With directors permission begin to integrate lights into rehearsals. Arrange a
time when you can have the theatre to yourself to focus and fine tune without
interruption.
16. Prior to first tech rehearsal (or cue to cue run through) all lights should be
working properly barring minor adjustments.
(a) Arrange with director a cue to cue for just lighting. This is particularly
important when the lighting plot is complicated. At this time levels can be set and
ready for the full cue to cue involving all the other technical people.
17. FIRST technical rehearsal the director, stage manager, lighting operating, sound
person, and any other running crew gets together for the process of setting cues.

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LIGHTING DESIGNER/OPERATOR

No actors will be present at this rehearsal. This information should be penciled
in the lighting operators script and/or cue sheet.
18. At SECOND tech rehearsal or cue to cue run through with actors, the specifics of
all lighting cues, sequences and levels are checked and noted as final subsequent
rehearsals are for refining the moving from one cue to the next changes should
be kept to a minimum. Be on hand for notes from the director each night during
tech rehearsals. Record all cues and levels in the event someone else has to run
the board.
19. All lighting cues should be numbered and noted for permanent record on a cue
sheet and any changes should be noted on instrument schedule sheet.
20. Be prepared to install backstage work lights, practical plugs or lights (floor lamps
etc.) on set.
21. By preview night all cues, sequences and levels should be final and running
smoothly. Any changes should be of the artistic emergency nature and be
instigated by the director. Inform house people not to turn house lights off or on.

Contact person if you have problem with system are Dave Brotsky at 545-6428 or
Dhugael McLean at 1-250-868-9394.

RUN

Once the run begins the lighting designers job is finished and the lighting operator takes
over. Generally there should be only one lighting operator per show. Two operators,
trading nights, leads to sloppiness and inconsistent lighting changes this should be
avoided whenever possible. However, assistant operators may be required for complex
shows where re-patching or extra dimmers are needed. In these cases tight teamwork
needs to be established.

The following is a checklist that should be religiously adhered to no lights no show.

1. Be at the theatre one hour before each performance.
2. Turn on board and let the power packs warm for 5 minutes. Turn all lights on at
15% to 20% for 10 minutes to warm up the bulbs.
3. Cross checking with the instrument schedule chart, see that all circuits are patched
in correctly and on/off switches are in correct position.
4. In a cursory fashion visually check instruments, extensions, etc. to see that all
appears to be in order.
5. With the help of an assistant turn on each instrument to see if it still burns, if gels
focus, shuttering is still in order.
6. When all instruments and effects have been checked make any corrections.
7. Leave all instruments burning for 15 to 20 minutes at half intensity to thoroughly
warm up the equipment.
8. Run through your cues. At 30 minutes to curtain preset should be on and house
lights up full.
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LIGHTING DESIGNER/OPERATOR

9. When given warning cue by the stage manager that the house is to open, go to
first cue. Check that the house lights are at right level, set warming lights at right
level, ensure that all work lights are off and any backstage lights are on.
10. Lights in the lighting and sound booth should be restricted to dim light. Keep
conversation quiet as audience enters theatre. If anyone other than booth crew is
in the booth ask the stage manager to handle it.
11. Be on head set as instructed by stage manager, standing by to begin show.
12. Leave the booth ONLY during intermission and in the case of emergency.
13. Food, drink and smoke are NOT compatible with electronic equipment. Accidents
with serious consequences can happen sometimes while a show is in progress
therefore, abstinence is the rule.
14. Do not allow visitors in the booth while the show is in progress. Please inform
the stage manager.
15. During the play stay on headset and obey cues from stage manager. Make note of
any problems and rectify them as soon as possible.
16. After the play, attend to any problems. Turn off console. Turn on house lights in
booth and turn them off in auditorium as you leave. This way the cleaning people
can turn on the auditorium lights to clean. See that the control booth is locked
before leaving the theatre.
17. The directors script, cue sheets and instrument schedule are indispensable items.
Be sure that these items are kept in a safe place from night to night.

STRIKE

1. Both the designer and the operator(s) should be on hand for the strike.
2. All equipment, instruments, gels, barn doors, cables, etc. must be returned to
proper storage areas. Make any necessary repairs.
3. Find out if any upcoming rental can use your lighting plot before you strip the
patch panel.
4. Leave gel cabinet and control both orderly.
5. Raise all electric buttons to pin rail height and tidy up all ropes.
6. Report any equipment in need of major repair, etc. to properties manager.
7. Ensure that any equipment rented or borrowed is returned in good condition as
per agreement.
8. In the event of any damage to rented or borrowed equipment restitution plans
should be made in consultation with the producers.
9. Lighting plots and instrument schedules could remain at the theatre for future
reference by others.
10. Submit any bills or receipts and job description manual to administrative
producer. Return the key to the Key Master or the Producer.
11. Clean up the booth. Put away cords. Tidy shelves, vacuum booth.