John Doe Posted July 4, 2007 Share Posted July 4, 2007 Have you any of you done concerts and/or other events that involved intel lighting, lasers, etc... Oh, and who was i conversing with about philosophy in my introduction post(since it was deleted)... I must've hurt someones sensitive ego... Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted July 4, 2007 Premium Member Share Posted July 4, 2007 Have you any of you done concerts and/or other events that involved intel lighting, lasers, etc... I haven't, other than in small doses -- for example, I shot a scene in a nightclub and had their lighting board person come in and run through some simple cues for the music number. No lasers. I also shot some other nightclubs, but documentary style, just using the lighting already there. Link to comment Share on other sites More sharing options...
John Doe Posted July 4, 2007 Author Share Posted July 4, 2007 I haven't, other than in small doses -- for example, I shot a scene in a nightclub and had their lighting board person come in and run through some simple cues for the music number. No lasers. I also shot some other nightclubs, but documentary style, just using the lighting already there. Ah, so i take it those types of lights have no practical application in film... That's more what i'm involved with now, but i'm doing a shoot this weekend... So, i'll know if i like it as much as running intel fixtures... I see you're japanese, i use to live in yokosuka not to far from where my dad was born... You do any electronical engineering work as well? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted July 4, 2007 Premium Member Share Posted July 4, 2007 Ah, so i take it those types of lights have no practical application in film... There has been some uses in film, though mostly for that nightclub / stage show lighting look, or musical numbers. "Batman Forever" and "Batman & Robin" used a lot of those fixtures. I suppose another use might be for "chase" lighting during a car process shot or other action scene where you wanted a moving pattern of light on the actors to simulate really fast motion. My dad was an electronics engineer, but he is white (Scotch-Irish American). Link to comment Share on other sites More sharing options...
Nick Mulder Posted July 9, 2007 Share Posted July 9, 2007 Oh, and who was i conversing with about philosophy in my introduction post(since it was deleted)... I must've hurt someones sensitive ego... Yeh, things get pretty school yard round here every now and again... that was me And yes, i work in theatre which often uses movers, scrollers and the like - I mostly work in set building and general back-stagery-ering-hoo-hah though - we refer to the LX/electrics dept as the lighting shitters ;) That being said I have done a shift here and there for them and would like to get into the dept for the learnings sake (been through sound, AV and mech/carpentry... only dept left) Link to comment Share on other sites More sharing options...
Alex Wuijts Posted July 10, 2007 Share Posted July 10, 2007 (edited) I don't do theatre lighting, but I do light the exhibitions of this photography museum in Amsterdam: http://www.huismarseille.nl Edited July 10, 2007 by Alex Wuijts Link to comment Share on other sites More sharing options...
Premium Member Hal Smith Posted July 10, 2007 Premium Member Share Posted July 10, 2007 I'm the Resident Lighting Designer and Master Engineer for an Equity Small Professional Theatre here in OKC. I've lit musicals, straight plays, comedies, one-man/woman shows, etc. I've also lit a couple of large scale musicals for other companies, concerts, etc. The Company utilizes two theatres at the Oklahoma City Civic Center Music Hall, a small 100 seat black box and a 399 seat proscenium theatre. I generally double or triple the house hang in those two houses. I've had as many as 70 fixtures up in the black box and 120 in the Little Theatre. I own 32 ETC Source Four Ellipsoidals, 16 6" fresnels (babies), 12 Altman three-cell ground cycs, 16 High End Color Pro Classics, and 4 High End Cyberlight Lithos so I can light a not too large show elsewhere with my own gear. I also own three DMX controllers including a Status Cue, 3 Strand CD-80 packs, and a pile of cable. My general lighting style is BRIGHT. I always tell people those things backstage are called dimmers, not brighteners - if you don't hang enough gear you never can get brighter but with enough gear you can adjust as needed. I've checked my designs with my Spectra IVa from time to time, I had 400 foot candles center stage wide open on "You're a Good Man Charlie Brown", that's Broadway musical intensity. People used to say all you needed on stage was 50 FC's. Hah!, I suspect I've put that much blue on stage for night scenes. The last season or two I've been moving away from using the more traditional theatrical gels and using the Rosco CC series of color correction gels for acting areas, they're much more predictable and to my eye look "cleaner". When I need intense color I tend to go to the gels that were designed specifically for effect like Rosco like R39 Sangria, R73 Peacock, R69 Brilliant Blue, etc. Interestingly enough many of the effect gels I like were added into the Rosco catalog by LD's. One of these days I'm going to play around with Rosco's Storaro colors and see how they look onstage. I'd like to start correllating what I know about stage with what I know about film/video so if I need to light something like a musical on film I'll be able to replicate my stage looks on film. The best job I've seen of that being done was what Jules Fisher and Peggy Eisenhauer (Tony winning Broadway LD team) were able to do in "Chicago". They also did the theatrical lighting for "The Producers" but that movie had a lot less visual "flash" than "Chicago", it was much more traditionally lit. Jules was also on "All That Jazz" with Bob Fosse, Bob even gave Jules a small role in "ATJ". I had a chance to talk to Peggy a couple of years ago at a seminar in NYC about "Chicago". She said that they really enjoyed the process of working with Dion Beebe on that film. Theatrical LD's have a lot to offer film productions particularly when teamed with Cinematographers who know what film requires but also want to expand their horizons. I think most good LD's end up with pallettes that they trust and understand and have a collection of constellations of gels they use together as the starting points for their designs. Probably the weirdest thing I do is use R99 Chocolate as the general wash on a lot of designs. R99 driven bright gives a nice warm overall look to dramas, in a way it becomes a color temperature, not a color. Link to comment Share on other sites More sharing options...
Premium Member Chad Stockfleth Posted July 10, 2007 Premium Member Share Posted July 10, 2007 Is John Doe a legit name? Perhaps I'll start posting as Abe Lincoln. Link to comment Share on other sites More sharing options...
Stuart McCammon Posted July 11, 2007 Share Posted July 11, 2007 Is John Doe a legit name? Perhaps I'll start posting as Abe Lincoln. Alan Smithee would seem to be a much more appropriate name) Link to comment Share on other sites More sharing options...
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