Lighting Rider
“A show or performance should already be good enough to stand on its own without
lighting or other adornments. When it is already good and the lighting complements
it perfectly, it can achieve the pinnacle of performance artistry.” ~ Richard Bonner
PLEASE NOTE
Robert LAMAR's Theatre of the MIND™ does bring in additional specialized lighting and video equipment which will be used in conjunction with the lighting available at the venue. Because of this, five 20 amp, U-ground circuits must be made available for use. Also, being dependent upon which show is presented, the following items may be utilized: a water-based haze and/or bubbles and/or snow and/or a strobe effect. It is important that the venue make available a headset communication system, such as Clear-Com or better, with four stations available. The positions for this system would be front-of-house audio and lighting operators and two off-stage positions (likely stage left and stage right).
GENERAL
All fixtures should be hidden from the audience's view wherever possible. Spill in the house is to be kept to an absolute minimum. 1,000-watt lamps, or one’s with equivalent output, are preferred in all fixtures unless the stage is very small.
FRONT WASHES
Three are required. The ENTIRE stage must be covered in an even light. If possible, fixtures should be positioned outside the downstage corners at a 45-degree angle left and right, and a 45-degree angle up, or as closely as is possible.
Should multiple fixtures be used per colour, they should all be placed just outside the downstage corner position. Colours are to be alternated; that is like colours are not to be adjacent, one to another.
House side alcove lights are acceptable for front washes, provided the angle is not lower than 22.5 degrees and does not interfere with cyclorama lighting.
Flat front washes are not preferred. Facial light with modelling is the important goal here, as is coverage all the way up and down stage.
FIXTURES
PAR 64 wide floods in short-throw fixtures or barndoor Fresnels preferred. A soft look is the goal.
COLOURS
Lee 106, 119, 152 / Roscolux 26, 74, 304 or as close as is possible.
ADDITIONALS
If other washes are available, they should follow the above criteria although flat washes will be acceptable for additionals.
Suggested colours for these extra washes would be Lee 52, 103, 128 / Roscolux 52, 8, 339.
FRONT KEY
The downstage center area should be lit with two 35 to 50-degree ellipsoidals positioned one each at a 22.5-degree angle to the side and 45-degrees up. Colour is to be none (open white).
Two followspots may be substituted if the angle can be high enough so that light falling past the principals strikes the stage behind them and not lighting others or the rear curtain.
FRONT SPECIAL
The downstage area should be swathed from Stage Left to Right in Lee 122 / Roscolux 89.
Again, one or two followspots may be substituted for this purpose.
REAR WASHES
Three washes required. Most of the stage must be covered in an even light, with care taken to assure that minimal spill reaches audience members' eyes. Fixtures should be placed outside the upstage corners at a 45-degree angle left and right, and a 45-degree angle up. If multiple fixtures are used per colour, they should all be placed just outside the downstage corner position. Colours are to be alternated; that is like colours are not to be adjacent to one another.
Flat washes are not preferred. Modelling is the important goal here.
FIXTURES
PAR 64 medium floods in long-throw fixtures are preferred, but barndoor Fresnels are acceptable.
COLOURS
Lee 117, 132, 182 / Roscolux 363, 77, 2001.
ADDITIONALS
If other washes are available, they should adhere to the following criteria:
REAR SPOT (AREA) WASHES
These may be scattered along the rear truss/pipe. Symmetrical positioning is not necessary. In fact, asymmetrical positioning is somewhat preferred if it's not too outrageous. There should, however, be an even number of fixtures per colour, and an equal number of fixtures among colours. That is, if you have designated six fixtures for one colour, all the other colours must have six fixtures. Fixtures for rear spot washes should be limited to two per lighting console channel so that colour combinations/fixtures may be mixed and matched.
Each colour need not cover the entire stage, nor be even in nature, but should give broad pools of light with some minimal or darker areas in between. Minimal areas should not be wider than two metres or so; dark areas not wider than a metre or two. Each colour will have some lights focused on filling in the dark areas between other colours. Far corners of the stage and downstage areas may be allowed to be darker if it means keeping spill out of the audience.
Fixtures may be PAR 64 medium floods, barndoor Fresnels, or 26-degree ellipsoidals. No fewer than four fixtures per colour are acceptable. The actual number will be dictated by stage size and minimal/dark area widths.
Colours should be selected from Lee 101, 105, 115, 116, 135, 139, 180, 183, 332, 343 / Roscolux 312, 15, 370, 95, ___, 90, 357, ___, 342, 357.
Colour changers will be acceptable provided there are at least 3 sets of lights to switch among while changers are switching gel. If semaphore changers are used, the colours are to be Lee 101, 107, 115, 128, 136, 141 / Roscolux 312, 31, 370, 339, 52, 69.
SIDE WASHES (If Available)
These need not cover every square millimetre of the stage, but can be allowed to slash across the stage in broad strokes. No spill is to reach the house, however. Fixtures may be 1K PAR 64 medium floods or 1K Fresnels (with barndoors). Acceptable colours are Lee 102, 113, 172 / Roscolux 11, 42, 71.
CYCLORAMA WASHES
If there is a white or light-coloured rear curtain, screen or cyclorama, we would like to use that. A variety of looks would be preferred with some even, some soft washes, some side slashes, and some isolated pools. Fixtures may be cyc, border, groundrow, PAR, Fresnel, or ellipsoidal, but a combination of these would be best.
FOLLOWSPOTS
None is necessary, but may be used as previously described in lieu of some lighting instruments.
SUBSTITUTIONS
Fixtures may be substituted but must give the same effect. As an example, if ellipsoidals or narrow PAR's are all that are available for a wash, then some diffusion gel might be used to soften them while keeping spill to a minimum. To simulate oval-beam PAR's from a round-beam fixture, use the gel Brushed Silk (Lee 228 / Roscolux 160) to soften and elongate the beam. Conversely, additional fixtures may be used to cover the given areas.
Gel substitutions are acceptable, with Lee 117, 152, 119, 181 / Roscolux 363, 304, 74, 382 being the ones I care most about, and would prefer no subs. The rest may be substituted, just try to come as closely as possible.
HOUSE LIGHTS
Since the house lights will be brought up multiple times during the show, they should be able to be controlled by the lighting console operator and be dimmable if possible. If they are not able to be controlled from the lighting console, a crew member must be at the house lights and on headset with the Theatre of the Mind™ Show Director. This crew member need not be there during the entire show, but will be instructed as to the times he/she will be required.
CONSOLE PROGRAMMING
As an operator shall be required to be supplied by the promoter/venue, it will be up to that operator to lay the board out as is comfortable to him/her.
OPERATOR
As outlined in the main rider, a lighting operator shall be supplied at no cost to the performer. The operator should have had his/her crew set up the lights, gel and rough focus by about two hours before the house opens. The operator shall be available one hour before show time to be briefed by the performer's Show Director and to program some scenes. The operator must be on headset with the performer's Show Director. The operator may also be required to run the moving lights board.
SHOW DIRECTOR
The Show Director is Richard Bonner. He is easy to get along with and is willing to compromise somewhat on the above, provided he is contacted early enough.
Richard may be reached at:
Atlantic Illumination Entertainment Lighting
80 Fairbanks Street
Dartmouth, Nova Scotia
B3A 1C4
Phone: 1.888.98.LAMAR (1.888.985.2627), extension 803
E-mail: richard@RobertLAMAR.ca
Website: www.chebucto.ca/~ak621/
Robert LAMAR's Theatre of the MIND™ does bring in additional specialized lighting and video equipment which will be used in conjunction with the lighting available at the venue. Because of this, five 20 amp, U-ground circuits must be made available for use. Also, being dependent upon which show is presented, the following items may be utilized: a water-based haze and/or bubbles and/or snow and/or a strobe effect. It is important that the venue make available a headset communication system, such as Clear-Com or better, with four stations available. The positions for this system would be front-of-house audio and lighting operators and two off-stage positions (likely stage left and stage right).
GENERAL
All fixtures should be hidden from the audience's view wherever possible. Spill in the house is to be kept to an absolute minimum. 1,000-watt lamps, or one’s with equivalent output, are preferred in all fixtures unless the stage is very small.
FRONT WASHES
Three are required. The ENTIRE stage must be covered in an even light. If possible, fixtures should be positioned outside the downstage corners at a 45-degree angle left and right, and a 45-degree angle up, or as closely as is possible.
Should multiple fixtures be used per colour, they should all be placed just outside the downstage corner position. Colours are to be alternated; that is like colours are not to be adjacent, one to another.
House side alcove lights are acceptable for front washes, provided the angle is not lower than 22.5 degrees and does not interfere with cyclorama lighting.
Flat front washes are not preferred. Facial light with modelling is the important goal here, as is coverage all the way up and down stage.
FIXTURES
PAR 64 wide floods in short-throw fixtures or barndoor Fresnels preferred. A soft look is the goal.
COLOURS
Lee 106, 119, 152 / Roscolux 26, 74, 304 or as close as is possible.
ADDITIONALS
If other washes are available, they should follow the above criteria although flat washes will be acceptable for additionals.
Suggested colours for these extra washes would be Lee 52, 103, 128 / Roscolux 52, 8, 339.
FRONT KEY
The downstage center area should be lit with two 35 to 50-degree ellipsoidals positioned one each at a 22.5-degree angle to the side and 45-degrees up. Colour is to be none (open white).
Two followspots may be substituted if the angle can be high enough so that light falling past the principals strikes the stage behind them and not lighting others or the rear curtain.
FRONT SPECIAL
The downstage area should be swathed from Stage Left to Right in Lee 122 / Roscolux 89.
Again, one or two followspots may be substituted for this purpose.
REAR WASHES
Three washes required. Most of the stage must be covered in an even light, with care taken to assure that minimal spill reaches audience members' eyes. Fixtures should be placed outside the upstage corners at a 45-degree angle left and right, and a 45-degree angle up. If multiple fixtures are used per colour, they should all be placed just outside the downstage corner position. Colours are to be alternated; that is like colours are not to be adjacent to one another.
Flat washes are not preferred. Modelling is the important goal here.
FIXTURES
PAR 64 medium floods in long-throw fixtures are preferred, but barndoor Fresnels are acceptable.
COLOURS
Lee 117, 132, 182 / Roscolux 363, 77, 2001.
ADDITIONALS
If other washes are available, they should adhere to the following criteria:
REAR SPOT (AREA) WASHES
These may be scattered along the rear truss/pipe. Symmetrical positioning is not necessary. In fact, asymmetrical positioning is somewhat preferred if it's not too outrageous. There should, however, be an even number of fixtures per colour, and an equal number of fixtures among colours. That is, if you have designated six fixtures for one colour, all the other colours must have six fixtures. Fixtures for rear spot washes should be limited to two per lighting console channel so that colour combinations/fixtures may be mixed and matched.
Each colour need not cover the entire stage, nor be even in nature, but should give broad pools of light with some minimal or darker areas in between. Minimal areas should not be wider than two metres or so; dark areas not wider than a metre or two. Each colour will have some lights focused on filling in the dark areas between other colours. Far corners of the stage and downstage areas may be allowed to be darker if it means keeping spill out of the audience.
Fixtures may be PAR 64 medium floods, barndoor Fresnels, or 26-degree ellipsoidals. No fewer than four fixtures per colour are acceptable. The actual number will be dictated by stage size and minimal/dark area widths.
Colours should be selected from Lee 101, 105, 115, 116, 135, 139, 180, 183, 332, 343 / Roscolux 312, 15, 370, 95, ___, 90, 357, ___, 342, 357.
Colour changers will be acceptable provided there are at least 3 sets of lights to switch among while changers are switching gel. If semaphore changers are used, the colours are to be Lee 101, 107, 115, 128, 136, 141 / Roscolux 312, 31, 370, 339, 52, 69.
SIDE WASHES (If Available)
These need not cover every square millimetre of the stage, but can be allowed to slash across the stage in broad strokes. No spill is to reach the house, however. Fixtures may be 1K PAR 64 medium floods or 1K Fresnels (with barndoors). Acceptable colours are Lee 102, 113, 172 / Roscolux 11, 42, 71.
CYCLORAMA WASHES
If there is a white or light-coloured rear curtain, screen or cyclorama, we would like to use that. A variety of looks would be preferred with some even, some soft washes, some side slashes, and some isolated pools. Fixtures may be cyc, border, groundrow, PAR, Fresnel, or ellipsoidal, but a combination of these would be best.
FOLLOWSPOTS
None is necessary, but may be used as previously described in lieu of some lighting instruments.
SUBSTITUTIONS
Fixtures may be substituted but must give the same effect. As an example, if ellipsoidals or narrow PAR's are all that are available for a wash, then some diffusion gel might be used to soften them while keeping spill to a minimum. To simulate oval-beam PAR's from a round-beam fixture, use the gel Brushed Silk (Lee 228 / Roscolux 160) to soften and elongate the beam. Conversely, additional fixtures may be used to cover the given areas.
Gel substitutions are acceptable, with Lee 117, 152, 119, 181 / Roscolux 363, 304, 74, 382 being the ones I care most about, and would prefer no subs. The rest may be substituted, just try to come as closely as possible.
HOUSE LIGHTS
Since the house lights will be brought up multiple times during the show, they should be able to be controlled by the lighting console operator and be dimmable if possible. If they are not able to be controlled from the lighting console, a crew member must be at the house lights and on headset with the Theatre of the Mind™ Show Director. This crew member need not be there during the entire show, but will be instructed as to the times he/she will be required.
CONSOLE PROGRAMMING
As an operator shall be required to be supplied by the promoter/venue, it will be up to that operator to lay the board out as is comfortable to him/her.
OPERATOR
As outlined in the main rider, a lighting operator shall be supplied at no cost to the performer. The operator should have had his/her crew set up the lights, gel and rough focus by about two hours before the house opens. The operator shall be available one hour before show time to be briefed by the performer's Show Director and to program some scenes. The operator must be on headset with the performer's Show Director. The operator may also be required to run the moving lights board.
SHOW DIRECTOR
The Show Director is Richard Bonner. He is easy to get along with and is willing to compromise somewhat on the above, provided he is contacted early enough.
Richard may be reached at:
Atlantic Illumination Entertainment Lighting
80 Fairbanks Street
Dartmouth, Nova Scotia
B3A 1C4
Phone: 1.888.98.LAMAR (1.888.985.2627), extension 803
E-mail: richard@RobertLAMAR.ca
Website: www.chebucto.ca/~ak621/