Job Description: Lighting Designer

The Lighting Designer is the person in charge of determining the lighting needs for a show and planning a lighting plot that will produce the desired looks and effects.

PRE-PRODUCTION

  • Obtain budget figure and production forms from the Production Manager. Obtain BCAF light rental fee from Operations Manager to determine balance of budget figure available for purchases. Itemize expenses on the form provided by the Production Manager. Attach receipts.
  • Read the script to become familiar with the show and its lighting needs.
  • Meet with the director to discuss the artistic vision and desired “look” for the show.
  • Meet with the set designer to gain an under-standing of the set and obtain a floor-plan to base lighting plot on.
  • Obtain from Mishler Tech Director an inven-tory of lighting instruments available. Get a clear understanding of the capability of the lighting system (capacity of dimmers, number of dimmers available, etc.) Ask about the theatre schedule for the week prior to ACT’s Load-In and the week following the perfor-mance to discuss the possibility of hanging early or the necessity of planning the design to incorporate lights for other performances.

REHEARSAL PERIOD

  • Obtain a rehearsal schedule from the Stage Manager. Make plans to attend some early run-throughs to get an idea of the playing areas used in the show and the actors’ block-ing. Discuss with director all special requests.
  • Prepare a plot showing the location of lighting battens, location of instruments, types of instruments, gel color, circuiting and details on practicals and other specials.
  • Arrange for crew members from list provided by Production Manager or your own source.
  • Set up schedule for light hang, circuiting and focus with Mishler Technical Director and inform crew members when to report to Mishler. Advise crew members to bring with them adjustable wrenches and work gloves.
  • Inventory with Mishler Technical Director available gel and bulbs. Order additional gel or supplies, if necessary, well in advance.

AT THE THEATRE

  • Oversee light hang with the Master Electrician (if there is one), Mishler Tech Director and crew members. Work from light plot to hang, circuit, gel and rough focus all instruments needed for the show. Make sure all instru-ments are appropriately safety-chained and cable is secured with tie lines. Observe weight limits on battens determined by Mishler Tech Director and make sure battens are appropri-ately counter-weighted with sandbags. Clearly indicate on light plot or supporting documents all circuiting notes, changes, etc.
  • Oversee focus with Master Electrician and/or Mishler Tech Director and crew members.
  • Determine the lighting cues for the show and prepare a prompt book or cue sheets for the light board operator.
  • Set submasters on lighting board if using them for the show. Be sure to write submasters down in case board should malfunction and erase them.
  • Review cues with Stage Manager, who should mark all cues in his or her prompt book. Determine with Stage Manager whether light board and follow spot opera-ors will cue show on their own or take cues from the SM.
  • Submit to the Operations Manager a list of all volunteers working with you on the Lighting crew. The deadline for this generally is the Sunday of load-in weekend. Also submit to Operations Manager your bio for the program.

PERFORMANCE NIGHTS

  • Light Board Operator -- Arrive at theatre early enough to run a light check to make sure all instruments are operating properly. Replace burned out lamps if necessary. Run show in conjunction with Stage Manager. After performance, turn off board and cover it. Make sure dimmer packs are turned off.
  • Followspot Operator – Prepare followspot for show. Run cues from cue sheets or take cues from Board Operator and/or Stage Manager. Clean mirrors as needed accor-ding to directions from Mishler Tech Director.

POST-PRODUCTION

  • Discuss with Mishler Tech Director before final performance to what extent the strike is to be performed. Does the tech director want all instruments removed from battens or just uncabled and gel removed, etc.? Should the circuiting be pulled from the dimmer packs?
  • Oversee strike duties. Make sure any instru-ments, cable or other equipment rented or loaned to ACT is struck and prepared for return to the owner.
  • Complete production report along with the Set Construction Supervisor and return it to the Production Manager with receipts attached as appropriate.
  • Submit necessary forms for reimbursement of expenditures, with receipts attached as appropriate.

SPECIAL NOTES:

  • ACT has accounts with Vincent Lighting in Pittsburgh and Syracuse Scenery & Stage Lighting for purchases and rentals. Contact the Operations Manger or ACT Administrative Assistant to learn how to charge items to these accounts.
.