LIGHTING DESIGNER

THE JOB DESCRIPTION FOR THIS POSITION WILL INCLUDE THE ENTIRE LIGHTING DESIGN SECTION OF THE FOLLOWING DOCUMENT:

Associated Designers of Canada, A.D.C. Standards and Working Procedures

THIS POSITION WILL REQUIRE THE SIGNING OF A CONTRACT.

The LIGHTING DESIGNER, a member of the production’s design team, is jointly responsible for the artistic concept and, through the Electrics department, the technical execution of lighting cues and effects. Conceptual direction and input comes from the DIRECTOR or CHOREOGRAPHER, who, with the SET, COSTUME and LIGHTING DESIGNERS, works toward a unified and cohesive look for the show. As well as putting their individual concepts and styles on stage, all designers must work to support the DIRECTOR’S and/or CHOREOGRAPHER’S vision.

Designers do not fit clearly into the theatre hierarchy: although production staff works to realize their designs, designers do not supervise in a management sense. All requests for unapproved work or changes to the design resulting in increased costs must be negotiated with Production Management (for budget and scheduling implications), Technical Direction (for overall technical implications) and Heads of Department (for delegation and supervision of staff). The LIGHTING DESIGNER works very closely with the HEAD OF ELECTRICS, and both are responsible for executing the design by managing the crew and time assigned to the Electrics department. The HEAD OF ELECTRICS often focuses the show and runs the lighting board.

The LIGHTING DESIGNER is in regular contact with the DIRECTOR or CHOREOGRAPHER, PRODUCTION MANAGER, TECHNICAL DIRECTOR, STAGE MANAGER, HEAD OF ELECTRICS, and other DESIGNERS.

At the School, all DESIGNERS must sign a contract, indicating acceptance of all duties and obligations, and outlining design due dates. Failure to perform according to contractual obligations may lead to academic penalty.

The responsibilities of the LIGHTING DESIGNER shall include but not be limited to:

PRIOR TO REHEARSAL

• Reads the script and makes appropriate notes
• Obtains all necessary and pertinent plans, drawings and inventories; these may include: all plans and sections of the venue; inventories of all lighting fixtures, power and data distribution, gels, gobos, etc. in the venue; preliminary, completed and approved set designs and other technical drawings of the production; costume fabric swatches; paint samples
• Initiates a meeting with the DIRECTOR or CHOREOGRAPHER, to discuss concepts
• Meets with the SET DESIGNER to discuss concepts, colour, practical fixtures, fly line and trim height restrictions, masking, etc; meets with COSTUME DESIGNER to discuss fabric colour and texture, hats, wigs, etc.; meets with the TECHNICAL DIRECTOR to ensure accuracy of paperwork and confirm any production restrictions
• Meets with the HEAD OF ELECTRICS to discuss inventory limitations, hanging positions, circuiting, focussing strategy, lighting board capabilities, etc.

DURING THE REHEARSAL PERIOD

• Attends rehearsal often, adhering to the established “Visitor’s Policy”
• Becomes acquainted with the blocking of the show, in order to ensure adequate lighting coverage in defined acting areas
• Creates a LIGHTING DESIGNER’S PROMPT BOOK, with blocking and cue placement
• Meets regularly with the DIRECTOR to ensure accuracy of artistic vision
• Reads, and promptly responds to, all DAILY REHEARSAL NOTES; meets daily with the
• STAGE MANAGER to obtain clarification and confirm status of requests
• Arranges for a meeting with the STAGE MANAGER (and DIRECTOR and/or CHOREOGRAPHER, if necessary) prior to the Level Set/Lighting Cue session in order to develop cue placement and timing in the script
• Researches, either alone or with the HEAD OF ELECTRICS, any potential lighting effects, rental costs, etc. to be aware of budget and time implications when presenting the PRELIMINARY LIGHTING DESIGN

AT THE PRELIMINARY LIGHTING DESIGN MEETING

Comes prepared to discuss all preliminary design requirements, including rough inventory of equipment, loan/rental needs, power and data distribution, gel/gobo estimates, special rigging concerns, rigging over and above the theatre’s standard positions, masking, trim and sightline issues, and any other aspect of the design expected to cost time or money

Produces, for the meeting, rough sketches, drawings, plans and preliminary section deemed necessary to explain preliminary design requirements

AT THE FINAL LIGHTING DESIGN MEETING

Comes prepared to submit and discuss all final plans and lists, including:

• Light Hanging Plot (plan)
• Centre Line Section, with trim heights
• Instrument Schedule
• Power and date distribution
• Patch plot (Hard and Soft)
• Gel Cutting List
• Preliminary Cue list, if requested
• List of all non-standard or rented items
• Focussing strategy

AT THE HANG AND FOCUS

• Attends the hang to answer any questions and to make on-the-spot decisions
• Ensures, in an positive manner, the accuracy of the hang: fixture type, location and colour
• Calls the focus in an organized and time-efficient manner, using magic sheets or focus notes; talks through the planned focus methodology with the HEAD OF ELECTRICS, HEAD CARPENTER, HEAD FLYMAN and ladder crew, in consultation with the TECHNICAL DIRECTOR, as required

AT THE CUE SETTING SESSION

• Comes prepared to set lighting cues with the DIRECTOR and STAGE MANAGER; preparation to include magic sheets, preliminary cue lists, preset cue levels previously recorded, etc.
• Works through the show with the DIRECTOR or CHOREOGRAPHER, cue by cue, building cue states and ensuring their accurate placement in the STAGE MANAGER’S script
• Requests re-focus time and additional, dedicated cuing time through the TECHNICAL DIRECTOR and PRODUCTION MANAGER

AT THE Q – TO – Q and TECHNICAL REHEARSALS

• Is present at all technical and subsequent on-stage rehearsals
• Is on headset and, observing established protocol, makes changes on-the-fly where possible, to the levels and placement of cues; makes notes of major changes or time- consuming corrections when headset traffic prevents on-the-fly changes
• Is off headset as of Final Dress Rehearsal, depending on the state of the production, but makes notes of changes/correction

GENERAL

• Attends and participates in all production meetings
• Takes the initiative in arranging meetings/communication, when necessary, with the DIRECTOR or CHOREOGRAPHER, other DESIGNERS, STAGE MANAGER, TECHNICAL DIRECTOR, HEAD OF ELECTRICS and other production staff, to obtain information
• Submits to the TECHNICAL DIRECTOR any documentation deemed necessary to the TECHNICAL BOOK (the technical archive of the show)

AFTER THE SHOW

• Attends and participates in the STRIKE as a crew member
• Attends and participates in the Post Mortem
• Submits written evaluations of all management staff and other personnel with whom they had regular contact, no later than the start of the Post Mortem

This information is intended as a guideline only. It is not intended to replace the required reading or research in your area, or information gained in the classroom.

The demands of this position, and the hours worked, will very with each production.

THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY