Intensity |
The first and most obvious element of light is that of Intensity. Some might call it "brightness", but I prefer the term intensity because it is not always about how 'bright' the light is, but how 'dim'. Intensity, therefore, includes this whole range of dim to bright.
While intensity seems like the most fundamental of elements, it is also the aspect that is left until the very end of the decision making process of the lighting designer. The remaining elements (shape, color and direction) are usually determined by the designer during the process of putting the light plot together, but intensity is left until tech rehearsals when the levels of each of the lights in the rig are balanced against one another and recorded into cues. |
As you begin to gain experience writing cues, you will discover that there are many factors to keep in mind while dealing with intensity. The first is that of consistency. As actors walk across the stage, from one light in a system into another, it is important that the intensity of the area light looks the same. This will make the actor's route of travel seamless, without dips or bumps in intensity. Once the production is loaded in to the theatre and in technical rehearsals, many hours will be spent both in focus note sessions and in cueing rehearsals trying to chase down and correct that elusive 'dark spot'. Actors always seem to be uncannily able to find the hole in your light plot, and seemingly stand in that spot for most of the show.
Follow this link to see more examples of how a lighting design uses the element of intensity in different ways
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Images on this page:
Letters to Sala: College of Charleston, 2015
The Best Little Whorehouse in Texas; Barn Theatre School, 2016
Hamlet: Annapolis Shakespeare Company, 2016
School for Scandal: College of Charleston, 2013
Letters to Sala: College of Charleston, 2015
The Best Little Whorehouse in Texas; Barn Theatre School, 2016
Hamlet: Annapolis Shakespeare Company, 2016
School for Scandal: College of Charleston, 2013