This list must be shared with the faculty LD prior to the student moving forward. These ideas might need to be worked out in Studio II or in the lighting lab. The designer will then begin to flesh out these ideas in terms of direction and color. PRELIMINARY DESIGN MEETING (~ 1 week prior to Rough Plot due date and only with the Lighting Design Mentor and the Lighting Designer) These must be approved by the faculty LD prior to moving to the next phase. The designer will talk through the show in terms of intention prior to submission to the faculty LD. These should be formatted like the “Storyboards” from the Lighting I Handbook. The designer will articulate the script needs (given circumstances and other) and the aims of the light and do visual research for each environment. The designer will consider the play and develop a point of view on the piece in collaboration with the design team through the design process. (All due dates are specified in the production calendar.) Meeting all deadlines is absolutely essential. Below is the process as outlined in the lighting curriculum. Every Lighting Designer will also follow their own design process as they see fit. The lighting design process moves through the events as specified in the formalized design process. Equipment may be borrowed from the other theatre’s stock only with permission of the lighting mentor. Additionally, student designers will include the lighting design mentor on all design & production related correspondence so that they make keep abreast of the process.Īn updated list of stock equipment and a budget for each show is available on the Novell Server in the Production Folder. It is essential that s/he attend at least one run-through before paper-tech. S/he is expected to attend rehearsals or run-throughs as necessary. The lighting designer is expected to be an active member of the design team and to be present at all design and production meetings to ensure cohesiveness of design and to keep abreast of any changes. This might include visual research, a lighted model, or other means that are appropriate to communicate the ideas.
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The designer will communicate his/her ideas in a graphic way to the director so there can be a full understanding of the ideas. The instrument information is now available for editing in Lightwright.The lighting designer is responsible for all communication with the director and should set up times to discuss the general aesthetic, movement, cue placement, follow-spot cues and anything else that is necessary for the production. Provide a name for the automated action, which can be selected later from File > Automated Actions. Saving the action speeds up the import process, because the matching selections and other options will not need to be specified again. Select whether to save the import action in Lightwright. Lightwright reports the number of instruments that were imported this may differ from the number of instruments exported from the Vectorworks program due to Static Accessories. Enter a “-” (dash) so that Vectorworks Spotlight fields with a “-” are ignored.Ĭlick OK to begin the import. Select Do not import first record and Ignore fields with only. Verify that the information has been matched correctly. Lightwright attempts to match the imported data fields to Lightwright fields. Specify the location of the file that was just created, and click Open. In Lightwright, select File > Import Data. To import Vectorworks data into Lightwright:
Prior to import, select Setup > Vocabulary in Lightwright.Įnsure that the Separate accessories from instrument types with field contains a “+” sign. The data exported from the Vectorworks Spotlight program now needs to be imported into Lightwright so that it can be edited. Importing the Vectorworks Data into Lightwright