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The last of the Elements of Light, Movement, is perhaps not as apparent as some of the others. However, this is a very important element that has a significant effect on the lighting design as a whole. I typically describe movement as being in one of two categories: Apparent Movement and Actual Movement. Additionally, I'll talk a little about the rhythm of the play that is related to movement.
Actual Movement
Typically, I frown on circular definitions, but in this case I'll accept it: Simply put, when the light actually moves, you have an example of actual movement. This seems self-explanatory, but there are actually several different methods available to the lighting designer that have varying effects on the stage picture.
- A moving light, such as an intelligent fixture or a manually operated follow spot: The light, on a fixed mount, pivots either through computer control or because an operator is swiveling it on its mount. The light on the stage moves from one location to another.
- A practical element on the stage, such as a lantern or flashlight, moves with the actor. This seems like it is outside of the purview of the lighting designer (and sometimes it really is), but it is worth keeping in mind because of the way that it affects the whole stage picture. Practicals can create interesting shadows on the stage if the lamp is bright enough. A flashlight, when used in a scene with haze, can become a really neat effect, but the way the light focuses to create a sharp beam of light in the fog is something that nobody (except you, the lighting designer) ever thinks about.
- Sometimes it is useful to put a light on a moving mount for effect purposes. Think of an offstage car pulling up outside a house. By hanging a pair of lights on a swiveling mount on a boom, a stagehand can easily manipulate it so the light shines through the window momentarily.
Apparent Movement
Apparent Movement involves any time that the light doesn't actually move, but it seems like it's moving. This also happens in a number of different ways:
- Chase Effects: When a series of lights (usually practicals, but occasionally lights that come from the regular lighting rig) is lit up in a sequence, it appears that the lights are moving, when in reality they're just flashing on and off. Think of strings of Christmas lights or the marquee at Las Vegas casinos.
- As an actor moves across the stage, the LD might have a series of specials. As the actor moves out of one area and into another, the 'new' special increases in intensity, while the 'old' special that the actor has moved out of slowly fades out. In this way, the actor is 'followed' around the stage, without the light actually moving.
- Some devices allow the light to have action through the use of shape. Gobo rotators are perhaps the most common of these. More details on these devices HERE. As a design tool, this kind of movement can be very versatile. At its most literal, a rotator can be used to denote light shining through a warehouse exhaust fan. But if you use a more abstract breakup and throw the instrument out of focus and the motion can become rippling water or fire.
Cue Timing
The third major division of Movement for the lighting designer is the way that one look fades into the next. The choices made by the designer in this area has a major impact on the rhythm of the production. For example, think of a blackout at the end of a play. If the time on the blackout is set to 0, the play comes to an abrupt end, and the blackout acts as an exclamation point for the story. On the other hand, if the lights slowly fade out over 10 or 20 seconds, the end of the play is much smoother, perhaps allowing for the emotion of the end of the play to linger in the mind of the audience.
This kind of rhythmic shifting happens not only at the end of the play, but every time that you change the look on the stage. Subtle and slow shifting of the look leads to a more natural smooth, legato feeling, whereas more abrupt shifts are more appropriate for plays that have a punctuating staccato feel. Much care and attention must be paid to these transitions in tech rehearsals to get the timing of the changes 'just right'. Sometimes a 2 second fade is too quick, while a 3 second fade seems to take forever.
This kind of rhythmic shifting happens not only at the end of the play, but every time that you change the look on the stage. Subtle and slow shifting of the look leads to a more natural smooth, legato feeling, whereas more abrupt shifts are more appropriate for plays that have a punctuating staccato feel. Much care and attention must be paid to these transitions in tech rehearsals to get the timing of the changes 'just right'. Sometimes a 2 second fade is too quick, while a 3 second fade seems to take forever.