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Using the controllable attributes of the shape (or form) of the beam of light can have a significant impact on your design. Shape has the ability to transform your design from a realistic/naturalistic environment that relies heavily on setting the given circumstances to a highly presentational extravaganza or stylized event.
Pattern and Texture
Looking at light in an everyday context (i.e. outside of the theatre) reveals that shape is hugely influential to the way we perceive the world. The most basic of light shaping elements is the presence of shadow (or the absence of light). Look at how shadows work to create interest in these photos from 'real life':
The shadows cast in each of these pictures give a sense of 'where' the environment is, but secondly, they all provide a sort of visual interest to the environment. The shadows are shapes, either organic or geometric (natural or manmade). In photos A and B, the viewer is aware of an object (tree) that is not actually visible in the frame of the photo. It gives the object a presence, even though the object itself is not physically there.
In photos C, D and E the addition of light to present physical objects gives these objects an additional dimension. In C, for instance, the vertical lines of the gate are interrupted by the diagonal lines of the shadows, which creates a much more complicated and interesting criss-cross of lines than the physical object alone employs. In D, the light shining through the windows (from a very specific angle) creates a dynamic environment that exists only at this moment. And in E, the solitary tree takes on another life with the mirrored shape extending from its base.
The shadows in photo F are a little less specific than those in the other photos. However, the additional texture that the shadows provide to the brick wall (which already has some very interesting texture, both sculpturally and through color) really gives this piece of scenery great interest.
So, what we see in the above examples are a couple of different strategies for using shape to help to create interest in your lighting design. Here are a couple of examples of how texture can be used in production:
In photos C, D and E the addition of light to present physical objects gives these objects an additional dimension. In C, for instance, the vertical lines of the gate are interrupted by the diagonal lines of the shadows, which creates a much more complicated and interesting criss-cross of lines than the physical object alone employs. In D, the light shining through the windows (from a very specific angle) creates a dynamic environment that exists only at this moment. And in E, the solitary tree takes on another life with the mirrored shape extending from its base.
The shadows in photo F are a little less specific than those in the other photos. However, the additional texture that the shadows provide to the brick wall (which already has some very interesting texture, both sculpturally and through color) really gives this piece of scenery great interest.
So, what we see in the above examples are a couple of different strategies for using shape to help to create interest in your lighting design. Here are a couple of examples of how texture can be used in production:
In most of these examples, the gobos used are focused relatively sharply. It is also common practice to use gobos to simply texture the field of light rather than to present specific shapes. By adjusting the focal length of the ERS lighting fixture, the gobo can be 'fuzzed out' in order to de-emphasize the actual shape, while preserving the ability to texture the light. This gives the light a very natural organic quality that is often desirable in a lighting design. There are a large number of gobos in the libraries that are simply 'breakups', and most of these are designed for this purpose. The further out of focus the instrument is pushed, the more mottled the beam of light becomes.
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edge
While gobos are the 'rock stars' of the shape category, there are a few other elements that are equally as important to the designer. The control that the designer has over the edge of the beam is one of these. The designer also has some control over what the edge of the beam of light looks like, especially with ERS spotlights. One way to do this is to adjust the focal length of the instrument by sliding the lens assembly in or out to achieve a softer or harder edge to the light. Like a manual-focus camera, depending on the distance from the light source to what it is striking, there is usually a 'sweet spot' where the light is sharply focused. This is the 'hard edge'. If the designer wishes for the edge of the beam to be softer (in order to better blend with the light next to it), find the hard-edged sweet spot and slide the lens assembly in or out to get to the desired edge. This is also the method by which a gobo is presented as a sharply focused pattern or a 'fuzzy' mottled texture.
Sharp edged beams are appropriate for presentational productions and moments, but in most other cases, the designer will want the edges to be softened in order to blend together to give an even wash of light. The goal in most cases is to make it so that when an actor moves from one light to the next that the change is mostly imperceptible. Fresnels and other wash fixtures have a naturally soft edge.
When using a follow spotlight, the designer needs to decide whether the edge of the beam should be sharp or soft. The same rule applies- in presentational work in which the spotlight beam is 'part of the show', a hard sharp edge is probably appropriate. In situations where the primary goal is to increase focus and visibility on a featured performer, but the look wants to blend more or less seamlessly into the environment, perhaps a soft edge (usually via a cut of frost in the color boomerang) is appropriate.
Sharp edged beams are appropriate for presentational productions and moments, but in most other cases, the designer will want the edges to be softened in order to blend together to give an even wash of light. The goal in most cases is to make it so that when an actor moves from one light to the next that the change is mostly imperceptible. Fresnels and other wash fixtures have a naturally soft edge.
When using a follow spotlight, the designer needs to decide whether the edge of the beam should be sharp or soft. The same rule applies- in presentational work in which the spotlight beam is 'part of the show', a hard sharp edge is probably appropriate. In situations where the primary goal is to increase focus and visibility on a featured performer, but the look wants to blend more or less seamlessly into the environment, perhaps a soft edge (usually via a cut of frost in the color boomerang) is appropriate.
Shutters and Barn Doors
Another way to manipulate the shape of the light is through the use of shutters (on ERS type spotlights) and Barn Doors (on wash units like Fresnels and PARs). This allows the designer to cut the edges of the light off of scenery or areas of the stage where the light is not desired. If the spill of the light is splashing all over a wall or piece of masking, using the shutter can help to minimize this glare. The designer must be careful, though, not to forget that when shuttering off of a wall, you might also be shuttering off of the actor that is next to the wall, who does need to be lit. In this case, a change in direction might be more appropriate than a change in shape.
Shutters can also be used to create shapes other than circles/ellipses on the stage if this is needed. Sometimes a square is a more appropriate shape than a circle for a more industrial and/or isolated look.
Shutters can be very useful when creating a tight special on an actor or piece of scenery. In the photo of As it is in Heaven to the right, the designer has tightly shuttered three ERS instruments to carefully light the girls in the middle of each group, while keeping the light off of the surrounding characters who are interrogating the girls.
Shutters can also be used to create shapes other than circles/ellipses on the stage if this is needed. Sometimes a square is a more appropriate shape than a circle for a more industrial and/or isolated look.
Shutters can be very useful when creating a tight special on an actor or piece of scenery. In the photo of As it is in Heaven to the right, the designer has tightly shuttered three ERS instruments to carefully light the girls in the middle of each group, while keeping the light off of the surrounding characters who are interrogating the girls.
Haze
Looking at Light
A bit of a tangent here: Getting into the habit of looking at light is a very important one for the lighting designer; It is a habit that we do not naturally possess. Once you begin looking at how light acts in 'real life', you will begin to realize that it does not necessarily act the way that you expect it to. Shadow is everywhere. Texture is ever-present. Once you begin to see light, you will be much better able to present light in your designs.