# Dance Lighting



## joble (Dec 18, 2013)

Within the next months I will do a light design for a dance production that takes place in April next year. Since I’ve only be doing theatre lighting, I am new to dance lighting, and I have lots of questions… To many of these questions I already found the answers by reading this forum.

Let me first explain the situation:

The stage is 45’ wide and 35’ deep
Front light is fixed:
Auditorium Cove: 8x 2kW fresnel and 12x 2kW ellipsoid
Auditorium Sides: 8x S4 zoom (4x left, 4x right)
LX1: 8x 2kW Fresnel

Cyclorama:
6 units with 4x1kW
White backdrop and black backdrop

Extra material
20x S4 zoom (25-50°)
12x S4 Parnel

The dance performance will comprise a lot of styles (from ballet to street dance), so a big variety of moods need to be created by the light. The preminairy idea is:

3 or 4 colorwash from the front (at least 2 subtle colors eg. pale gold,… and 1 or 2 a bit more explicit colors)
12 Parnel as a 2 color top light (6 units per color)
20 S4’s as side light
4x Shinbuster (1 color - 2 units per side)
4x Mid side light (1 color – 2 units per side)
12x Pipe end – color wash (2 colors – 3 units per color per side)

 
And last but not least, I have some questions about this:

1) Will the amounts of side light and top light be sufficient to cover this stage (45’x30’) ?

2) What would be the typical use of the S4’s at the sides of the auditorium? I was thinking to use them as a stage wash with very pronounced colors.

Since I am relatively new in this field, any other tip and ideas are very welcome !!!

Regards,
Jo


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## JChenault (Dec 18, 2013)

My gut feel is that you are way short on side light. You don't have enough fixtures.

Assuming that you have little or no apron, and that the dancers will stay 6 feet from the cyc, you have about 29 feet of depth ( note your post showed depth as "35&rsquo" I am assuming you mean 35 feet )

So you are expecting each lane of side light to handle 15 feet. This is way to much. You need at least three sets of side lights. Four would be better. For a dance concert I would start by figuring out how to get adequate side light.

Given your inventory ( and assuming you really can't move thr FOH fixtures ) I would probably start with 6 booms of side light. Each with a shin, mid ( around 6 to 8 feet ) and high ( about 10 to,12 feet). This uses up 18 of your 20 fixtures. Note that you can change the color on the booms during the show as needed. 

I doubt you will be able to get a reasonable two color tob / back light with 12 units. Do the math. You have 6 units per color. That gives me two rows of 6 units. You want each unit to cover about 15x15 feet. Unlikely to work. You will get better results by dedicating all 12 units in a single color.


If your auditorium sides are vertical pipes, use them to get side light on the downstage areas. The top unit goes to the far side of the stage, the bottom focuses closers. I doubt if you will get more than one color here,

You will probably light most of the show with your sides booms and auditorium sides. This means that you don't want to go too far with those colors. Get your color changes from front of house.

Good luck and have Fun


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## TheaterEd (Dec 18, 2013)

One of my big questions here is what kind of company are you designing for? If the dancers are high school age an younger, then I recommend talking with the director with regards to what you can do with your front light. The groups I have worked with were all very against front color washes for the majority of their numbers. To them, seeing the dancer's faces was priority number one. Hopefully, this director will be more open to color front washes, but I would check before you waist your time gelling lights only to have to pull your gels. 

Just to second what John said side light is your friend here, so if you have the flexibility in your space, go with six booms with 3 units each.


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## JChenault (Dec 18, 2013)

Thinking about this later - One additional thought, and one change in my earlier post.

You don't have nearly enough fixtures to do what you are trying to do on a stage that big. You need to either cut down on the size of the stage in some way ( IE talk to your choreographers about closing down the space ) and/or simplify what you are trying to accomplish. It is usually more satisfying to do something simple well, than to try to do to much and have nothing look good. 

You are not going to have enough side light / box boom light ( your auditorium sides) to light this large space - so you will have to have some front light in at all times. This says to me that if you have enough fixtures for two colors from the front, one of them ( or a mix of the two) wants to be in a neutral color so it can fill nicely with you side lights which are adding some shading. So I would suggest you do not do saturated colors from all of your front units. Have at least one neutral color kind of like R54.


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## Lextech (Dec 18, 2013)

There seems to be an inverse age rule in dance, the younger the dancer the more front light you need. If this is a kiddie show front light is fine. However, any other group will want side light. Booms and high sides are a major part of dance. While neither zooms or parnels would be my first choice for booms or high sides, they both could be used to solve your problem. As a minimum I would want at least two systems of booms and high sides, warm and cool. At 35 feet deep I would want 4 booms a side, 3 would be a minimum. Three deep on the parnels as high sides seems to match your inventory. Single, neutral color top is fine, as long as it mixes well with the warm and cool system. The FOH zooms should be able to give you some help, again I would try a warm and cool system. For FOH I agree with whats been said, don't go saturated. Two colors that mix to get you to "white", again a warm and a cool, can go a long way.


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## joble (Dec 19, 2013)

Thanks for your replies! I learned a lot already.
The performers are all children, and hence the audience mainly consists out of their parents. So front light will indeed have to be more prominent than usual in a dance performance. As front light I’ll follow your advice and use a cool and warm non-saturated color. The remaining fixtures might be used for specials…

About the stage depth I was not clear enough (sorry for that). The 35 foot I mentioned included a 9 foot apron and 3 foot behind the backdrop. This leaves only 23 foot of stage surface + 9 foot apron. A big difference!

For the top lights, I feel more comfortable by using 2 different (more saturated) colors, because top light and cyc are the only two ways to create a color wash over the stage.

How do I choose gels for the side lights. I understood non-saturated are the best choice here, but do I use the same colors for shin, mid and top? And should left and right be identical?

Regards,
Jo


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## TheaterEd (Dec 19, 2013)

joble said:


> How do I choose gels for the side lights. I understood non-saturated are the best choice here, but do I use the same colors for shin, mid and top? And should left and right be identical?



IMHO, left and right should be identical. I personally tend to stick with cool color in the shins and hotter color in the middle and top. I like a nice blue in the shin, light purple in the mid, and pink up top, but that depends entirely on the show and what the dancers are wearing and what you like to see on stage. Also, remember that you can always change your gels mid show if you need to.


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## joble (Dec 19, 2013)

After reading again my last post, I notice the word 'children' might be too vague. The age ranges from 6 up to 16. So keeping this inverse age rule in mind, the age is a significant detail, making both front and side light important.

Further I forgot to mention, I'm planning to rent some extra par64 fixtures as toplight, so i can keep the 12 parnel fixtures as high sides. There are also some spare 1kW asymmetric cyc lamps in the theatre, but I don't believe they can be uses as toplight. Or do they?

Jo


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## josh88 (Dec 19, 2013)

You can use almost any light for any situation it just may not always be the best option. You could certainly use the cyc lights for toplight but remember you'll be throwing a lot of light all over with it. So hang one and check or ask yourself if you're ok with how it would look. I probably wouldn't but thats because I've got something that fits the bill better. If that's one of your only options your answer might be different.


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## JD (Dec 19, 2013)

One other thought: How experienced are these dancers at working under stage lighting? Dance routines sometimes involve some fast movement and young dancers can become disoriented under the lighting. You want to have a few full tech rehearsals if possible to flush out any problems. If there is any fast dance, "beacons" can be helpful. These are basically marker lights placed in a few key locations to help keep dancers orientated. Small LED flashlights with a gel on them work pretty well.


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## kicknargel (Dec 19, 2013)

Good advice so far. My two cents: when doing inventory triage, your most important side light is the shins. This is what really sculpts the dancers and makes them "float" on stage. Also, you can shutter-cut it off the floor, so if you light with only the shins, the dancers will be the only object on stage receiving light - a very dramatic look. Shins plus a couple color washes can go a long way. (Plus the frontlight for the kiddies). 

When choosing colors, I like an unsaturated skin tone in the the shins. Warm or cool depends on circumstance. Then I get more saturated as I move up the booms, because more of this light will be getting on the floor. I like to top/back light in very saturated colors. I like pipe ends in an unsaturated color with a breakup gobo, as this adds highlight to the dancers, a little movement to the light, and paints the floor nicely.

As mentioned, for kids you need neutral frontlight. For pros I (almost) never use it. Personally, I like a VERY deep blue front wash to put sparkle into shadows. (Best is a dichroic, semi-UV color.) I HATE any warm, red or pink frontlight. That's a matter of taste, I guess.


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## derekleffew (Dec 19, 2013)

JD said:


> ... If there is any fast dance, "beacons" can be helpful. These are basically marker lights placed in a few key locations to help keep dancers orientated. Small LED flashlights with a gel on them work pretty well.


AKA spotting light, not to be confused with spot light.


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## joble (Dec 20, 2013)

To make sure I understood all well, I have summarized the main ideas…


*Side light:* 6 side booms with 3x S4 Zooms each (shin, mid, top). Gels can (will) be changed during the performance. More saturated and/or warmer colors in mids and even more in the tops.
*Auditorium sides:* Side light for the apron, same color as mid or high sidelights on stage
*Pipe ends:* 6 x 2 parnels. 6x cool 6x warm. If possible I'll also move 4 zooms from the FOH to here, and use break-up gobos combined with a non-saturated color.
*Top/back light:* 18x PAR64, in a 3x3 matrix. 2 different saturated color washes.
*Cyc:* RGB color mixing
*Front light:* Warm/cool non saturated colors in auditorium light. And some color washes in saturated colors.
 
For the little ones, I'll use the cool/warm front light, combined with the top light and cyc to color the scene. Eventually the sides and pipe ends can be used, but front light always dominates.
For the older dancers, the sides and pipe ends are used as a main light source. Top, cyc and front can be used to color the scene.

The beacons can indeed be an interesting idea. I'll discuss this with the choreographer.

Regards,
Jo


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## kicknargel (Dec 20, 2013)

Sounds like a pretty good plot.

In my experience, the spotting light (what someone called "beacon") is needed for ballet when pirouettes are happening. My dancers were pretty picky about it being in the house, dead center, and at their eye level.


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## jstandfast (Dec 26, 2013)

In my experience ( extensive ) with shows like this booms of any kind are a really bad Idea. Both big schools I used to do these for forbade booms entirely, and with good reason; they had both endured lawsuits from parents whose kids had been injured when kids crashed into them, or tipped them over on themselves when not properly supervised.
It might also be useful to bear in mind that the vital thing on these ( official slang: Dollie Dinkle ) shows is the kids faces, that's what the folks have come to see.
Think about shins on floor plates NOT SECURED to the deck, so they move if they get hit ( have inhibitive subs for these, if available). Take all the rest of the gear you've budgeted for the booms and expand your overhead 
sidelight ideas. With dancers in this age group safety has to be your number one priority.


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## DuckJordan (Dec 26, 2013)

jstandfast said:


> In my experience ( extensive ) with shows like this booms of any kind are a really bad Idea. Both big schools I used to do these for forbade booms entirely, and with good reason; they had both endured lawsuits from parents whose kids had been injured when kids crashed into them, or tipped them over on themselves when not properly supervised.
> It might also be useful to bear in mind that the vital thing on these ( official slang: Dollie Dinkle ) shows is the kids faces, that's what the folks have come to see.
> Think about shins on floor plates NOT SECURED to the deck, so they move if they get hit ( have inhibitive subs for these, if available). Take all the rest of the gear you've budgeted for the booms and expand your overhead
> sidelight ideas. With dancers in this age group safety has to be your number one priority.



I agree to a point but talk with the owner of the studio. Are her kids well behaved? Can you make the wings that they enter from large? For the pieces that consist of the youngers don't use side lights. I just did a show with 3-18 year olds I had 3 side booms per side and they never got even as much as a brush.

Sent from my XT1060 using Tapatalk


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## joble (Dec 27, 2013)

Again i'd like to thank everyone for your replies !

For the sides i agree there is a certain risk of injuries. I have been thinking about a way to reduce the risk, and one of the ideas is to use 5 entrances on each side: 3 for the booms and 2 for the dancers.

In the meantime i've seen many photos and youtube movies of dance performances using side light combined with colored front light, and i do like the effect. But... If booms are for some reason not possible, would it be an option to use high sides (pipe ends) instead?

Regards.


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## Floobydust (Dec 28, 2013)

I've used Lighting Ladders with good success: http://www.stagelightingstore.com/Altman-4-Rung-Ladder-w-Heavy-Duty-Pipe-Clamp?sc=41&category=1128

And it keeps the floor clear.


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## Brandofhawk (Dec 28, 2013)

I just wanted to jump in and say that safety should always be your number one concern in any theater / live event / production setting no matter the age of the performers. 

It might be a good idea to sit down the group down and give them a quick safety talk about the space. Include things like the booms, the cyc (no touching), curtains, idea of going on and off stage due to the sudden change of brightness, opening the doors with others on the other side, fire extinguisher locations, emergency exits, other protocols, who to come to if there is a problem on stage during the performance... etc.


If you find that your booms still have issues with performers running into them, you can buy or make little led markers that you plug into a 9v battery that you can put on them OR you can tape them with white/glow tape and that somewhat helps. It's probably easier to tell dancers to exit upstage in the wings and to not have other dancers standing around watching the show IN the wings.


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## joble (Jan 15, 2014)

I’ve been implementing these ideas and the lighting plot for this dance recital is beginning to take shape!
Now I am wondering, in which situation would you choose each of these side lights (shin, mid, top and pipe ends)? Or when to combine them.
Regards, Jo


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## SteveB (Jan 15, 2014)

joble said:


> I’ve been implementing these ideas and the lighting plot for this dance recital is beginning to take shape!
> Now I am wondering, in which situation would you choose each of these side lights (shin, mid, top and pipe ends)? Or when to combine them.
> Regards, Jo



- Pipe -Ends, are great for when you need some area control. If you have the units & dimmers as well as the space to hang enough gear, you can do L-C-R high sides and highlight a particular area. Because of the steeper angle, pipe ends do not cover as much of the stage width, thus to get a full wash (if desired) you need more units (3 at my house) then those at a lower angle. I typically focus our P/E's as the narrow unit from center line to far, the wider and off-stage unit as close 1/4 line to fill into the narrow unit - if not attempting area control. 

- Mid and Tops, to me, are just variations on the same thing. We have flying ladders that allow a variation on angle, but typically have a 26 deg. as the far shot with a 36 deg. as the close/short, all as a L/R wash. Since you can't cram all the gear into one place, you end up with some units higher or lower then others. If possible you do a double unit wash, with a narrower deg. unit mounted higher and focused far, a wider beamed unit mounted lower to focus "short", in the same color (with a similar angle from both units). Repeating for as many units, dimmers and positions as you can achieve. 

- Shins and double shins are used when you want to fill in under dancers arms and the body and can be shutter-cut (if an ellipsoidal) off the floor, which creates a sense of the dancer floating in space. Shins and head high's can also have their color changed between or even during pieces, which is very useful.


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## joble (Jan 16, 2014)

Thanks Steve. The pieces of the puzzle are coming together for me now.

Is it correct of to say pipe ends are necessary when larger groups of dancers are on the stage, because dancers cast shadows on each other when mids/tops are used? Or am i wrong...


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## StradivariusBone (Jan 16, 2014)

This thread is a great resource, one that I've been using with for a few upcoming dance shows myself, so thank you to all for your advice so far. Our theatre has two galleries above the stage (approx. 10-12' off the deck, and 6' outside the proscenium arch. Our proscenium is 40' across. Would this function for adequate high side fill? I'm not sure what's standard for boom placement, but how far outside the arch do you all typically place them? These have railings that were designed to hold fixtures and we have stage pin connections up there as well. 

Thanks!

-ED


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## SteveB (Jan 17, 2014)

@joble

Yes, Pipe ends are useful for isolating, but the angle, being steeper, is not as good at lighting the dancers body in a manner that lets the body pop from the background. Mostly as you are not getting light under the arms and legs, when they're extended. In general, lower angles do cause shadows and that's a consideration if all the dancers are static in a line. Typically though dance is more fluid and there's movement, so the shadows don't become as much an issue. As well covering a stage with pipe ends takes more fixtures per pipe and you can run into issues with the electrics having room for all the "systems" of side light you need. As well, if the electrics are not that long and don't extend far into the wings (ours go off maybe 8 ft from onstage edge of the legs), the angle from the extreme tips is often fairly steep for the near shot. In essence you just run out of room, which is why booms are common.

@ Ed.

If your dance area and floor is extended downstage of the proscenium, you can have problems getting the dancers lit from the side. The ideal is a set of box booms set into the proscenium arch that provides for a continuation of your onstage systems, floor to full height. Very few spaces are designed well enough to allow that, so you typically see a position that is too far DS to work well as a side system continuation and the angle really only works well as a diagonal front of some kind.

I see and do it both ways, as our box booms "mostly" work OK as an apron side. They are fully 16 ft. DS of the side position in our 1st wing and are 8 ft DS of our P/L, is a vertical position that allows 10 units in (mostly ) in pairs, starting +13 ft off the deck. I cannot replicate our 7ft side towers that have dual head-hi's and dual shins and that's the compromise. They certainly help when we have dancers heading DS that far, but some companies are smart and put down a tape at P/L to indicate the "light line" that the dancers "shouldn't" cross.


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## JonasA (Jan 17, 2014)

Re boom visibility: Lighting dancers in a university setting, the LDs and SMs are religious in glow-taping the heck out of every bit of the booms. Last time I looked, it was expected that any fixture hung on booms had:

Glow tape on the gel frame facing on stage
Glow tape on upstage side, usually on focus knobs to avoid over-heating (and subsequent melting)
Glow tape on end of boom arm and possibly along the length
Glow tape on the back of the fixture (usually focus handle for melting reasons)
Huge strip of white spike tape right up the boom on the off-stage side.
This is for semi-professional dancers who are used to the venue... and they still hit them often enough for us to facepalm when it happens.

Also: I second floobydust's recommendation of ladders. Having the vertical bars on the sides means you get less touching and accidental bumping into fixtures, and if they're flown you can actually fly them out for big entrances/exits. This has been a godsend in a large musical I do annually where we bring them in to 1' off the deck for dance numbers, and keep them at 7' for the 125-cast entrances/exits.


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## SteveB (Jan 18, 2014)

JonasA said:


> Re boom visibility: Lighting dancers in a university setting, the LDs and SMs are religious in glow-taping the heck out of every bit of the booms. Last time I looked, it was expected that any fixture hung on booms had:
> 
> Glow tape on the gel frame facing on stage
> Glow tape on upstage side, usually on focus knobs to avoid over-heating (and subsequent melting)
> ...



We also have 8 big arrows made with glow ltape spare squares of dance floor. We tape these in the wings to indicate to the dancers where to head around a tower.


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## MNicolai (Jan 18, 2014)

JonasA said:


> Re boom visibility: Lighting dancers in a university setting, the LDs and SMs are religious in glow-taping the heck out of every bit of the booms. Last time I looked, it was expected that any fixture hung on booms had:
> 
> Glow tape on the gel frame facing on stage
> Glow tape on upstage side, usually on focus knobs to avoid over-heating (and subsequent melting)
> ...




That's excessive.

I generally tape arrows on the floor to mark the traffic lanes on and off stage and leave it at that. Whenever there are dark scenes that may make the booms harder for dancers to see, I'll glow heads or mids at 5%. Just enough light for someone looking directly into the lens to see, but not so much it alters the visuals to the audience.

Only thing I'd tape on the booms might be shutters that protrude out into the lanes. If the lights are on, even at 3% or 5%, and someone is dancing off-stage, and they still don't see the booms, no amount of glow tape is going to help them.

Nothing will make up for performers having spatial awareness of their surroundings.


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## benoit (Jan 25, 2014)

> Nothing will make up for performers having spatial awareness of their surroundings.



I second that. No matter how much padding/glow tape you put, its up to the dancer to see it. The only thing you can do is to show them the potential issues and to setup time to refocus before/after each show.


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## techieman33 (Jan 25, 2014)

I just had a tour in that used rope lights in the wings to draw out a safe path to quick change rooms. The same could be done in the wings around your booms.


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## joble (Jan 29, 2014)

I'm considering to use pars or parnells or eventually PC's for the top and mid boom positions and S4's as shins.

Do i need to use tophats for those top/mids?


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## SteveB (Jan 29, 2014)

joble said:


> I'm considering to use pars or parnells or eventually PC's for the top and mid boom positions and S4's as shins.
> 
> Do i need to use tophats for those top/mids?



If the units are visible from the audience and you don't want to see the lens, then sure, use top hats. Note that they do nothing to shape the beam otherwise. Barn doors on S4 Pars can be useful, but pretty much only on very wides or wides. You will have no control over where the light falls otherwise, so if you can live with the light on the proscenium arch walls, or on the backdrop/cyc, then Pars are useful. I have on occasion put S4 Pars with medium lenses into a +4 ft position on our dance towers, the LD wanted a blast of light fromt he wings. Rhe beam shape went vertical so there was not much spill on the Prosc. or US scrim.


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## joble (Feb 3, 2014)

kicknargel said:


> . I like pipe ends in an unsaturated color with a breakup gobo, as this adds highlight to the dancers, a little movement to the light, and paints the floor nicely.


 
I know it is not the best way, but can i use some of the 2kW FOH lamps with these breakup gobo's, when additional pipe-ends aren't possible?


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## TheaterEd (Feb 3, 2014)

I would be hesitant to do that since the breakup would likely be visible on the cyc and would create shadows on their faces. Also, they would have to be the only front light on in order to have much of a noticeable effect and I don't feel like it would give you the desired look.

I've been wrong before though, might be worth your time to set it up and see how you like it. Whenever I deal with dance groups I like to have more options available than I will need so that when a number is missing 'something' I can throw up a couple of different options.


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## joble (Feb 7, 2014)

On the internet I've found several light plots for dance shows, all using only the FOH position for front washes for the whole depth of the stage (30 ft).
Is it common in dance lighting that the proscenium bridge is not used for frontwashes, contrary to play lighting?


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## SteveB (Feb 7, 2014)

joble said:


> On the internet I've found several light plots for dance shows, all using only the FOH position for front washes for the whole depth of the stage (30 ft).
> Is it common in dance lighting that the proscenium bridge is not used for frontwashes, contrary to play lighting?



I think it's common to always have some form of FOH, either from coves/bridge as well as an on-stage electric, so as to have some system that can light dancers faces when needed. How many washes and colors is specific to the dance(s), with usefulness being dependent on angle. My FOH coves are a very steep angle that can cover the DS 1/3 of the stage and when I design and/or adapt a plot, if possible I will add either 1 Elec washe(s) that repeat the FOH and occasionally will repeat again from my 3 Elec. If I'm doing that much frontal lighting it's typically for events where I know I need to see dancers faces and can/have to live with some (or a lot) of spill on the cyc. If I can use a black scrim DS of the cyc light electric, all the better as it reduces the bounce off the floor from the FOH. My cove units, as BTW get US shutter cuts off the scrim (if used) or cyc, so as to eliminate light on the CY as much as possible. You will always get bounce flare, but it comes with the territory. The advantage of having a Cove/Bridge wash, is you can still use it for curtain calls if nothing else. 

I have seen some companies - Martha Graham, as example, that has a lavender FOH from coves only and pretty much never uses it. That's a modern dance company so the lighting tends to be less "play" like. I've also had the old Joffrey II company doing ballets that did 3 FOH colors, repeating on 1 Elec, with L-C-R separation, as they needed to see faces and needed area control to limit spill on the cyc. Then I did last week, Krasnyoyarsk Siberian company that is all folk dancing and wanted a ton of FOH all the time. 

So the best answer is to plan on some FOH, a Lavender is a good choice if equipment is limited, as a CYA for when the choreographer suddenly decides they need to see facial expressions.


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## Floobydust (Feb 8, 2014)

As a lavender, I've use Rosco 54 with good results (not a big fan of warm/cool).


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## joble (Feb 10, 2014)

I have enough FOH units to do 3 different color washes (4x2kW per wash). I was thinking to use pink, lavender and maybe something more neutral like a pale gold.

I'll first double check the angle of the cove is not too steep, so I can reach the entire upstage area from the cove.

If necessary I'll repeat the most important front wash (the pale golden?) from the 1st electric. If not, I can use these units as pipe ends...

Does this make sence???


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## SteveB (Feb 10, 2014)

I wouldn't be doing 2 warm colors, unless a dance piece really required that ability to change the skin tone (or a different costume) by going from a pink to an amber/gold. Light blue might be far more useful, especially if you have blue backs and sides, as then the Lt blue FOH stays within the cool palette for that piece of section of cues. 

Then it's your choice as to how much FOH is needed and if you were short on systems of side light and could readily move instruments, I'd do the single R54 like Floobydust recommended and add sides. Remember as well the trick about lavenders (like R54) , when you have a predominant warm wash on stage and add lavender, it tends to read cool. Likewise if there's a cool look on stage the lavender tends to read warm, all being among the reasons LD's like it for a single FOH system color choice.


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## joble (Feb 11, 2014)

Indeed, my color choice was not very well considered. 

I have plenty of units in the cove that i cannot move. That is why i use 3 color washes from there. So maybe i can do light blue, pale gold and a dark blue for night scene.
There are also some fixed units in box booms that i would like to use as a wash of a saturated color to combine with low sides.

The units i planned to use to repeat the frontlight at the first electric, will be uses as sidelights.


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## joble (Feb 17, 2014)

I can use an additional set of 30 pcs Elation OPTI TRI 30. (10deg beam angle - 7x 3-in-1 RGB LED - 21W)

I've been thinking to use these as top light for the stage (35 feet wide by 20 feet deep + 6 feet apron). If this would work, I have plenty of extra units for the sides!

But I am doubting whether the OPTI TRI 30 is suitable for this... The 10° beam angle is too narrow, but with a simple frost filter it might be ok... But would the light output be sufficient for this stage? It is very tricky to compare to conventional fixtures.


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## joble (Feb 21, 2014)

In the meanwhile i managed to get extra budget, allowing me to hire some decent LED fixtures for a top wash. This means a lot of units are made available for other purposes, so i can completely realize the things i learned in this thread!


_I'd like to thank you all for helping me creating the light plot for this show!_


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## SteveB (Feb 21, 2014)

Good to hear, have fun with your new LED toys!


Sent from my iPad using Tapatalk


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