Group 1: David Atkinson, Mandy Hart, Esther Palmer

Lighting system: McCandless method (see diagrams of this layout and our plot

"The" seven attributes of light --

intensity, direction, color, shape, quality, movement, and orchestration.

While looking at the various properties of theatrical lighting, we worked through an abstract lighting design, making no attempts to convey specific, "narrative" information. Our cue orchestration travels through the six remaining properties, as illustrated below with photographs and videos.

Look 1: Open, bright, "straight forward" -- achieved with three no color specials (focused on three areas of the table top) and low intensity green and amber from back and front instruments.

Look 2: We lowered the intensity level of the specials slightly, demonstrating the effects of subtle changes -- the table seems to "warm up" (coming from a "how white" feel) and appear less theatrical.

Look 3: Taking out the front light creates a pull to the objects, particularly into the center of the table. Increasing the intensity of the green back light not only changes the appetizing appearances of the props, but also serves as a transition into our next sequence.

Intensity, look 1

Look 1: We start with our green front light, flattening the image from the left and creating deep shadows on the right side of the table. This directionality is emphasized in the beam shape on the floor, as well, being wider behind the table and reaching towards the upstage left corner of the room.

Look 2: Next we introduce our SL high side (pale blue-green with gobo) which slices across the table from an opposing angle, also producing a significant pull with the shape on the floor (shuttered to a rectangle, please see wide angle video for a full table shot), and the deep shadows in the front of the table.

Look 3: Transitioning into our shape sequence, we used our lavender front light from SL (6x9).

Direction, look 1

Look 1: In a distinctive jump from the oblong shape of the previous light, we introduced the patterned top light (kliegel, magenta), spreading a circle of striations on the floor. This was followed by our fresnel top light (deep amber), lighting the table top without hitting the floor as much.

Look 2: This look combines light from front and high side units, with a top light focused on the back right third of the table top (Kliegl, no color).

Please also refer to the videos to view shape and patterns on the floor.

Shape, look 1

Look 1: Removing all lights but the pale-lavender high side (SR 6x9) from the previous design, this look serves as our transition to color.

Look 2: We completed our lavender look with the deeper lavender from a front light (SL 6x9), and some top light with a magenta gel (and gobo).

Look 3: From here, we faded to black and then directly into our green lights -- back, front (SR 6x9), and high side (SR 6x9 with gobo).

Color, look 1

Look 1: We started by introducing our practicals (2 nightlights underneath the basket which raised the plate of fruit, and 2 nightlights inside the porcelain decanter). With just enough fill light (from SR high side 6x9, pale lavender gel) to round out the silhouette, the effect of the practicals "alone" was starkly different in mood than any of our other looks. Indifferent to its small size, the bright light has a definite, sharp quality.

Looks 2 & 3: Gradually we introduced more overhead lights, and moved into a warm, textured quality using a gobo (SL high side 6x9, pale blue-green gel) and amber top light.

Quality, look 1

We simulated the movement of light on one area of the table around the table top (illuminating three separate areas --the covered teapot, the plate of fruit, and the golden apple, the latter two are shown below). We also simulated movement of lights across the floor, using our patterned lights (see wide angle video). These moved from left of the table, to center (on the table), to right of the table, and back to center. Lastly, we made our practicals flicker using a randomizing effect in the cue programming.

This sequence can be viewed in the orchestration video.

Movement, look 1