I. Collaborative Design Process (conception, communication, execution)

A. Written lighting approach: comparison to director's themes and interpretations
B. Lighting synopsis: chart mood & transitions of the play
C. Composition: related to stage blocking
D. Illusion of nature: lighting sources implied from the script
E. Modeling: highlight/shadow
F. Visibility: facial expression & costume and scenic detail

II. Controllable properties of light

A. Intensity
B. Color
C. Angle
D. Distribution
E. Movement

III. Color mixing

A. Primaries of additive color mixing
B. Secondaries of additive color mixing
C. Complimentary colors

IV. Lighting positions

A. Purpose of key light
B. Purpose of fill light
C. Purpose of back light
D. Define cross lighting - plan view and section view

V. Stage Lamps

A. Bases
B. Envelopes
C. Filaments

VI. Lamp Operation

A. How tungsten-halogen lamps work
B. Advantages and disadvantages of tungsten-halogen stage lamps

VII . Purpose of ANSI coding

VIII. Reflection: How light reflects off the following reflectors

A. Parabolic
B. Spherical
C. Elliptical

IX. Refraction: Lenses

A. How light reacts to changes when traveling through different medium densities
B. How plano-convex lenses bend light

1. Beam angle by degrees
2. Lens diameter x Focal length

C. Variations on plano-convex lens

1. Diagram the cross-section of a fresnel
2. Spot and flood capabilities of a fresnel

 

X. Instrumentation types: Par Can, Scoop, Beam Projector, Fresnel, Ellipsoidal, Follow Spot

A. Type of reflector used
B. Type of lens used (if any)
C. Appropriate use & application
D. Special features of each instrument type