All arrangements here are for illustrative purposes only. Subject to agreement and contract.
At the upfront, the lighting designer will gather information and work based on given artist concepts, mood boards, requirements, expectations, venue details, stage/set designs, performance setlists (including house open, encore, additional encore, curtain call, clear house, emergency contingencies) production details, schedule, preliminary budget, vendors, restrictions, and essential information to brainstorm on the potential design for the client.
The lighting designer then draws up the lighting set-up plan and lighting tech rider for the rental vendor or venue for their prep and set-up arrangements. The recommended number of consoles is 2, the number of Processing Units depends on show size and parameters required and 1 onPC real-time back up is highly recommended. The number of network nodes depends on show size and setup. Recommended FOH location is Center and raised. If outdoor, mandatory tent setup is required and fixtures will need to be IP rated. To be advised.
With the help of rehearsals and/or recordings and soundtracks, the lighting designer and lighting programmer will pre-program, pre-timecode, if any, and pre-visualise the "cues" and "looks" for the concert remotely. The duration of this process depends on the number of items and genre of songs performed amongst other things. A rock number can double or triple the number of lighting cues whereas a ballad requires just a handful of lighting cues. For guidance, it usually takes a week to program a 1.5 hours concert, subject to genres performed.
There will be a pre-vis session with client to sit through what has been programmed for feedbacks and further programming tweaks and changes. This will be a all-nighter normally ;)
During bump-in, the lighting director and lighting designer will supervise the setup and patching of fixtures into the show file with the venue production coordinator and touring tech director. 'Fixtures power and signal' through. 'Timecode signal' through. 'Intercoms' through. FOH Setup is done simultaneously with fellow sound, multimedia, multi-cam broadcast and Stage Managers teams ;)
During programming time in the venue, the lighting designer and lighting programmer will check through all presets, show cues, time codes and make final adjustments on the consoles. The lighting designer and programmer will also have to program any additional lighting requests during this time. This usually takes place in a protected quiet time period as house and work lights have to be turned off and venue in show mode. We do not recommend any house and sound playbacks or on-stage rehearsals. If outdoor, this programming time is naturally allocated from sunset till sunrise ;)
The lighting operator-jockey will execute all lighting cues off the lighting consoles during start/stop tech rehearsals and final rehearsals. There might be feedbacks during/after these rehearsals and the lighting designer will need to make final adjustments. The lighting designer and programmer will also have to program any additional final lighting requests during this time. Final systems check and run. All systems go.
SHOW TIME: The lighting jockey-operator executes the cues as planned or busk cues if required. Lighting Designer and programmer will supervise the opening show. Further supervision can be arranged if required.
After the show, the lighting team will gather feedbacks from artists, producers, and venue to edit, adjust and update cues.
Strike time: show file will be deleted and stage is torn down.
Post show review with client: Notes, reviews, payments, closure, friends and family. Post Concert blues :')
At the upfront, the lighting designer will gather information and work based on given artist concepts, mood boards, requirements, expectations, venue details, stage/set designs, performance setlists (including house open, encore, additional encore, curtain call, clear house, emergency contingencies) production details, schedule, preliminary budget, vendors, restrictions, and essential information to brainstorm on the potential design for the client.
The lighting designer then draws up the lighting set-up plan and lighting tech rider for the rental vendor or venue for their prep and set-up arrangements. The recommended number of consoles is 2, the number of Processing Units depends on show size and parameters required and 1 onPC real-time back up is highly recommended. The number of network nodes depends on show size and setup. Recommended FOH location is Center and raised. If outdoor, mandatory tent setup is required and fixtures will need to be IP rated. To be advised.
With the help of rehearsals and/or recordings and soundtracks, the lighting designer and lighting programmer will pre-program, pre-timecode, if any, and pre-visualise the "cues" and "looks" for the concert remotely. The duration of this process depends on the number of items and genre of songs performed amongst other things. A rock number can double or triple the number of lighting cues whereas a ballad requires just a handful of lighting cues. For guidance, it usually takes a week to program a 1.5 hours concert, subject to genres performed.
There will be a pre-vis session with client to sit through what has been programmed for feedbacks and further programming tweaks and changes. This will be a all-nighter normally ;)
During bump-in, the lighting director and lighting designer will supervise the setup and patching of fixtures into the show file with the venue production coordinator and touring tech director. 'Fixtures power and signal' through. 'Timecode signal' through. 'Intercoms' through. FOH Setup is done simultaneously with fellow sound, multimedia, multi-cam broadcast and Stage Managers teams ;)
During programming time in the venue, the lighting designer and lighting programmer will check through all presets, show cues, time codes and make final adjustments on the consoles. The lighting designer and programmer will also have to program any additional lighting requests during this time. This usually takes place in a protected quiet time period as house and work lights have to be turned off and venue in show mode. We do not recommend any house and sound playbacks or on-stage rehearsals. If outdoor, this programming time is naturally allocated from sunset till sunrise ;)
The lighting operator-jockey will execute all lighting cues off the lighting consoles during start/stop tech rehearsals and final rehearsals. There might be feedbacks during/after these rehearsals and the lighting designer will need to make final adjustments. The lighting designer and programmer will also have to program any additional final lighting requests during this time. Final systems check and run. All systems go.
SHOW TIME: The lighting jockey-operator executes the cues as planned or busk cues if required. Lighting Designer and programmer will supervise the opening show. Further supervision can be arranged if required.
After the show, the lighting team will gather feedbacks from artists, producers, and venue to edit, adjust and update cues.
Strike time: show file will be deleted and stage is torn down.
Post show review with client: Notes, reviews, payments, closure, friends and family. Post Concert blues :')