task 8:cue sheets

for these we layed them out in tables with the cue number at the far left, the diagram of actors as they appear on the stage at the time of the cue being delivered or the cue line ..the far right box being the change being made to that specific light for instance in the piece I operated sound for called 'project unknown' a fequent cue line was 'go to the woods' this is the cue that appeared in the middle coloum and in the far right would be the change..in this case it was to give the impression of lighting/electricution so I used a preprogrammed submaster to make the lights flicker on and off with the sound of the thunder which started upon the same cue operated by a fellow collegue.

task 7:health and safety

During the rigging process safety was important so hardhats were worn during rigging both at the top and the base of the ladder.While rigging a light we made sure we put a safety chain on first to ensure the lantern was secured to the rig and wudnt drop and smash/hurt someone on the ground below.Cutting the coloured gels with the craftknife locking the blade so that the blade doesnt slip...protective eyewear is nessasary in case of an accident involving the knife.After use dont touch the light as the bulb and casing may still be hot.When removing lights from a rig remove the plug first and tie it up so it does not swing round and cause bodily harm,always remove the safety chain last.With A-frame ladders always make sure there is someone supporting the other side.Dont stand or sit on the talloscope while it is mobile.

task 5:lighting key plans

Here is the lighting key for the woodland setting the symbols that coodinate to those on the lighting plan created by the lighting designer prior to this under this are the numbers for the channels for the laterns and the sockets they coodinate to.

task 4:focus notes

These are the focus notes for the woodland setting constructed for the A2 drama exams on the far left is the socket number followed, by the lantern type, then the gel colour and the positioning of the light within the set and description such as if the lantern has barn doors attatched to it or not,and the spill.Editting of this are only if the lantern has been moved from that socket to another, or if the ligt has be removed from the lighting plan altogether.The numbers at the side indicate the channel numbers and grouping.

task 3:colour call

This is the colour call we created for the woodland setting.Down the left hand side is a list of gel colours which were matched to a certain colour within the stock of colleges coloured gels which are each individually labelled in the corner of each coloured gel.Across the top of the sheet are the lanterns which were used in the production from the stock that college owns.In each row of the table is the tally of how many of each type of lantern had that particular colour of gel inside it, o/w standing for open white, meaning no gel inside the light.When we came to the process of rigging we took coloured gels from the stock and any stock we were short-falling upon in accordance to the colour call given to us by the lighting designer we would check the the drawers to see if there was a roll of coloured gel material and cut it down to size to fit the gel.If then there is still not enough material of the right colour of gel needed, we would liaise with the  lighting designer and decide on colours similar to those in the colour call to replace them in the shortfalls, examples of this are the amount of 117 required was greater than the amount of this colour we had in stock, we liaised with the ligting designer and replaced it with 2x201 gels due to the similarity of the colours. 

task 2 working log:annotated hall plan

The purpose of this hall plan was to be edited during the progress of rigging of the lanterns. The original plan was created by the lighting designer and any changes were approved by the designer, changes such as the moving of certain sockets into which lanterns were plugged, and positioning of lights; to create a more realistic woodland atmosphere, and prevent patches on the stage due to a limited lighting stock. In the process of rigging, the colour of gels were an issue as the stock we had did not meet the volume of demand required upon the colour call created by the the lighting designer, so we conferred with the lighting designer and adjusted the colours of gels within the colour call to match what we had in stock. 

task 1 lighting portfolio