I. Design process (conception, communication, execution)

A. Written lighting approach: comparison to director's theme interpretation
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

V. Stage Lamps

A. Bases
B. Envelopes
C. Filaments

VI. Lamp Operation

A. How tungsten-halogen lamps work
B. Advantages of tungsten-halogen

VII . Purpose of ANSI coding

VIII. How light reflects off the following reflectors

A. Parabolic
B. Spherical
C. Elliptical

IX. Lenses

A. How light reacts to changes in medium density changes
B. How plano-convex lenses work

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

C. Variations on plano-convex lens

1. Diagram a fresnel
2. Spot and flood capabilities

 

X. Instrumentation types: Par can, Scoop, Beam projector, Fresnel, Ellipsoidal, Followspot

A. Type of reflector used
B. Type of lens used
C. Appropriate use & application
D. Purpose of C-clamp
E. Special features of each instrument type