The training I’ve had at the Arden has enabled me to synthesize real world experience and my classroom training. I have been working with the Arden Theatre Company during academic breaks for the last three years in various capacities. I will take the techniques and approaches I have learned from Thom, and the entire team behind A Moon for the Misbegotten, back to Pittsburgh with me, where I study theatre design at Carnegie Mellon University’s School of Drama. Theatre, and to hear the conversations the entire creative team is having about the show. It is a great opportunity to see Thom’s design process in the In exchange for my help and the obligatory coffee runs (actually, it’s a Grande Earl Gray tea from the Starbucks on 3rd Street), I get the chance to work with professionals and learn from their experience. Working with Thom Weaver has been a really rewarding experience.
#Vectorworks 2017 export to lightwrite 6 professional#
However, I’m lucky: it wasn’t long ago that all of this information was recorded with a pencil and not a laptop.Īssisting an established lighting designer is a part of the professional progression for young designers. Programs we can create and manage the immense amount of paperwork necessary to accurately record the lighting of the show: Channel Hookups, Instrument Schedules, Light Plots, Gobo Schedules, Color Schedules, Cheat Sheets, Magic Sheets, and the like. The second program we use is called Vectorworks Spotlight, a CAD program that allows us to make precise technical drawings, like an architect’s blueprints. The first is sort of like a customized and enhanced Excel spreadsheet called Lightwright. In order to keep track of everything we use two pieces of specialized industry software. Without accurate and up-to-date information the lighting grinds to a halt. Managing this much information is a complicated task that boils down to one thing: paperwork. Each of these lights has many different parameters: Dimmer, Channel, Color, Purpose, Position, Unit Number, Template, and the list goes on. Thom Weaver’s design for A Moon for the Misbegotten on the relatively small Arcadia Stage includes over 200 lights.
As Assistant Lighting Designer (ALD) to Lighting Designer Thom Weaver, one of my primary responsibilities is to help keep track of all of the lighting data. There’s a lot of information that goes into creating the lighting for a show. Set and Lights for A Moon for the Misbegotten
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