Configuring for Perfection
Most automated lighting consoles allow you to invert each fixture’s pan and tilt response to the console. When you first set up your show file, you should take some time to calibrate the fixtures so that they all move the same direction when you turn the pan encoder left or right, and the same for the tilt encoder. This way, as you grab your fixtures and start focusing, you always have the same natural feel as to how to move them. Although most fixtures have pan/tilt invert functions as well, it is usually better to keep these options turned off and configure everything within your console show file. Refer to your console’s user manual for specific instructions as to how to configure the pan/tilt abilities of individual fixtures and align their movement directions.
A Word About Palettes
All automated lighting consoles also make use of a process commonly known as palettes, presets, positions or memories. Although the name may be different, the concept is the same. You can save commonly-used positions into quick selection buttons. This means that you can store the position of your lights pointing at the center stage microphone, and then at any time in the future easily select a light and point it to that position. In addition, palettes/presets are stored in cues and playbacks as references, so once you update the palette/preset, then all referenced cues will automatically be updated. It is essential that programmers always make use of palette/preset features for positions of their fixtures.
The Chore of Positioning
Most programmers will build the common position palettes/presets as they set up their console. These will vary depending on the production, but represent the common positions in which they expect to use the fixtures. Taking time to ensure the positions are correctly aimed is very important.
I will first create a “rough draft” of my positions by pointing the fixtures in the general area where they will go. I can do this as the stage is being built and the house lights are on. Then, later, when I have dark time and things are in place, I can fine-tune the positions. At this point, I will do all I can to ensure they are dead-on-accurate so that I do not need to come back to them a third time to make corrections (although sometimes, that becomes necessary if the blocking or sets change).
When fine-tuning the positions, I first try to get as close to center in the audience position as possible. This helps me to best see how the light will look to the majority of the audience. I also utilize stand-ins for people and positions so I can be certain the fixture is lighting what it is intended to light. If you try to create your positions on an empty stage, then you will have a tough time getting the height to be correct. There are many things you can use as stand-ins. Mic stands draped with a towel, stagehands, cardboard cutouts, helium filled balloons, mannequins and blocks of wood are all examples of items I have focused my lights onto. With these items in place, I have something to help me confirm that the lights are pointing at the correct location and height.
Help! I Can’t See
There are many times when focusing lights that you will find that you cannot see the result of your work. Sometimes the fixtures are pointing out of your view, or they may be located in a totally different location from you (another room, down the street, etc). In these times, you will need some assistance to aim the fixtures. A common method is to have a stagehand or the LD call the focus to you over a radio. As you aim each light, they will call out “pan left” or “tilt down.” Here it is essential that you have all your fixtures oriented the same and configured in your console to move the same direction. This way, when they call to pan left, you can easily do so by turning an encoder to the left. If you have not configured your show file properly, then you will have no idea which way to turn each fixture, and the person on the other end of the radio will invariably call out, “The other left.”
Another tool to help with focusing is a remote focus unit. Many lighting consoles have dedicated devices or phone/tablet based apps that allow for remote control of console functions. These will allow you to move around the venue and stage with a wireless remote and focus your lights easily from any viewpoint you desire. While very useful, they can be tedious to use, as they often do not have all the hardware features of the console. A further option is to ask the video crew to leave a camera on a particular shot so you can see your focuses from a local monitor at your console.
Sometimes you might not be able to see simply because of bright sunlight on the stage. This is common with outdoor festivals and concerts, where focus time is limited after dark. Usually, the best way to focus is to have someone stand on stage and look directly towards the fixtures. They can then help you determine where to point the fixtures (via a radio or phone). You can, of course, do this yourself with a focus remote or a second console located on stage to help you focus.
Be Aware of Others
Once you have your fixtures positioned where they look great and are properly lighting their subjects, you need to look further. The output of the fixture might be causing problems for the performers, audience members or television cameras. I will often walk the stage and ensure that the lights are not too blinding for the performers, and I pay attention to where overhead focuses are ending. For instance, many years ago, I had a pretty look on stage and fixtures in an “up and out” focus pointing above the stage and audience. This look was used during a 45-minute speech. While it looked great to most of the audience, people in the upper rows of the top section of the arena were unhappy about the fixtures just sitting there, pointing in their eyes. I was asked to adjust the focus so that none of the “pretty” lights were annoying the audience. As I did this, the look above the stage lost some ambiance, but was more pleasing to the crowd. Now I always ensure that “up and out” focuses are not pointing directly into the eyes of those in the audience (unless it is just for a moment of an effect).
With televised events, it is also important to watch your monitor and see when fixtures are pointing directly into a camera or creating lens flares. If this is not desired, then you will need to modify your positions accordingly.
It’s All About the Positions
Automated lights are visual entities and are only effective when they are pointing in the correct locations. An automated lighting programmer must take care when focusing fixtures to ensure all are suitably positioned. By configuring the console, making use of focus aids and being aware, you can be assured your positioning will lead to successful productions. And remember that, whenever you are manually focusing a fixture, it is a good rule to always “tilt first” to help avoid unnecessary flips of yoke-based fixtures.
