We had translucent walls that we kept opaque with lighting from the front (E731) and some texture (GAM 708). At the end of the play, we opened up the space with brilliant colors (R89, R368, R370) pulsing through the walls.

This was my look for the Brooks and Dunn song "Nothin' Bout You", featuring mostly R39, Skelton Exotic Sangria. I really love the deep, rich purple that this color gave me for this song, and spec'ed it as part of my touring package. R73 Peacock Blue is the front wash here.

We used R4415 with some leaf gobos to create an outside effect. The combination of the two created a scene that looked like it was under the trees outside.

This production utilized R99 as a template top light, providing both visuals on the floor, as well as in the air with haze. R4630 and R351 were box boom colors, with R333 as the front light. R318 serves as template on the screens on each side, and G840 was the cool sidelight color, with R38 as the warm. These versatile colors, when combined with LEDs for cyc tops and bottom, (and scrollers/moving lights)allowed for a very wide variety of lighting looks, fulfilling the need to have the environment deteriorate.

A silhouette of the characters watching the tent burn down in Hartford Connecticut.

I took some photos during load in and q2q, didnt really take much during the actual rehearsal and show run. We used mostly rosco gels for this production (R05, R08, R12, R18, R2003, R132, R24, R35, R4215 (so useful!), R348, R51, R73, R86, and so much more I could list). Also made a franken-gel out of a bunch of R42 spare cuts to fit a 10" frame of a parcan, that was a fun time!

R48 is my favourite gel to use, it is absolutely stunning :) If you could make the mug R348 you'd make my day~

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These photos are all screen grabs from a short film shot using Rosco Gels for cinema. The first photo is of a bartender experiencing an extraterrestrial event from inside of his tired bar late at night. The lights coming through the window are an Arri T12 and 3 1,000watt Pars all gelled with Rosco3202 Full CTB. The second photo is a shot from earlier in the film as the bartender makes his way around cleaning up the bar before closing.

1) I chose the primary color in this photo (R22) in order to accurately capture what a dust storm looks like. The dust bowl is reported to have turned the skies red, and research images of a dust storm in Australia in the past decade inspired the exact shade. It was also chosen to match the opening line of the play, which is "The dawn came, but no day." I wanted to capture the emotion of that line as well.

USM SPA Stop Kiss production photos.