Designed to tour with a very small crew, and very little preparation time, this show uses color for large impactful moments, using small number of instruments. An uncorrected, but frosted front light provides the basic illumination. Strip lights in yellow and pink illuminate a transparent backdrop, allowing for shadow play. Saturate reds accentuate the murderous emotions that are discussed in the play, but are balanced in more peaceful scenes by a cool blue wash. A small play, with only 20 channels of control, but a lot of emotion, and the color to back it up.

Photo 1: Being on a very low budget, I had to be the stage manager, sound and light op.

Rehearsal of "Heart to Hart" from '9 to 5'

I was on projection design, not lighting. Color was custom - called it 'lusty pink' as a running joke among crew.

In the dream sequence in Fiddler on the Roof, it is important to disconnect the sequence from the rest of the natural show since it is a dream. Many read the scene as scary, but I believe it should be fun and show Tevye's hand in the dream the entire time. R56 gave a non-realistic effect while still being warm and fitting in with the rest of the show. R56 was also used to spot Tevye whenever he talked to God so there was the continuity with Tevye as well.

This Photo was taken during a rehearsal for our VBS at our church. The music, sound, and lighting were all very much like a live concert. We used gels over our spots for back lighting and frontal washes. These gels used with our other lights were able to create different moods for different songs and speakers.

Designed to tour with a very small crew, and very little preparation time, this show uses color for large impactful moments, using small number of instruments. An uncorrected, but frosted front light provides the basic illumination. Strip lights in yellow and pink illuminate a transparent backdrop, allowing for shadow play. Saturate reds accentuate the murderous emotions that are discussed in the play, but are balanced in more peaceful scenes by a cool blue wash.

The first three photos are from a play called "The Maltese Walter", in which a man named Walter can make any moment into film noire. These are shots from the moments of film noire. R69 worked perfectly for the effect I was trying to give. The 4th photo is from a play called "Dante's Inferno: The Motion Picture". This particular scene was supposed to be a dramatic death. The last photo is from a play called "Unfamiliar Waltz". The director wanted to go in a futuristic style, so I tried my best at creating a sort of post-apocalyptic other worldy atmosphere.

The scene was a discussion between two teens regarding the suicide of the girl's brother. The intent of the lighting was to convey a late autumn evening after dusk, along a river (flickering through the use of two gobos).

This photo was from a ballet piece set to Schubert's Ave Maria. My inspiration was specifically the golden tone sunlight takes on before it sets. Using R14 combined with R57 and Rosco gobos the lighting took on an warm ethereal quality. The goal was to capture the quality clouds take on when lit by a strong sunset, something the rosco filters were able to recreate beautifully. Photos by Paul Pharris

The first image shows the uplighting on the 45' curtain in the back just after setup. The uplighting was done with 7 Source 4 WFLs alternating between R12 and R68. The second image shows the same uplighting during Rave hour of the dance marathon. We wanted to create extra depth between the subjects on stage and the black curtain behind, using colors that represented the event (R68 for the university and R12 for the yellow ribbon)