Production:
Much Ado About Nothing, Hofstra University Department of Drama and Dance; Directed by Jean Dobie Giebel; Set Design by David Henderson; Costume Design by Pei-Chi Su; Lighting Design by Bryan Chess

Colors/Gobos Used:
Cyc: R83, hint of R67
Moon: R77154
Side: R74
Window: R77135
Doors: R20
Front: R55

Roscolux #02
Roscolux #2007 - more of this in the shower than the amber.

Lighting Design: Parker Conzone
R#22

R3206 as Front Light
R61 as Top Light
R3316 as High Side Light
R3315 as Side Light

In this production I was trying to portray an Interrogation room. It needed to be isolated and bright due to the amount of action taking place in this small area. I used color corrections to try and achieve a balanced fluorescent look with the source appearing to be coming from a "practical" that wasn't there.

Lighting Designer: Salvatore Nicosia
Director: Steven Gephfro
Venue: Suffolk County Community College

this is our production of "the great Gatsby"
we used roscolux #2008 and #3 extensively.

R02, R04, R54, R51, R360
The Importance of Being Earnest, Amherst Regional High School

R67, R05, R02, R60
Outside Over There, directed by John Bechtold, at Double Edge Theater in Ashfield, MA. Photo of Katie Spurgin. Photo by Austin Federa

13 The Musical, The Main Street Players, Director:Tom Creator, Producer:Denis Lyzniak, Lighting Design:Marcelo Ferreira.13 The Musical is a fun musical that keeps a high level of energy throughout the show with its teenage cast. It has the occasional serious moments that really capture the audiences attention and thats where I was able to use the most color to set the moods. I used R58 as backlight to help set those moods. R34 played a big part in cheering up the mood for the group numbers while R02 provided front light.

Moscow Art Theatre (Too)
based in Moscow, Idaho

William Shakespeare's 'The Tempest'
Director: David Harlan
Light Designer: M. Zachary Brink

Rosco filters used:
R05, R66, R67, R23, R119, and R54

R67 was the perfect choice to paint our sky and establish the world of the play. With only 23 instruments, an abandoned grain silo, a free PC-based light controller program and a conveniently placed "sky-cyc" (which was originally intended to control sound), we delivered a truly unique theatrical experience.

For this production of A Wrinkle in Time I chose a warm/cool facelight approach with R333 on one side and R362 complementing on the other. A small frontlight with R51 at low levels helps to eliminate any shadowing. The second photo is lit entirely from below with R355 in striplights to create a dark, uncertain, cave-like atmosphere. Finally, from high side angles I used R3204 in gobo fixtures to obtain the cold angular starkness of the evil planet Camazotz.