Theatre Design & Technology - Winter 1998 - 64

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of masking. something that should be clearll indicated on the section. particularll' if the lighting
designer has been responsible for placing the maSking. The unal centerline section should also
indicate lighting focus tracks. Remember that any fi\tures at the centerline must be shaded or
crosshatched on the section.
6. LIGHTPLOT or LIGHTl\G L-\YOCT
The finished lightplot is a graphic dra\l'ing in In-inch scale \\hich sho\\s as much of the theatre
architecture as is needed. as \I'ell as the ~1Je of equipment. the hanging position. the color. the
control channel and circuit for each lighting instrument. The plot should be drafted to lSITr
Lighting Graphic Standards and include a kel' for hanging and preparing the physical lighting lal'out up to the focus call.
There is some debate about whether the lighting fi\ture should be shO\\'I1 pointing to the actual area it focuses to\l'ard or \I'hether the fL\ture should ahl'al's be at a perpendicular or parallel
placement. tllost e\pect some standard placement increment. usually eighteen inches bel\l'een instrument centers. but there is some debate about \I'hether measurement must be indicated bel\l'een aU fi\tures or if a scale on the dra\l'ing and some notation of l\1Jical placement is adequate.
Some designers elect to show focus at the front of the Lighting fi\ture, others think this unnecessari II' clutters the dra\l'ing. The plot mal' be hand or computelcdrafted, but bl' the end of an MFA
program there should be some clear indication of skills with CAD.
Rough lightplots also have a place in the portfolio. It can help the \ie\l'er understand the designer's
process bv showing the del'elopment of the design. The rough plot is pm1icularll' helpful when revie\\'ing the \\ork of a younger designer. so ule BA pOI1folio should definitell' include some roughs,
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CHA..\\EL HOOKUP and DltllMER SCHEDLLE
The channel hook-up is a listing of control channels for the Lighting fi\tures and contains the fol100I'ing information: Channel \umberlDimmer \umber. CircuitslDimmers. Instrument T~1Jes, Instrument Location (s), Color. Watts, FunctionlUse!\ame, and \otes. The hook-up should be l\1)ed
or computer-generated. The dimmer schedule would indicate the same information organized bl'
dimmer assignment. \I'hich may differ from channel assignment.

8. I\STRUME\T SCHEDlLE
The instrument schedule is a listing of each lighting instrument in the Ughtplot by position. It contarns the same information as the channel hook-up, but it is organized in a different fashion, inchcating the follOWing data for each unit: Lighting Position. Instrument \umber. Instrument T~1Je,
Watts, Channel Assignment, Dimmer Assignment. Circuit Assignment, Color. Focusllise. and 'iotes.
Theoretically since this information is organized by hanging position, electricians could use it to
hang a sho\l', The instrument schedule should be l\1Jed or computer-generated. By the end of an
MFA program there should be some indication of abilil\'to use common Ughting databases. such
as Lightwright, MacLu\, and Xenon,
9. PATC:..:,H. :::LI::::.S'.:. ,I'

The patch list is a listing of patch cues that indicates the cue number. \I'hat changes. and placement on the particular page number of the te\t. If the sl'stem is not dimmer per circuit then a
patch list for the entire shol'l' should be included as \I'ell,
10, ilL,\GIC SHEET and CHEAT SHEET
Sometimes referred to as a "cuing sheet." the magic sheet is a single sheet \I'hich aids the Lighting
designer in setting cues or adjusting light lel'els, The sheet is laid out I'isuaillto help the designer
remember holl' the lightplot is laid out and controlled. It's function is to accelerate the cuing process during technical rehearsals in the theater.
The cheat sheet is a Listing b\' channel that indicates \I'hat mi\tures are controlled bl' a particular control channel. Instead of being a graphic presentation the cheat sheet is alphanumeric.
It serves the same function as the magic sheet.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998