I’ve skipped out on details many times, and the show goes fine 🙂. Most symbols will fall on horizontal lighting positions, which are easy to see on the 2D CAD.įor vertical lighting positions (sidelight pipes, booms, etc), it’s best to note the position on the CAD, and then add in a detail drawing to the side which shows how it should lay out vertically.Īgain, it’s really helpful if you can indicate all of these things, but it’s not 100% necessary if you are going to be doing the hang yourself.
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The light’s channel patch number, and/or console fixture number.You’ll also want to show which direction the light is pointing if you can.īelow or above the symbol, you’ll want to indicate a few things: If you need the lights hung another way, be sure to make a note and represent it visually as best as you can. By default, a light placed “on” a truss or pipe is hung straight down, pointed towards the stage. Moving each light into the plot, you’ll orient them where you’d like them hung. In a pinch, you could even use a graphics program to create a “not-to-scale” drawing. Start by creating a legend, which lists each symbol and names the fixture type. Ideally, you’ll use some sort of CAD program (such as NanoCAD, LXFree, Drafty, or something similar) to layout each type of light as a unique symbol. In this case, you don’t need to go into tons of detail, but it does make your life easier to include the basics.Ī light plot can be as basic as some arrows on a napkin. You might even be the person doing it yourself! (I’ve been there!) If you’re working on a smaller production, you’re most likely going to be there for the fixture hang.
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I’ve designed professional plots, and they take a lot of time to get right!īut, this is key, as most often the lighting designer isn’t present during the hanging of the lights, and it’s got to be done right! While a professional plot can look very complex, yours doesn’t have to be – especially if you are doing community theatre or something similar. It is typically done from an overhead view.ĭoes it have to be fancy? No, it doesn’t. Simply put, a light plot is a plan from the lighting designer (that’s YOU), that shows the crew what types of lights to use, where to place them, and any focus notes. What Is a Light Plot? (and What Are All The Labels On It?)
It doesn’t have to be complicated, and it doesn’t have to be intimidating. While I was intimidated the first time I sat down to make a plot, you don’t have to be. And while he showed no desire to design, he also wanted to push us students into a box of “theatrical rightness”…and that was intimidating!įast forward, I never met his expectations, but I learned a lot – especially about making a plot! (and hey – that rhymes!) The school had a tech guy who was supposed to watch over us and advise us. By design, I really mean “tweak” the current layout, but I was excited to do so, nonetheless.īut I had one obstacle. The multi-generational family band-consisting of brothers Ed Cash and Scott Cash, Ed’s daughter Franni, his son Martin and dear friend Andrew Bergthold-grew roots when the Cash brothers were just kids.I was really, really intimidated the first time that I created a light plot.Īt the time, I was in high school, and I was tasked to “design” the lighting for our fall production. Their dad played guitar, and their mom played piano, resulting in a home filled with music. However, when they each became fathers, the dream of being an artist was relegated to put on the back burner.ĭespite there being an eleven year age gap between them, as both Ed and Scott entered their teens and early 20s, they embarked on similar individual journeys as touring artists and had the opportunity to be deeply involved in the ministry of Young Life. Instead, behind the scenes, Ed went on to become an award-winning songwriter and producer, steering records for artists like Chris Tomlin, Crowder and Bethel Music and co-writing timeless songs like “How Great Is Our God,”“Amen (Because He Lives)” and “All My Hope,” among other hits. After stepping off of the road to spend more time with his growing family, Scott began working with Ed writing and producing, and the brothers have written many songs together including “Whom Shall I Fear (God of Angel Armies)”. Though no longer pursuing careers as artists, both brothers continued to lead worship and remained involved in playing music at Young Life camps.
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They never could have imagined how, years later, God would bring their artist dreams full circle in the form of a family band. “I think many producers are, in some way, closet artists,” Ed attests.
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