Lighting angle of stage lighting design

light angle

Now that you know the types of lights, you still need to decide on their placement. The position of the hanging light is called the "light angle", which is the position of the light relative to the actor. There are the following five basic lighting angles in the performance:

Surface light, backlight, side light, top light, foot light,

Visibility is the primary goal, so we first explore the angles that provide the best visibility, and then look at how changes in light position can introduce shadows and achieve other goals. "Face gloss" comes in several forms, each slightly different.

1. Plane surface light

Plane surface light

This is lit directly in front of the performer at eye level (or as close to eye level as possible). This angle is rarely used for facial lighting. In most theaters, lights installed on balconies or bridges fall into this category.

Pros: Visibility from this angle is great because there are no or very few shadows on the actor's face. If an actor wears a hat, light can pass under the brim, eliminating strong shadows on the actor's face. This is an optimal position when using a projection lamp because image distortion is minimal.Disadvantages: When lighting from this position, it is almost impossible to avoid casting huge shadows of the actors onto the set or background, and it is difficult to eliminate. When an actor or object is lit directly from the front, it will appear flat. Not all theaters have this lighting position, usually only theaters with balconies.Since the huge shadow cast by the actor is difficult to eliminate, in order to avoid shadows as much as possible, the lighting position is usually raised to minimize the shadow cast by the actor. The greater the elevation angle, the smaller the shadow cast by the actor.

2. Front 45º

Front 45º

Most theaters may not have a "level ahead" lighting position, which would create harsh shadows, so most front or face lighting in a theater will be in a slightly elevated position. By raising the light to an angle of approximately 45° above the actor's eyeline, this provides good visibility while also providing reasonable light blocking of shadows behind the actor.This angle is also closer to the angle of sunlight, so it looks very natural on stage. Raising the light can introduce some natural shadows on the actor's face (a little below the nose and chin). Shadows help present form and are more beneficial to the stage.This is the most common lighting position for arched stages. These are the lighting locations for the auditorium, sometimes called the FOH (front office) bridge. This is the best lighting angle for surface lighting, and this lighting position should be preserved as much as possible regardless of the stage or theater layout.

Advantages: Most theaters have this lighting position, which can provide good surface light coverage. This angle not only allows for good visibility, but also helps to shape the face and achieve the goal of "presenting form" as it casts a small amount of shadow on the face. Hanging the lights higher reduces the shadows behind the actors, which are controlled to the stage floor where they are easier to manage and look more natural.

Disadvantages: Despite the introduction of some shadows, actors can still appear somewhat flat on stage.

3. Front 45º / 45º

Front 45º / 45º

Where possible (depending on available equipment and hanging location), it is common to raise the light to a 45° angle and offset it 45° to one side. This position is then mirrored so that an equal amount of light comes from the other side; in other words, the actor is lit from both sides at the same time. This is called "front 45-45", based on Stanley Mack Principles of lighting proposed by Stanley McCandless (first published in 1932). Typically, one light is "warm" (light amber) and the other is "cool" (light blue). The FOH light position used here is the same as the single front 45 method.

45° elevation provides good visibility. Positioning the light 45° off its axis introduces more shadows on the face, so the position also serves the purpose of bringing out the form.

Pros: This angle is very popular when lighting plays, where visibility and the ability to see the actors' faces are critical. The 45° angle provides excellent visibility, and the two different shades contour the face and provide good presentation.

Cons: There may still be some unnecessary shadows cast onto the set, especially above the stage. In addition, not all equipment can necessarily achieve a 45° offset from the FOH bridge, as the bridge needs to be wider than the auditorium. Lighting design is not just a matter of visibility. The lighting designer is also responsible for ensuring that the actors (as well as the sets and costumes) look as good as possible (even better than reality!) and that they look like three-dimensional objects in space. Surface lighting provides good visibility, so let’s look at some lighting angles that focus more on “presentation” goals.

4. Side light

Side light

Because side lighting only illuminates one side of the performer, while the other side is completely cast into shadow, side lighting has an excellent sculpting and shaping effect and is the preferred angle for dance lighting.Side lights are usually mounted on booms or "trees" on the wings of the stage, and it is not uncommon to install multiple fixtures at each location. Side lights are also mounted on floor supports, but this often results in injuries to the dancer's shins.Typically, imaging lights are the fixture of choice for side lighting because they offer the most control over light. By using a built-in cover, the light can be completely cut off from the floor, creating a "floating effect." Sometimes, Fresnel lamps or PAR lamps can also be used, but control of beam quality will be sacrificed to a certain extent. LED light strips like the ColorSource Linear are also very effective as side lights if mounted vertically.

Pros: While this angle provides a certain degree of visibility, its main advantage is its sculptural properties. Side lighting creates strong shadows, and this high contrast gives performers or scene objects a true three-dimensional feel. When the side light is mounted on a boom, its shadow falls onto the wing opposite the stage, so there is no need to worry about shadows falling onto the set.

Disadvantages: If the only light source is side lighting, actors may cast shadows on each other when standing in front of the light. There is rarely only one side light on the stage, and the overlap of other beams will alleviate this problem to some extent.

5. Backlighting

Backlighting

Lighting actors from behind is one of the most effective ways to ensure that they appear as three-dimensional objects on stage without blending into the background. Backlighting creates a halo effect around an actor's head and shoulders, giving the actor body and shape and distinguishing them from the set. Backlighting helps create depth on stage.Backlighting is also a great tool for creating a stage atmosphere. You can choose a more saturated color because it won’t affect your skin tone. In addition, due to the principle of "the angle of incidence is equal to the angle of reflection", the audience feels the color of the backlight. Because this light is directly reflected from the stage to the auditorium, the change in the color of the backlight is obvious and changes the atmosphere of the scene. good idea.The backlight is usually mounted on an overhead light pole, and when possible, the backlight should be positioned approximately 45° behind the actor, making it a mirror of the face light position. Of course, in reality there may be limitations due to the location of the light pole or set.

Pros: Backlighting has a great sculptural effect on stage and is an important part of any design. Backlighting creates a sense of depth on stage and is a great way to introduce more saturated colors into your lighting design without affecting skin tones. Backlighting is more easily perceived by the audience and reflects onto the stage floor, making it an effective way to change the mood of the stage. The topic of how color can be used to change the atmosphere is explored in the Color section.

Disadvantages: Backlight has very low visibility in terms of surface light and is rarely used alone. Backlighting can cause some dramatic shadows on the floor in front of the actors, and care should be taken when focusing to ensure that the backlighting does not shine into the eyes of audience members in the front rows of the theater.

6. Top light

Top light

The advantage of top lighting is that it provides the best control over shadows. The light is directly above the actor, and the shadow will be cast directly below the actor, so there is no need to worry about shadows on the set or backcloth. Toplight has similar characteristics to backlight in that it has a good sculpting effect, but it casts large shadows under the eye sockets and nose, making it difficult to see the eyes and mouth. Top lighting is often used for "special effects" to effectively isolate characters on stage. When using high-intensity top lighting, the shadows on an actor's face can appear slightly unnatural and difficult to remove. Certain highly saturated colors can be used for top lighting. When the brightness is high, a certain amount of light will be reflected from the floor and illuminate the actor's chin. Advantages: Top light creates minimal shadows on the stage floor. Depending on the finish of the stage floor, the overhead light will sometimes reflect a soft upward light onto the actor's face. The engraving effect is similar to backlighting, but should be used with caution. If lighting on a traverse, progression, or amphitheater stage, toplighting often replaces backlighting, allowing the use of more saturated colors.Disadvantages: When used in high brightness, it casts strong shadows on the face that are difficult to remove.

7. Footlights

Footlights

Footlights are usually used for special effects. In the era of gas lamps, footlights were the main angle used because the gas lamps would follow the front edge of the stage and illuminate the actors upwards. This angle is less common today and is often referred to as a "footlight."

The light cast by footlights does not look natural at all because we are so used to light coming from above (the sun or lights on the ceiling of our home or office), so when the light comes from below it can appear unnatural and even scary !Footlights are usually located at the front of the stage. Some stages will leave space on the stage floor for footlights, and sometimes the set designer will need to leave space for footlights in the set design. Footlights tend to be smaller in size because they need to be able to fit in tight spaces without blocking the audience's view of the stage. A light stand like the ColorSource Linear can also be used as a footlight. Not all upward lighting has to be placed at the front of the stage. All positions lit from below the actor are considered footlights.Why use footlights if it looks unnatural? There are a few situations where uplighting is really effective. If the actor is wearing a wide-brimmed hat, then using some low-intensity footlights can eliminate the shadows the hat casts on the face. Campfire scenes can also use footlights: the footlights illuminate the face from below, coupled with an amber filter and flickering effect, you can achieve the realistic effect of a person sitting by a campfire!

Advantages: Footlights are often used to create a dramatic effect, casting shadows on the background and creating a fire effect on the stage. When used in low light, it can also remove shadows on an actor's face caused by wearing hats.
Disadvantages: Footlights, if used alone or with high brightness, can look very unnatural and cast large shadows on the background that are difficult to remove if not intentional.

Distribution and Targeting - Careful selection of light, location, and focus will achieve your goals of visibility, presentation, and information. By adding color, you can also start thinking about mood and compositional goals.

·visibility. Making sure the stage has good surface lighting coverage is key to seeing the actors clearly. Surface lighting (flat surface lighting, front 45° or front 45°/45°) and side lighting are both good options. It’s also helpful to use lights with precise beam control. Imaging lamps are usually used, but Fresnel lamps are also common.

·Presentation form. Careful placement of FOH lighting can help achieve this, but backlighting, sidelighting, and toplighting are also often required. Depending on the area that needs to be covered, imaging, Fresnel or PAR lights can be used.

·Ambience. While ambience is primarily achieved through color and brightness, the type and focus of the lighting can also have an impact. A light with a steeper angle and more pronounced shadows will create a different atmosphere than a light with softer light and more even illumination. Likewise, areas with more light will look different than areas with less light.

·information. The choice of equipment and its emphasis will have an impact on the setting of the scene. If you were to introduce any form of projected image, imaging lights would be the only option. The angle at which light hits the stage (or actors) can also convey information. A steeper angle may suggest midday sun, while a lower angle may suggest sunset. Light with wider coverage is more suitable for expressing sunlight, while light with more restrained coverage can be used to express pools of light under street lamps, etc.

·Composition. All the above elements work together to create the overall composition of stage lighting.