If you run around to all four published copies of the channel hookup, scratch out "37", and write "38" next to it in red ink, then so be it. In the "heat of battle," making sure that all the paperwork is updated and matches doesn't always translate into freshly printed out documents. If the paperwork isn't maintained, and if everyone doesn't have the same matching information, expect to waste time and effort on the resulting miscommunications and errant decisions based on inaccurate information. But it's an absolute necessity and a part of the technical process. Granted, the task of updating paperwork quickly becomes a time-consuming PITA chore (it becomes an assigned task for assistants on big shows). Out-of-date, or non-matching paperwork, is not a tool, it's a hindrance. And the document should be tailored to their preferences. If the document is used or referred to by others, they should be consulted as to the layout and content. While the lighting designer may initially construct the layout, he or she may rarely refer to that document again. Infrastructure documents include lists and inventories that are rarely referred to, but when they're needed, invaluable to have on hand.īrilliantly designed paperwork is useless if the people who use it can't understand it. These documents have few keys, legends, or notes their purpose is to jiggle personal memory banks. These documents usually provide details that don't need to be shared, so they're rarely distributed to anyone other than associates. Private documents, on the other hand, often use personal shorthand and shortcuts, and without explanation may be confusing. Keys, legends and notes provide hints for comprehension. A light plot is a public document it's designed to be distributed, viewed and understood by others without you being present to explain it. Public documents are constructed in such a fashion that, not only do they contain information, any explanation required to understand the information is included in the same document. Lighting paperwork can also be sorted into three classes: Public, private and infrastructure. These include light cue sheets, followspot cue sheets or board operator sheets. The third category consists of forms that, when filled out, provide a record of actions taken. This ranges from the instrument schedule and the channel hookup, to the shop order, the color-cutting list or the lineset schedule. The second category is information presented as sorted lists. The first category is graphic diagrams, which includes the light plot, the section or the magic sheet. Lighting paperwork usually falls into three categories. Before doing so, though, it's worth reviewing paperwork categories, classes, axioms and goals.
LIGHTWRIGHT 6 TORRENT SERIES
This series of articles will examine some examples of touring paperwork. Touring paperwork isn't discussed that often, and it offers many lessons that can be applied to a variety of lighting situations. While the equipment and systems involved in a show impact the amount and types of lighting paperwork needed for that production, there's also basic differences between the paperwork used to create a show from scratch and replicating a production on tour. Many things can visually change what's seen in a show, So keeping track of, modifying or recording information about a lighting design requires many documents for the different visual components of the design focus charts, light cues, followspots, preset sheets, sidelight colors in dance, deck sheets and so on. Theatre lighting is usually not a static design form. Archiving a complex production, on the other hand, can quickly produce enough paper to fill numerous three-ring binders. For a simple show, paperwork may be limited to a few sheets of paper detailing the "recipes" used to create the lighting, hang the soft goods or tally the costume pieces. Aside from speech, it's the primary device to communicate or recall overall and specific elements of any production. Paperwork is an integral part of theatre.
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