Accurate focusing is the key to the success of the lighting design. Each and every luminaire must be carefully and precisely aimed and focused so that it lights the required area in the way the designer wishes.
Focusing is a long and drawn-out process which requires full concentration of all participants. It must be done on an empty, dark and quiet
stage
with no
interference
of other technical crews such as
stage
hands working on scenery, or sound technicians. Focusing should be done by experienced technicians who are well-acquainted with the luminaires being used and with the focusing procedure, otherwise focusing can take an eternity.
The order in which luminaires are normally focused is by lighting position and not by function. This method is much more time efficient, as the technician merely moves the
ladder
along the pipe from one luminaire to the next, focusing them by hanging order regardless of their function. If there are scenic elements which change during the show or from one act to the next, the light must be focused by
scene
with the scenery being changed for each scene.
There are a number of methods of focusing. Most lighting designers prefer to stand in the lighting target area with their back to the light, a position which enables them to observe their own shadow and the light
pattern
on the floor (if you are average or less in height, lift your hand above your head to ensure that the light covers tall actors). Alternatively, the designer can stand sideways, with his hand lifted to face height and the light focused on his hand. In this way the designer can see the effect of the light without being blinded.
Dan Redler (the author of this site) in a focusing session
If necessary, one of the crew members can be asked to stand in the light so that the designer can see what the color and angle look like on his or her face .
The practice of looking into the
light source
in order to locate the luminaires
hot spot
is harmful to the eyes and should be avoided .
When focusing luminaires on a piece of scenery or a backdrop, the designer stands downstage, where he or she can observe the effect of the lighting.
When focusing is completed, each channel should be brought upon the control board, and the combined effect of groups of luminaires checked. Thus, for instance, acting areas which are designed to overlap and create an even wash of light, should be brought up together to
check
the overlap and uniformity of the wash. It is also a very good idea to
check
the compatibility of different lighting groups by bringing up combinations of lighting groups, such as scenery washes with front light.
Any changes and adjustments to the
lighting rig
made during focusing must be updated on the lighting plot and in the relevant lists. In addition, the direction and the exact focus of each luminaire is noted on the focus chart as it is focused.
Instrument Type
Dimmer#
Circuit#
Color#
Hanging Position
Focus/Purpose
Notes
21
FRES. 1000
31
102
OW
LX4
Front AA USC
Overlap
22
FRES. 1000
32
102
OW
LX4
Front AA USC
Overlap
23
FRES. 1000
33
102
OW
LX4
Front AA USC
Overlap
24
6X9
52
35
161
LX4
Top Bed Night
Cut off bed
25
6X9
55
35
161
LX4
Top Bed Night
Cut off bed
26
PAR NSP
147
106
134
LX4
Back Sofa
Not on table
The focus chart indicates the direction and focusing of each luminaire or group of luminaires and can be graphic, textual or a combination of both .
Focus charts will be made by the lighting designer's assistant, by the show's lighting director, or by the
stage
manager.
