The Theory of (Lighting) Everything

I’ve been crafting a series of posts on the intricacies of rigging lighting, sound, and audio for various events. This collection has evolved into a mini-series, offering a glimpse into the unique setups required for different types of venues. Should you wish to delve into them, please feel free to explore the posts listed below (note that this list will refresh automatically with each new release):

In a few of the posts above I have touched upon different segments of my theory of lighting everything. I thought It might be a good idea to have them all in one place. Feel free to use any elements of the content below if you are designing a rig or studying at college or university. This theory is a work in progress and I’d love to hear your feedback and what you would add or remove from my theory. Either drop a comment at the bottom of the page or reach out to me on social media (links in the footer). So without further ado let’s get started.

The Theory of (Lighting) Everything

Perhaps it’s a bit of personal bias, as I’ve been involved with lighting events since my early teens, but it irks me when the lighting at an event seems to prioritize stage colours over the performers themselves. This is the reason my lighting rig designs incorporate various types of fixtures such as washes, specials, effects, and decor to enhance both the performers and the stage. Let’s have a look at what I mean by Wahses, Specials, Effects and Decor.

Washes

A stage wash is a fundamental lighting technique. In the pre-LED era, a variety of fixtures would blanket the stage in a single colour, which would then be layered with additional colours required for the performance. Alternatively, a savvy lighting designer might set up four washes in Cyan, Magenta, Yellow, and White (choosing either warm or cool tones to suit the production) to mix and create the desired wash hues.

With the advent of LED lighting, however, the process has been simplified. Now, typically only one LED wash is necessary because its color can be altered using the fixture’s features. Despite this, I occasionally specify multiple washes even with LEDs, as I’m fond of the dynamic effect created by one light dimming while another brightens—a technique known as chasing. But this isn’t always feasible or necessary, depending on the show’s power, space, and budget constraints.

Specials

Specials are lighting fixtures designed to illuminate a particular area, set piece, or individual. In the past, or when budget constraints made moving heads unaffordable, multiple spotlights would be used to achieve the desired lighting effect, with either a soft or hard focus depending on the intended aesthetic.

For smaller setups, I prefer this approach to keep things simple. However, for larger setups where the budget allows, I would incorporate a few moving heads.

Effects

Effect lighting, like spotlights with gobos or water effect generators, is designed to create a specific ambience or mood. While these lights can significantly enhance a scene or performance, it’s important to use them sparingly throughout the show. This ensures that their impact remains unique and doesn’t become a common occurrence that loses its special appeal.

Decor

Decor fixtures can include light-up set pieces, battens, and panels that are used throughout the set primarily to inject vibrant colour and create a visually appealing atmosphere.

In the context of a music event, these elements can be synchronized with the music to produce stunning effects that enhance the overall experience.

The Fixtures in Detail

After exploring the different types of fixtures, it’s time to examine the details of each fixture. From the ambient glow of general lighting to the focused illumination of task lighting, and the dramatic emphasis of accent lighting, each fixture plays a pivotal role in the design and functionality of a space. Understanding the nuances of these fixtures can significantly enhance the atmosphere and utility of any environment.

Fresnel

Fresensls are used to create a controlled wash of light across areas of the stage. To cover a full stage you would use multiple fixtures with at least one, but preferably two or three, covering each area, as shown on the diagram below.

Upstage Right	Upstage	Upstage Left
Stage Right	Center Stage	Stage Left
Downstage Right	Downstage	Downstage Left

When it comes to halogen bulb fixtures, the number of fixtures can quickly add up. You’ve got your base wash, typically L103 Straw, which is used for general-purpose scene lighting. Then, you add on more washes for each colour your show requires to be added into the mix. But here’s a clever trick: just add three more washes – L116 Medium Blue-Green (Cyan), L113 (Magenta), and L101 (Yellow). You can mix these colours together to get the desired colour. If you have a computerised desk, I have, in the past managed to create some customer generic fixtures for the patch that have three DMX channels (Cyan, Magenta, Yellow) and been able to control them using the lighting desk’s built-in colour mixing features to great effect.

The recommendation of two or three lights per stage area is to ensure comprehensive coverage and even lighting for performers. Utilizing two lights from the front for one area creates cross-lighting, which avoids flat, pancake-like appearances. The addition of a third light from behind provides backlight or hair light, creating a halo effect that makes the performer stand out against the background.

Profile

Profile lights, often referred to as spotlights, are instrumental in illuminating specific stage areas or objects. These lights typically feature slots for a Gobo holder and an Iris. With a bit of luck, you’ll have the ability to adjust the lens, altering the beam’s size and focus to achieve a soft or hard edge as desired.

Additionally, profile lights are quite versatile and can be positioned Front-of-House. They are capable of projecting their beams over considerable distances, which proves extremely useful when you prefer to keep lighting fixtures out of the audience’s view while still illuminating the performance area effectively from the front.

Wash

Wash lights live up to their name by blanketing the stage in light. Without barn doors, the beam scatters freely, but attaching them allows you to shape the light’s trajectory. Ideal for casting a glow over large spaces like a cyclorama at the back of the stage, or creating striking uplighting from the stage’s perimeter, these fixtures bathe the stage in a warm, even light.

Parcan

The Parcan, similar to a floodlight, bathes an area in light with its distinct oval-shaped beam. You can give the bulb a twist in its housing to change the oval beam’s direction. Perfect for splashing vibrant colour across a space or conjuring up beams of light that cut through smoke or haze.

If you take a trip down memory lane and watch some vintage concerts, you might be surprised by the on-stage spectacles crafted entirely from parcans. For a blast from the past, feast your eyes on Queen’s Live at Wembley—it’s a shining example.

Moving Fixtures

Next up we have some of the more fun fixtures. The Moving Fixtures, sometimes called Intelligent fixtures, Moving Heads or Moving Mirrors. These fixtures can have the same characteristics as the fixtures above but a part of the fixture will move, usually the main head unit. This enables you to create so amazing scenes and effects using the movement capabilities of the fixture.

These fixtures don’t always need to be moving though and I have been a part of plenty of events that use these fixtures in a static configuration but occasionally move them to move a wash or a gobo to someplace else on the stage.

Over the last few years, there has also been an increase in Moving heads with a high light output being used for follow-spotting using belt backs or AI to track a performer.