[SML] Gel colors for Sweeney Todd

[illuminati500]

I think that your director says “harsh” but you use the words “Fleet Street Murky” which are two different things really. To me harsh means point source lighting on the one hand to give hard shadows and not much light or alternatively, a completely even and unremitting wash such as you might get from a bank of fluorescent strips. Murky, on the other hand is dark and  monochromatic which you might get from some SOX low pressure sodium lights. You get that genuine street lights effect. As an alternative you could use a bare lamp like a ghost light to make deep black shadows and little to make the foreground stand out from the background





> On 21 Apr 2017, at 15:05, Stephen Litterst via Stagecraft <stagecraft at theatrical.net> wrote:
> 
> On 4/20/17 6:21 PM, Don Taco via Stagecraft wrote:
> 
>> Tone the colors down so that the direction of the lights, and the
>> shadows, can actually be noticed. Let go of the notion that nice
>> definition and visibilty of the actor's faces is valuable, and work with
>> a harsh key light and almost no fill. Use some floods on the set to
>> create separation from the actors, instead of down or back lights.
> 
> We did a show once where the director wanted it to look like film noir. The LD ended up using the Rosco Calcolor series (4915, 4930, 4960, 4990) to keep the lighting monochromatic, but with variation in saturation. Then she did some of Taco's techniques to create shadows and separation.
> 
> Steve L.
> 
> -- 
> Stephen Litterst            Technical Operations Supervisor
> litterst at udel.edu           Mitchell Hall
> 302/831-0601                University of Delaware
> 
> 
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