The other day I was loading in the week 4 DCPs with the help of the amazing Gabri. While focusing one of my pipe ends we were all struck by how stunning it looked with all the other lights off.The color was a deep and vibrant red, R26. I had always intended to use this color in my show, but after seeing it by itself, I ended up having a cue where there was only one other light on besides my red pipe ends. I also added an opposing red pipe end after seeing how cool just one was.
This is the kind of angle and color that I would usually expect to use only as a tonal in most shows. However, since I've been shooting for a more slapstick, melodramatic feeling in this show, using this a a source for short periods of intense action proved very effective for me.
PS: If y'all have nothing better to do on Halloween night at 8pm (or more reasonably the day after at 2pm or 8pm) then come see the week 4 DCPs in the Nixon theater! Lighting designed by yours truly, stage managed by the fabulous Holly and fantastic Gabri, and directed by Shin Shin Tsai and Kym Butler.
The plays are "Here we Are" and "The Way of All Fish."
Way to make a statement! Saturate red pipe ends are an extreme statement, I'd be very interested in seeing how these work with your (I'm assuming this is the slapstick office we were talking about a week or two ago?) bland office. :) It's always nice when we like the choices we make and are excited by the prospect of them working nicely in our storytelling! (and having a great friend/support group to help out and work with!)
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