I am doing a live-switch for the first time at the end of May. The event will be an on-stage beauty pageant performance. The stage setup is about 40'-50' wide by 20'-30' deep, and will be about 3' off the floor. The previous videographer provided the lighting for the stage, and the same will be expected of me. He (the previous videographer) used 2 light stands with 4 PAR lights on each, located at the front corners of the stage. The result seemed okay, but you inevitably end up with an obtrusive light stand in your shot. Plus, I am sure there are more professional options available - probably at a higher premium.

Can anyone offer any suggestions about lighting to consider? I am leaning toward PAR 64 lights, but don't know if it really makes a difference between the different PAR versions (38,56,64). I am really unfamiliar with the types of lighting available and what would be best suited for what I am doing, so I was hoping for some suggestions. Thanks.

However look at the ceiling for places to mount lanterns ect
Do a floor plan.. think pars.. maybe some banks

remember that they will hopefully have some lights going too so check with the lighting person at the venue.

You can look at the floor as well as ceiling for places to place lights.. esp on the spin and walkway end.

Peace out

r






I am doing a live-switch for the first time at the end of May. The event will be an on-stage beauty pageant performance. The stage setup is about 40'-50' wide by 20'-30' deep, and will be about 3' off the floor. The previous videographer provided the lighting for the stage, and the same will be expected of me. He (the previous videographer) used 2 light stands with 4 PAR lights on each, located at the front corners of the stage. The result seemed okay, but you inevitably end up with an obtrusive light stand in your shot. Plus, I am sure there are more professional options available - probably at a higher premium.

Can anyone offer any suggestions about lighting to consider? I am leaning toward PAR 64 lights, but don't know if it really makes a difference between the different PAR versions (38,56,64). I am really unfamiliar with the types of lighting available and what would be best suited for what I am doing, so I was hoping for some suggestions. Thanks.

Is this a fixed stage venue or one of those portable stages?
Are you providing all of the lighting, or are you augmenting the stage lighting?
Richard has you heading in the right direction. The other bit that I would add is that if you have to work from the floor, then larger/more lights can let you place your instruments further back.

What you describe is hardly a small stage: it' as large as some on broadway.

I assume the lighting has to work for the live audience (at least I assume a live audience) and video and that's a tall order.

Take a look at: http://www.mts.net/~william5/sld/sld-200.htm

and http://www.mts.net/~william5/sld/sld-500.htm