For Judy's Scary Little Christmas, we needed versatile colors that were saturated and punchy without sacrificing intensity. R3202 and R3208 provided clear front and sidelight, and R54 brought a hint of color into naturalistic scenes. R358 and R27 filled the stage with rich color, and R368 offset the color systems with a cool back wash.

I'm a Freshman in college and going for a BFA in theatre design, and this was my first (semi) professional gig and first musical ever. It was incredibly stressful and difficult considering many limitations, but the end result was absolutely beautiful. I'm extremely proud of my work, and I'm looking forward to a life long of making things look pretty!

A Thumbnail from a student directed short film. This was part of a three-day film challenge given to students. The goal was to create a narrative revolving around a central theme within the time allotted. This short film showed a young man going through relationship troubles with his significant other.

Picture one is the mission scene. The cyc is lit with R384 (midnight blue) from the top and bottom using Altman sky cyc on the top, and Altman floor cyc on the bottom.

Picture two is the street scene, lit from the bottom using R029 (plasa red) blended with R384 (midnight blue)

Prospero is casting a spell over and suspending the sailors she has captured. The use of color in this scene takes up to a magical place and helps to identify who is under the spell when. The scene concludes with the spell being removed, the sailors falling to the floor, and a quick color shift to the second image.

Designed to tour with a very small crew, and very little preparation time, this show uses color for large impactful moments, using small number of instruments. An uncorrected, but frosted front light provides the basic illumination. Strip lights in yellow and pink illuminate a transparent backdrop, allowing for shadow play. Saturate reds accentuate the murderous emotions that are discussed in the play, but are balanced in more peaceful scenes by a cool blue wash. A small play, with only 20 channels of control, but a lot of emotion, and the color to back it up.

Photo 1: Being on a very low budget, I had to be the stage manager, sound and light op.

Rehearsal of "Heart to Hart" from '9 to 5'

I was on projection design, not lighting. Color was custom - called it 'lusty pink' as a running joke among crew.

In the dream sequence in Fiddler on the Roof, it is important to disconnect the sequence from the rest of the natural show since it is a dream. Many read the scene as scary, but I believe it should be fun and show Tevye's hand in the dream the entire time. R56 gave a non-realistic effect while still being warm and fitting in with the rest of the show. R56 was also used to spot Tevye whenever he talked to God so there was the continuity with Tevye as well.

This Photo was taken during a rehearsal for our VBS at our church. The music, sound, and lighting were all very much like a live concert. We used gels over our spots for back lighting and frontal washes. These gels used with our other lights were able to create different moods for different songs and speakers.