10621Re: [TheCostumersManifesto] costumes and lighting
- Sep 16, 2008Light and fabric/costume can be tricky. I am dress historian and
photographer. I take photos at fashion shows, reenactment events and
museums. Thank godness it is not film but digital.
Bo Persson, M.A.
Independent Dress Consultant & Researcher & Photographer
Skype name: bossep64
16 sep 2008 kl. 15.35 skrev Sylvia Rognstad:
> Live and learn. I thought I had been in the business long enough to[Non-text portions of this message have been removed]
> not have to consider this, but I realized I had been doing straight
> theatre without any special lighting for many years and had just
> forgotten about difficult interactions between gels and costumes. The
> director wants a warm look for one act of the show and that requires
> red and orange gels. Needless to say, I will be in contact with the
> lighting designer early on from now on!
> On Sep 16, 2008, at 8:09 AM, Cheryl McCarron wrote:
> > Hi Sylvia,
> > In an ideal world, there should be compromise on both sides. I once
> > picked an irridescent chiffon for a veil that looked like mud
> > I blamed myself for a poor fabric choice, but my lighting designer
> > immediately said, "No problem, I can make that look better." He said
> > he could easily change a gel to a slightly different shade which
> > make the costume look better, but still keep his original intention
> > with the lights. (I love working with that lighting designer!).
> > Honestly, I have never had a lighting designer tell me flat out that
> > my choices just won't work and I have to change them. I have had
> > them tell me that things might be difficult and we have worked out a
> > comprise where sometimes I have made a change and sometimes they
> > have. I think your lighting designer went about it poorly in
> > that her choices were more important than yours and therefore yours
> > would just have to change.
> > At least you don't have to rebuild anything. As others have
> > mentioned, meetings with the full design team and the director early
> > on can usually help head off stuff like this. In the absence of
> > meeting, I usually send a swatch package or a scan of the fabrics to
> > the lighting designer before I start my build.
> > Best of luck with the show,
> > Cheryl McCarron
> > NYC Fabric Finder
> > --- On Fri, 9/12/08, Sylvia Rognstad <sylvia@...> wrote:
> > From: Sylvia Rognstad <sylvia@...>
> > Subject: [TheCostumersManifesto] costumes and lighting
> > To: thecostumersManifesto@yahoogroups.com
> > Date: Friday, September 12, 2008, 10:16 AM
> > I had a very unfortunate experience last night with the lighting
> > designer on the rock opera I'm costuming and would like some input
> > from
> > other costumers who are perhaps more knowledgeable than I on
> lights. I
> > admit it's always been my weak spot. My designs have been finalized
> > for weeks, fabrics purchased and work underway. Last night was the
> > first run through so both I and the lighting designer were there.
> > took a look at my swatches and said a lot of them wouldn't work,
> > specifically the rusts, coppers and yellow greens, of which there
> > quite a few. Now I have to buy all new fabric for several costumes.
> > Obviously my question is--why can't she change her gels to make them
> > work? Are these just colors that shouldn't be put on stage ever or
> > what? I don't get it. Can someone enlighten me--no pun intended? In
> > retrospect of course we should have had a meeting several weeks ago
> > but
> > I think both I and the director assumed she would be working with
> > I had designed but she seems to be making it sounds like those
> > just won't work at all, period for anything at any time.
> > Sylvia R
> > [Non-text portions of this message have been removed]
> [Non-text portions of this message have been removed]
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