![]() ![]() ![]() Ribbed hem provides a snug fit that stays in place.Streamlined hood for low-profile coverage and added warmth.It can be worn alone, but we recommend you layer it under other clothing during your workout. This style is made from lightweight fabric for excellent breathability and is designed to be worn as a first layer. STAY DRYĭri-FIT fabric helps keep you dry by moving sweat away from your skin. The soft jersey fabric is made without seams for a smooth feel against your skin as you move. At the same time, under-sleeve and side mesh panels provide ventilation in high-heat areas. The hood, lower arms and body feature thermal textured areas to help keep you warm when you're training in cool weather. ![]() See Lighting Design: The Process for the thinking behind each of the stages of the design.The Nike Pro Hyperwarm Limitless Hoodie offers a sleek, comfortable fit and helps maintain your ideal body temperature during outdoor workouts. Purpose: A list of the lighting changes required during the show. On clearance, house lights out and crossfade to light through windowĮnd of scene 1, check down to doorway as they exit The complexity of this will vary according to the needs of the show. LIGHTING PLAN (UK) known as the LIGHT PLOT in the US When set, general state for scene 2 – dawnĢ. Purpose: A layout (in plan view, from above) showing the individual lanterns, the bars on which they’re hung, their dimmer number, colour and any focus notes, drawn to scale. The complexity of your lighting plan depends on how much time you have, who you need to communicate with, and the complexity of the show. Stage 1 – Once you have the cue list and a plan of the set, and have a clear idea of what is needed for the show and what the lighting needs to do, you can draw a pre-plan. This is a roughly-drawn plan view of the stage, showing the areas that you’ve broken the stage into, and any pieces of set that need lighting. Use arrows to show where you want light to come from in each area.ĭon’t worry about which type of lantern you want to use at this stage. Stage 2 – The next stage is to draw a sketch of the rig, with arrows placed on lighting bars (or in other potential lighting positions) showing where you need lanterns. Again, don’t worry about types of lantern at this stage. Stage 3 – Once all parts of the show are covered and you have lanterns in place to do all of those jobs, you can start allocating equipment to each job. Use coloured pens or other codes to identify which jobs are to be shared by a number of lanterns, so that you can see how many lanterns of each type you need. For example, the lanterns doing the general wash from a particular location should all be the same, to ensure it looks completely even. All of the hard-edged spots that appear on stage together, should be the same type / wattage of lantern so they look identical. In the days before computers, the options were limited. You had a number of different plastic templates to choose from, which contained many of the popular symbols. Drawing the plan involved marking out the lighting bars first in pencil, then drawing the symbols. Computer-based plan drafting has simplified the process considerably, and also automated much of the paperwork that is associated with a lighting design. The standard software for theatrical lighting plan drawing is either Vectorworks or WYSIWYG. Both packages are expensive, and have learning curves. You can also use Capture software to produce a lighting plan. A more straightforward option is LXFree, which enables the production of a perfectly good plan for smaller projects. When drawing the symbols onto the plan ensure you leave enough space around the lantern so that when rigged, it can be focussed in the appropriate direction, and to allow the focusser to get their hands wherever is necessary. ![]()
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