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SCENE & LIGHTING SEQUENCE ACT ONE
SCENE 1 RANCH HOUSE SCENE 2 SHERIFF'S OFFICE SCENE 3 RANCH HOUSE
( 1-17) EARLY MORNING (17-24) AFTERNOON (24-39) TWILIGHT
(AS SCENE BEGINS GROWS
DARKER DARK BY THE TIME
STARBUCK ENTERS)
Fig. 5. "Rundown" or scene sequence and lighting sheet.
in the control room he will not be able to use it. He can't follow a script while critically observing pictures on the control room monitors. Instead, he marks up his cues on the rundown sheet and goes by that. Then, he memorizes his cues for light changes, and depends on the notes in his rundown for any additional help he may need during the show.
The clutter of confusion in Fig. 6 is what the studio looks like at 9:00 a.m. on the day of the show. This is when the lighting director pauses to reflect on his way of life. His thoughts run something like this, "By air time tonight it's got to look good, because you're going on, and there are no retakes in this business." The scenery has been put up during the preceding night by a night setup crew. However, the dressing of the sets, such as adding the pictures, the drapes, and all the detail, is to be done during the day.
The lighting director has four electricians to work with for this show. One of the electricians goes up on the board to patch in the circuits and set up the switchboard. The fly man meanwhile operates the manila ropes and the counterweights to adjust the height of the pipes for that day's show. Another electrician starts hanging lights. The scoops or floodlights which supply the base or fill light, are in a ring around
the front of each set. These go up first in all sets so that the actors and the cameras can see to rehearse.
The lighting director knows from his dry rehearsal of the day before what sets are going to be rehearsed in next, so he lights an idle set. When the actors get ready to move into that set he moves out to another set and comes back and finishes later, if necessary. This means a lot of movement; but the lighting is being done on the same day as the show, and not taking up a second day or night in the studio.
By 11:00 o'clock rehearsing with cameras starts. The actors are in and the show is fully rehearsing. From 12:30 until 2:15 is devoted to what is called blocking the show. The cameramen are told where to put their cameras for the shots, everybody takes time to lay out each shot, actors are positioned right, and then, later in the day, all the shots are put together and run through with continuity. From 2:15 to 3:15 the camera crew and the actors eat; and during this time the lighting director (he has eaten earlier with his crew) takes over and has the whole studio to himself and continues his lighting. From 3:15 to 5:30 blocking the show is continued.
During blocking and while he is lighting, the lighting director glances at the picture monitors on the studio
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March 1954 Journal of the SMPTE Vol. 62