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  • Design rules for materials in professional sound engineering
    News classification:Industry information   author:admin    Released in:2017-04-254    text:【】【】【

    Young people in the professional audio engineering could be innovative lighting design as a dangerous road, because in addition to the necessary technical knowledge, it is essentially a work not constrained by the rules. Let's think about how a novice designer can do the stage lighting design. 

     

    With physics, academic knowledge, budget and time of these factors is different, the novice designers face the creative elements of lighting design will like staring at a vast blank, and expect to find a clue to do a better design, rather than a simple "assembly forming". In order to create this blank, it is helpful to master some key parameters that provide anchor points for the creative elements in the blank. In short, there are rules. 

    But what are the rules of lighting design? 

     

    The first thing to accept is that although the lighting design itself has no rules, the specific lighting design involves rules. We're talking about creating rules here, not the number of dimmers, or the hanging heights of the rear trusses. The lamplight stylist, want to know to the lamplight design however, know what it is. 

     

    "What is my motive? This has become a cartoonish cliche of a tragic character. In other words, motivation is the reason we do it, and so does the lighting designer. Every light element must have a reason to exist in theatres, clubs, performances, or concerts. There are reasons for the change in the light element or the change in the element. 

     

    Sometimes, it is easy to grasp the creative rules of lighting design. For example, in a naturalistic theater lighting design (or photography lights), is a big motivation through space and the location of the present to create specific scenarios. For example, this exterior is in France, a midday in August. The scene was in the almshouse of victor ria, at midnight... The rule here is very easy to understand, not only for the lighting designer, for performers and audience is the same: the midday sun is not purple will not glow from the ground, the workhouse midnight doesn't look like under fluorescent lights in a hospital. This kind of "real" light to reproduce, probably for lighting designer is the most easy to lock the target, because the light of the language in the world is easy to analysis and is known to others. This is natural for life on earth. Naturalism is often the starting point for new theater lighting designers, and they tend to be comfortable in these early designs. 

    Design rules for materials in professional sound engineering 

    Whatever you want to illuminate with the light, they have their own properties. Need light object can be text, atmosphere, or music, may also be a stage of the body or body clearance, if you want to set their own rules, so you need to make sure those who form the elements of its features. May be similar section and another section of a song, or a scene similar to the earlier a dramatic scene, even if their physical location is not the same. The nature of the relationship between things on the stage may provide a design pivot that allows you to set a lighting design rule for the relationship. If a band has a special way of playing at different points, which Angle or type is suitable for the performance? This is not to create a design formula, but in order to better on the material and the audience to respond, by raising the performance effect, and let everyone involved to better understand what is happening. Otherwise, what you do is just play with the light. 

     

    If the focus of the meeting is shifted after the tea break, can we change the light and then return at the end of the break? What color of light should be used in today's tea break? In the tea break, is the environment comfortable or chaotic? Are these changes fast or slow? Should it change? 

     

    As mentioned earlier, the rules for using creative elements may be readily available in the lighting design, and sometimes they may be elusive. If "design" is an art of intent, then only meaningful creation can be made if the intent is certain. Even chaos can embody some kind of rule, and if you want to adopt a chaotic design, turn it into an active, motivated chaos. 

     

    If you're struggling with your own design in a professional audio project, ask yourself first: "what's the design rule today?" If you can't find a lot of them, make a lot of them to help you start the design. You can then break these rules at any time. 

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