R02, R04, R26, R27, R58, R64, R80

The Real Inspector Hound by Tom Stoppard
Set Design - Carolina Silva
Director - Jason Archuleta
Producer - Alison Lente
Sound Design - Bryant Sheppard, Kaveh Narimani
Production Stage Manager - Annie Brantley
Lighting Designer - Wesley Darton
Properties - Randy Malm
Assistant Stage Manager - Monique Engelbrecht
Costume Designer - Aimee Green, Emilio Casillas
Technical Director - Spencer Brown

R91, R80, R27, R362, R74, R382, R34 w/ R78420, R356, R68, R58, R385
The University of Montana
School of Theatre and Dance
Director: Greg Johnson
Lighting Design: Bryan D. Kaschube
Scenic Design: Johanna Josephian
Costume Design: Staci Weigum

ASSASSINS
Wichita State University School of Performing Arts
Marie King - Director
Betty Monroe - Costume Design
Michael Downs - Set Design
Amanda Bowman - Sound Design

Photos by Steve Coleman

Photo 1 - R48, R68, R64, R60, R04, R53, R71
Photo 2 - R02, R04, R53, R16, R64

This is a photo from the UCF Conservatory Theatre's production of "Lips Together, Teeth Apart" by Terrence McNally. It was directed by Christopher Niess with scenery by Luke Hopper.

Peter Pan - City Centre Musical Productions 2011
Meadowvale Theatre | Mississauga, ON
Lighting Design: Alex Boxall
Colours: R305 (Front), R124/125/126 (False "RGB" Fixture Top Wash), R21 (Warm Top Fill)
Gobo: R78228 (Irregular Dots)

Note: The false "RGB" wash came from a set of older Cyc Cells, treated as an RGB LED in the console.

Kanata Theatre's production of "A Few Good Men".
R365, R26, R316 with Rosco gobo 78258 Chain Link.

From "RENT"

Lighting Design by Scott Smith (15)

R4930 from a high side PAR

No filter on a S4 19 high side

R80 Downlight in a PAR64

A light touch of Full CTB from the front.

One of our event lighting projects used Rosco 13 gels and Rosco 77864 gobos to produce this texture in a 125'by 60'tent.

Colors Used: R120, R83, R02.

SHOW:Brick
Credits-
Direction: Emily Montoguto
Stage Manager: David Bielski
Lighting and Scenic Design: Ben Fallon
Photo Credits: Peter Bosy

General Idea was to lead into the main climax of the show, the biggest fight scene. Yet, at the same time, it needed to be something that takes place in a basement full of druggies, so it could not be bright. What ends up it main red up against the back wall, top light for the platforms, and a silhouette effect downstage

This first picture is from a production of Evita at California Music Circus. R39 was the key ingredient in making the nightclub scene work. Not only did it color the stage and actors but with the haze it colored the air helping to define the space.

The second picture is from the same production of Evita using a lot of R60 and R80 to create a cold, harsh look during the funeral. A little hint of R03 is in there to highlight the focus of the moment.