How we plan lighting plots for studio sets and festival stages

Why we are describing our lighting work now

Autumn is when many studio managers and festival organisers start planning for the year ahead, and the questions we hear most often concern lighting. Where do the fixtures go, who rigs them, and who programs the desk? Over the past few weeks I have gone back through how our lighting work is organised, and this note sets it out plainly so that clients know what to expect when they call.

Lighting at entertavi is one of six services, and it sits close to our camera and sound work for a good reason. A plot that looks right to the eye can still cause trouble for a camera operator or leave shadows on a presenter's face. By treating lighting as part of the whole production rather than a separate line on a quote, we catch those clashes on paper instead of on show day.

This article covers the lighting service only: plots, rigging and programming. Camera control, sound and crewing each have their own guides on this site.

The plot comes before any equipment is chosen

Every job starts with a lighting plot, a scaled drawing that shows where each fixture hangs, what it is aimed at and how it is powered and controlled. Priya Nair, our Lighting Designer, drafts it after talking with the client about the look they want and visiting the space where possible. A studio set and an open-air stage need very different thinking, even when the brief sounds similar.

We ask about ceiling height, available power, the loads the roof or truss can carry and how quickly the room has to be turned around between uses. A television set that is struck every evening needs fixtures that can be moved safely by a small team, while a festival stage may stay rigged for three days and must cope with wind and damp.

Once the plot is agreed in writing, we confirm the fixture list against it. Nothing is ordered or loaded onto a van until the client has seen the drawing and signed it off.

• Scaled plot with fixture positions and power requirements
• Notes on rigging points and weight limits
• Agreed fixture list tied to the signed-off drawing

Rigging is planned for the people who do it

Rigging is the part of lighting that clients see least and that matters most for safety. Our approach is to plan rigging so that it can be done calmly: sensible working heights, enough hands for each lift, and clear instructions for who is responsible for which point. Priya designs with practical rigging in mind, balancing the look she wants against what a crew can hang and check without rushing.

In permanent studios we work with the building's own structure and agree load limits with whoever manages the premises. At festivals the staging contractor usually supplies the truss, and we coordinate with them on positions, cable runs and timings so that lighting is not trying to rig at the same moment as the sound crew.

We keep a record of what was hung where, so that the same rig can be repeated or adjusted at the next event without starting from scratch.

Programming is where the plot becomes a show

Programming turns a rig of fixtures into something an operator can run. For a studio, that usually means a small number of reliable states: a general wash for rehearsal, looks for each programme format, and a quick reset between recordings. We aim for settings that a studio team can recall without needing the designer present.

For concerts and festival stages, programming is more detailed and depends on the running order. We build cue lists with the artists' or the production manager's input, leaving room to adapt when a set changes at short notice. Where time allows, we programme in advance from the plot so that the on-site session is spent refining rather than building.

Whatever the setting, we hand over a short written summary of how the desk is arranged and what each main look is for, which saves a good deal of confusion later.

• Rehearsal and recording states for studio sets
• Cue lists built around the running order for live events
• A written desk summary left with the client

Working alongside cameras and sound

Lighting rarely stands alone. On a broadcast set, Andrew Collins and the camera systems side of the company need to know the lighting levels and colour so that cameras can be set up against them. We share the plot with the camera team early, and adjust exposure and fixture positions together instead of one team undoing the other's work.

At live events, lighting and sound crews share the same stage, the same power distribution and often the same cable routes. Daniel Thomas and Priya agree positions for speaker stacks, monitors and fixtures before load-in, which avoids the common situation of a spotlight having to move because it blocks a speaker.

This joined-up planning is one of the main reasons clients bring several services to us at once, though each can also be booked on its own.

What to send us when you get in touch

If you are thinking about lighting for a studio or event, a few details will let us give you a useful first answer. Tell us the type of space, its approximate dimensions, the date or period you have in mind and the kind of programme or performance it will host. Photographs or a simple floor plan help a great deal.

It also helps to know who will operate the lighting afterwards. A studio team who will run the rig daily needs a different handover from a one-off festival where our own crew stays for the whole event.

You can reach us through the contact page or by phone on 01823 440217. We reply in writing, and any quotation is confirmed in writing before work begins.

• Type and size of the space, with photos or a plan if possible
• Dates and the kind of programme or performance
• Who will operate the lighting after installation

Our lighting service follows a simple order: a drawn plot, a considered rig and a programme that someone else can run. None of it is complicated, but it works best when each step is agreed before the next begins. If you have a studio refit or an event coming up, send us the details and we will tell you plainly what we would do and how long it would take.