For a full exploration of how and why I use a template file in my workflow, check out Part 1 .
In this post, we’ll explore some of the components of my template file and how I use them.
Tuesday, September 25, 2018
A Designer's Eos Toolkit (Part 2): Patch, Color Palettes, Beam Palettes
For a full exploration of how and why I use a template file in my workflow, check out Part 1 .
In this post, we’ll explore some of the components of my template file and how I use them.
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Light designers seem to either enjoy programming a light board or hate it completely and rely on a master electrician to work with them. Personally, I love programming and having the ability to play with a lighting fixture and learning the ins and outs of its capabilities to accomplish the desired look. This article brings up a valid point when it comes to color and that is “option overload.” I had the opportunity recently to watch a tech rehearsal and the way the light designer interacted with his board op was fascinating when it came to color. Color palates are not something I have every really bothered setting up but I absolutely see the point after reading this article. A color palate gives you a constraint which can ultimately make your design and programming process more efficient instead of scrolling through a color wheel each time trying to find the right combination of hue and saturation. Beam palates offer the same advantage, moving lights can be very intimidating when deciding where exactly the beam needs to be focused. After reading this article, I definitely understand better the advantage to color and beam palates and am curious how this affects my future programming experience.
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