I created a fairly complex 3D set based on the set designer's (Dan Conway) drawings and paint elevations. The upstage part of the set is a window wall of individual window panes in the color to match the elevations. I had originally drafted it as one piece with a scan of all the windows on it. That was simple and easy, but didn't look right with how I knew I would light it. I ended up making each one individually. It took a lot of time, but the end result was much more truthful.
The vertical strip lights that are visible at the sides were cut in the theater. What was able to be examined in the renderings is the direction of light (which always seemed to feel best from the SL window) and the difference on the upstage windows when lit from the from of from behind. The overhead practical lamps...I made my own symbol that fit around the emitter so it would actually light up when the light was on. Some of the scenes were going to be shaped by what overhead lights were on.
The director (Aaron Posner) wanted the window wall to resemble paintings on the wall for a gallery scene.
I worked very hard to find the best angle for the few lights coming through the window. Inventory and space were limited, but each light was for different moments. I could figure out the best placement well in advance.
Much better in real life.
The angles of light across Riva's face for these moments were accurate to the renderings and became key lighting moments.
And then the shapes would resolve into a shape to frame two upstage characters as they see paintings of themselves that they weren't expecting, shall we say....
Real life.
Asher's parents at his gallery opening.