There were four tabs already hanging from the previous project and some were directly in the space that I was going to be performing so to start they had to be moved in order to start defining the spaces that myself and the other projects in the theatre would be performing. I then started rigging my lights which didn’t take too long due to the fact that the half of them were already rigged from my experimentation as previous projects didn’t use the source fours, therefore, it was only the intelligent lights to rig once rigged I linked all my intelligent lights with DMX cables so that they could be controlled from the desk. Even though I have experience rigging I have always struggled with the weight of the Mac 250’s and am often concerned I will drop them. As I wasn’t the only one using the space I had to allow others to rig their lights in the space and so I decided to get the grass out. The grass I was using I salvaged from a previous show and so I knew it had been cut although I had expected there to be more than what there was and so I positioned what I had as central to the space as I could. What I had was a fair amount though not enough for what I had in mind as I had originally wanted to fill my full area with grass so that the audience would have to stand on the grass. As I was the lighting designer for the piece I decided to stay on the floor for the focus so that I could ensure that the lights looked correct for my vision as I wanted to make sure it looks right from the floor as often from the rig it looks slightly different. As the lifter was still available I decided to put in a white cyclorama cloth as it was the larges cloth left available and it needed to be nearly the full depth of the theatre to partition my piece from some of the others due to the fact that I wanted a blackout and wanted as little bleed from the other performances as possible. Next, the floor lights went on tank traps which was a quick and simple job due to the fact that there were only four lights. Although I hadn’t prepped them and so had to ensure that they had barn doors and the right gel colour in them. The Mac 250 Wash’s were also relatively easy once in the right spot powered and had DMX running through them. Putting the sound in followed, even though I was using the in-house system I wasn’t using the rig speakers so tannoy speakers were placed on top of the subs and then patched into the wall ports. Sound is not something that comes easily to me and so I required a lot of assistance to make sure that the desk and amps were patched incorrectly so that I wouldn’t blow any of the amps or speakers this took longer than expected as there was difficulty finding which wall ports correlated to which ports in the gantry. Then again structure was set so that the sound would be even wherever the audience stood even though I was using it mainly as an undertone. Set dressing was the next obvious thing for me to do as from where I placed things I could work out where I was going to stand and possibly move. I had a bench positioned on an angle as part of the design from the very start as I knew I have wanted to create a garden scene, I then found some trees and one of the other people in the space had managed to find some flowers and flower pots. I placed the majority of the flowers in the flower pots and in the trees pots this was because what the trees were set in weren’t very aesthetically pleasing. I also discovered a prop birds nest which I placed in one of the trees although I don’t think that anyone noticed it but personally I think it is little touches like that that make the space feel more real even if people don’t consciously notice them. I needed to focus the floor lights before I could start programming. I decided that these should be focused similarly to dance lights as I wanted to give the impression of the dress floating as much as possible so started with the top ones which ensured that if I lifted my hand at any point then it would still be lit and then the shin lights which light mostly the skirt of the dress. When I started programming I had an idea of what I wanted but not necessarily exactly how I would achieve it so throughout the programming I consulted a friend who not only knew the software better than myself but also has a vast knowledge of lighting. I didn’t want there to be an atmosphere when the audience arrived at my piece and so started with only the side lights on even though this was a simple que when the haze was added it gave a cold night time feel to the space. Throughout the rest of the cues, it was a case of deciding what colours where they would come from and if there would be any gobos. It took some time as I wanted the piece to look good get everything in that I wanted without making the piece too lengthy. I also had to work out fade times and put in a follow masking cue so that the stage left Mac25 Spot had time to move without it flashing through all the colours and gobos then there was an issue that the movers weren’t tracking. And in the end, I put in a cue that showed where the audience was to go next and a reset cue for the movers to reset before the next show. The Avolites system it easier to use than desks that I have used in the past, but I still needed assistance as I wasn’t completely confident with everything I was attempting for example the was the battens seem to sparkle in cue eight. Also, some of the cues had to be re-programmed and then removed and put under a knew cue number which is why in my cue sheet it seems that cues are missing. All of the programming was done with the dress on a mannequin as otherwise I wouldn’t have been able to program or see how the dress looked in the light which made thing rather difficult due to the fact that I couldn’t see how it looked when the dress moved.