Posts Tagged ‘vectorworks’

Software Review – Renderworks 2011

Monday, October 25th, 2010

I have seen the new Cinema 4D rendering engine for Vectorworks mentioned in reviews as not much more than a bullet point. Yet the new rendering engine is leaps and bounds beyond what was previously called Renderworks that it is almost like a whole new piece of software and certainly deserving of an independent review. In fact, the system is now so robust that Nemetschek would do its customers a great service by adding a getting started guide just for Renderworks to go into better detail about the functionality of the system.

The new rendering engine is so much more powerful, in fact, that I ran into a few problems right off the bat. Nemetschek claims that their new engine is many times faster than the old one. Yet when I did a side by side Final Quality Renderworks test the new engine took much longer to produce its result. Curious I looked further into this and discovered that the actual image was much better quality and, in order to get a quality equivalent to the old FQR, I had to set everything in custom to “Low Quality” and turn off Ray Tracing. Then the engine was faster. In short, the only way to get a true apples to apples comparison is to put the new RW on its lowest settings and the old Renderworks on its highest settings.

What’s that Ray Tracing thing he mentioned?

That’s right, the new Renderworks adds Ray Tracing functionality, meaning you can set how many times an individual photon bounces off objects. This gives renderings a more natural quality as bounce light is included in the rendering of the final image. This does increase rendering time and can cause a simple scene to take a fair amount of time to render. But you definitely get what you pay for. A little more time for a much higher quality rendering is, in my opinion, worth the wait.

One of the first things I did with the new Renderworks was rerender my lighthouse drawing. Here is where I hit the first, and only real snag, in the new system. Because the rendering engine deals with light and textures in an entirely new manner, the old textures did not map properly. As such, I had to rebuild my textures from scratch. This will cause some users a bit of frustration during the initial upgrade, but the final results will be well worth it.


A side by side comparison of my rendering of the lighthouse in RW2010 and RW2011

As you can see from the above comparisons not only are the shadows softer and more true but the detail in the drafting is much clearer. I did not change any of the physical drafted objects for the rerender. Only lighting sources and textures were changed.

The new Renderworks allows the importation of HDR images from which lighting information can be extracted and used for lighting your 3D models. Several HDRIs are included with the basic RW package and the user can import their own as well. Not only can this be a quick way to mock up basic lighting conditions, it also allows for the creation of really nice looking white models.

Turning off Textures and Colors in the Custom RW palette and then turning off ambient light from the Lighting Options Palette, setting indirect lighting to one bounce and Environmental lighting to HDRI white can give results like this:


Whitemodel of my 3D drafting of a house built from shipping containers. HDRI Environmental lighting and one directional light source.

In addition to vastly improved lighting options, the texturing capabilities of Renderworks 2011 are significantly improved. While imports of older files will require a rebuild of the textures, the user should find this worth the effort. Not only are simple colored textures improved, but the bumpmapping is better as well. One thing that could use some improvement is the transparency function. I have yet to find a suitable combination of settings which give adequate results for something like a translucent fabric.

The ability to add Decals allows for greater dynamic range of rendering options as well. A decal is an image file placed on top of an object with another texture. This allows the user to put graffiti or a poster on a wall for example.

Emitter options allow the user to set a reference white color temperature for light emitting objects. This is useful in a number of ways, not the least of which is when creating a texture that emits light allowing one to approximate fluorescent tubes, video screens, or lit walls.

Along with the new and expanded tools in the lighting and texturing areas. The artistic Renderworks options are newly redesigned as well. Users who are familiar with the old functionality of the Artistic RW settings will need to adapt to the new system, but the options are robust and give interesting and useful options for rendering one’s drawings.

Obviously the new Renderworks Cinema 4D engine is primarily of interest to those users who draw in 3D regularly. However, given the improvements in the 3D drawing environment in Vectorworks 2011, I expect an increasing number of users to begin working in 3D and using the new rendering engine.


Quick 3D sketch with Background image and Decal. Background image courtesy SnaPsi

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An Adventure in Non-Standard Roof and Doors in Vectorworks

Monday, October 4th, 2010

I am in the midst of an interesting drafting project. A two story house built from 24′ shipping containers. The house is partly built. The containers are on stilts with several windows and doors cut out in various places. I am drafting the structure, as built, in 3D in order to begin work on the final design phase of finishing the interiors, designing roof decking, and other aspects to make this industrial structure into a functional live/work space. Last week I covered the walls and this week we will look at the roof and doors.

The roof presented an interesting challenge. While not corrugated like the walls, it does have quite a texture to it. 30 ovaloid ribs on the top give it a raised exterior and a raised interior. My intent with this drawing is to model every component accurately with regards to its real world geometry. This gives the benefit, over using texture based modeling, of having the interior design/remodel be as true to life in the model as possible.


The roof of a 24′ shipping container Rendered in Vectorworks 2011

Creating the roof geometry turned out to be a simple process once I wrapped my head around it. My first instinct was to make a rectangle 1/4″ thick and then 30 flat ovals 1″ thick and use the add surface tool. The problem with this, as was the issue with using wall recesses for the walls, is that it would leave the interior of the roofing flat when in reality the ribs create recessed areas inside.

The next solution proved to be the best one. I created the rectangle, as mentioned above, and then cut out holes the size of the base of the ribs. I then created 30 NURBS curves, the shape of the top of the ribs, 1″ above the rectangle. From there I used the loft tool to connect the now cut rectangle to the various NURBS. I now had the interior and exterior geometry modeled to give full texture. This way, should the ceiling be exposed in this, or a future remodel, the geometry and texture is built in to the piece and will not have to be redrawn.

The doors were complex in a different way than either the roof or the walls. While none of the elements were overly complicated on their own, there are simply a lot of them. The door itself is a double hung 4″ wide metal frame with corrugated metal panels inside the frame. Simple enough. The complexity came from the locking mechanism.


The doors of a 24′ shipping container Rendered in Vectorworks 2011

The locks are composed of two metal poles on each door with handles to rotate them. As they rotate, the hands on the top and bottom grab on and lock into the hands on the container frame itself. All of this was simple geometry, but again there were a lot of parts. Each handle was composed of several polygons, and the locking hands themselves were quite complicated shapes.

In addition to modeling all these interesting shapes, I had to make decisions about the degree of detail I was willing to go into. I wanted the locking mechanism themselves because that provides interesting possibilities when we get to determining paint colors on the exterior and choosing contrasting or complimentary colors for the locking system. But then there was the question of including hex bolts and other parts of the structure.

I made the decision, for now, to forgo that next level of detail. It will not impact design decisions or renderings. Should they prove to be useful later on I made the doors as symbols so it will simply be a matter of adjusting the symbol geometry in that one instance and the whole drawing gets updated.

One design idea is to remove one or more of the doors and replace it with a large glass wall. A quick replace symbol function will be a lot simpler if and when we reach that point in the process.

Now that the drafting is complete, I look forward to the design phase.

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An Adventure in Non-Standard Walls in Vectorworks

Monday, September 27th, 2010

I am in the midst of an interesting drafting project. A two story house built from shipping containers. The house is partly built. The containers are on stilts with several windows and doors cut out in various places. I am drafting the structure, as built, in 3D in order to begin work on the final design phase; finishing the interiors, designing roof decking, and other aspects to make this industrial structure into a functional live/work space.


A Matson Shipping container and my 3D model in OpenGL

The containers are 24′ Matson shipping containers, the kind you see on ships, trains, and trucks. They make for a nice building material as they are very structurally sound and can be stacked on top of one another several high. While they are a great construction material, they pose an interesting drafting problem. The walls, in order to provide for maximum structural integrity, are corrugated. This is easy enough to model in 3D; draw a polygon in the shape of the corrugation and extrude to the correct height. However, this solution does not allow for the use of plug-in objects like Doors and Windows.

For the parts of the structure that are already finished, it would be easy enough to cut a hole in the extrude and drop a window in place without recourse to the many features of plug-in objects. But for the walls that are as yet uncut, being able to quickly and easily play with the size and shape of windows and doors without recutting the extrude every time would make the design phase a lot more pleasurable. So I set out on my quest to solve this problem.


A view of the corrugated wall with a window as it is and as I want it to look in OpenGL

A grumble on Twitter was quickly answered by Kevin Lee Allen. His suggestion was to use the Convert Polyline to Object feature and turn my corrugated line into a wall. Sounds simple enough. Trouble is, the conversion created 212 walls, one starting at each corner of the corrugation. Because of this, plug-in objects were not behaving properly as they would not cut through all the walls they intersected with.

After trying a few more things on my own, including an exploration of wall styles, I emailed Jonathan Pickup. Jon offers a web based consulting service and within an hour of my email being sent was on a skype call with him showing me through a screen capture how to do wall recesses. By doing a wall recess I am able to draw a wall using the wall tool and give it the corrugated look that the containers have. We appeared good to go.

This process worked brilliantly save one small problem. While I could model one side of the wall perfectly, the other side remained flat. Numerous attempts to recess the other side of the wall resulted in various failures. I could get a wall that looked corrugated on both sides, but the thickness of the wall would have had to be twice what the shipping containers are in actuality. That solution would obviously lead to problems down the road as the design phase of the project moves to interiors.

There may be a setting or approach to the wall recess function that I am missing, but as of yet my best course of action appears to be a return to my original solution of using an extrude. This will allow me to get accurate internal and external dimensions. While it is possible that, once insulation and paneling are added to the interiors Jonathan’s wall recess solution would be best, my plan is to treat the insulation and panels as separate 3D objects (or walls) and cut holes in them where windows and doors are.

While this route is slightly more laborious on a per object basis it will allow for more accurate modeling of the building. The structural elements of the containers, specifically the vertical corner pieces, make any wall tool solution a little more complicated than a standard drafting project.

The roof of these containers provides its own interesting drafting challenges which I intend to cover next week.

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Design Software – Fall Preview

Monday, September 13th, 2010

As designers in the 21st century it is hard to imagine anything more fundamental to our work than the computer. The software we use to turn our ideas into designs is central to the work we do. Having played recently with Maya I have been thinking a lot about software and its role in design. While anyone with any degree of creativity is not bounded in that creativity by the tools they use, when you have the right tool for the job, the work becomes a lot easier and imagination is given freedom to roam unfettered.

There are some really exciting developments happening in the world of CAD this fall. The two of most interest to me are Vectorworks 2011 and AutoCAD for Mac. Vectorworks has long been a cross platform tool and the default drafting tool for theatrical lighting designers. AutoCAD has only ever played a minimal role with lighting designers and has been absent from the Mac since 1992.

Let’s start with Vectorworks. Information is a bit slim coming out of the company. What is known comes from a series of vague videos posted to their YouTube channel (Clip1, Clip2, Clip3). While the full range of of features remains unknown to the public, the direction they are moving in is very exciting.

The 3D environment looks to be vastly improved. The previously laborious 3D interface now appears to be a state of the art intuitive UI. Earlier versions of Vectorworks treated 3D space as an extension of 2D space. From their videos it appears that VW2011 3D space has been wholly redesigned as a native 3D environment. This is very good news.

Not only has the 3D working environment seen a massive upgrade, but the rendering engine is new as well. Renderworks is now based on Cinema 4D by Maxon Computers. This brings Vectorworks up to the cutting edge of 3D rendering technology. With the drafting precision we all love about Vectorworks and increasingly intuitive user interface combined with this massive upgrade to its rendering engine, Vectorworks is firmly taking a step towards being a competitive player in the 3D software world well beyond its conventional arenas of live entertainment, engineering, and architecture. I don’t know how popular the software is with game developers now, but I would imagine a substantial increase in that market with this release.

The next exciting development comes from Autodesk with their announcement of AutoCAD for Mac.

I have not used AutoCAD since it’s 2001 release when I was at San Francisco Opera. Having come from a Vectorworks background I found the logic behind the software a bit difficult to wrap my head around. Still firmly rooted in its early 1980′s command line mentality, AutoCAD 2001 was a very foreign language to me. The new software looks to be quite different. Being a new build of the program based on OSX from coverflow to a Mac style UI, the advances look to be very promising.

Not only does the visual layout of the UI look good (as a designer I want my working environment to reflect good aesthetic principals) but the 3D rendering engine looks beautiful.

I would honestly be surprised if AutoCAD made the developments necessary to really gain a foothold in the world of theatrical lighting. I will certainly keep my mind open to the possibility, but last I knew AutoCAD the difference between an AutoCAD block and a Vectorworks symbol were so far apart as to make them an ultimately useless comparison. Unless and until AutoCAD has an object type comparable in scope and functionality to the VW symbol it will never be a goto program for lighting designers.

All that said, it looks like a beautiful program for all other manner of draftsmen. In fact, I am waiting excitedly to get my hands on a copy of the software and see what they have done with it. AutoCAD for Mac looks to be very exciting indeed.

Providing a Mac platform for its software was not enough for Autodesk however. AutoCAD has also developed a line of mobile applications for devices like the iPad. This move will be wonderful for architects and other designers to share drawings and renderings with clients. Allowing the client an interactive experience rather than the static experience of a JPEG or PDF will be a boon to designers, engineers, and architects around the world.

It is an exciting time for software in the entertainment industry. Not only is the basic drafting technology improving at a rapid pace, but the 3D environments are becoming both common and easy to use. That ease of use will allow 3D to move from a nice to have to a need to have as both rendering and modeling time drops substantially.

All these new developments have me excited. What software are you looking forwards to?

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Line Lights, Area Lights, and 3D lightboxes

Monday, June 14th, 2010

Last week I was working on a project involving several light boxes. The lightbox design was rather simple; a cube with cutout shapes which would act both as a decorative object and provide some degree of illumination for the event. I wanted to do a 3D lighting rendering in order to both wrap my head around these things as well as have something to show to collaborators. The solution was not as simple as I had hoped.

My first attempt was to construct the 3D versions just like I would construct the actual lightbox. As such I made a 3D black box with the design on the facing cut out. I then added a thin rectangle on each side that I was intending would be the translucent material on the lightbox through which light would shine. Sadly, I discovered that for all of its wonderful work rendering accurate shadows, solid textures, and correct placement of the sun, one thing Renderworks does not do well is translucent materials. This seems like a big gap in an otherwise fantastic program.

Not one to be deterred by technological limitations, I began to explore alternate options for creating the effect that I wanted. While a bit convoluted, I did end up with a reasonable result.

The first potential solution was presented by Kevin Lee Allen. His suggestion was to make the part that in reality would be translucent as a texture with constant reflectivity. Thus, when rendered, the lightbox would have the appearance of a thing that is glowing. While this is a very good solution, and one that would work in most instances, especially for scenic renderings, it did not solve one of my design requirements. I wanted to know both what the boxes would look like as well as what effect their glow would have on the scene. So my search continued.

I started scrolling through all the drop down menus in hopes of something providing me with a clue. Finally something did. A convert option that is new to me, although I admittedly jumped from VW10.5 to VW2010 and this feature may have been in place for years, Area Lights.

Line Lights and Area Lights are intended to provide a look akin to neon or other non-point source lights. They give a somewhat even glow and are fully customizable as per any other light object in Vectorworks. One thing to be aware of with these is they add considerably to rendering time. Even my very simple sketches took noticeably longer to render once I had added an area light. That said, they are a fantastic tool.

Convert to Area Light and its similar option, convert to Line Light, solved my need precisely. Instead of a translucent object that light would shine though, I placed an area light the same shape as the bounce directly in front of the bounce object. I then gave the bounce object an opaque texture. The Area Light then hits the opaque object and bounces off, thus lighting the scene from the lightbox.

While the solution is not technically identical to the real life solution, it does solve the two parallel issues of rendering the lightbox to look as it would and provides illumination from the lightbox onto the scene. From a few additional experiments it appears as though this solution could work for lighting cycs as well.

The whole world of 3D rendering is fairly new to me. It is exciting to discover these limitations of the software and then find more or less elegant solutions within the possibilities of what the software can do. But I am sure there are other solutions to this same problem. Have you discovered them? Please share.

One thing I would love to see in future releases of Renderworks is more accurate translucent texturing. I imagine architects and scenic designers both would love to have translucent curtains that render properly.

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Product Review – Vectorworks 2010 Part 2: 3D Drafting and Basic Rendering

Monday, April 26th, 2010

As I said in Part 1 of my review, Vectorworks 2010 is a fantastic program for drafting lightplots. But there is much more to the program’s functionality than 2D lightplots. I finally had some downtime this past week to sit with Vectorworks 2010 and get to know it a little better. Up to now I had not gone very far into the functionality of the program and was using it as little more than the rather old version (V10.5) I had been working with prior.

I began working my way through the training manual that came with the program and was given a lot of basic exercises to learn different tools. Basic 3D extrudes, 3D reshaping, curves, and so forth. I was blithely working with these simple shapes when I came to the first big project in the training manual.

Draw a lighthouse.

Presented with an architectural drawing you are tasked with drafting and then rendering the object in 3D.

My first reaction was “there is no way in hell I can do that.” But after taking a second look at the drawing I realized it can be broken down into more or less basic shapes which can be dealt with on an individual level rather easily. Just as I break down the drafting of a lightplot into smaller manageable chunks, so too did this appear much easier once I took that route with the Lighthouse.

I have worked with Vectorworks for over a decade. In that time I have done very little architectural style drafting. From my background of drafting lightplots, the use of symbols became readily apparent as the way to make this project work. Much of the drawing would be composed of a few symbols that repeat and then a handful of sweeps and extrudes.

The most complex shape to deal with, far and away, was going to be the iron supports underneath the first landing. Not only is the basic outline a complex shape with various curves and corners, but it is cut out and recessed in multiple places at varying depths. This is also what makes for a very good learning project. There is a single, very difficult, challenge and then the rest of the project is working with rather basic skills in a more complex way than the previous simple shapes exercises.

My mindset going in to this work was that I was learning a whole new computer program. The upgrade from V10.5 to 2010 is huge and it was far better to treat my knowledge base as coming from a different program. That mindset served me well.

The Spotlight manual is written in a very clear and easy to read manner. I had done the short version of the manual when I first got the program and drafted a simple 3D theater with lighting positions. But that hardly gets at much of what is good with this program.

Wrapping my brain around 3D space took some effort, as did parsing what would be the best way to achieve a particular goal. Some shapes made more sense to create as sweeps while others were better suited to be extrudes along a path. While the manual does not tell you what is best, after some trial and error I began to get a sense of the, sometimes subtle, differences between the two modes of working. The roof and spire were clearly better suited to sweeps, while the floors for the various levels had a bit of a question to them. Should I continue the floor all the way to the center point, or create a circle and extrude along that path? Because this project had a lot of those situations and many circular shapes to work with, I got a lot of experience in determining when one would use one tool or another.

The manual is written clearly. Thus it should be no problem for a novice, or someone upgrading from a much older version like I was, to dive right into the program and begin to do some fun and interesting work.

A tool that was new to me, which I found radically useful on this project, was the snap lupe [Z]. It is not a tool that is very necessary for the drafting of lightplots, but for these more complex and detailed drawings it is an invaluable addition to the Vectorworks tool set.

The exercise itself did not cover renderworks textures or lighting renderings (topics that are covered later in the tutorial) but I was able to stumble my way through some elementary uses of these tools thanks, in no small part, to the clear and well designed user interface of the program.

After working through this next level of exercises I have to say that I would strongly encourage anyone with the means to do so (and I understand that the program is very pricey for many) to consider the upgrade to 2010. The functionality has vastly improved as has the UI.

Along with my Vectorworks upgrade in February, I had upgraded my laptop in January. Before the new laptop, doing any sort of 3D modeling was a bit of a hassle as the rendering time was tedious. While the file I worked with for this review was in no way huge, the faster processor certainly helped make the 3D work a pleasure. If you are planning on an upgrade and getting into the 3D modeling I would strongly encourage you to make sure your computer’s processor is up to speed, and upgrade as necessary. VW2010 is a powerful program, but it needs a strong computer to do that work.

Did you find this review useful? Would you like to see more reviews like this here?

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Product Review – Vectorworks 2010 Part 1: In the trenches

Friday, February 26th, 2010

I received my new copy of Vectorworks 2010 right in the midst of drafting several shows on top of one another. Never one to turn down a challenge, I installed the software, ported over my symbol libraries, downloaded my two main plug-ins (Autplot Tools for Spotlight and Beam Draw) and went to town. It took me an hour or so to rebuild my custom palettes, menus, and get used to the new placement of a few critical keyboard commands (must remember “H” is now the grabber tool). Once that was done I was ready to get to work.

Since at its core what I need Vectorworks for is to draft lightplots I figured the best test would be this plunge into the deep end of the pool. I plan to cover more of the functionality of this software in later parts to this review. As a basic drafting machine for the creation of lightplots Vectorworks 2010 is fantastic. I thought the process of my upgrade might be of interest to readers so I will begin there.

The first thing I noticed was the visual design. It is quite beautiful. The images for tools in the palettes are very clear and distinguishable as well as good looking. While non-essential to getting work done, it does make a big difference when you are staring at a computer screen for eight or ten hours a day. A small change around tools that I found incredibly useful was the fact the the program now remembers your last choice for tool options rather than returning to a program default every time you launch the software. For example, I often use the mirror tool to layout sidelight systems. The system default is mirror mode but I need mirror and duplicate. I can’t tell you the number of times I am racing to get a plot finished and forget to switch modes and then have to redo the work. It’s only a few seconds but it adds frustration to the process. Now that frustration is gone due to the program remembering my settings. Very nice.

The second thing about the visual design is the visual feedback the program gives specifically regarding instrument selection. Highlighting the objects and giving names and highlights to the area on an object as you pass over it is incredibly useful. While it took a little bit of time to get used to and be able to parse the visual language without it impeding workflow, I quickly became acclimated to it and very glad that it was there.

The basic Spotlight functionality is all there but no longer clustered in a single menu. As such I modified my standard lighting menu to include tools previously contained in the spotlight menu. These include convert to Symbol/Multicircuit, Assign Legend, Instrument Key, Refresh, and Number Instruments. In addition to the basic Spotlight functionality I used on these plots there looks to be quite a lot of additional material that I will be exploring in future posts.

The layout of the basic drafting window is very different from the version I was using before. All the class/layer menu information is still up top, but so too is the magnifying buttons and fit to page. While it took a little getting used to, the new layout is an improvement. Everything relating to visibility is in one place. Further, the addition of a classes/layers button is much improved over the older drop down menu item I previously had to contend with.

My biggest (and so far only) complaint is the changing of keyboard commands. While this is certainly something that can learned it is frustrating at the beginning. It should also be noted that Vectorworks keyboard commands are all fully customizable and editable(and I added back my align button). It just takes time. As I get deeper into the functionality of the program for later posts I will be approaching the software as though it were a wholly new technology for me as some of the changes are so massive that it might as well be.

I am looking forward to exploring the event planning suite of tools, new trussing, color/gobo libraries, and other new Spotlight tools as well.

As a drafting program to make a lightplot Vectorworks has maintained its edge as the industry standard setting the bar for what Computer Aided Design can do for the lighting and design community. I hope you’ll join me in future posts as I continue to explore this fantastic piece of software.

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Preparatory Repertory

Monday, August 27th, 2007

I just sent out the lightplot for the two shows I am doing at the Barter Theatre next month. I had a fair bit of trouble with my two main programs to get that done. My drafting program was acting a little screwy and that alone was mildly disconcerting. In addition, my database program was having trouble with the import/export routines to Vectorworks.

The long and the short of it is that the whole process took a lot longer than anticipated, and I must now hope that no crucial information was lost in the translation.

It will be fun to be working in Virginia again. I am sure Abingdon will be quite a different experience than Norfolk but I really enjoy the south. Grits for breakfast. Oh I can hardly wait!

The lightplot was a curious puzzle to work out. SInce we are doing two shows in repertory the plot had to be able to work for both shows and at the same time be specific to each production. After all, Dracula and Driving Miss Daisy are about as different in style and tone as one can get.

One of the most obvious ways to transform the plot from one show to the next is by changing color. But at the same time there are more subtle textural nuances to the shows that can not be addressed simply through a color change. Different kinds of lights, angles, the use of shadow and pattern. How the different plays isolate areas or do not? What is the nature of darkness in these two plays? Is night blue or is night dark?

All these questions lead to various choices about the type placement and focus of the different lights, beyond the simple repertory fixtures. The details are where the differences are highlighted. Probably 80% of any play can lit with a standard repertory plot, perhaps allowing for changes in color. But the 20% that cannot is what makes a production truly stand out.

Working in repertory is always a bit of a compromise. Even in a situation like this where there are only two shows and I am designing both of them. Perhaps compromise is not the best term. Negotiation would be more appropriate.

A fun and exciting negotiation.

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Red Swirl

Wednesday, May 24th, 2006

Red_swirl

This is a lighting rendering generated in Vectorworks.
More here.

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