https://www.benlannak.com/about-me daily 0.75 2025-02-24 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/b30ec006-c3d8-4167-9306-4527cb9489aa/Profile.jpg https://www.benlannak.com/resumecv daily 0.75 2026-03-17 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/0ad7fa85-11ec-458f-9377-86570416c493/Website+Resume.jpg https://www.benlannak.com/work daily 1.0 2025-05-12 https://www.benlannak.com/work/kings-island monthly 0.5 2025-02-12 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/50568956-2a81-4ef5-810f-d2ae58664bdd/maxresdefault.jpg Home - Kings Island This performance photo showcases the 1'x1' pixel panels along with the LED bars we installed. Our team was also responsible for performing routine checks on the truss to ensure both the cables and the truss itself remained secure throughout the season. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/bced41da-feb3-4c17-857b-87039b1835a1/This+one.jpeg Home - Kings Island In this image, my fellow crew member and I are in a lift, hanging one of eight light bars. After this, we also installed 16 1'x1' pixel screens that were part of the show. We ran power and DMX cables for all the fixtures, working as high as 25 feet in the air to get everything in place. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/883813da-8fbe-44c5-8d3f-321af05995c0/IMG_6104.JPG Home - Kings Island I was responsible for ensuring each of the 150+ drones had a fully charged battery and was positioned correctly on the grid. Additionally, I remained on standby in case any drones fell from the sky, helping to quickly locate them, especially since there were rollercoasters and the public nearby. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/662f9234-e2ba-4de5-8eeb-6a3b7d93f980/0ed9cd8a-9a89-490a-aa16-9c13c2e66637_4032x3024.jpg Home - Kings Island "70s On Demand!" was a high-energy tribute to the biggest hits of the 1970s, featuring a live band, powerhouse vocalists, and dynamic choreography. As an electrician, sound operator, light board operator, and spot operator, I helped bring the show to life. The combination of vibrant visuals and live music created an electrifying experience for both the performers and the audience. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/8ef5859f-959b-433f-bf35-87933006975b/Thiss+one.jpeg Home - Kings Island In this image, I am focusing one of the many ETC Source Four LED fixtures used for front lighting and walkway texture on this truss. I am in communication with my supervisor using my AirPod for hands free communication. The setup is outdoors at night, and I'm 25 feet up in a lift, ensuring the lights are perfectly positioned for the show. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/35c6217d-9fd8-4e05-ac66-dd54e6d4437b/IMG_1883.jpeg Home - Kings Island The "Golden Giveaway" shows, where a traveling trolly that drove around "Planet Snoopy" the kids area of the park. there was a performance and Q&A for kids to win free gifts. Here I am operating the sound using both an iPad and the board mounted on the back of the trolley, ensuring seamless audio control during the performance. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/bbf77355-77cc-451e-8a6f-401aad235d73/IMG_0004.jpeg Home - Kings Island In this image, I am hanging an additional light to help illuminate the guest path at night. The light is equipped with a gobo to add texture and enhance the visual experience. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1739418870039-CJK809NIRV8FV9SIKW76/IMG_5816%2B2.jpg Home - Kings Island In "The Studio", I oversaw the nightly run of "Fun Fireworks Fifty", Kings Island’s nightly light, firework, laser, and drone show. My role involved starting the timecode sequence that synchronized all these elements, ensuring a seamless performance each night. The Studio housed the GrandMA3 lighting board and the laser computer captured in the photo, which played a crucial role in creating the immersive visual experience. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/f9400c88-8170-4fc1-9641-6b3b79c501a0/maxresdefault-1.jpg Home - Kings Island "Off the Rails" was an electrifying show featuring high-flying trampoline performers, daring stunts, and innovative ramp choreography. As part of the crew, I worked as an electrician helping to bring the fast-paced energy to life through dynamic lighting and audio. This show was responsible for the rest of the pixel screens that my team and I installed and maintained. We were also responsible for running the show's sound, lighting, and video cues, ensuring a smooth and visually dynamic performance. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/6eca3a36-e465-4524-86ff-b77083736fcd/Phantom+Theatre.jpeg Home - Kings Island "Phantom Theater Encore" brought Kings Island’s iconic haunted attraction back to life with a theatrical twist, blending live performers, puppetry, and immersive effects. As an electrician, sound operator, light board operator, and spot operator, I helped execute the eerie, theatrical lighting and precise audio cues that gave the show its haunting, nostalgic feel. https://www.benlannak.com/work/fall-dance-2023 monthly 0.5 2025-02-11 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1739379655262-FWMRWU34WT6YX3BRVKDQ/FD23%2BTommi-1404.jpg Home - Fall Dance 2023 The beginning of the piece titled "Schmalicate", choreographed by Tommi Galaska features the two larger ramps in their upright position, creating a looping effect during this section of the piece. I chose this image specifically to highlight how the ramps, though positioned in the background, have a significant visual impact, contributing to the overall movement and atmosphere of the performance. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/152c70fe-7c9f-4b8c-bc5f-e100de9f278c/IMG_1309.jpeg Home - Fall Dance 2023 In order to make the tappers feet visible we attached two strips of LED strip tape. We adhered the two strips using hot glue. We then connected them to a smaller DMX receiver and battery, like the ones used in the ramps, allowing them to be controlled by the light board wirelessly. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1739380669699-ZFAJL3GD97G4H71NF1OM/IMG_1119.jpg Home - Fall Dance 2023 While working on one of the four ramps, I attached a section of pixel tape into a groove routed out by our scenic team. Once secured, I wired the tape to a DMX decoder powered by a portable battery pack, ensuring seamless integration into the lighting design. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/b03a3d41-c1be-4c76-95fd-0fa019698233/IMG_1312.jpeg Home - Fall Dance 2023 The DMX controller and battery where strategically hidden beneath the lip of the box, maintaining a clean and seamless look on stage while ensuring full functionality. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1c782fd1-ce01-4847-851d-f0bae5f0ba5f/IMG_1134.jpeg Home - Fall Dance 2023 Once the pixel tape was installed, frosted plastic strips were placed in a smaller groove, creating the effect of a continuous line of light rather than visible individual LEDs. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/9754f091-707b-4ed9-ad43-aad2d12629f7/FD23+Dirk+Dress-8055.jpg Home - Fall Dance 2023 The piece "Joplin on the Steps: A Tribute to Bill Robinson", choreographed by Dirk Lumbard, was designed around the stair boxes. This moment captures the beginning of the piece as two dancers enter stage left, and the boxes begin to glow, revealing what appear to be floating legs. We achieved this striking effect by flying out the curtain just to the dancers' knees, creating an unforgettable visual moment. It was an exciting effect to help bring to life. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/60e4ee72-df2b-42a4-804e-be0ba7165dfe/IMG_5787.jpeg Home - Fall Dance 2023 Durning one of the shows I had to repair one of the ramps after a wire came loose from the DMX receiver. Using a drill to access the issue, I carefully repositioned the wire with a small flathead screwdriver. I then tested the ramp using our iPad, which was connected to the light board, ensuring everything was working properly before it was needed for the next piece. The fix was successful, and the ramp functioned perfectly. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/8a086c8d-a34e-4c9d-adce-dc4d6dd2b2da/FD23+Tommi-1591.jpg Home - Fall Dance 2023 In a later moment in the piece "Schmalicate" by Tommi Galaska, the ramps were moved by dancers into various configurations. In this setup, dancers took turns performing tricks and sliding across the ramps. This image perfectly captures the dynamic choreography, the incredible talent of the dancers, the dramatic and effective lighting, and visually striking element of the ramps. https://www.benlannak.com/work/rock-of-ages monthly 0.5 2025-02-11 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740615444704-CEF5WXTOTLYGRR6IT4FV/IMG_5136.jpg Home - Rock of Ages Using warm LED tape and an orange gel, I created two illuminated radios designed to mimic car headlights. The LED tape was wired separately from the speakers, allowing the lights to blink like turn signals—an essential detail since the script called for the character to pull over and activate a turn signal, which was reinforced with a matching sound effect. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/ad593dfc-064f-4f64-8ec0-a50db289a957/IMG_5195.jpeg Home - Rock of Ages Once the guitar was installed by our scenic team, I could see the grooves cut out for the LED strip tape. Using both the platform and a drivable Genie Lift, I carefully installed the LED strip tape, reaching up to 25 feet in the air to the edge of the neck of the guitar. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a3e89031-0e9a-401b-b12b-d7d5b4032b57/IMG_5085.jpeg Home - Rock of Ages To create the palm trees for this show, our scenic team cut plywood pieces routed to fit our LED neon strips. These were achieved using standard LED tape encased in a frosted rubber layer to mimic the look of neon, perfectly matching the show's theme. I applied a layer of hot glue before inserting the LED tape to secure it in place. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/c7624292-ec06-41c8-89d7-611d11f424b5/View+recent+photos.jpeg Home - Rock of Ages Working with my crew, we installed 48 metal clip lights onto a CNC-cut plywood wall. Each light was secured with hot glue, and we routed the cables to four DMX relay packs, allowing for individual control of every fixture. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740614366850-5QPB6IICZ58EZ15C4PGQ/IMG_5315.jpg Home - Rock of Ages Once the blinder wall was complete, it was incredible to see it in action. It perfectly captured the glow and impact of a classic ’60s blinder wall—only on a budget and custom-designed for this show. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/558a7c7c-e31e-4374-81fe-3ada366945c6/IMG_5314.jpeg Home - Rock of Ages Each LED strip was extended to the back of the flat, where we connected it to a terminal block before plugging it into our AlphaPix controller. The controller was mounted on the back of the guitar and received power from an address parked on the light board. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/783b91ec-b931-420a-8263-cabf840037e7/ROA-281a0054.jpg Home - Rock of Ages Once hung, the palm trees perfectly captured the California vibe and could change colors to match each scene. They were controlled the same way as the guitar, using an AlphaPix controller, and were seamlessly integrated into the lighting board. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740616727880-ZM41YHA077CQSU4SHBE3/IMG_5137.jpg Home - Rock of Ages I began by removing the speakers from the radios and cutting two pieces of R103 gel to fit over the speaker grille. Next, I wrapped LED tape around an existing ridge inside the radios and secured it with hot glue. After wiring the LEDs to the wireless controller along with the other speaker, I added tinfoil to the back to help direct the light toward the audience. The cassette tape section was created using the same method but with R23 gel to achieve the appearance of a turn signal. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740614322630-PA0S66B9G4AU5S4YLC5U/ROA-281a9803.jpg Home - Rock of Ages We created dynamic designs with the blinder wall, including a heart shape for the romantic date scene, emphasizing the moment when the main characters begin to fall for each other. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/549fefd1-8e11-4bcd-9972-52bb4334fae7/ROA-281a8926.jpg Home - Rock of Ages Seeing these in action during the show was an incredible experience. They perfectly captured the effect we aimed for, allowing us to represent a car without physically having one. With the radios controlled wirelessly and the cassette section on a separate channel and gel, we had the flexibility to create realistic lighting cues. https://www.benlannak.com/work/fall-dance-2024 monthly 0.5 2025-02-11 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/456a1961-b788-4f5d-92e8-37d980f24a0e/1-281a5529+%281%29.jpg Home - Fall Dance 2024 For "Fyu-zhen", choreographed by Tommi Galaska, I designed a vibrant and colorful lighting scheme with dynamic changes to complement the upbeat jazz music. Tommi envisioned Fyu-zhen as a melting pot of diverse and distinct elements, blending jazz with modern and other dance styles. My lighting choices aimed to enhance this fusion, creating an energetic and visually engaging atmosphere. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1739378208502-O3PKODLMCHI1OCH4CGLG/Working.jpg Home - Fall Dance 2024 Since this show toured, I had to reconfigure the cues when we traveled. This was a new experience for me, as I was used to having multiple days for cueing, tech, and dress runs. This experience taught me a lot about adapting to new environments, working with new people, managing massive time constraints, and adjusting to not having the space to myself. In the end, we all pulled off an amazing tour, and I gained invaluable skills from the challenge. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/3ad7d117-5574-4908-9937-165bdd277ee9/Andeew+in+pink+cropped+copy.jpg Home - Fall Dance 2024 "Becoming", choreographed by Timothy Lynch explores themes of sexual identity and the struggles that can come with it, telling a deeply personal story that Timothy sought to evoke and share. In this specific image, the dancer in red represents the central figure of the story, guided by two others through his journey. Designing the lighting for this piece was especially meaningful to me, as it allowed me to illustrate the light within him—how it can be lost, taken, and ultimately reclaimed. As a gay artist, being part of this storytelling experience was truly special. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/546e7f5e-9a7a-46f4-986f-2ba8ec9ac6f4/6-281a6988+%281%29.jpg Home - Fall Dance 2024 "The Great American Pastime", choreographed by Dirk Lumbard is a tap piece that revolves around baseball and tells the story of Dirk and his father watching games together in the 1960s. In this specific moment, we are in a dream state, reminiscing about the "good old days." I created this feeling using purple and blue lighting on the cyc, contrasting with the bright sky blue of the other scenes. Additionally, I used warm front and boom lighting to create an ethereal glow, enhancing the nostalgic and heartfelt atmosphere of the piece. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/69a90478-f092-485e-bb31-37e7c0021999/8-281a7659.jpg Home - Fall Dance 2024 "Fluidity", choreographed by Sayward Grindley with input from her dancers, explores femininity—what it truly means, who can and cannot be feminine, and how masculine and feminine traits interact and are perceived. This image is especially meaningful to me because of what we were able to accomplish with the fabrics. Though sheer, they hold color, and it was exciting to play with how the lighting interacted with them, enhancing their hues and reflections to create a dynamic, immersive visual effect. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1739378189289-Q22N27P9AXCZUAGY3899/Majic%2BSheet.jpg Home - Fall Dance 2024 I created a digital magic sheet of our home theatre, which streamlined cueing and displayed all available lights. Having a magic sheet is invaluable for quick access to fixture information and making adjustments more efficient. This digital version allows me to click on fixtures for even faster control. When we toured, I updated the sheet to reflect the house setup at each venue, which proved especially helpful given the tight time constraints I was working with. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/ae1e9ac7-e0c5-4e85-842a-606aaee42c39/5-281a6590.jpg Home - Fall Dance 2024 "my sanity lies at the depth of this trench", choreographed by student dance major Channing Dayton, explores dissociation and the struggle of a person's psyche as they confront the deepest parts of themselves, and how this manifests within a group dynamic. I appreciate this image because it captures the dancers interacting in a chaotic moment, with their emotions reflecting off one another. I used only one side of booms to create the dramatic shadows seen here while incorporating front lighting to illuminate their faces, as their expressions were a pivotal part of the piece's storytelling. https://www.benlannak.com/work/company monthly 0.5 2025-02-26 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/9caed589-2047-49d0-8e96-6e2422e50b9f/IMG_8089.jpeg Home - Company Attaching frosted plastic to all four sides of the boxes diffused the light, creating a smooth, glowing effect rather than visible lines of individual dots. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/6a1930f1-68b1-4bca-af0d-43b98665dc31/IMG_3614.jpeg Home - Company Using 24V pixel LED tape, we secured each strip with hot glue, positioning them in the grooves facing the back of the flat. This setup allowed the light to bounce off the white backing and create a soft, diffused glow through the muslin-covered front. The goal was to achieve the same luminous effect as the glowing boxes. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/db93c6af-8631-4541-a179-18530f806dd0/BLACK.jpeg Home - Company https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/858fae4f-b517-44e8-8c22-91889cc59803/BLACK.jpeg Home - Company https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/d6bfd938-7027-4da8-a087-67413400c301/LED+Drafting+BIg+Center+peice.png Home - Company Using the drafting provided by the scenic team, my lighting designer marked the yellow line to indicate the exact path for gluing the LED tape. The challenge was that the drafting showed the front elevation, while we were applying the tape from the back, meaning everything had to be done in reverse. This precision was crucial since the tape’s placement directly impacted its wiring and overall functionality. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/0d2caa50-f9fe-4695-a22f-624bc9ecec3b/Screen+Shot+2024-03-07+at+11.44.52+AM.png Home - Company Using the light plot provided by my lighting designer, I led the crew in hanging, cabling, and focusing all the fixtures for the show. I was also responsible for inputting all channel and address information, ensuring each fixture was correctly assigned based on its unit number and corresponding channel. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/f3873d28-80bb-41e4-883f-ec6382eb8fcf/IMG_3759.jpeg Home - Company Once we received the cake, I wired each of the candles, leaving some slack in the wires for flexibility. I then grouped the wires into two bundles so that half could be controlled by each button, allowing the actor to "blow out" either half or all of the candles depending on the scene. This setup provided dynamic control while maintaining the illusion of real candlelight. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a9fef87c-1097-4cf6-bdd1-879d974c65c9/IMG_3713.png Home - Company In each box we applied a DMX receiver, an LED controller, and a 24v battery. We then inserted our smaller box into the one seen by the audience. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/beac4d6e-60a3-4832-99f8-9d0c4b3f220e/IMG_3755.jpeg Home - Company Once the cityscapes had all their LED tape installed, we secured the back panel and attached the brains of the operation, which included a 24V power supply and an AlphaPix controller. We then ran over 600 feet of ethernet and power cabling, with each of the 3 power sources provided by individual dimmers. Each dimmer was parked on in the board to ensure it received constant power while the board was on. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a02f57cf-4023-46f0-bbf1-06323ac0af81/IMG_5614.png Home - Company Here you can see the frosted plastic attached to all sides of the box. You can also get a good view of the LED tape on the outside of the interior box. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/d2d97dee-d790-4645-a111-b838f48d91f8/IMG_3730.jpeg Home - Company Once completed, the boxes emitted a beautiful glow and were seamlessly controlled by the light board, fully integrated into the show's cues. They served as versatile props and scenic elements, enhancing the visual storytelling. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/d0367c13-3836-451e-b93a-887fa3bf208a/IMG_3751.jpeg Home - Company Once everything was wired, patched into the board, and pixel-mapped, the three massive cityscapes were ready for our rigging team to hang. Throughout the show, they displayed a variety of dynamic effects, adding depth and energy to the show. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a32d7fbd-be02-4d01-8c55-5e311bcd7701/SPOT+SHEET.png Home - Company Using the spot sheet template provided by my lighting designer, I input the details for each spot cue. This document served as my reference during tech, allowing me to quickly view and edit cues for both spot operators as needed. Having this organized layout ensured smooth adjustments and clear communication throughout the process. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/6eb2a41d-36ab-49d3-8111-660c7c617fbf/SPOT+1+SHEET.png Home - Company Each spot operator received a personalized version of the document, printed daily during tech and finalized for the run of the show. Their sheets contained only their specific cues in a larger, more manageable format, ensuring clarity and ease of use compared to my full reference version. https://www.benlannak.com/work/stupid-fucking-bird monthly 0.5 2025-02-14 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/28db6e9c-ddd0-48d0-9e63-d7ca7bbcbad1/SFB4M2A3376.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/6d0114a1-e94d-4c89-b3de-514e02b4fea2/SFBIMG_6299.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/f02cee7e-7cce-4234-8db1-ef6322078612/SFBIMG_7374.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/cf3f392a-fac8-4822-a149-d784d9e4e038/SFBIMG_7095.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a7ad5a70-3a8d-4bc3-ae07-431ef0f809a2/SFBIMG_7112.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1746153734935-0M7EIS2IQHXFBISUCGGE/SFBIMG_7006.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/25a5fe06-d98e-40b7-bebb-73b9c4b1a4e7/SFBIMG_6312.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a757b578-6ff8-4015-b9e2-cfd92a94c853/SFBIMG_7363.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/9699c834-60f3-434d-9c25-4994b01ebbd1/SFBIMG_7144.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/f69b047a-ad46-48cb-a209-c4f853d2cff4/SFBIMG_6997.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/8202aa9f-6502-4b2b-93b6-64514eafe8ea/SFBIMG_6431.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/2444fc11-e841-4e04-9cf6-ec10cfa3f820/SFBIMG_7341.jpg Home - Stupid Fucking Bird https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/0785bfca-f7a1-42c8-8f8b-01764305a759/SFBIMG_6529.jpg Home - Stupid Fucking Bird https://www.benlannak.com/work/intimate-apparel monthly 0.5 2025-02-14 https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/47bd58fd-3de0-4945-9563-5ce0d577980f/Intimate+Apparel-1658.jpg Home - Intimate Apparel While the characters are physically close due to the intimate black box setting, I wanted to use the lighting to help create a sense of separation. I used pink and blue lighting to not only distinguish their positions in space but also to emphasize their dreamlike state they are in, reinforcing the story visually. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/37b22352-658e-48b0-a544-7212d365fd96/IMG_4975.jpeg Home - Intimate Apparel Using a Genie Lift I am focusing one of the lights for this show. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740576973489-87M98BCYAPAUTJHM5HG5/Pratical%252BPhotos%252Bcopy.jpg Home - Intimate Apparel The chandelier and the red light required new bulbs and some wiring repairs, while the white-shaded fixture on the right needed an entirely new socket, wiring, and bulb since it was just a shade rather than a complete lamp. All three were plugged into dimmers and controlled by the light board, allowing them to be seamlessly integrated into the lighting design. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/4f4985ce-57ad-4428-874e-141c5b1b952a/BLACK.jpeg Home - Intimate Apparel https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740585905148-INPFAMRSCFEF2MKOD2NL/SC%252BPlot%252Bcopy.jpg Home - Intimate Apparel I created the light plot using the rep Vectorworks plot for our studio theatre. We then input the audience seating, which is lined in red. This provides a clear visual representation of the audience positioned on two sides, helping to plan effective lighting coverage for the show. The fixtures are color-coordinated, green lights remained in their original positions, yellow lights were repositioned, red lights were newly added, and blue lights were used as specials. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/1740576953253-PBT5WCM1UR2PDY7V1C6U/IMG_4991.jpg Home - Intimate Apparel In cueing the show we chose moving the booth to the front facing house. We decided on this setup because the booth was in an awkward location that was not ideal for cueing or running tech efficiently due to the layout and nature of this show. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/a99afb8b-c152-4af2-966a-d32b742a583d/GOBOS+copy.jpg Home - Intimate Apparel I used various ETC ERS lights to display gobos in the light shop. This process allowed me to test and select the ideal gobos for adding texture to the set walls and floors before load in, ensuring the design enhanced the overall visual impact of the production and that I knew what I wanted to use before load in. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/b01853ad-c1b0-41d8-bac9-b339c1926860/Intimate+Apparel-1858.jpg Home - Intimate Apparel The intentional lighting cutoff seen on the left helped to define distinct areas within the performance space, guiding audience focus and enhancing the storytelling. This scene is lit in warm light, which was used throughout most of the show whenever the characters were not in a dream state or far away from each other. Since the show was set in the past, the warm lighting also helped create a vintage effect, reinforcing the historical setting. https://images.squarespace-cdn.com/content/v1/67aab4ffe3f05a6d2c5ae81e/16d8884b-140a-44a8-a765-1e82554de985/Intimate+Apparel-1682.jpg Home - Intimate Apparel Going back to the dream-like state, I used the blue lights to represent the surreal atmosphere of the scene. However, what is happening and what the main character is hearing truly drives the story forward. These elements are not only close to her physically but also emotionally, bringing the audience into her experience on a deeper level.