The Assistant Lighting

Designer’s Handbook
A reference for students and aspiring assistants

By: Ben Pilat

INTRODUCTION

The assistant lighting designer plays an important role in the creation and
maintenance of lighting designs. Assistants perform a variety of duties, but first
and foremost, they are keepers-of-information. As a secretary for the lighting
designer, an assistant manages the details of a design, allowing the lighting
designer to perform his or her job as efficiently as possible. Successful assistants
need to be highly organized, detail-oriented individuals with the ability to remain
calm and think on their feet in extremely stressful situations. Many assistants find
it helpful to approach their work with a designer’s eye. When an assistant
understands the designer’s goals and methods, clear communication is a simple
matter. This type of assistant lighting designer is also able to give an informed
opinion, if asked.

Theatre, opera, and dance are the most common live-performance events that
employ the services of an assistant lighting designer, although other opportunities,
such as corporate industrials and theme parks, are available. Exceptionally large
undertakings such as Broadway musicals often employ multiple assistants, each
with different responsibilities. Opera and ballet companies usually perform in
repertory and add an extra level of difficulty to the job, such as daily refocusing
and maintaining the integrity of multiple shows. Unless an assistant is a full-time
employee of a design firm, he or she probably works on a freelance basis.
Freelance assistants are hired by designers on a project by project basis and might
work for multiple designers. Other assistants are hired by a specific organization
as resident assistants, who work exclusively with in-house and guest designers for
that company. Although many assistants are aspiring designers who view their
work as a stepping-stone in their own career, some individuals base extremely
successful and fulfilling careers solely on assisting.

PRE-PRODUCTION WORK

The assistant’s work begins long before setting foot in the theatre. One of the first
things an assistant should do is become familiar with the show. This task is
sometimes overlooked, but it can make all the difference in the world. He or she
needs to know the plot, who the characters are, and in what order the scenes play.
This is an investment of time, but it will pay off later in the production. If the

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show has multiple sets, the assistant will have a better idea of how to organize
focus. During tech, the designer will be able to give notes faster and easier if the
assistant is familiar with the show.

The next step is to acquire floorplan of the space so a light plot can be drafted. In
most cases, a Vectorworks or AutoCAD drawing of the theatre will already exist.
The designer can usually acquire this with a phone call to the theatre or a
colleague, but in certain instances (especially if the show is in an unconventional
space) this drawing will need to be generated from scratch. The assistant might
then make a trip to the theatre to take measurements. Even if plans for the space
already exist, a designer might want to verify measurements if a show is going to
be especially large.

The first piece of information that will come due during a production is the shop
order. This list of all the equipment needed to realize the designer’s vision will
need to be submitted to several shops as soon as possible so they can begin
bidding on the show. The shop order needs to be extremely detailed and should
specify all the dimmers, lights, effects equipment, accessories, hardware, and
spare equipment that a show will need. Most shop orders simply state, “Cable as
per Production Electrician,” because the amount needed is rarely known this early
in the process.

However, before a shop order can be completed, a light plot (or at least a rough
version) needs to be drafted. This process will vary with every designer. Some
designers need to do this themselves to be more familiar with their design when
they arrive at tech. Some designers will draft their plot by hand because they need
to be able to see the entire sheet of paper to visualize the design. They may then
have an assistant draft their plot in a CAD program to make sharing the
information and making changes easier. Other designers will make a rough plot
themselves using tick marks or basic CAD symbols to represent lights and have an
assistant clean up the drawing to make it presentation-ready. Regardless of how
the assistant receives the plot, he or she should start to learn it. This doesn’t mean
that memorization is required, but the assistant should understand what positions
and colors the designer is using and how he has broken down his systems. This
way, the assistant knows exactly what lights the designer is talking about when he
refers to “downstage cool high sides”. These are the kinds of details that the
assistant can free the designer from worrying about.

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PAPERWORK

Once the light plot is finished, paperwork needs to be generated. Lightwright is the
industry standard and will import from Vectorworks fairly easily. In a repertory
situation, a database program like Microsoft Access is better suited to handle the
specific challenges of rotating shows. Whatever program is being used, the
designer or assistant will submit an instrument schedule, channel hookup, and any
other requested information to the Production Electrician. The assistant will also
need to manage his own copies of this information. It is usually best to keep a
single binder that contains the current copies of all paperwork.

The assistant will usually make magic sheets, but this is an extremely personal
document and every designer will want something slightly different. The designer
will need to explain what he wants, or at least give the assistant a sample magic
sheet from an old show. Sample magic sheets, both numeric and graphic, are
included in Appendix A. A piece of nonstandard but highly valuable paperwork is
a “changes” form. On one side of the page is a space to write notes, changes, or
additions and series of checkboxes on the other side of the page. These
checkboxes indicate pieces of paperwork that need to be updated with a given
note. These columns can include: notes, instrument schedule, channel hookup,
LD’s magic sheet, ALD’s magic sheet, plot, lightwright, and whether the change
has been accomplished. I have found that this is a great way to record information
when things are moving quickly. These updates can then filter down through all
the pieces of paperwork when the pace becomes less frantic; it also frees the
assistant’s already taxed memory and attention span from having too much to do
in a short amount of time. A sample “changes” form is also included in Appendix
B.

The assistant’s life revolves around paperwork, so it is very important to skillfully

manage all these documents. All paperwork, without exception, should be dated.
The current “active copy” should be labeled “master” and old paperwork should
be labeled as such with the date it was “retired”. Old copies should be kept in a
separate well-labeled folder or envelope and nothing should be thrown away.
When I cross out old information, I only use one pencil line; it will usually be
important to know what the information was before the change. When I am
formatting my paperwork, I make sure that every column has enough room to
pencil in a change. This helps me stay neat and organized so I can easily process
all the information the designer is giving me.

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FOCUS

Prior to focusing, the designer and assistant should organize a plan of attack,
especially if there are multiple sets needed to focus. Once focus begins it is the
assistant’s job to keep things moving quickly and efficiently. The designer will be
focusing onstage and the assistant will have a plot and paperwork in the house so
he can call out channel numbers to the board operator. As soon as a light comes
up, the assistant will tell the designer the light’s purpose so he can begin focusing
it. If multiple positions are being focused at one time, the assistant needs to know
where all the electricians are and should be able to keep them all moving. If color
or templates need to be dropped, the assistant should communicate that
information to the electrician before that light is ready to be focused. No one
should have to wait on the assistant at focus.

The assistant should always stay a few steps ahead of the designer. Try to
anticipate what the designer needs before he or she has to ask for it. It is often
helpful to have a magic sheet at focus, because the designer might want to see
other lights near the one being focused, and it is very time consuming to decipher
this information from an instrument schedule. It is also important to develop a
system to keep track of which lights have been focused. Lightwright will do this,
but simple circles and check marks work just as well. Keep in mind, it is important
to keep track of which light is currently being focused and any lights that are only
partially focused.

If a show will move to a new location or is being entered into a theatre’s repertory,
the assistant is also responsible for creating focus charts. Using a grid system, the
focus of the light is recorded along with shutter cuts and any other pertinent
information. Again, Lightwright has the capacity to handle these, but sometimes
they are done by hand and entered into the computer later. If a show is being
focused symmetrically, the focus charts from one half of the stage will be very
helpful if the goal is to “reverse and repeat”. Samples of focus charts sorted by
channel and position are included in Appendix B.

CUEING / TECHNICAL REHEARSALS

Computer consoles are now so reliable that the days of hand-tracking channel
levels are long gone. However, there is still a significant amount of work for an
assistant to do at tech. If a show is using moving lights, an assistant may be asked
to record how and when they are used. The designer will need to know in what cue

4
a light presets (or “marks”), when the light turns on (and in what color, position,
template, etc.), and when the light turns off. This can be done visually with mini-
groundplans, numerically on a spreadsheet, or a combination of the two. For
extremely complex Broadway shows, specialized computer programs exist to
make this task easier and can even interface with certain lighting consoles. Much
of the same information applies to tracking followspots, since they are simply
moving lights with operators. The best advice is to keep records thoroughly
detailed as though the assistant needed to call followspot cues himself, which is
sometimes the case during tech.

Another helpful job that assistants normally do at tech is watching the monitor.
Because the designer’s eyes are nearly always on the stage, he or she may not
catch potentially dangerous typographical errors. Any mistakes should be brought
to the attention of the designer or board operator in the most diplomatic way
possible. The show is important, but so are the egos and positive attitudes of those
around you.

NOTES

Taking notes is another important duty of an assistant lighting designer. Like

everything else, this will vary by designer. Some designers prefer that notes be
hand written on legal pads, others prefer excel, Filemaker Pro, or Lightwright.
However they are recorded, the assistant should be prepared to break them down
by category, including work notes, focus notes, cue notes, scenic/costume/sound
notes, and stage management notes.

It is important to keep in mind that nearly everything the designer says will result
in a note. What seems like thinking out loud is often a note in disguise, even if it is
a thought that needs to be re-visited. Assistants need to understand that not every
note begins with “take a note” or instructions to write anything down.
Eavesdropping is often helpful to get a handle on upcoming notes. An assistant
shouldn’t begin working based on a conversation like this, but it might warrant
asking the designer if he or she is still thinking about such-and-such. When the
designer does give a note, it is important to interpret the note and know what it
means. If you don’t understand, ask. An assistant who simply writes what the
designer says is just a robot, but an assistant who can help organize the designer’s
thoughts is a valuable asset.

Toward the end of the night, the assistant should begin organizing the day’s notes
so they can be dispersed to the other departments. Timely dispersal of well-

5
organized notes gives no excuse to leave important work undone. Each department
should only receive notes that directly apply to them; the master electrician does
not need to see the next day’s board notes. If there is more work to do than time
allows, it may be necessary to consult with the designer to prioritize the notes on
the list. Otherwise, work and focus notes should be broken down by position to
make them as electrician-friendly as possible. There is not a standard format for
dispersing notes, but they should be aesthetically formatted and printer-friendly
with room to pencil in notes. Notes to the master electrician should consist of a
sentence that includes where the change is taking place, what the change will be,
and all of the pertinent information (unit number, channel, dimmer, etc.) for the
affected or nearby lights. The master electrician should not need to reference his
plot or paperwork if the assistant’s notes are complete.

PREVIEWS

The schedule and format of previews will vary based on the designer’s and
assistant’s schedules. In some cases, the designer will leave for the next project
after a few previews, leaving the assistant with the show. In this instance, the
assistant will have permission to adjust levels and cue timings, but the designer
should be informed if the director wants to make major changes or re-stage scenes.
Other designers like to stay with a show until it opens, so they might send their
assistant on to the next venue to supervise load-in and possibly focus the show
before the designer arrives.

TOOLS OF THE TRADE

Because an assistant can never predict what theatre or city he will be in next, it is
wise to be as self-sufficient as possible. Every assistant should consider creating a
traveling office in a tackle box or similar receptacle. The small expense and extra
luggage will pay off enormously when you have exactly what you need when you
need it. Suggested supplies include:

• Stapler and refills

• Pencils and lead
• Eraser
• White-out

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 • Legal Pads
• Post-it Notes
• Scissors
• Single and three-hole punch
• 50’ tape measure
• Spike tape
• Scale rule
• Template catalogs
• Gel swatchbooks
• Small flashlight

A laptop computer with Vectorworks, Lightwright, and Microsoft Office is

another essential item. The use of other programs, such as WYSIWYG, is at the
discretion of the designer. It is helpful to have a working knowledge of as many
different kinds of software as possible. An ideal addition would be a small printer
for notes and paperwork. At the very least, however, keep an extra printer cable
handy.

ASSISTANT ETTIQUETTE

Lighting designers feel pressure from many directions in the theatre, and they
receive input from many people. An assistant who adds to this stress will be out of
work very quickly. Every designer-assistant relationship is different, but knowing
when to talk and when to be quiet is vitally important. Unsolicited advice is rarely
appreciated. Some designers welcome creative input from their assistants, but it is
much safer to wait to give your opinion until asked. Designers don’t have the time
or energy to tell you to be quiet, so you need to be able to do this on your own.

Most designers are happy to answer questions about their work, as long as they are
timed appropriately. Dinner can be an acceptable time to ask questions, but be
conscious of the designer’s mood. Talking about the show might be the last thing
he or she wants to do during a short dinner break. The same judgment call will
apply to joking with a designer. Be aware of your relationship with the designer
and his or her mood before making any wisecracks.

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WORKING PROFESSIONALLY

Fortunately for aspiring assistants, most lighting designers are fairly willing to
interview someone who is looking for a job. Designers are extremely busy people,
so it may take time to get this interview. However, if you keep after them with
respectful calls and emails, your drive will usually be rewarded. Be prepared with
a resume at the interview, regardless of how casual it may seem. Portfolios are
generally not required, but it may give the designer insight into your
organizational skills. It will also give the designer an opportunity to see your
handwriting. People with neat, precise handwriting usually have similar
personalities. Everything an assistant writes at tech needs to be legible to
everyone, not just himself.

Making and keeping contacts is essential to continuing to work as an assistant. It

will usually mean going out for drinks after the show or attending events, like
fundraisers, where designers will be. Keep in touch with designers you have
worked with previously. It is perfectly acceptable to make a phone call to ask if
they need any help with upcoming work. Fortunately or unfortunately, word
travels fast in the lighting community. Designers constantly talk amongst
themselves, so good assistants will rarely be out of work.

ADDITIONAL RESOURCES

Thanks to a partnership with Lighting and Sound America, I conducted a survey of

professional lighting designers. Through a series of simple questions, I hoped to
gain insight on the qualities designers look for in their assistants. The results of
this survey are available in Appendix A.

It is very difficult to find any significant quantity of published information about

the work that assistant lighting designers do. It seems that although designers
don’t have any qualms about discussing their assistants, the subject rarely comes
up. However, there are still some additional resources out there. For a complete
list of referenced works, please refer to Appendix C.

Both Scene Design and Stage Lighting by Parker, Wolf, and Block and Linda
Essig’s Lighting and the Design Idea devote at least a page to a description of the
assistant’s role. Both texts list some of the common duties performed by assistants,
but point out that every designer has different needs. One common task that is

8
nearly always performed by the ALD is the creation and updating of instrument
schedules and channel hookups. Scene Design and Stage Lighting adds other
paperwork to the list, such as shop orders and focus charts and recommends that
assistants be proficient in the necessary computer software. It also notes other
common duties such as drafting the light plot, calling out channels during focus,
and taking notes during rehearsals. Scene Design and Stage Lighting also gives
more esoteric advice to aspiring assistants. The authors recommend that every
young lighting designer begin as an assistant, and that they work with multiple
designers. The authors say, “A good assistant is a silent observer who is not afraid
to ask questions when necessary”. They urge assistants not to be intimidated by
designers, and to use the time as an assistant to observe the otherwise secret inner
workings of the business.

In Lighting and the Design Idea, Linda Essig provides even more information
about assistant lighting designers. She defines the assistant as, “an archival
secretary for the lighting design who records the position, focus, and intensity of
the lights throughout the load-in and technical rehearsal period”. She notes the
usual tasks, but adds a possible pre-load in theatre survey to the list. Essig also
points out that larger shows, such as Broadway musicals or corporate events may
have multiple assistants with separate tasks such as tracking cues, follow spots, or
special effects.

Craig Miller published a magazine article in which he gives a great deal of advice
to aspiring lighting designers. Although Miller admits that his thoughts mainly
apply to his own assistants, there is a great deal to be learned by any assistant
lighting designer. Miller advocates that his assistants keep certain supplies, listed
previously, at the tech table at all times.

Miller reminds his readers that nearly anything the designer says or does is a
change or note. Staying near the designer is a good way to stay on top of changes.
In this instance, eavesdropping becomes a job requirement. This allows the
assistant to take notes pro-actively, without needing to be told explicitly. Miller
also gives his thoughts about focus. Miller advises assistants to stay several steps
ahead of the designer. Having channel numbers on the tip of the tongue and
sensing the rhythm of the designer and electricians will lead to a smooth, efficient
focus. His last piece of advice about focus is to never forget “please” and “thank
you”.

Miller’s final thoughts relate to the assistant and work notes. His advice could be
condensed to “organize and prioritize”. The assistant should assemble work notes
by position so the electrician can complete them as efficiently as possible. Each
day’s notes should also contain a list of any gel or templates that need to be pulled.
If the amount of work will exceed the scheduled notes call, the assistant should

9
urge the designer to prioritize the notes. Less important notes (ones that could be
accomplished the next day, if necessary), should be placed at the bottom of the list
so they don’t grab attention. However, the most important thing an assistant brings
to a notes call is confidence. A positive attitude “will be contagious to
electricians”, and work will be accomplished quickly and effectively.

Richard Pilbrow’s Stage Lighting Design is another excellent resource. It contains

interviews with a variety of lighting designers who talk about their days as
assistants or their current assistants. Pilbrow himself, in anecdotal form, recalls his
early assistants. He jokes about how busy his new hires were, saying, “He arrived
for work on Monday and went home three weeks later”. Pilbrow was a believer in
performing the work himself. He didn’t like to pawn off designs on his assistants;
he preferred that they begin working in the rental shop. However, he gradually
gave them more and more responsibility as he brought them in as full assistants.
Pilbrow acknowledged that all of his assistants were aspiring designers, and
eventually helped them make it on their own.

David Hersey relates a slightly different tale. He claims there is no money in

England for assistants, so if the designer needs one, in most cases, the fee comes
directly from him or her. This reality has led Hersey to perform many of the
assistant’s duties himself, except on especially large shows. Jim Moody has a very
open approach about his assistants. He recognizes that assistants are seeking
knowledge as much as seeking a job. He looks for open-minded people who are
ready to learn, as opposed to young hot shots from the best schools. This fact
reinforces the idea of a designer as a teacher, but not all are so open.

Tharon Musser is very specific about what she looks for in her assistants. First of
all, they need to have a sense of humor. She points out that designers and
assistants spend an enormous amount of time together, so they need to get along.
Musser takes a very hands-on approach, leaving the assistant to keep records. She
stresses the importance of accuracy because the assistant’s paperwork might not
be looked at until the show is being re-mounted. Musser is a firm believer in
beginning as an assistant. She feels that it is the only true way to learn the business
because no school can replicate real-world situations.

Like Musser, Tom Munn is adamant that designers begin by assisting. It provides
valuable contacts as well as insights into the business. And usually, good assistants
can receive work when their designer is too busy to design every show he is
offered. Munn adds a description of a successful assistant: “You must have an
awareness, a sharpness, an alertness, a sensitivity, to what is going on on the stage
but also to whom you are assisting. The chemistry has to be there.”

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FINAL ADVICE

Working as an assistant lighting designer is not an easy job, but it can be an

exhilarating and extremely rewarding one. Fear is one of the largest obstacles an
assistant needs to overcome. Don’t be intimidated by designers; they are your
colleagues. They want you to succeed because they need your services to perform
their jobs effectively. Also, be an interesting person who can carry on a non-
theatre-related conversation. All other things being equal, designers will surround
themselves with people they enjoy working with. Similarly, a sense of humor is a
valuable asset during late-night breaks around the tech table. Most importantly, be
honest with those around you. No one knows everything and everyone makes
mistakes. How you handle yourself in these situations will make all the difference.
I would like to end with a quote from Andrew Bridge that I hope puts everything
in perspective: “Assistants are vital. I like to make sure they know that their input
and ideas are welcome. But I do like them to get me a cup of coffee occasionally.”

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 APPENDIX: A
The following survey was performed in cooperation with Lighting and Sound America.
One hundred twenty-six members of the professional lighting community responded to a
call for their input on the role an Assistant Lighting Designer should play. Special thanks
to everyone who gave so generously of their time to make this project possible, including
Jackie Tien, David Barbour, and the entire staff of Lighting and Sound America.

My assistants should have a Previous experience as an

“designer’s eye”. assistant is very important.
70
50
60
60
50 40 42
39
40 47
30
30 20 21
20 16
10
10 2 2
15 8
0 0
1 2 3 4 5 1 2 3 4 5

DISAGREE --------------- AGREE DISAGREE ---------------- AGREE

I will interview potential assistants I welcome creative input

if they are seeking work. from my assistants.
50 60
40 50
40 51
37 40
30 34 41
30
20 27
20
10 12
3 10 2
5

0 0
1 2 3 4 5 1 2 3 4 5
DISAGREE -------------- AGREE DISAGREE -------------- AGREE

12
 My assistants should be pro-active I want to pass along my
and work independently. knowledge to my assistants.
60 100
50 53 80
79
40 44
60
30
26 40
20 37
10 20 3 7
2 1 0
0 0
1 2 3 4 5 1 2 3 4 5

DISAGREE ------------- AGREE DISAGREE -------------- AGREE

My assistants should only focus My assistants should be

on details, not the “big picture.” “silent observers.”
50
50
40 44
40 44
30 31
33
30 33 32
20 20
10 15
3 10 11
6
0 0
1 2 3 4 5 1 2 3 4 5

DISAGREE -------------- AGREE DISAGREE -------------- AGREE

I am annoyed when my assistants

I prefer assistants with MFAs.
ask for clarification.
50 70
46 60 66
40
50
35
30 40
28
20 30 35

20
10
10 10 13 5 5
5
0 0
1 2 3 4 5 1 2 3 4 5
DISAGREE -------------- AGREE DISAGREE -------------- AGREE

13
 I am annoyed when my assistants My assistants should be near
ask design questions. me at all times.
80 50
69 40 43
60
36
30
40
20 23
30 18
20 20 10
3 3
6
0 0
1 2 3 4 5 1 2 3 4 5

DISAGREE -------------- AGREE DISAGREE ----------- AGREE

I give qualified assistants design My assistants should not

work when I’m too busy. work for other designers.
50 60
57
40 50
42
36 40
30 34
30
20 29
26
20
10 4 10 9
5 5
0 0
1 2 3 4 5 1 2 3 4 5

DISAGREE -------------- AGREE DISAGREE -------------- AGREE

I like my assistants to get coffee.

60
50 55

40
30
30
20
20
15
10 4
0
1 2 3 4 5
DISAGREE --------------- AGREE

14
APPENDIX: B
Penny Jacobus at New York City Ballet and Keri Thibodeau at New York City Opera
deserve special thanks for these images and for their generous donation of time, energy,
and ideas.

NUMERIC MAGIC SHEET....................................................Figure A.1

GRAPHIC MAGIC SHEET………………………………….Figure A.2

FOLLOWSPOT TRACKING SHEET……………………….Figure A.3

FOCUS CHART (BY CHANNEL)…………………………..Figure A.4

FOCUS CHART (BY POSITION)…………………………...Figure A.5

CHANGES / ADDITIONS FORM…………………………...Figure A.6

15
Figure A.1

16
Figure A.2
17
Figure A.3
18
Figure A.4
19
Figure A.5
20
Figure A.6
21
APPENDIX: C
Essig, Linda. Lighting and the Design Idea. Wadsworth Publishing:
Portsmouth, 2004.

MacKay, Patricia. “Broadway, Las Vegas, and the Road: Ken Billington-
Lighting Designer.” Theatre Crafts, February, 1981.

MacKay, Patricia. “Jennifer Tipton: Lighting Designer.” Theatre Crafts,

May, 1983.

Miller, Craig. “A Guide for Assistant Lighting Designers: Some Modestly

Proffered Notes.” Theatre Crafts, January, 1989.

Parker, W. Oren, R. Craig Wolf, and Dick Block. Scene Design and Stage
Lighting. Belmont: Wadsworth/Thompson Learning, 2003.

Pilbrow, Richard. Stage Lighting Design: The Art, the Craft, the Life. New
York: By Design Press, 1997.

Sommers, Michael. “Drafting Help: Tharon Musser on the

Designer/Assistant Relationship.” Lighting Dimensions, March, 1990.

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