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As of Fall 2022, CAC requires us to make a plot in VectorWorks for every show we do. This means that the opinions on VectorWorks below are not really relevant unless this changes. Here is a guide for getting started on using VectorWorks for lighting design (and there are many video guides on YouTube).
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Patching is simply telling the lighting board what channel corresponds to what circuit/address(es). Once you have patched you can refer to a channel and both you and the board knows which instrument you are referring to. This is necessary because cues will be written using only channel numbers and the levels you want for those channels. If you are using intelligent instruments, boards like the Ion (Sala) and the Element (KLT) know how many addresses those instruments take, and lump them all into one channel. For example, if you have a few ColorDashes in 10-channel mode on addresses 101, 111, 121, etc., you can patch them to channels 31, 32, 33, etc., because the board takes care of the addresses. See the Ion/Element (they have basically the same underlying software) manual if you don't know/remember how to do this. Here is a video guide.
Color
Picking general the colors of your light is not difficult however deciding which particular gel to use is. Rosco, Lee and GAM (which also happens to be quietly owned by Rosco) are the three major types of gels used, with Rosco being the most widely used. Some of the questions you have to ask when picking a color are: what effect will this color have on stage? (Example R02 is warm but not overpowering, the feel will be sunny but not yellow). How will the set/costumes/actors look under this color light? (No one looks healthy in green light). Picking through hundreds of various gels is fairly frustrating, advice can be found on the Rosco website (they have good descriptions of what effect each gel has) and by asking those who know (again Karen is a good source). Color is part of what makes lighting design an art form; don’t leave the decisions to the last minute. The Ensemble has a collection of gels: you can buy more at Backstage Hardware or order from ALPS. Someone will probably have to go to Backstage Hardware for something else at some point: coordinate with the TD to save trips.
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Ideally the lighting designer would not be deeply involved in hang, s/he they would hand over the plot to the master electrician and the lights would get hung and circuited as desired. Of course this doesn’t happen. Even with the best of plots and paperwork something might seem perfectly clear to the designer and not to anyone else. During hang you should be around to help and answer any confusing points of the plot.
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