Easy Lighting Techniques For
Worship
By Tom Stanziano
Many churches are adding theatrical elements into their worship services using lighting. These
lighting techniques can be applied to a worship drama, highlighting the choir or worship band or musician
as well as enhance the atmosphere …all to inspire the congregation.
This paper will offer basic lighting techniques you can use with an example later of how to program a song
with lighting for a worship service. A short glossary of lighting terms is posted at the end.
Theatrical Lighting vs Concert Lighting:
Depending on what your program will be incorporating, either a drama
or a musical piece, you should know the differences between two types
of lighting.
Theatrical lighting can be defined as the use of light to create a
sense of VISIBILITY, NATURALISM, COMPOSITION and MOOD, (or
ATMOSPHERE). Although the acting can give an idea of the mood,
lighting can give an idea of the mood when there are no words spoken.
In drama the primary goal of the lighting is to illuminate the actor’s face.
Concert Lighting establishes the mood for each song. This lighting set up
emphasis’s effect and accent, rather than visibility and mood as theatrical
lighting does. With concert lighting, heavy back light is used to create this
accent. This technique concentrates light on the stage and audience to
punctuate the music with heavy color or intensity with less focus on the
actor or pastor’s face.
Basic Lighting Techniques Applicable To
Both Theatre And Concert Lighting:
Front Lighting: Front lighting is used mostly for visibility and color. It is also
used to isolate an individual person or set piece. Front lighting generally
works better if placed at an angle between 30 -45 degrees.
Side Lighting: The most common use of side lighting is effect. Side lighting
is often used with bolder colors to accent movements and contrasting colors
coming from the opposite sides.
The real key to
lighting is to support
the story with your
personal approach,
while being committed to serve the
pastor or the performer’s message.
Back Lighting: Refers to the process of illuminating the subject from the back. Along with side lighting
back lighting is used for effect. Back lighting is often used to create depth on the stage too. When
used from low angles back lighting can also give a sense of a silhouette. One thing to remember
when using back lighting is that the lights must be relaxing to the audience.
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Down Lighting: Light that shines down from the ceiling. Down lighting is often used to create the
illusion of depth. Down lighting also works very well to isolate one person from another in a worship
band or for a choir solo.
Background Lighting: Background lighting is a very bold style of lighting. It is brighter than the
rest of the stage. It is a very powerful way to create a picture. Check out this website http://www.
photocourse.com/itext/background/. Wait for the image of the stature to appear and then run your
mouse over the different lamp heads to see the various types of background lighting.
Effect Lighting: Use of color and gobos helps to create texture and depth to a scene. This is where
you can get really creative.
Incorporating Lighting Techniques -How Big Of A
Budget Is Required?
You may be thinking that the actual dollar amount of your budget is your starting point. Instead, best to
start with the Focus or Vision of your ministry. This way you are not tempted to buy
unnecessary or inappropriate equipment only to find later that, while it may fit into
Position your lights
your budget, it doesn’t support your needs.
and performers on
Lighting can very easily become over-powering and a distraction if it is not thought out
and selected properly for your purpose. Yet lighting can also play a very important
role in enhancing your Vision. Included in the Focus aspect is the type of service
your ministry provides. For example lighting for traditional services with large choirs,
organs, and grand architecture differs from contemporary worship services where the
focus is on the energy and atmosphere of the music production. You also need the
flexibility to be able to light illustrated sermons, concerts, pageants, and dramas.
A key to the design and budget process is to understand your Production Space.
Once you know the limitations and advantages of your space, you can start to create
the look and feel. The easiest way to start this process is to break your Production
Space down into layers. Each layer should be managed independently from one
another giving you as much control as possible.
The floor area is necessary for altar calls and pastors and speakers who like
to get intimate with the congregation. This area can be lit with par cans or
fresnels. Using these types of fixtures gives you the ability to light large areas
evenly with fewer instruments.
a rough scale drawing of your venue
using squared
paper, where a
square means a
foot or 1/2 foot. Use symbols to
show the location
of the lights . Take
into account throw
distances and the
angles.
Show a draft to
your pastor or worship team to see
what they think and
then try it out in
practice.
.
The preaching or pulpit area is the key position. Consistent lighting is needed
since this is where the pastor or speakers will spend most of their time. It can be lit with par cans and
fresnels to give a softer look, again lighting a large area with less instruments.
The performance position is the area where the worship leaders will work. It’s usually mid-stage
to downstage. Taking into account the limitations, par cans, fresnels, and ellipsoidals can be used
to light this area. Specials or follow spots can be used to create isolation during intimate moments
during worship.
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The band or orchestra is usually placed upstage behind the worship leader. I tend to light each band
member in their own spot for better control, then add color with front and back washes using either
par cans or LEDs, color changers, profiles and washes. This creates a sense of depth between
layers. For example, with the band washed in a deep blue, I can still highlight the piano during an
interlude or the guitar during a solo. I want to be able to direct the attention at the appropriate times.
The choir or ensemble can be set to either side of the platform on risers or placed above on a loft. In
either location it is essential to see the choir’s faces. Using the same techniques as the other layers,
par cans and fresnels create a softer feel. I also like to add color to the choir to help make them
disappear during moments when they are not the focus. Using blues and lavenders works best due
to the various colors of attire that may be worn by the choir.
The set design will reflect the vision, idea, or message. In a traditional setting, architecture such as
pillars, columns, or organ pipes can be lit by a number of different fixtures. Using patterns or gobos
to create texture along with color washes enhances these elements. In a contemporary setting,
curtains, trussing, spandex, and set pieces can be lit with LEDs, color changers, or profiles and
washes to give some variation.
PRACTICAL EXAMPLE:
Programming A Song With Lighting:
Programming lighting to a song is standard practice. First knowing the structure of a song will help you plan
when and how to introduce a lighting effect or “lighting cue.” When I was in school one of the projects was
to deconstruct a song. I never realized what went into writing a song, but understanding it has made me a
better lighting. Here’s a typical song structure:
Intro / Verse / Chorus / Verse / Chorus / Bridge / Verse / Chorus / Outtro
The basic elements include:
Intro:
The intro is the lead-in to the song. Most often instrumental and can make the song instantly
recognizable.
Verse:
The verse tells you what the song is about or sets up the story.
Chorus:
Also known as the “refrain”, the chorus is the part of the song where the melody and lyrics are
repeated. The title of the song is often included here. If you remember a song, it will usually be this
part since it provides something catchy or memorable.
Bridge:
The bridge stands out from the verse or chorus and can set up a transition to another part of the
song. It’s typically placed toward the end of a song.
Outtro:
The ending of the song can be a fade-out with decreasing volume or can be a composed ending that
completes the song.
Most of the time the lighting cues are programmed by this structure, but more experienced lighting
designers/programmers can feel these transitions and anticipate key changes within the music.
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There is so much more to a song than the basic structure. These song components below also are
very important in the lighting process, so worth taking a closer look at:
1. Melody - The melody is the tune of the song that you sing or play. The best melodies are considered
to be “catchy.” This typically means that the melody is memorable, which should be the desired effect.
2. Chords (chord progression) - The chords accompany the melody of the song. This is typically part
of the rhythm of the song.
3. Beat and Rhythm - The beat of a song is what “drives” the listener to “feel” the song (fast or slow).
It is also referred to as the tempo (speed) of the song. Because music stirs our emotions, we often
are drawn to a song because of the beat. The rhythm on the other hand, is the beat that the various
instruments (drums, bass, guitar and keys) create.
4. Genre and Style - the genre of a song (rock, pop, country or R&B) is typically established by the
beat and rhythm of the song. The style may vary once the song is constructed with the words and/
or instruments.
5. Concept (story) - All songs have a story line or theme. Typically the song title will convey the
essence of that story idea and the words (lyric) will expound upon that idea or theme. The story
concept and theme are typically stated in the title of the song.
6. “Hook”- The hook is the part of the song that you just can’t get out of your head. All great songs
have great hooks.
7. Lyrics - What is being “said” in the song comes through the words called the lyrics. The lyric
describes the concept, theme and/or title of the song. A lyric will typically rhyme in rhythmic phrases
in the sections of music.
8. Arrangement - The arrangement is actually two parts: the order in which the structure of the song
is placed (such as intro-verse-chorus-verse-chorus) and the organization of the instrumentation,
vocals and/or other parts of music that make up the song.
Different Stage Looks To Create:
For a Worship Band:
Granted this house of worship has a lighting budget and the tech volunteers have done their home work to
learn how to create looks. Yet pay attention to the different feelings you receive looking at each photo. Same
stage, same day, just a whole different look using the same lights.
Notice that the house lights are down to enhance a feeling of closeness in the congregation
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Ideas On How To Find And Create Your Lighting
“Looks” For A Song:
XX Creating the right look can take time. Be sure to leave enough time to create what you (and your
pastor) want and to rehearse it. Once you have some looks to experiment with a general rule of
thumb is to reserve one rehearsal hour per scene or song.
XX When programming a song first sit and listen to it a few times. Start to recognize how it makes you
feel. Visualize the colors of those feelings. Remember colors are very subliminal and help to create
emotions. After listening to the song a few times, what colors come to mind? Is the color of the song
happy (consider bright orange or sun yellow or silk pink). Or is your color moody or melancholic
(midnight blue or lavender). Or is the song fiery (consider real red or burnt orange) or calm and
tranquil (robin egg blue or forest green).
XX Translate the song into a primary color first to help set the tone of the song then build your selection
of complimentary colors from there. (Sourcing a color palette is helpful).
XX Using specific colors can draw the audience to a deeper level- a heightened awareness of the presence
of God. As the music starts to transition from praise into worship you can feel the atmosphere shift
so change the lighting into more saturated/deeper colors.
XX Best to start with a “less is more” approach and build from there and see what result best suits your
Vision.
XX Bringing the house lights down also enhances the feeling of closeness in the congregation.
XX Cool colors tend to pull you into a subconscious frame of mind.
XX If you have songs being played back to back, change the colors used to avoid repeating a look. If you
want to use the same look, use it for a song later in the service. If you have to use the same color try
to change the direction it comes from. For example use a lavender backlight for the first song then a
lavender sidelight or a lavender follow spot for the next song.
XX Textured light can be an effective design tool. Vary a look by using gobos. If you are not able to afford
manufactured precut gobos, cut designs out of pie tins.
XX Programming cues into a lighting controller makes your lighting design much more professional and
your job easier. If you have not yet researched the market, there are a number of excellent and
inexpensive lighting controllers available.
Summary:
The key to lighting for worship is that less is more. Creating a professional look is always the goal so
do not attempt a lighting technique before you have rehearsed it a few times so you and your pastor
are happy with it. There are many sources on the internet or in books if you punch in “lighting for
houses of worship” into Google. For any long term planning when it comes to incorporating lighting,
best to consult a lighting designer even if it is for just a quick call to ensure you are not wasting
precious time and resources.
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Useful Light Terms:
Par Can: The par can is the most widely used light for concerts, theatres and touring productions. Par is
an acronym for parabolic aluminized reflector and is used to designate a sealed-beam lamp similar to the
headlight in an automobile.
Wash Light: Wash lights are used to throw a wide and even “wash” of light on a wall or stage.
Gobo: Is a stainless steel or glass-etched cutout, that when placed in a pattern projecting light fixture will
project that image onto a wall or other flat surface.
Fresnel: (pronounced “fre-nel”) - a focusable spotlight used in film, television, and theater lighting, which
can be adjusted via a knob on the back of the light from “spot” for a narrowly focused beam, to “flood” for a
wider beam. Ellipsoidal: Ellipsoidal spotlights ( or ‘Lekos’ as they are commonly called) throw a well-defined, concentrated
beam of light that can be focused on a particular spot or area from a distances ranging from 20 - 75 feet.
They work great in overhead and side positions, and feature a focusable lens. These are very commonly
seen in theatres and entertainment venues.
Color changer: A color scroller or color changer is an electro-mechanical lighting accessory used in theater,
film, dance and concerts to change the color projected by stage lighting instruments without the need of a
person to be in the vicinity of the light.
Spandex: Stretch fabrics used as light diffusers and for creating both temporary and permanent architectural
structures. Stretch fabrics are ideal for front and rear projection screens, 2-D stretch shapes and 3-D
tensioned structures.
Article Sponsored By Leprecon:
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and interfacing solutions for the performance industry. Leprecon
has always existed “to bring enjoyment to peoples’ lives through
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Leprecon manufactures a wide range of lighting products that
illuminate not only touring and theatrical productions, but also corporate environments and houses of worship.
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Reach them at www.leprecon.com or at (888) 422-3537. Article Written By Tom Stanziano:
With 20 years of experience in the lighting industry, Tom has worked with Celebrity Cruises
and Disney Cruises. He was a lighting designer at Opryland USA Theme Park and Technical
Director at The Renaissance Center. In 2001 Tom became part of Lakewood Church and Joel
Osteen Ministries. Tom was able to be a part of the lighting design team with veteran Bill Klages
and served as lighting director for over 8 years. His current appointment with SeaChanger
allows him to impact the worship market by demonstrating and speaking on the proper use of
lighting techniques needed in today’s church. Speaking engagements include various trade
shows including Israel Houghton’s Deeper Level Conference, LDI, WFX, TRG’s Techxplosion,
and PRG UK at London’s Royal Opera House. He can be reached at (727) 488-1630.
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