L+ARC Job Interview

Job interview preparation

What was the Tempest about?

• The Tempest is a play by Shakespeare about Prospero (a sorcerer and exiled duke) who uses a storm to bring his enemies to a mysterious island for revenge, but learns to forgive/ask for mercy in the end.

What did Bobby study at school?

• BFA in Theatrical Design from Baylor University

• Masters in Lighting Design from the New York School of Interior Design

What is the color temperature of fire?

• 1800K - 1900K

Tell me about a time you had a difficult coworker or boss.

• In a previous job, I worked under a supervisor who was passionate about his work, but also had a very short temper.

• During one shoot, I was programming lighting cues while trying to communicate with him over walkie. I couldn't always hear his instructions clearly, so I had to ask him to repeat himself sometimes. He became visibly frustrated and started repeating the numbers back very slowly and deliberately, clearly upset.

• At that moment, I stayed calm and professional and didn’t react emotionally. I just focused on receiving the information accurately so we could move on with the shoot.

• In high pressure environments, especially with passionate personalities, staying grounded and focusing on the end goal is more important than responding with emotion.

What is the color temperature of incandescent bulbs?

• 2400K - 3000K

What are some different Architectural Lighting softwares?

• Revit, BIM360, Vectorworks, AutoCAD, AGI32, Dialux, Photoshop, Illustrator, InDesign

• Twinmotion, Rhino, Sketchup

What did Dianna study in school?

• Bachelors Degree at University of Tennessee

• Masters Degree in Lighting Design from the New York School of Interior Design

What is a footcandle?

• Tells you how bright a space is at a given spot, and how much light lands on a surface

• Helps lighting designers choose the right number and type of light to meet needs and codes

• A dim room might have ~5 footcandles

What is color temperature?

• Color temperature measures how cool or warm light looks, and is measured in Kelvins.

• A candle or a sunset has a lower color temperature, closer to 2000K, while daylight or hospital lighting has a higher color temperature, around 5600K.

• We use warmer color temperatures for a more cozy and inviting atmosphere while cooler temperatures are used in a focused environment like offices.

What is CRI?

• CRI stands for Color Rendering Index, and tells us how accurately a light source shows colors compared to natural sunlight.

• It is measured on a scale from 0-100. The higher the number, the better things will look under that light.

• For example, a high CRI light (90+) will make skin tones, fabrics, and artwork look more natural and vibrant. Lower CRI lights might make things look dull or off-color.

What is “general effect” in marching band?

• Refers to the overall entertainment value and impact of a show, encompassing both design and performance.

• "Wow factor" that judges consider, looking at how effectively the band communicates the show's message and emotional impact.

• Includes elements like the show's theme, the creative blending of musical and visual elements, and the band's ability to bring the show to life with expressive performance.

Who are you?

• I am a lighting designer and lighting control technician with a background in technical theatre and film. 

• I started in theatre, where I learned how to tell stories through lighting - using color, texture, and timing to support mood and narrative.

• For the past four years I've been working in the film industry which taught me how to be detail oriented, work efficiently on set, and collaborate across departments.

• Now, I’m excited to bring those experiences into architectural lighting. I’m drawn to how light can shape how people feel in a space.

Why lighting design?

• Lighting is powerful. I like that it is both visual and technical.

• It allows me to be one of the magicians behind the curtain creating the magic.

• It allows me to create general effect on an audience.

What got you into lighting design?

• When I saw Wicked in NYC when I was 15, I realized that I wanted to work in the theatre and be a part of the magic that happens on stage. 

• Once I started working at my high school’s theatre, they needed help in their lighting department so I stepped up. 

• It was there that I learned how powerful lighting is.  I decided to learn more and pursue it in college.

What are some of your favorite productions you’ve worked on and why?

• My favorite lighting design production I’ve worked on is The Tempest at Clemson University. The magic, the storm, and the creepy characters gave me endless ways to use lighting to support the story and atmosphere. 

  • I could play with tension and turmoil, then calm and quiet, then surreal and creepy.

  • There were hanging branches above the set that I wrapped in Christmas lights to allow them to create pulsing effects, spiral effects, and lightning effects all above the audience.

  • I rigged the balcony with LED bars facing upwards towards the ceiling, so that Ariel, a spirit, would look especially creepy and sinister.

• My favorite film production I’ve worked on is Kindred, Season 1. I was part of a lighting team that had to work fast, solve problems on set, and help create the quiet beauty of the production.

  • I especially loved working outside so much.

  • One of my favorite parts was working on the fire and candle effects. We had to think about color temperature, flicker quality, and what the effect looked like on screen.  For the candle, we experimented with different numbers of diodes, frosts for the lantern, and pixel-mapping the flame.  For the fire effects, we used LED panels that were segmented into different cells to give the best random flicker.

  • This was also one of my only projects that I have watched!

What are some cool lighting techniques you’ve learned in the industry?

• The coolest lighting techniques I’ve learned in the industry are pixel mapping and wireless lighting network connection

What are your strengths?

• My strengths include my attention to visual storytelling, my eye for atmosphere and detail, and collaboration.

• My background in theatre and film taught me to be adaptable, detail-oriented, and thoughtful about how lighting shapes experience.

• I’m excited to bring that mindset into architectural lighting and keep learning.

What are you weaknessess?

• One area I have been working on is my ability to delegate. Coming from theatre and film, I’ve often been in environments where the instinct is to take on everything yourself to make sure it gets done right.  It's hard, especially when I care so much about a project.

  • I’ve learned that good collaboration means knowing when to ask for help and trusting the strengths of others.  

• Additionally, since my background is in theatre and film, I don’t have as much or any experience with the architectural lighting programs and software. 

  • However, I am a fast learner and am already working on tutorials and training to build those skills.

• Another example is speaking up in large groups. I'm comfortable one on one or in small teams, but I sometimes hesitate to speak up in larger meetings.

  • I've been pushing myself to contribute more proactively and confidently. Especially when I have an idea or question that could help the process.

Why did you leave your last job?

• I took time away from my full-time work last year to focus on a medical issue, which is now being managed through part-time treatment.

• During that time, I've been staying engaged in the field through community theatre, which has allowed me to get back into my creative brain again and reminds me how much I love collaborative lighting work.

Tell me about a time you had to solve a problem.

• On a DC Comics TV Show called Naomi, we were shooting in an old used car sales facility, and we were using about 20 NYX Bulbs (wirelessly controllable light bulbs) in the china hat fixtures  in the ceiling.

• The bulbs were having trouble receiving data from the lighting console, due to there not being a perfect place for the transmitter.

• The crew is actively trying to shoot a scene when this problem gets run into, so I start into action. I stay focused on the problem. I work fast, smart, and efficiently.  Of course these lights were tested before the shooting crew came, but the addition of wireless equipment in the building may have caused the transmission to be more spotty.

• I start to move the transmitter to any other places I can think of and even find a place to sneak it on set, and yet the problem persists. I'm unlinking and relinking the bulbs to the transmitter, and yet the problem persists. 

• I remember that the app on my ipad that I've been using to link and program the bulbs has a basic color temperature feature. I set the gaffer’s preferred color temperature, and we can finally move on with the shoot

What is a lumen?

• A lumen measures how much light a fixture produces

  • the higher thre lumen, the brighter the light

  • a candle gives off about 12 lumens

Tell me about a time you made a mistake and how you handled it.

• In one of my earlier roles, I was given responsibility for placing an equipment order for a production - my first time managing that process independently.

• Part of the order involved securing Data Access Points, but due to my inexperience and not asking the right clarifying questions, I didn’t catch that they were mislabeled on the paperwork as “Skynodes,” which are a different and less expensive piece of equipment.

• When I realized the mistake - after the order had already been approved -  I took ownership and immediately reached out to the production team. I scheduled a Zoom meeting to explain the situation transparently: why the correct equipment was needed and why the cost was higher.

• I also contacted the rental company to revise the order and worked with both sides to find a compromise.

• In the end, I proposed a smaller quantity of Data Access Points that would still meet our needs but keep the budget impact minimal. 

• While it wasn’t ideal, the production appreciated my honesty and problem-solving. We got the correct equipment, stayed on schedule, and I learned how critical it is to double-check paperwork and speak up early.

How do you prioritize tasks when everything seems urgent?

• I find that it is crucial to pause and assess (what has a hard deadline, what is most critical to the project's progress, etc), to allow myself to be able to move forward with a clear head.

• I create a quick priority list, and identify what needs to be handled first. Then I will communicate with  my team or supervisor if necessary.

How do you handle tight deadlines or pressure?

• In theatre and film, tight deadlines are almost the norm - whether it's programming lighting cues during tech or coordinating gear pickups before (or during) a shoot.

• I’ve learned to thrive under that kind of pressure by breaking down what needs to happen immediately and what can be delegated or adjusted. I love a to-do list.

What tools or software are you familiar with?

• I am familiar with industry-standard lighting software such as Vectorworks 2025, Lightwright6, ETC Eos Consoles, HOG4 consoles, GrandMA consoles, and a program called ShowCueSystems (for audio and projection cueing).

• I also use Google Sheets a lot to create some of my paperwork and patch sheets.

What is your design process when starting a new lighting project?

• My design process always starts with listening and understanding the project's intent. This means reading and analyzing the script, and speaking to the director.

• Then I move into research and visual inspiration where I will pull references and explore moods or impact that support the narrative/intended experience.

• Then I go into technical planning; drafting, calculating beam angles, figuring out what my areas are on the set, choosing fixtures, etc. 

• After that, it’s all about collaboration and communication; getting feedback, cutting back based on budget constraints, and making sure the final result supports the story in a cohesive way.

How do you balance aesthetics and function in lighting design?

• Balancing aesthetics and function is the heart of lighting design. 

• Both storytelling and practicality are crucial.

• In theatre, I used light to tell a story, guide the audience’s eye, create mood, etc, but it also had to be practical. The characters had to be seen (and be able to see), the cues needed to work on time, and the fixtures and equipment had to work with the space.

• I approach design by layering; I start with what is practical and what is needed for safety and clarity, and can then add aesthetic layers. 

• In my experience, it's a compliment when someone tells me they “didn't even notice the lighting” because that means it just felt right.

How do you approach lighting for different types of spaces?

• First ask, “What is this space supposed to do and how is it supposed to make me feel?”

• Performance space: mood, flexibility, visibility.

• Retail or Hospitality space: flow, comfort, atmosphere, using light to guide movement.

• Office or Workspace: focus, fits the brand, clarity, visibility, no glares, etc.

Do you have any experience with photometric plans or specifying fixtures?

• I haven’t worked directly with photometric plans yet, but I understand their importance in architectural lighting - especially for planning light levels, coverage, and fixture placement accurately.

• Coming from a theatre background, I do have a strong foundation in understanding how light behaves - things like beam angles, throw distances, and intensity.

• But I’m excited to learn how that translates to architectural lighting calculations.

How do you stay current with lighting technologies, codes, and sustainability standards?

• I’m still pretty new to the architectural side of lighting, so I’m not fully immersed in codes and sustainability standards yet — but I know they’re an important part of the field.

• Coming from a theatre background, I’m used to learning fast and adapting to new tools and systems — so I’m excited to dig deeper into things like codes, photometric planning and sustainable fixture selection as I grow in the role.

Describe a time when you had to work with architects or engineers.

• I haven't had the chance yet to collaborate with architects or engineers, but I do often collaborate with grips, construction, and props.

• It taught me to ask the right questions and find creative solutions.

• There was one time I had to collaborate with the props crew and fixtures crew to create a light-up shield for a marvel movie. The fixtures team needed enough space for their LED tape and I needed enough space built into the shield to carry the wireless receiver in a way that wouldn't block signals. It was a productive conversation and everyone ended up being happy.

How do you handle feedback from senior designers or clients, expecially when it challenges your creative direction?

• If a note challenges my creative direction, I take a step back and try to understand why the feedback is being given. Is it about the budget? Functionality? A mismatch in tone?

• That helps me respond in a thoughtful, not defensive, way, and it helps me to not take anything personally.

• I’ve learned to treat design as a conversation, not a fixed idea.

Have you had to present lighting concepts to a client or non-technical team? How did you approach it?

• Yes - I’ve presented lighting ideas to directors, producers, and creative teams and even actors who weren’t always familiar with the technical side of lighting.

• I’ve found the key is to focus on the mood and purpose of the light, rather than just fixtures and specs. For example, instead of saying, 'I’m using 36-degree Source Fours,' I might say, 'This look creates a soft, dramatic focus on the actor, while keeping the background in shadow to add tension.'

• I often use reference images, renderings, or rough plots to help convey the visual intention

How do you manage your time when juggling multiple deadlines

• When I’m juggling multiple deadlines, I start by breaking everything down into smaller, manageable tasks and setting internal deadlines for myself ahead of the actual due dates.

• I usually prioritize based on urgency, dependencies (like waiting on approvals), and how long each task will take.

• I use simple tools like checklists or Google Sheets to track progress.

• Communication is also key - I make sure to check in with team members or supervisors if priorities shift or if something might impact the schedule. 

• Coming from theatre and film, I’m used to working under time pressure with a lot of moving pieces. I’ve learned how to stay calm, adjust quickly, and still deliver quality work on time.

What would you do if you realized you made an error in a drawing close to a deadline?

• If I realized I had made an error, I would first assess the damage (how serious is it, can it be fixed quickly, etc.) 

• I would notify my supervisors immediately and have a conversation on a plan to get things fixed.

• I would not want to hide my mistake, I would want to take ownership of it and get it fixed in the best way.

How proficient are you in Vectorworks?

• I'm at an intermediate level with Vectorworks Spotlight.

• I’ve used it primarily for drafting light plots, organizing paperwork, and making basic 3D visualizations. I’m comfortable with the fundamentals - creating and editing lighting positions, using the lighting instrument tools, and working in both 2D and 3D views. 

• That said, I know there’s a lot more to explore - especially in terms of detailed architectural workflows - so I’m actively building my skills. I’m a fast learner and really enjoy working in Vectorworks, so I’m always looking for opportunities to get more practice.

How has your theatrical lighting shaped the way you think about architectural lighting?

• My theatrical lighting background has taught me to think about light as a storytelling tool - not just a functional one.

• In theatre, I’m constantly thinking about how light makes people feel, how it shapes space, and how it directs attention. That sensitivity to mood and atmosphere carries over directly into architectural lighting.

• I approach each space with a question: what kind of experience do we want people to have here?

• I’m also used to working quickly, adapting to constraints, and collaborating closely with creative teams — all of which translates well to architectural projects.

• My goal is to design lighting that’s both functional and expressive, and my theatre background gives me a strong foundation to do that.

What are the similarities and differences you’ve noticed between theatrical and architectural lighting?

• In terms of similarities, both disciplines rely on the same fundamentals: how light affects mood, visibility, space, and attention. In both, you’re using intensity, color, angle, and contrast to create an experience — whether that’s guiding an audience’s eye to an actor or making a lobby feel inviting. 

• The biggest differences are in purpose and permanence. Theatrical lighting is temporary, flexible, and designed to support a live narrative that may change from night to night. Architectural lighting is more permanent and needs to serve a space consistently - often blending aesthetics with strict functional and code requirements.

What was your job like in Atlanta

• My job in the film industry in Atlanta was like a roller coaster. It was both fun and fulfilling and interesting but also urgent and stressful. Things needed to be done and they needed to be perfect and they needed to be on time.

• My work was very math and tech based. I worked with the network and programming for the lighting rig alongside rigging electricians, fixtures crew, grips, and main unit electrics crew.

• I catered to the needs of the main unit programmer, Gaffer, and Director of Photography.

How did you like the film industry?

• Though pressing and time-sensitive, also exciting and rewarding.

• I loved the teamwork of it all. I loved having a set be well prepared and ready to hand off to the shooting crew. I care so much about each light and each cable, and treated and assembled them with care.

• I loved being a part of a whole and being a part of a beautiful picture and production. Reminds me of being a part of a whole in marching band and in theatre.

What skills did you gain?

• The ability to work as part of a team and collaborate with other creative departments (making certain lights have wireless control to make the fixtures team’s lives easier, the rigging electrics team setting up extra power boxes for my lighting control equipment, or working with the props department to design the most functional and cohesive working product).

• I gained skills of delegation, flexibility, troubleshooting, problem solving, collaboration, and ownership of assigned tasks.

How would otheres describe your work?

• Others would describe me as a hard worker who cares about their work responsibilities.

• They would describe me as focused, fast, consistent, and dedicated.

Tell me about your theatrical lighting experience.

• I studied theatre in school. I've been interested in it since high school, where I first started learning about it and getting hands-on experience.

• I was drawn to the blending of art and engineering, the collaboration and teamwork, and the power of light and atmosphere.  I loved being behind the magic.  In lighting, I can express my creativity and affect an audience. 

• I studied at Clemson University, where I majored in Lighting Design, but also had a multi-departmental education.  I learned about stage management, script writing, sound, props, etc.

• I worked with the Brooks Center Production Crew, the Pelzer Auditorium, the Spoleto Festival, the Warehouse Theatre, the Gaillard, etc.

Why are you interested in this role?

• I’m passionate about the role of lighting in this world, both in the arts and in society.

• Coming from a theatre lighting background, I’ve always been drawn to how light shapes emotion, atmosphere, and experience.  In theatre, I learned how to tell stories visually. 

• I'm excited about the idea of transitioning to architectural lighting because it feels like an opportunity to apply those same skills to the real world - crafting spaces people live and work in every day. 

• This role feels like a perfect entry point; I get to learn from experienced designers and deepen my lighting knowledge.

• I’m especially interested in this firm because it values theatre-trained designers, which tells me you understand the creative sensitivity and hands-on mindset we bring.

• I’d love to grow in a setting like this, where storytelling still plays a role, just with different kinds of spaces and audiences.

What is your greatest accomplishment?

• Getting hired as a Rigging Lighting Control Programmer on Kindred, Season 1.

• It was proof of my hard work and dedication and was a result of everything I had learned. It was a title role and one that I felt I deserved to be in. 

• I didn’t know any other female programmers at the time.

What do you like to do in your spare time?

• In my spare time, I enjoy reading and lying outside in the sun.

• I love a good picnic.

• I enjoy hanging out with my friends and doing art, like making bookmarks!

• I also enjoy listening to podcasts and hiking.

Why are you shifting from theatrical lighting to architectural lighting?

• I'm shifting from theatrical lighting to architectural lighting because I'm excited by the opportunity to apply my creative and technical background in a new context. In theatre, I learned how to tell stories with light—how to shape mood, guide focus, and create immersive environments.

• What excites me about architectural lighting is the chance to bring that same sense of atmosphere and intentionality to real-world spaces people live and work in every day Additionally, it would be in a permanent installation instead of inevitably getting torn down.

• I’m particularly drawn to how architectural lighting blends art, design, and function, and I see it as a natural evolution of my skill set. I want to grow in a field where my visual storytelling instincts can be applied to lasting environments, and where I can keep learning about new tools, systems, and sustainable practices.

• Conversation with Dr. Buyer about percussion - lighting is always new and is always changing and there will always be more to learn

Have you worked with any lighting manufacturers?

Yes! I have worked with ETC and Rosco

How do you approach things you dont know yet?

• I approach learning new things by combining hands-on practice with research and mentorship.

• I have to accept that I am going to be bad at it at first, but need to get hands-on experience.

• I’m very comfortable diving into manuals, watching training videos, or doing self-guided exploration to understand tools or systems.

• At the same time, I value learning from others—asking questions, shadowing experienced colleagues, or reviewing past project documentation.

• Coming from theatre, I’m used to fast turnarounds and learning new gear or workflows on the fly, so I’m confident in my ability to adapt and pick things up quickly.

Tell us about a time you had to quickly learn a new tool or system.

• When I was working on a production that used a High End Systems Hog console, I had to quickly get up to speed after primarily working with ETC EOS-family consoles.

• The syntax and workflow were completely different—Hog uses a more programmer-centric layout and a different approach to cueing and palettes.

• I didn’t want to slow the team down, so I spent time outside of rehearsals watching tutorials. 

• I also was able to lean on the programmer for some help learning new things, like how to create effects and patch more efficiently.

How do you handle communication when you're not the expert in the room, like talking to engineers or clients who don't speak “lighting” ?

• When I’m not the expert in the room, I focus on listening actively and asking thoughtful questions.

• I’ve found it’s important to stay curious and not let ego get in the way.

• Whether I’m talking to engineers or clients who aren’t familiar with lighting, I try to meet them where they are. That might mean avoiding jargon and using visual references or analogies to explain a concept, or, on the flip side, asking for clarification on technical points from the engineering side.

• In film and theatre, you’re constantly collaborating with people from different departments—set, camera, costume, production—and that’s taught me how to communicate clearly, translate creative ideas into practical solutions, and keep the project moving without getting lost in the weeds.

What role do you think lighting plays in how people experience a space?

• Lighting plays a huge role in how people feel and behave in a space—it’s one of the most powerful yet often invisible design elements. It can guide movement, shape perception, and set the emotional tone without people even realizing it.

• In theatre and film, I saw how lighting could direct focus, build tension, or create intimacy, and I think the same principles apply to architectural spaces.

• A well-lit environment can make a space feel warm and welcoming, or sleek and modern, or calm and contemplative. It affects comfort, safety, even productivity.

• I think good lighting design is about creating experiences, not just illuminating a space—and that’s what really excites me about this field.

How do you define good lighting design?

• To me, good lighting design is about balance—it supports function, enhances aesthetics, and creates an emotional connection to the space.

• In theatre, we use light to tell a story and guide the audience's attention, and I think good architectural lighting does the same: it helps people navigate, feel comfortable, and connect with their environment.

• Technically, it means choosing the right fixtures, controlling glare, layering light effectively, and being mindful of energy use.

• But beyond that, it’s about understanding how people experience space—how light can make a lobby feel grand, a café feel cozy, or a pathway feel safe.

• If a space feels right and people respond to it without consciously thinking about the lighting, that’s usually a sign the design is working.

You're given a tight deadline for a lighting package, how do you break down the task and ensure it gets done?

• With a tight deadline, I break the task into steps: clarify the scope, prioritize what's essential, and build a quick timeline working backward from the due date.

• I identify any dependencies early and communicate with the team to stay aligned.

• My theatre and film background taught me to work fast without sacrificing quality, so I stay focused, adapt quickly, and keep things moving efficiently.

What kind of feedback do you work best with?

• I work best with clear, direct feedback.

• I really appreciate when someone takes the time to explain not just what to adjust, but why, because it helps me grow and make better decisions next time.

• I’m also very open to informal feedback in the moment; it helps keep things moving and allows me to adapt quickly.

What kind of environment helps you thrive?

• I thrive in a collaborative and open environment—one where ideas are shared freely and people support each other’s growth.

• I like being part of a team where communication is clear, feedback flows both ways, and everyone feels comfortable contributing.

• That kind of environment keeps me motivated, helps me learn faster, and leads to stronger, more creative results.

Where do you see yourself in 3-5 years in lighting design?

In 3–5 years, I see myself confidently presenting my own lighting designs—whether that’s for architectural spaces or theatrical productions. I want to grow into a role where I’m trusted to lead creative concepts, collaborate closely with clients or directors, and bring strong design ideas to life. I’m excited to keep learning the technical side while building a personal design voice that’s grounded in both storytelling and functionality.

Walk me through a lighting design you've done, from concept to execution. What were the biggest challenges?

• I designed lighting for The Tempest, and we set it in the early 1900s with the concept that the island had no electricity. From the start, I wanted the lighting to feel immersive and natural—actors carried lanterns as their primary source of illumination, which really grounded the world we were creating. The storm needed to feel both intense and magical, and we wanted the audience to be pulled into that experience from the moment they walked through the door.

• One major challenge was syncing the thunder and lightning to make the storm feel cohesive and timed just right. Another was that the show was staged in the round, so I had to light a full 360° space while avoiding shadows on faces and preserving the intimate, natural feel. On top of that, we had five large tree branches suspended over the stage, so I had to be very strategic with angles and fixture placement to avoid obstructed beams or harsh shadows.

• In the end, it came together beautifully—the lanterns gave the show a haunting, grounded texture, and the storm became a highlight moment for the audience. It was a great blend of creative storytelling and technical problem-solving.

Have you ever disagreed with a design direction or creative decision? How did you handle it?

Yes, I have—creative work naturally invites different perspectives. On one production, I disagreed with the director’s choice to light a key scene in full brightness when I felt a more shadowed, intimate look would support the mood better. Instead of pushing back immediately, I asked questions to understand their vision more fully, then we came to a compromise that included both visibility and a shadowy mood.

Tell me about a time you had to meet a creative goal within tight constraints.

• On a production of Our Town, the director wanted multiple distinct playing areas lit throughout the stage, but we had a very limited number of fixtures to work with. Ideally, I would’ve used layered lighting—front, side, and back—but with the constraints, I had to dedicate just one light per area, which meant only front light in each zone.

• To make it work, I focused on careful placement and angle to avoid flattening the actors too much, and used intensity and isolation to create visual separation between scenes.

• It wasn’t ideal, but it allowed us to meet the director’s creative goal within the technical limits. The simplicity actually ended up supporting the stripped-back aesthetic of the show in a way that felt intentional rather than lacking.

Can you describe a show where lighting played a major storytelling role, and your part in it?

• In The Tempest, lighting was central to the storytelling from the very first moment. We wanted the audience to feel like they were stepping into a magical, isolated world, so we designed the lighting to reflect a world without electricity. Actors carried lanterns as their main light source, which created an intimate, atmospheric feel and supported the 1900s island concept.

• One of the biggest storytelling moments was the storm—lighting had to carry the magic and chaos of that scene. I used strobes, deep color shifts, and synchronized thunder cues to heighten the drama and make it feel otherworldly. Because the show was staged in the round with large tree branches overhead, I had to be strategic about fixture placement and angles to ensure the light felt natural but still dramatic. My role was designing and programming the entire look, and working closely with the director to make sure the lighting supported both the realism and the fantasy at the heart of the show.

What did you do in your last job?

• As a Rigging Lighting Control Technician, I assisted with the design of the lighting network infrastructure and install of the lighting network rig for film sets.

• I aided with documentation, paperwork, and lighting maps for the rigs. I programmed, patched, and labeled the lights for proper connection and output from the lighting console.

• I tested the lighting rig, and assisted with the handoff of the rig to the main unit shooting crew. I was responsible for network and cable management, software and firmware management, and showfile management.

Some things you’ve learned?

• The light doesn't always have to be at 100% brightness.

• Ability to troubleshoot efficiently

• Collaboration and adaptability is key

Favorite designers or designs?

• Nightmare Before Christmas - The lighting does an incredible job at creating atmosphere and mood and tells a story. The juxtaposition of Halloweentown, which is shadowy and dramatic, and Christmas town, which is quiet, beautiful, soft, and warm, really helped with the narrative and mood.  Plus, they used real and tiny practicals on the sets! Including Christmas lights and table lamps. They also used UV light in the Oogie Boogie scenes.

• Hadestown (Bradley King) - The designer did such a wonderful job at creating the juxtaposition between the underworld and the above ground scenes. There was a part where the show transitions to the underworld and there are these hot, hot lights that look like small maxi-brutes all hanging on the back walls of the stage that come on with a very hot color and I gasped and my heart fluttered and it really felt like we were going into hell. I could even feel the heat of the lights. The designer also did a phenomenal job designing cues that were in time to the music, which, as a percussionist, I really appreciate.

What do you know about our company?

• I know you’re an architectural lighting firm that believes in the power of lighting and how it can affect an audience.

• You value telling a story through light and creating atmosphere. You’ve worked on a range of projects including museums, outdoor lighting, a spa, etc.

• I loved that I got more insight into your process on your website and getting to see the sketches from the first layer of the process.

• I’m also aware that Bobby has a background in theatrical design and lighting design and am so interested to know how he’s been able to translate that into architectural lighting design.

What is your favorite project of L+ARC’s?

• The NiceWonder Farm Spa! It looked so sleek and modern yet the lighting seemed almost invisible and just part of the aura of the space.

• There was one picture of a big tree branch and it looked like there were leds placed in the back of it shining at the wall and gave it this wonderful halo effect.

• I also noticed the lighting that looked like it was hidden above the ceiling in a recessed cove. It's that attention to detail that drew me in.

What is a volt?

• electrical pressure that pushes electrons

what is an amp?

rate of electron flow

what is a watt?

power consumption rate

How do you determine the watts of a device?

W=VxA

If your design style was a genre of music what would it be

Rhythm and Blues because it’s rich and dynamic and emotional