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The Assistant
Lighting
Designer’s Toolkit
“The Assistant Lighting Designer’s Toolkit is a book the lighting world needs and
should be required reading for all new—​and not so new—​lighting designers.”
—​Ken Billington, Tony Award-​winning Broadway Lighting Designer

The ground-​breaking text that took the lighting world by storm returns in its second edition,
unlocking the insider secrets and proven, time-​tested methods to succeed as a professional
assistant lighting designer.
This definitive guide outlines, step-​by-​step, the daily challenges that assistant lighting
designers face during every phase of production, and the solutions for overcoming them.
Furthermore, intermingled among the highly detailed paperwork techniques and essential
procedures, top industry professionals reveal tips for success in this challenging career. This
fully updated second edition features:

• All new advice, real-​world stories, and current paperwork examples from over 120
working professionals.
• Updated industry practices with case studies from the professionals themselves, such
as how to create a video network to record previews for the lighting department; how
much printing is done in an increasingly paperless world; how to produce a set electrics
package; and how the industry interfaces with cutting-​edge technology like remote
followspots and pre-​visualization software.
• New lifestyle tips for traveling abroad, negotiating contracts, and dealing with stressful
situations.
The Assistant Lighting Designer’s Toolkit, the most trusted authority on assisting in the lighting
world, equips budding assistant lighting designers and students studying lighting design
with the insider knowledge they need to achieve the successful career that they have always
wanted—​whether choosing assisting as a career or as a stepping-​stone toward design. Within
these pages are the industry secrets rarely taught in school!

Anne E. McMills’ career extends across the many facets of the lighting world—​from theatre
(including Broadway and the West End) to television and theme parks, to architectural
lighting, corporate industrials, concerts, cruise ships, award shows, dance, and opera. In
addition to designing her own work, Anne has worked as an associate for many Tony Award-​
winning Broadway designers, mounting productions throughout the world. Anne is a proud
member of United Scenic Artists, Local 829, and is the Head of Lighting Design for the
MFA in Design and Technology at San Diego State University. For further information, visit
www.annemcmillslighting.com.
The Focal Press Toolkit Series

Regardless of your profession, whether you’re a Stage Manager or Stagehand, The Focal Press
Toolkit Series has you covered. With all the insider secrets, paperwork, and day-​to-​day details
that you could ever need for your chosen profession or specialty, these books provide you with
a one-​stop-​shop to ensure a smooth production process.

The Production Manager’s Toolkit

Successful Production Management in Theatre and Performing Arts
Cary Gillett and Jay Sheehan

The Director’s Toolkit

Robin Schraft

The Properties Director’s Toolkit

Managing a Prop Shop for Theatre
Sandra Strawn and Lisa Schlenker

The Costume Supervisor’s Toolkit

Supervising Theatre Costume Production from First Meeting to Final Performance
Rebecca Pride

The Stage Manager’s Toolkit, 3rd edition

Templates and Communication Techniques to Guide Your Theatre Production from First
Meeting to Final Performance
Laurie Kincman

The Lighting Supervisor’s Toolkit

Collaboration, Interrogation, and Innovation toward Engineering Brilliant Lighting Designs
Jason E. Weber

The Assistant Lighting Designer’s Toolkit, 2nd edition

Anne E. McMills

For more information about this series, please visit: www.routledge.com/​The-​Focal-​Press-​

Toolkit-​Series/​book-​series/​TFPTS
The Assistant
Lighting
Designer’s Toolkit
Second Edition

Anne E. McMills
Second edition published 2022
by Routledge
605 Third Avenue, New York, NY 10158

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2022 Anne E. McMills

The right of Anne E. McMills to be identified as author of this work has been
asserted by her in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks,

and are used only for identification and explanation without intent to infringe.

First edition published by Focal Press 2014

Library of Congress Cataloging-​in-​Publication Data

Names: McMills, Anne E., author.
Title: The assistant lighting designer’s toolkit /Anne E. McMills.
Description: Second edition. | New York, NY : Routledge, 2022. |
Series: The Focal Press toolkit series | Includes bibliographical references and index.
Identifiers: LCCN 2021010863 (print) | LCCN 2021010864 (ebook) |
ISBN 9780367423711 (hardback) | ISBN 9780367423728 (paperback) |
ISBN 9780367823870 (ebook)
Subjects: LCSH: Stage lighting.
Classification: LCC PN2091.E4 M37 2022 (print) |
LCC PN2091.E4 (ebook) | DDC 792.02/5–dc23
LC record available at https://lccn.loc.gov/2021010863
LC ebook record available at https://lccn.loc.gov/2021010864

ISBN: 978-​0-​367-​42371-​1 (hbk)

ISBN: 978-​0-​367-​42372-​8 (pbk)
ISBN: 978-​0-​367-​82387-​0 (ebk)

DOI: 10.4324/​9780367823870

Typeset in Times New Roman and Helvetica

by Newgen Publishing UK
The second edition of The Assistant Lighting
Designer’s Toolkit is dedicated to my students
(both past and present) from whom I learn so
much. My life is more meaningful because
you are in it.

For my mother, Rose C. McMills

—​the original “Typewriter”—​
Table of Contents
About the Author xi
Acknowledgments xiii
Acknowledgments from the First Edition xv
Foreword by Ken Billington xvii
Introduction xix
Common Abbreviations xxiii

PART I: The Profession 1

Chapter 1: Understanding Assisting 3

Chapter 2: The Tools Required 25

Chapter 3: Production Personnel 57

Chapter 4: Unions 73

PART II: The Process 85

Chapter 5: Design Prep 87

Chapter 6: Load-​in 105

Chapter 7: Tech 135

Chapter 8: Previews and Performances 145

x      C O N T E N T S

PART III: The Paperwork 153

Chapter 9: Pre-​production Paperwork 157

Chapter 10: Tech Process Paperwork 261

PART IV: The Industry 313

Chapter 11: US-​based Employment Opportunities 315

Chapter 12: Working Internationally 337

Chapter 13: Working in Related Industries 365

PART V: The Life 405

Chapter 14: Working as an Independent Contractor 407

Conclusion 425
Appendices 427
Appendix A: Step-​by-​Step Assistant’s Checklist 427
Appendix B: Design Package Checklist 431
Appendix C: Assistant’s Kit Checklist 435
Appendix D: Electronic Folder Organization 439
Appendix E: Site Survey Measurements 443
Appendix F: Sample Shop Order 445
Appendix G: Sample Set Electrics Specifications 457
Appendix H: Sample Cover Letter and Resume 463
Appendix I: Product Websites 467

Bibliography 473
Index 481
About the Author
Anne E. McMills is a lighting designer, associate lighting designer, educator, and author.
Her far-​reaching career extends across the many facets of the lighting world—​from theatre
(including Broadway and the West End) to television and theme parks, to architectural
lighting, industrials, concerts, award shows, dance, and opera. In addition to designing her
own work, Anne has assisted many award-​winning Broadway lighting designers, including Ken
Billington, Brian MacDevitt, Howell Binkley, Peter Kaczorowski, Jason Lyons, David Lander,
and Brian Monahan, among others. Anne also assisted projections designer Elaine J. McCarthy
on Wicked and Spamalot, mounting productions in the United States, the UK, Japan, Australia,
and Germany to name a few. Anne is a proud member of United Scenic Artists, Local USA 829.
Anne achieved her BFA degree in Theatre Design with an emphasis in Lighting Design
from Millikin University in Decatur, Illinois, and her MFA degree in Lighting Design from
Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey while
studying under F. Mitchell Dana. While pursuing her thesis research, Anne interned at the
Royal Opera House at Covent Garden and the Lyric Theatre Hammersmith in London, UK,
as well as the Opéra de Lyon in Lyon, France in order to analyze the comparison between
American, British, and European lighting design practices and technologies.
Anne is the Head of Lighting at San Diego State University, leading the MFA program in
Lighting Design and Technology. In addition to The Assistant Lighting Designer’s Toolkit, Anne
is also the author of 3D Printing Basics for Entertainment Design. For further information,
visit www.annemcmillslighting.com.
Acknowledgments
The second edition of The Assistant Lighting Designer’s Toolkit was written largely during
the Covid-​19 pandemic and resulting lock-​down. Writing it on top of virtual teaching and
running an MFA program in hyflex during a pandemic was nothing short of a gargantuan
effort. I’m thrilled to have it complete and out in the world. I hope that you, the readers, find
knowledge and meaning in it.
This book could not have happened without the continual love and support from my partner
Jonathan Mulvaney. You are always so selfless and willing to allow me the space to create.
Thank you for keeping me sane enough to write and for being my partner in all things.
To my mother, Rose C. McMills—​the original typewriter; you are always by my side—​
especially when I’m writing—​whether you know it or not. I love you, Mom!
Thank you to my test readers—​Ken Elliott, Colby Freel, Winston G. Limauge, Conor
Mulligan, and Craig Stelzenmuller. You’ve influenced this edition more than you know! An
additional thanks to Colby for your valuable research. And a very special thanks to Craig
Stelzenmuller for going above and beyond. Your notes and continued support throughout the
process were amazing and so influential to the formation of the final manuscript. Thank you
for caring enough to make this edition the most current and accurate that it could be!
So many people helped make this book a reality; so much so that I’ve started calling it a
love letter to the industry. So many of you selflessly donated your time with filling out surveys,
sending in images, test reading sections, dealing with emails for permissions, and being there
for general advice. Thank you from the bottom of my heart for your dedication to the industry,
this text, and the donation of your valuable time. I wish to thank each one of you and tell
you how much your contributions touched my heart … Kevin Adams, Chris Akerlind, Katy
Atwell, Kevin Barry, Josh Benghiat, Ken Billington, Howell Binkley, Fred Bock, Wilburn
Bonnell, Shawn Boyle, Kaitlyn Breen, Isabella Byrd, Rob Casey, Amith Chandrashaker,
Jiyoun Chang, Coby Chasman-​Beck, Colin Chauche, Dillion Cody, Eric Cornwell, Jane Cox,
Jessica Creager, Crowood Press, Jeremy Cunningham, Oona Curley, F. Mitchell Dana, Jake
DeGroot, Tim Deiling, Disney Enterprises, Alan C. Edwards, Ken Elliott, Josh Epstein, Erin
Erdman, ETC, Mitchell Fenton, Bruce Ferri, Rick Fisher, Kirk Fitzgerald, Amanda Zieve
Fogarty, Alex Fogel, Brent Forjosis, Colby Freel, Cecilia Friederichs, Matt Gordon, Brad Gray,
Caitlin Guyan, Rob Halliday, Michael Helm, Mark Henderson, Colleen Henty, Hevi Lite, Don
Holder, Holland America, David Martin Jacques, Mitchell Jakubka, Patrick Johnston, Peter
Kaczorowski, Natasha Katz, Kristina Kloss, Stephanie Lasater, Jimmy Lawlor, Ken Lennon,
Vivien Leone, Winston G. Limauge, Tim Lutkin, Jason Lyons, Brian MacDevitt, Joan Marcus,
x i v      A C K N O W L E D G M E N T S

Jonathan Martin, Ed McCarthy, Elaine J. McCarthy, Porsche McGovern, Travis McHale, John
McKernon, Tyler Micoleau, Tim Mitchell, Brian Monahan, Samuel Morgan Photography,
Conor Mulligan, Jonathan Mulvaney, Ryan O’Gara, OISTAT, Lowell Olcott, Justin A. Partier,
Cory Pattak, Benjamin Pearcy, Anthony Pearson, Kathy A. Perkins, Edward Pierce, Xavier
Pierce, Richard Pilbrow, Ken Posner, Timothy Reed, Michael A. Reese, Nik Robalino, Asher
Robinson, ROSCO®, Brandon Rosen, Philip Rosenberg, Jared A. Sayeg, Jen Schriever, Joel
Shier, David Shocket, Mark Stanley, Craig Stelzenmuller, Aaron Tacy, Clifton Taylor, Paul
Toben, Mike Tomaselli, Justin Townsend, Nicole Van Dijk, Hugh Vanstone, Vectorworks Inc.,
Andrew Voller, Dan Walker, Japhy Weideman, KC Wilkerson, Ken Wills, Carolyn Wong, Mike
Wood, Jennie Yeung, and Yi Zhao. I hope I didn’t miss anyone!
Thank you to Ed McCarthy, my tech editor and friend, who influenced this book along
every step of the way! And as always, thank you to Stacey Walker—​who is simply just the
best. No question!
Thank you to my friends and family for their support, and to my four-​legged writing part-
ners: Sienna, Toffee, and little Smudges; and, as always, to my sweet Cosette. Forever in my
heart.
A special thank you to Denitsa Bliznakova, Charles Murdock Lucas, and Ralph Funicello
for allowing me the space to work when I really needed it. And for so many students for put-
ting up with my scattered and late email responses while trying to get this edition out during
a pandemic. Sometimes we are all human.
An eternal thank you to the great Ken Billington (who wrote the foreword to both of these
editions) for giving me the career I always dreamed of, which made these books a reality. Who
knows where I would be now if you hadn’t taken a chance on this kid so long ago!
And, finally, thank you to all the readers and adopters of the first edition. This book has had
a life all its own that I never imagined. I feel like it has become a mission bigger than myself
by helping to shape new recruits within the industry. If you are just starting out, I hope that
it makes a difference in your career and provides direction when you need it. Thank you for
reading this book so that it can live on and, hopefully, affect the careers of many.
Acknowledgments
from the
First Edition
This book has been a monumental task and could not have come into being without the
selfless donation of time from a lot of very busy people. Please forgive me if I miss anyone.
First of all, thank you to my mother, Rose C. McMills, who has always inspired me to be
brave and strive for greatness. Thank you for finding time in your busy schedule to be my
personal editor and proofreader. Most importantly, thank you for instilling within me your
love of books, your passion for prose, your fervor for grammar, and your joy in the beauty of
language.
Thank you to my advance readers and information gatherers—​Susan Mason, Heather
Oliver, Jessica Morataya, Morgan Zupanski, Jennifer Salmeron, Jared A. Sayeg, Jim Milkey,
and Rob Halliday as well as the countless others who read excerpts and sections. Your insight
and constructive comments helped shape this book for the better. I am grateful for your help.
Thank you to everyone who donated their time assisting with paperwork examples, images,
quotes, and edits—​Christopher Akerlind, Apollo Design Technology, Inc., Kevin Barry, Ken
Billington, Juan Carillo, CAST Software, Richard Crother, Eric Cornwell, Crowood Press,
F. Mitchell Dana (whose profound teaching and influence sculpted the career I have today),
John Demous, Andrew Derrington, Devin DeVore (for your beautiful cover photo), DHV
Productions, Disney Enterprises, Inc., EarthLED, Beverly Emmons, Erin Erdman, ETC, ESP
Vision, Bruce Ferri, Cecilia Friederichs and the team at USA829, Matt Gordon, Meredith
Greenberg, Rob Halliday, Tony Helinsky, Hevi Lite, Inc., Donald Holder, Jim Hutchison,
KB Associates, Inc., Justin Lang, Vivien Leone, Scott Longberry, Jason Lyons, Joan Marcus
Photography, Reinhold Meyer, Ed McCarthy, John McKernon, Jim Milkey, Millikin University,
Brian Monahan, Samuel Morgan Photography, Jonathan Mulvaney, Nemetschek Vectorworks
Inc., Ryan O’Gara, Justin A. Partier, Matt Peel, Anthony Pearson, Charlie Pennebaker, Edward
Pierce, Richard Pilbrow, Kenneth Posner, Carol Prendergast, Michael A. Reese and the team at
BKA, Landon Roberts, Rosco Laboratories, Philip S. Rosenberg, Jared A. Sayeg, Jen Schriever,
x v i      A C K N O W L E D G M E N T S F R O M T H E F I R S T E D I T I O N

Sewell Direct, Steve Shelley, Rick Sorensen, Hugh Vanstone, Andrew Voller, Dave Ward, K.C.
Wilkerson, Jake Wiltshire, WMW Reprographics Ltd., WYSIWYG, Michael Zinman, and the
Carpenter Performing Arts Center at California State University, Long Beach. It has been a
tremendous joy to have so many significant professionals within the field contribute to this
project.
Thank you to Jim Milkey, my technical editor and friend. I am so grateful for your
observations and careful crafting of my manuscript. Thank you for sticking with me during
such a challenging time in your life.
Thank you to my family for their support and input, and to my friends for their constant
encouragement (especially those who have traveled with me the longest through this career:
Jimmy Babcock, Aaron Jackson, Melissa (Raddatz) Mulvaney, and the always-​inspirational,
Trillian, who told me to write this book “no matter what.”) And, of course, a loving thanks
to my four-​legged writing partners, Cosette and Sienna, who were always there to make me
laugh when I needed it.
Thank you to Focal Press for giving me this opportunity—​especially Stacey Walker and
Meagan White. Special thanks to Steve Shelley for your guidance and continuing mentorship.
And thank you to Jennifer Silva Redmond and Michael Lennie.
Thank you to the faculty, staff, administrators, and students at Cal State L.A. who supported
me through my creative leave for this project—​especially Meredith Greenburg and John
Kennedy.
A special thank you to Ken Billington and his associates. Nothing has affected my career
more profoundly than my years working at KBA. There I was taught how to be a great asso-
ciate and a great professional. Without question, this book would not exist without your
immeasurable influence and extraordinary training. I am truly honored and humbled to have
the legendary Ken Billington write this text’s foreword.
And, finally, thank you to my partner, Jonathan Mulvaney, who has supported me throughout
this project and every day before and after. Thank you for always listening, giving your brilliant
contributions, putting up with my always-​busy schedule, and constantly stopping what you
were doing to talk me through even the smallest decisions on this book. Thank you for being
in my life, supporting my dreams, and always being there for me.
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