Here, lighting director Seb Egan talks about ideas for capturing the right atmosphere for Matthew John's Hedda production, which is set specifically in 1869:
"I was given a challenge and a half of lighting very long shots, maybe shots lasting most of an act, which is a very theatrical idea. So on that, I started to think of how I could realistically light for camera but have a hidden light source or a light that would have been used in that era.
"I'm using oil lamps to create a general atmosphere. This is because they give off the right light for the era of the play. I had the difficulty in choosing between Tilley lamps and hurricane lamps. In the end I went for hurricane lamps as they gave off more light and would burn for a longer amount of time without having to constantly be re-lit (this was tested at university). An example of a Hurricane lamp is shown above.
"I would have also have liked to be using tea lights, and I still might, but, from using them as general candles around the home they are more trouble than they are worth. If I need them they will be considered.
"I then thought of a more general light and I decided to not only go with traditional film lights, but to also use something else. I then thought long and hard about what I was going to do and as I was doing some university work at 2 am for a deadline the next day, there popped into my mind the idea of using pendants suspended from above. This idea must have come from two separate lighting designers doing two completely different shows; Kursk (Hansjorg Schmidt) and Frankenstein (Bruno Poet). I am therefore using 80 Watt Halogen bulbs in multiple pendants. An example of a pendant is shown below."