Ace Your Lighting Technician Interview: The Top 30 Questions You Need to Know

Landing a job as a lighting technician takes more than just technical skills. During the interview, you need to show that you are both qualified for the job and ready to do well in it.

An interview is your chance to showcase why you are the ideal candidate. But because there is a lot of competition for these coveted jobs behind the scenes, you need to be ready for any question that might be asked of you.

To help you get ready, we’ve put together this long list of 30 common lighting technician interview questions, along with examples of how to answer each one. Find out what employers really want to know about you and how to best present yourself as a lighting expert by reading on.

Interview Questions About Your Technical Skills

Technical expertise is vital for success as a lighting tech, Expect interviewers to thoroughly assess your hands-on skills and knowledge

1. Can you describe your experience with setting up and operating the types of lighting equipment we utilize here?

For this role we need someone intimately familiar with using XX lighting consoles. I have over 5 years experience setting up programming and running XX lighting boards for both touring productions and fixed venue events. I am highly capable with the advanced features these consoles offer such as built-in LED pixel mapping, media server integration and wireless remote control. My expertise will enable me to fulfill lighting requirements for any production using your equipment.

2. How would you go about testing and troubleshooting issues with our automated lights?

My first step would be to consult the user manual and inspect all connections to isolate the problem. I would check issues such as loose cables, power supply, burnt out lamps and mechanical issues. For software and network related problems, I would use the console to send diagnostic commands and if necessary connect with a laptop to run detailed diagnostics. Safety is always paramount so powering off the fixture before any physical inspection is standard protocol. With my extensive experience troubleshooting automated lighting, I am confident I can quickly resolve any issues to minimize disruptions.

3. What are some important factors we should consider when choosing lighting equipment for our venue?

Some key considerations when selecting lighting fixtures include:

• Intended use – Will they be used primarily for theatrical productions, concerts, corporate events etc? This determines technical specifications needed.

• Lumens – Assessing venue size and desired light levels to choose adequate brightness.

• Beam angles – Narrow beams for spotlights or wide floods for general illumination.

• Durability – Equipment must withstand the rigors of tour environments.

• Budget – Prices can range dramatically so striking the right balance of price and performance.

• Technical capabilities – Advanced features like LED, zoom abilities, automated movement etc.

• Ease of use – Equipment that is straightforward to operate and integrate.

• Brand reliability – Reputable brands with good warranties offer peace of mind.

My expertise in specifying lighting equipment appropriate for the venue and productions will enable me to provide prudent recommendations.

4. How would you use lighting to enhance the audience experience for a dance performance at our theater?

For a dance performance, lighting must complement and enhance the choreography and music. I would use side lighting to sculpt the dancers’ forms and movement. Backlighting would separate them from the backdrop creating interesting silhouettes. Strategic spotlights can guide focus to lead dancers or highlight solos.

Color is hugely impactful so I would use an expressive palette and timed cues synced to music to strengthen emotional impact. Intensity and contrasts would reinforce the musical dynamics. I would also meet with the choreographer early on to understand their vision so my design supports their artistic goals. The end result would be an immersive experience for the audience that seamlessly blends lighting, dance and music.

5. If you noticed a safety issue with our current lighting setup, how would you handle it?

Safety is my top priority. If I noticed any issues making the current lighting setup hazardous, I would take immediate steps to mitigate the risk. My first action would be to bring the problem to the attention of the facilities manager or theater technical director to ensure they are aware and can advise or escalate as needed. If the issue poses imminent danger, I would intervene directly to the extent of my authority and ability to do so safely, such as turning off power or cordon off unsafe equipment. Documentation through written reports and photographs is vital both to record the safety lapse and to justify any emergency response taken. I would follow up rigorously until satisfactory corrective action to resolve the safety issue is implemented.

Interview Questions About Your Problem-Solving Abilities

Things don’t always go as planned in live productions. Interviewers want to know you can think on your feet.

6. You notice several lights are out right before a show opens. How would you approach this situation?

In an unexpected situation like this, I would remain composed and tackle the issue methodically. I would immediately inspect the lighting fixtures to diagnose the problem, whether it is failed lamps, a wiring problem or other issue. If I can quickly get the lights operational again safely, that is ideal. Otherwise, I would strategically adapt the lighting design by borrowing working fixtures temporally from less critical positions. As the show goes on, I would continue troubleshooting to return all lights to working order. Throughout the process, I would keep the production manager updated with transparency about the situation. Remaining flexible under pressure is crucial when unexpected challenges arise.

7. How would you handle a disagreement with a director regarding lighting for their production?

Open communication is key when creative differences arise. I would have an earnest discussion with the director to fully understand their vision and priorities for the show’s lighting. I would explain my proposed lighting plan and the rationale behind my choices while remaining receptive to their feedback and willing to find workable compromises. As a collaborator, I know my role is to enhance the overall production. I would work to find an approach we are both satisfied with, whether that means incorporating more of their ideas or modifying my design to better align with their aesthetic goals. Maintaining mutual respect and a shared commitment to the production’s success can allow for resolving disagreements.

8. You are contracted to design lighting for an outdoor event, but the weather forecast suddenly changes. What do you do?

Weather contingencies are par for the course with outdoor events. If the forecast takes a turn, I would connect immediately with the event organizer to discuss options. I would provide recommendations to adapt the lighting design and equipment usage to suit the new weather conditions. This may require measures such as waterproofing fixtures, using high-powered lights if visibility is reduced, adding lighting for audience comfort/safety and switching to generators if power supply is compromised. Safety would remain my top priority throughout. Having experience modifying lighting designs to accommodate changing outdoor conditions, I am prepared to take the necessary steps to keep the show running rain or shine.

9. How would you handle last-minute changes to the set design that affect your lighting plan?

It’s not unusual for set designs to evolve, so I anticipate having to adapt lighting plans accordingly. If significant layout or scenic changes occur, I would request an updated set design file to rework my plots and paperwork. For smaller shifts, notes at production meetings keep me apprised so I can adjust. My focus is integrating lighting seamlessly into the new set configuration. This may require repositioning fixtures, refocusing lights or altering cues in my programming. I would also communicate any impact on budget or workload the changes incur. Staying nimble to minor changes or major overhauls is part of the job. With efficient planning skills and technical agility, I can modify my lighting design to align with the new set.

10. You are operating the lighting console and cues are not occurring as programmed. How would you address this?

There are a few likely culprits if lighting cues are not executing properly. The first thing I would verify is if the console is receiving the right trigger signals from the production team. If triggers are not the issue, I would methodically check if the correct lighting states are programmed for each cue and that all playback fader positions are set accurately. Another possibility is a technical malfunction so I would monitor console diagnostics for problems. As a stopgap I could manually override cues if needed. I would also confirm with the stage manager that my lighting states match their prompt book. A systematic process of elimination helps isolate whether the problem stems from programming, equipment failure or communication errors so it can be swiftly solved.

Interview Questions About Your Work Ethic & Adaptability

Employers want to know you have the drive and attitude to thrive in a dynamic, deadline-driven role.

11. How do you stay motivated when working on a production you find uninteresting?

Regardless of my personal interests, I give 110% to every production I work on. I motivate myself by focusing on the audience experience. Though the material may not excite me, providing creative, flawless lighting still impacts the viewers who are eager fans. Collaborating with cast, crew and clients to deliver an exceptional show every time also drives me. My work ethic comes from a place of integrity and team spirit rather than personal preferences. For less engaging shows, I view it as a challenge to bring out the production’s best qualities through imaginative lighting. Audiences should never see a difference in my effort or artistry.

12. How do you handle the pressure and long hours often required in this field?