183:, fixture (or sometimes moving head), is a versatile and multi-function instrument designed to replace multiple conventional, non-moving lights. Depending on the venue and application, automated luminaires can be a versatile and economical addition to a stock of traditional lights because, with proper programming, they can swiftly alter many aspects of their optics, changing the “personality” of the light very quickly. Lighting is typically pre-programmed and played back using only simple commands, although moving heads can be controlled “live” if the
163:. They began to manufacture a line of scanners known as Roboscans, with a variety of different specifications for different users. They were named for their wattages, with a range starting with 1004 and 1016. Later came the 804 and 805, designed for small venues. Other models were the 218, 518, 812, 918 and 1200Pro units. Martin also produced a whole new range of Moving Heads called the Martin MAC Series. This series is still popular today, with new fixtures such as the MAC III and MAC Viper, which are among the highest quality moving lights.
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used model aircraft servo motors to control Pan, Tilt, Color and Gobo, with the gobo wheel providing the shutter function as well. The Color wheel had 4 dichroic color filters (red, blue, yellow, and green), and the gobo wheel contained four stamped patterns (non-replaceable). The Robot communicated with a proprietary 8-bit protocol, yet had no microprocessors/pal's/pics/ram, O/S or other modern logic device.
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wider beam aperture resulting in wider beam angle, which may be altered by internal lenses or “frost effects”. Wash lights are more likely to have CMY colour mixing although it is common for high-end spot lights to have such features too. Spot units are generally used for their beam effect (usually through smoke or haze) and the ability to project texture, whereas wash lights tend to be used for providing a
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features built into a traditional automated fixture. When combined with an LED fixture or colour scroller, the most common features of an automated light can be readily duplicated. "Auto-yokes" are often promoted as a way to modernize and increase the flexibility of an inventory of lighting fixtures at a reduced cost to replacement with intelligent lights.
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place (behind the centre of the mirror). Moving head fixtures have a much more concentric range of motion, owing to the separation of the axis of motion. Much smoother operation can be achieved through one axis of a moving head luminaire describing a circle (usually pan) and the other (tilt) changes the diameter of the circular movement.
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retroactively named the original system "series-100". The
Original Vari-Lite console was retroactively named the "series 100 console" and the original Vari-Lite was retroactively named the "VL-1 Spot Luminaire". The prototype fixture shown to Genesis in 1980 was re-designated the "VL-zero" in the mid-1990s to keep the naming consistent.
637:” effect for the next scene. Attempting this transition with traditional lighting fixtures could require as many as thirty instruments. In this circumstance, the automated fixtures are not doing anything that could not be achieved using conventional fixtures, but they dramatically reduce the number of lights needed in a
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lighting (such as a home) or where the “quality” of the light required does not vary excessively (although it may need to be very strong for a venue like a stadium). Naturally, there are exceptions to this rule, most notably the use of large numbers of moving heads for international sporting events, such as the
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Not all lights that have movement can be defined as intelligent. Basic, low cost fixtures that are marketed primarily to DJ's, club venues, or for retail in novelty stores are not controllable beyond simply powering the device on or off. This lack of a feature set or remote control makes these lights
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Active use of automated lights suggests that the luminaire is used to perform tasks which would otherwise require human involvement, or be simply impossible with conventional fixtures. For instance, a number of moving heads producing tightly focused, pure white beams straight down onto the stage will
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protocol was produced by Summa
Technologies. Up until that time, moving lights were using other communication protocols, such as DIN8, AMX, D54 and the proprietary protocols of other companies, such as VariLite, Tasco, High End and Coemar. The Summa HTI had a 250 W HTI bulb, two colour wheels, a gobo
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Moving head fixtures are often divided into spot, wash lights and beam lights. They vary in use and functions, but many companies offer profile and wash versions of the same model of light. Profile lights generally contain features like gobos and prisms, whereas wash lights have simpler optics and a
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Generally, moving mirrors are faster at adjusting a lights position than moving head fixtures; however, moving-heads-style fixtures have a far larger total range of movement. The movement from mirror lights tends to be rectilinear, because the center of movement for both axes is usually in the same
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The introduction of devices referred to as "Auto-yokes", after the original design created by the company City
Theatrical, blurs the line between a "conventional" and "intelligent" fixture. Designed to replace the static mounting hardware on stage lights, an automated yoke provides the pan and tilt
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Beam lights are often built much like the spot in terms of functionality aside from one key difference: beam lights use a wide lens to make an even more extreme beam. A typical spot has a beam angle from 15 to 35 degrees, whereas an average spot has a beam angle of three to seven degrees with some
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Intelligent lights (now commonly referred to as automated or moving heads), can be used wherever there is a need for powerful lighting which must be capable of rapid and extreme changes of mood and effects. Moving heads would, therefore, be inappropriate in a setting which does not require strong
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Note that fixtures which use the former method are not technically “moving heads”, since the light source itself does not move. However, the term “moving head” is used interchangeably throughout this article. On a moving head the glass gobos could have some fault caused by back-reflections of the
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More recently the term has fallen into disuse as abilities once reserved to a specific category of lighting instruments (most notably colour changing and variable focus) have become pervasive across a range of fixtures. The distinction has become more blurred with the introduction of machines that
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Moving lights are much more difficult to program than their conventional cousins because they have more attributes per fixture that must be controlled. A simple conventional lighting fixture uses only one channel of control per unit: intensity. Everything else that the light must do is pre-set by
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The first purchasable/mass-produced scanner was the Coemar Robot, first produced in 1986. Initially produced with either the GE MARC350 lamp, or the
Philips SN250. Later versions were factory equipped with the Osram HTI400, a modification that High End Systems had been doing since 1987. The Robot
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as opposed to switches. From this point on until 1969, various other inventors made similar lights and improved on the technology, but with no major breakthroughs. During this period, Century
Lighting (now Strand) started retailing such units specially made to order, retrofitted onto any of their
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to redirect the beam of light remotely. In 1969, Jules Fisher, from Casa Mañana area theatre in Texas saw the invention and use of 12 PAR 64 lanterns with 120 W, 12 V lamps fitted, 360 degrees of pan and 270 degrees of tilt, a standard that lasted until the 1990s. This lamp was also known as the
42:
that has automated or mechanical abilities beyond those of conventional, stationary illumination. Although the most advanced intelligent lights can produce extraordinarily complex effects, the intelligence lies with the human lighting designer, control system programmer (for example
Chamsys and
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Since moving heads did not attain prominence until DMX's predecessor, AMX, or Analog
Multiplex had passed the zenith of its popularity. Very few moving heads use analogue control, due to crippling restrictions on bandwidth, data transfer speeds and potential inaccuracy. Some of the most modern
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began producing their first scanners, the Golden Scan 1 & Crystal Scan. They utilized stepper motors instead of servos and used a HMI 575 lamp, bright and with a far more uniform beam brightness. This was followed by the
Intellabeam in 1989, released by High End, who at the time were the
135:
In 1986 Vari-Lite introduced a new series of lighting fixtures and control consoles. They referred to the new system as their Series 200, with the new lights designated "VL-2 Spot
Luminaire", and "VL-3 Wash Luminaire". The Series 200 system was controlled by the Artisan console. Vari-Lite
131:
Genesis was later to order 55 Vari-lites to use in their next chain of gigs across the UK. The lights were supplied with a Vari-Lite console which had 32 channels, five 1802 processors and a dramatic improvement of the first console which was very simple and had an external processing unit.
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gig in London. Another fixture known as the 'Cycklops' was also used for music in the USA, although it was limited in terms of capabilities. With only pan, tilt, and color functions, and at 1.2 meters long and weighing in at 97 kilograms including the ballast, they were heavy and
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once fixtures are connected to the program or console. This allows programmers to work on their show before ever entering the theater and know what to expect when the lights are connected to their controller. These products usually feature some method of converting a computer's
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1925 saw the first use of electrical motors to move the fixture, and with it the beam position, by Herbet F. King (US patent number: 1,680,685). In 1936 US patent number 2,054,224 was granted to a similar device, with which the pan and tilt were controlled by means of a
425:
human hands (colour, position, focus, etc.) An automated lighting fixture can have as many as 30 of these control channels. A slew of products are available on the market to allow operators and programmers to easily control all of these channels on multiple fixtures.
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mounted on a moving yoke, much like that of an ordinary moving head. These fixtures also contain an integrated media server, which allows for millions of colour choices, endless libraries of gobo-like images, and projection of images and video.
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cabling for data transfer, due to the increased bandwidth available to control increasingly complicated effects. Using the new
Ethernet technology, control surfaces are now able to control a much larger array of automated fixtures.
409:, or Remote Device Management. This protocol allows for communication between the lighting controller and fixtures. With RDM, users can troubleshoot, address, configure, and identify fixtures from the RDM enabled lighting desk.
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Mechanical dimming shutters used to vary the intensity of the light output. Mechanical dimmers are usually a specially designed disk or a mechanical shutter. Shutters with high speed stepper motors can be used to create strobe
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Passive use of automated lighting involves utilizing their versatility to perform tasks which would otherwise require many conventional lights to accomplish. For example, six to eight moving heads can create a textured blue
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were printed, inserted from a reel just like on a slide projector. The fixtures also had an iris and a multiple colored gel wheel. These lights were also fitted with mirrors and made for an impressive light show for a
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A Martin MAC 250 Entour (profile – top) and MAC 250 wash) wash – bottom). Notice the difference in beam characteristics caused by the gobo of the Entour and the wider beam angle of the
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XLR connectors, the most common method of controlling moving heads. Note that these are 3-pin XLR connectors, which are used by some manufacturers, rather than the 5-pin, which is specified by the USITT DMX-512
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to change the shape of the beam or project images. Some fixtures have motors to rotate the gobo in its housing to create spinning effects, or use their complicated lens systems to achieve the same effect.
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are still the most common control mechanism, but many programmers use computer software to do the job. Software is now available that provides a rendered preview of the output produced by the
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128:, and the first fixture was also called the Vari-lite. It also used one of the first lighting desks with a digital core and this enabled lighting states to be programmed in.
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where the versatility of these fixtures can be utilised to its best extent. In these applications, the uses of fixtures can be informally grouped into two categories:
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Control (such as ArtNet or sACN). The fixture then takes this signal and translates it into internal signals which are sent to the many stepper motors located inside.
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In early luminaires a pseudo rotating gobo effect could be achieved by moving the tilt in line with the other axis and then moving the pan from end stop to end stop.
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connected to mechanical and optical internal devices to manipulate the light before it emerges from the fixture's front lens. Examples of such internal devices are:
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In Bristol in 1968, progress was also being made, mainly for use in live music. Peter Wynne Wilson refers to the use of 1 kW profiles, with slides onto which
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high end companies producing lights with zero degree beams. Such beam effects are less seen in the theatre industry and more in the club and concert industry.
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The most recent development in intelligent lighting is digital lighting, with fixtures such as High End Systems' DL3. These fixtures consist of a bright LCD or
594:, in Beijing, had a rig of around 2,300 intelligent fixtures which is "the largest single automated lighting system ever assembled for a single event"
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during one scene – this can create a sensation of dusk or night. At the flick of a switch, the fixture can change to an animated red “
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visible). To recreate such an effect without intelligent lights would require at least one human operator seated directly above the stage with a
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in a barn in England in 1980. The band decided to financially back the project. Showco spun off their lighting project into a company called
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filters. During its development, the designers decided to add motors to motorize pan and tilt. They demonstrated the fixture for the band
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In 1978 a Dallas, Texas-based lighting and sound company called Showco began developing a lighting fixture that changed color by rotating
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transmits data on these channels which the intelligent fixture interprets as value settings for each of its many variables, including
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There are many patents for intelligent lighting dating back from 1906, with Edmond Sohlberg of Kansas City, USA. The lantern used a
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and was operated not by motors or any form of electronics, but by cords that were operated manually to control pan, tilt and zoom.
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590:, where many thousands of separate automated fixtures are often used to light the opening and closing ceremonies. The
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the beam; irises are used to change the size of the beam. Some fixtures have as many as 10 independently controlled
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357:(a self-contained set of cables and fixtures which can operate a maximum of 512 individual channels). The central
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George Izenour made the next breakthrough in 1969 with the first ever fixture to use a mirror on the end of an
314:, which outputs a control signal. This control signal sends data to the fixture usually in one of three ways:
495:. Using this method, a much wider range of colors can be created than is possible using single color filters.
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would not be considered lights but share the ability to move their orientation and are operated by the same
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645:, are also possible with conventional fixtures, but are much easier to produce with intelligent fixtures.
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cumbersome. These units were designed more for replacing the ever unreliable local spotlight operators.
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A Martin MAC 250 entour (profile – top) and MAC 250 wash (wash – bottom)
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Most moving heads have all or some of the following features. Each one is set to a channel number.
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47:, rather than the fixture itself. For this reason, intelligent lighting (ILS) is also known as
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These fixtures also use motors to enable physical movement of the light beam by either:
322:(which stands for "Digital Multiplex", also the industry standard control protocol), or
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Moving lights are controlled in many ways. Usually the fixtures are connected to a
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Several intelligent lights in use at a concert. Note the white beams they produce.
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In the 1990s, the future came closer with Martin, a Danish Company that produced
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Automated framing shutters to further shape the beam and control unwanted spill.
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light on the lens; to solve this defect, anti-reflection gobos may be used.
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843:"Casestory – XVIII Commonwealth Games, Melbourne, Australia"
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868:"Martin Lights Beijing Summer Olympic Games: LD Sha Xiao Lan Interview"
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771: – scroll down to "Early Automated Lighting" ~1970
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Usually, however, the use of intelligent lights is confined to
629:” effect on the stage floor while applying amber light to the
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DMX512 Control Protocol Information – Connectors and Cables
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Pivoting an automated mirror which reflects the beam along
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The vast majority of moving heads are controlled using the
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http://www.citytheatrical.com/Products/2012/02/10/autoyoke
641:. Other features of automated fixtures, such as rotating
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Prism (either 3,4,8, 16 facet circular or 6 facet linear)
342:, usually using dedicated twisted pair, shielded cable
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existing lanterns up to 750 W to control pan and tilt.
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at the ends. Each fixture is assigned a block of DMX
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color filters used to change the color of the beam.
405:The most recent development in lighting control is
71:control protocol, such as moving yoke projectors.
144:wheel, a mechanical dimmer and zoom functions.
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621:(although these are not standardised terms).
551:Attaching the entire fixture lens train to a
8:
882:"Martin Lights Beijing Summer Olympic Games"
491:color-mixing filters to vary beam color via
450:Intelligent fixtures usually employ compact
818:"Product – MAC 2000 Profile"
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657:produce a fantastic effect reminiscent of
139:In 1985, the first moving head to use the
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711:only a small step above a conventional
245:Gobo 2 Rotation (Direction & Speed)
239:Gobo 1 Rotation (Direction & Speed)
179:An automated light, properly called a
416:Moving lights are programmed using a
318:(which has largely been phased out),
7:
1198:Parabolic aluminized reflector light
397:intelligent fixtures use RJ-45 or
23:A Martin MAC 550 intelligent light
14:
796:. Focal Press. pp. 253–254.
756:"A History of Light and Lighting"
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1183:Ellipsoidal reflector spotlight
574:Six moving yokes lighting up a
498:Automated lens trains used to
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555:with motorized pan & tilt
187:is sufficiently experienced.
514:to focus and shape the beam.
156:distributors for Clay Paky.
454:as light sources. They use
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713:stage lighting instruments
353:in one of the venue's DMX
277:Prism Rotation (direction)
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908:City Theatrical Auto Yoke
736:Stage lighting instrument
1160:Theatrical smoke and fog
1135:Lighting control console
792:Cadena, Richard (2006).
493:subtractive color mixing
312:lighting control console
16:Automated light fixtures
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479:Variable, incremental
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280:Prism Rotation (speed)
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1193:Intelligent lighting
673:is used to make the
592:2008 Summer Olympics
517:Pattern wheels with
420:in ETC light boards.
381:(horizontal swing),
347:5-pin XLR connectors
251:Gobo Animation Wheel
36:Intelligent lighting
1150:Stage pin connector
1084:Lighting technician
1004:Technical direction
458:or, more commonly,
1089:Master electrician
794:Automated Lighting
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584:Commonwealth Games
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472:Color wheels with
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385:(vertical swing),
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49:automated lighting
43:Avolites), or the
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1293:Theatrical makeup
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1140:Socapex connector
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870:. 14 August 2008.
803:978-0-240-80703-4
665:(especially if a
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1298:Video design
1283:Sound design
1278:Running crew
1266:Other fields
1192:
901:
890:. Retrieved
886:the original
876:
862:
851:. Retrieved
847:the original
837:
826:. Retrieved
822:the original
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764:. Retrieved
760:the original
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446:Construction
438:output to a
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340:DMX protocol
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161:fog machines
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100:'Mac-Spot'
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59:, or simply
57:moving heads
56:
52:
48:
35:
34:
1257:Prompt book
1218:Accessories
1170:Instruments
950:scenography
576:mirror ball
418:fixture box
389:speed, and
97:ellipsoidal
1234:management
1208:Striplight
1105:Barn doors
1035:Fly system
967:Theatrical
959:Scene shop
946:Stagecraft
892:2009-06-22
853:2006-05-30
828:2006-05-30
766:2007-07-14
742:References
687:stage wash
679:followspot
663:helicopter
607:nightclubs
110:Pink Floyd
38:refers to
1213:Spotlight
1125:Cyclorama
1115:Color gel
1040:Platforms
452:arc lamps
391:animation
355:universes
334:Standard.
208:Fine Tilt
181:luminaire
153:Clay Paky
151:In 1987,
126:Vari-Lite
1327:Category
1242:Blocking
1098:Hardware
1025:Curtains
1013:Hardware
730:See also
611:churches
603:concerts
548:axes, or
474:dichroic
469:effects.
442:output.
399:Ethernet
387:rotation
351:channels
324:Ethernet
316:Analogue
257:Colour 2
254:Colour 1
236:1 Select
205:Fine Pan
185:operator
175:Features
118:dichroic
89:joystick
40:lighting
1314:Outline
1155:Top hat
1110:C-clamp
1050:Weights
999:Rigging
969:scenery
661:from a
619:passive
599:theatre
485:magenta
367:pattern
306:Control
263:Magenta
219:Shutter
196:Panning
122:Genesis
75:History
1072:Fields
1020:Batten
977:Fields
800:
706:Debate
631:actors
615:active
609:, and
544:&
512:lenses
508:prisms
489:yellow
266:Yellow
215:Dimmer
141:DMX512
69:DMX512
61:movers
1232:Stage
1203:Scoop
1145:Snoot
1030:Flats
697:wash.
675:beams
671:hazer
643:gobos
627:night
566:Usage
519:gobos
504:focus
375:prism
371:focus
363:color
345:with
286:Frost
225:Focus
105:gobos
1288:Prop
1130:Gobo
948:and
798:ISBN
635:fire
617:and
553:yoke
521:and
510:and
502:and
500:zoom
487:and
481:cyan
383:tilt
260:Cyan
234:Gobo
229:Iris
222:Zoom
201:Tilt
1247:Cue
689:.
669:or
639:rig
586:or
440:DMX
436:USB
431:rig
379:pan
320:DMX
299:RDM
270:CTO
1329::
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856:.
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769:.
625:“
546:y
542:x
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
