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could afford to "use most of the
Continental innovations" in their productions. Theaters such as the Drury Lane Theatre and the Covent Garden Theatre were lit by a large central chandelier and had a varying number of smaller stage chandeliers and candle sconces around the walls of the theaters. Two main court theaters, built between 1660 and 1665, were the Cockpit Theatre and the Hall Theatre. Chandeliers and sconces seemed to be the primary lighting sources here but other developments were being made, especially at the Hall. By the 1670s, the Hall Theatre started using footlights, and between 1670 and 1689 they used candles or lamps. It can be noted that by the end of the 17th century, "French and English stages were fairly similar". There is not much written on theatrical lighting in England at the end of the 17th century and from the little information historians do have, not much changed by the middle of the 18th century. Gas lighting hit the English stage in the early 1800s beginning with the Drury Lane and Covent Garden theaters. In the 1820s, a new type of artificial illumination was developed. In this type of illumination, a gas flame is used to heat a cylinder of quicklime (calcium oxide). Upon reaching a certain temperature, the quicklime would begin to incandesce. This illumination could then be directed by reflectors and lenses. It took some time from the development of this new
468:, referring to motorized movement of either the entire fixture body or the movement of a mirror placed in front of its outermost lens. These fixtures and the more traditional follow spots add direction and motion to the relevant characteristics of light. Automated fixtures fall into either the "moving head" or "moving mirror/scanner" category. Scanners have a body which contains the lamp, circuit boards, transformer, and effects (color, gobo, iris etc.) devices. A mirror is panned and tilted in the desired position by pan and tilt motors, thereby causing the light beam to move. Moving head fixtures have the effects and lamp assembly inside the head with transformers and other electronics in the base or external ballast. There are advantages and disadvantages to both. Scanners are typically faster and less costly than moving head units but have a narrower range of movement. Moving head fixtures have a much larger range of movement as well as a more natural inertial movement but are typically more expensive.
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809:. The distinction has to do with the degree to which one is able to control the shape and quality of the light produced by the instrument, with spotlights being controllable, sometimes to an extremely precise degree, and floodlights being completely uncontrollable. Instruments that fall somewhere in the middle of the spectrum can be classified as either a spot or a flood, depending on the type of instrument and how it is used. In general, spotlights have lenses while floodlights are lensless, although this is not always the case.
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999:(e.g. in the US, 120 V, 60 Hz power) in order to avoid damage to such devices. Dimmers are seldom used to control non-dimming devices because even if a dimmer channel is trusted to always operate at full power, it may not be controlled when communications are disrupted by start up and shut down of the lighting control surface, noise interference, or DMX disconnects or failure. Such a loss of control might cause a dimmer to dim a circuit and thus potentially damage its non-dimming device.
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light continued to be utilized when playhouses were built with a large circular opening at the top of the theater. Early Modern
English theaters were roofless, allowing natural light to be utilized for lighting the stage. As theaters moved indoors, artificial lighting became a necessity and it was developed as theaters and technology became more advanced. At an unknown date, candlelight was introduced which brought more developments to theatrical lighting across Europe.
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995:(CPM), which is typically a 20- or 50-ampere breaker in a dimming module casing. CPMs are used to supply line voltage to non-dimming electrical devices such as smoke machines, chain winches, and scenic motors that require constant operating voltage. When a device is powered by a CPM, it is fully energized whenever the CPM is turned on, independent of lighting console levels. CPMs must be used (in lieu of dimmers) to power non-dimming devices that require specific
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423:, there are two beams of light emitted from the lamp. When the cones of both intersect at the throw distance (the distance to the stage), the lamp has a sharply defined 'hard' edge. When the two cones do not intersect at that distance, the edge is fuzzy and 'soft'. Depending on which beam (direct or reflected) is outside the other, the pattern may be 'thin and soft' or 'fat and soft'. Lastly, a
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instead of assigning channels manually to the lantern, many desks also offer a fixtures section, where one can assign the lantern as a fixture, allowing the desk to organise the data being transferred to the lantern on a much simpler scale for the operator. Fixtures may also incorporate smoke machines, snow machines, haze machines etc., allowing many special effects to be run from a single desk.
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539:, the LD creates an instrument schedule and a light plot as well as informing the DSM where each LX (lighting) cue is designed to be triggered in the script, which the DSM notes down in their plot book. The schedule is a list of all required lighting equipment, including color gel, gobos, color wheels, barndoors and other accessories. The light plot is typically a
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892:. In North American English, a bubble refers to the protrusion that occurs when one's body (or other oily substance) contacts the lamp. Heat will cause the portion of the lamp which has oil on it to expand when it is on creating the bubble, and causing the lamp to explode. That is why one should never directly touch the glass portion of a lamp. Cleaning with
968:, which in turn depends on the applied lamp voltage. When the applied voltage is decreased, a lamp's electric current will also decrease, thus reducing the light output from the lamp (dimming it). Conversely, a higher voltage will cause higher lamp current and increased (brighter) light output. Dimmers are frequently found in large enclosures called
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765:) is normally fixed, made in a "C" configuration with a screw to lock the instrument onto the pipe or batten from which it is typically hung. Once secured, the fixture can be panned and tilted using tension adjustment knobs on the yoke and clamp. An adjustable c-wrench, ratchet (US) or spanner (UK) is often used to assist the
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controllers. Controllers are commonly lighting consoles designed for sophisticated control over very large numbers of dimmers or luminaires, but may be simpler devices which play back stored sequences of lighting states with minimal user interfaces. Consoles are also referred to as lighting desks or light-boards.
177:. Dipped candles were made by dipping a wick into hot wax repeatedly to create a cylindrical candle. Candles needed frequent trimming and relighting regardless of what was happening on-stage because "they dripped hot grease on both the audience and actors". Chandeliers also blocked the view of some patrons.
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Increasingly, modern lighting instruments are available which allow remote control of effects other than light intensity, including direction, color, beam shape, projected image, and beam angle. The ability to move an instrument ever more quickly and quietly is an industry goal. Some automated lights
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A typical moving light allows the designer to control the position, color, shape, size and strobing of the light beam created. This can be used for exciting effects for the entertainment or dancefloor use. Moving lights are also often used instead of having a large number of "generic" lights. This
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and only very expensive models will dim to very low levels. They also do not produce light from a single point or easily concentrated area, and usually have a warm-up period, during which they emit no light or do so intermittently. However, fluorescent lights are being used more and more for special
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or break up pattern may be applied to ERSs and similar instruments. This is typically a thin sheet of metal with a shape cut into it. It is inserted into the instrument near its aperture. Gobos, or templates, come in many shapes, but often include leaves, waves, stars and similar patterns.Another
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witnessed
Italian theatrical methods and brought them back to England when he came to power. New playhouses were built in England and their large sizes called for more elaborate lighting. After the refurbishing of the theaters, it was found that the "main source of light in Restoration theaters to be
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For larger shows or installations, multiple consoles are sometimes used together and in some cases lighting controllers are combined or coordinated with controllers for sound, automated scenery, pyrotechnics and other effects to provide total automation of the entire show, using a specific branch of
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Devices like moving heads also require independent power, as they cannot function on a partially dimmed channel for power, on top of requiring several other channels in order to convey all of the data they require for their several features. In order to simplify the control of moving head lanterns,
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Most venues require an additional metal safety cable or chain to be attached between the fixture and its truss, or other string support anchorage. Some larger fixtures can weigh over 100 lb (45 kg) and are suspended very high above performers heads, and could cause serious injury or death
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A tungsten lamp's color is typically controlled by inserting one or more gels (filters) into its optical path. In the simplest case, a single gel is inserted into the optical path to produce light of the same color. For example, a blue gel is used to create blue light. Custom colors are obtained by
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Over the last six years, LED-based luminaires of all varieties and types have been introduced to the market. Some of these fixtures have become very popular, whereas others have not been able to match the output from incandescent and discharge sources that lighting designers prefer. LED fixtures
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Lighting design is an art form, and thus no one way is the "correct" way. There is a modern movement that states that the lighting design helps to create the environment in which the action takes place while supporting the style of the piece. "Mood" is arguable while the environment is essential.
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before it found its way into theatrical use, which started around 1837. Limelight became popular in the 1860s and beyond, until it was displaced by electrical lighting. Lighting advances made in
English theaters during this time frame paved the way for the many lighting advances in the modern
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There were two different types of
Restoration theaters in England: Restoration commercial theaters and Restoration court theaters. Commercial theaters tended to be more "conservative in their lighting, for economic reasons" and therefore used "candle-burning chandeliers" primarily. Court theatres
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The earliest known form of stage lighting was during the early
Grecian (and later the Roman) theaters. They would build their theatres facing east to west so that in the afternoon they could perform plays and have the natural sunlight hit the actors, but not those seated in the orchestra. Natural
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Lighting control tools might best be described as anything that changes the quality of the light. Historically this has been done by the use of intensity control. Technological advancements have made intensity control relatively simple - solid state dimmers are controlled by one or more lighting
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In the case of incandescent lamps, some color changes occur as a lamp is dimmed, allowing for a limited amount of color control through a dimmer. Fades (brightness transitions) can be either UP or DOWN, meaning that the light output is increasing or decreasing during the transition. Most modern
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These fixtures feature a compound lens which allows the designer to place obstructions within the image path which are then projected. These obstructions could be "gobos" or shutters. A profile is a spot light, but allows for precise focusing. This term is mostly used in the United
Kingdom,
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assembly. Different mounting positions for the lamp (axial, base up, base down), different sizes and shapes of reflector and the nature of the lens (or lenses) being used can all affect the pattern of light. Secondly, the specifics of how the lamp is focused affect its pattern. In
1277:{{cite book Another quality of stage lightning is Distributed. Light on Stage is evenly distributed to aid visuals. | last = Gillette | first = J. Michael | title = Designing With Light: An Introduction to Stage Lighting, Fourth Edition | isbn = 978-0-7674-2733-3 | publisher =
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The focus is where an instrument is pointed. The final focus should place the "hot spot" of the beam at the actor's head level when standing at the center of the instrument's assigned "focus area" on the stage. Position refers to the location of an instrument in the theater's
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mix colors (the filters absorb unwanted light colors, but the desired colors pass through unaffected). Manufacturers will sometimes include an additional green or amber ("CTO" color correction) filter to extend the range (gamut) of subtractive color mixing systems.
713:, the term usually preferred) are tungsten-halogen (or quartz-halogen), an improvement on the original incandescent design that uses a halogen gas instead of an inert gas to increase lamp life and output. Fluorescent lights are infrequently used other than as
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means of subtractive CMY color mixing, by inserting combinations of cyan, magenta and yellow filters into the optical path of the lighting fixture. The inserted filters may have varying densities, with correspondingly varied percentages of transmission, that
934:) or network, allowing the dimmers which are bulky, hot and sometimes noisy, to be positioned away from the stage and audience and allowing automated luminaires to be positioned wherever necessary. In addition to DMX512, newer control connections include
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was ruling
Britain, all stage production was suspended in 1642 and no advancements were made to English theaters. During this theatrical famine, great developments were being made in theaters on the European mainland. Charles II, who would later become
88:, trade shows, broadcast television, film production, photographic studios, and other types of live events. The personnel needed to install, operate, and control the equipment also cross over into these different areas of "stage lighting" applications.
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if they fell by accident or due to incorrect attachment. In the event of failure, the cable would halt the fall of the fixture before it could cause serious damage or injury. Many venues place strict guidelines regarding the use of safety cables.
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of the theatre where the performance will take place, with every luminaire marked. This typically specifies the approximate lighting focus and direction, a reference number, accessories, the address number (assigned DMX addresses) in the
501:, outlined in that book, is widely embraced today. The method involves lighting an object on the stage from three angles—2 lights at 45 degrees to the left and right, and one at 90 degrees (perpendicular to the front of the object).
942:(ACN) which is a fully featured multiple controller networking protocol. These allow the possibility of feedback of position, state or fault conditions from units, whilst allowing much more detailed control of them.
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Traditionally theatre and stage lighting has been of the "generic" type. These are lights which are focussed, geled, and then simply dimmed to give the effect the designer wants. In recent years the emergence of
300:. The intensity of a luminaire (lighting instrument or fixture) depends on a number of factors including its lamp power, the design of the instrument (and its efficiency), optical obstructions such as
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Direction refers to the shape, quality and evenness of a lamp's output. The pattern of light an instrument makes is largely determined by three factors. The first are the specifics of the
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Selective visibility: The ability to see what is occurring on stage. Any lighting design will be ineffective if the viewers cannot see the characters, unless this is the explicit intent.
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Within the groups of "wash" and "spot" light, there are other, more specific types of fixtures. This nomenclature also changes across the world depending on location and industry.
734:(HMI) floods, and modern automated fixtures. When dimming is required, it is done by mechanical dousers or shutters, as these types of lamps also cannot be electrically dimmed.
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are making a positive impact on the lighting market, and are becoming more popular when compared to the energy usage of current incandescent, halogen, and discharge sources.
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There are a variety of instruments frequently used in the theater. Although they vary in many ways they all have the following four basic components in one form or other:
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The equipment used for stage lighting (e.g. cabling, dimmers, lighting instruments, controllers) are also used in other lighting applications, including corporate events,
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Location and time of day: Establishing or altering position in time and space. Blues can suggest night time while orange and red can suggest a sunrise or sunset. Use of
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create color through additive color mixing with red, green, blue, and in some cases amber, LEDs at different intensities. This type of color mixing is often used with
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324:. A light's apparent color is determined by its lamp color, the color of any gels in the optical path, its power level, and the color of the material it lights.
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The above characteristics are not always static, and it is frequently the variation in these characteristics that is used in achieving the goals of lighting.
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filament in a bulb will tend to produce increasing percentages of orange light, as compared to the nearly white light emitted at full power. This is known as
938:(remote device management) which adds management and status feedback capabilities to devices which use it while maintaining compatibility with DMX512; and
350:. Thus a 1000-watt instrument at 50 percent power will emit a higher percentage of orange light than a 500-watt instrument operating at full power.
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chandeliers" which were "concentrated toward the front of the house, and especially over the forestage". English theatres during this time used
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Box/Housing – a metal or plastic container to house the whole instrument and prevent light from spilling in unwanted directions.
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quality of stage lightning is
Distributed. Light on Stage is evenly distributed to aid visuals.Chukwudi Emmanuel Okafor (2023) Baby Comrade
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Composition: Lighting may be used to show only the areas of the stage which the designer wants the audience to see, and to "paint a picture".
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as the qualities that can be manipulated by a lighting designer to achieve the desired visual, emotional and thematic look on stage. The
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The entire lighting apparatus includes the lights themselves, the physical structure which supports them, the cabling, control systems,
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The lighting controller is connected to the dimmers (or directly to automated luminaires) using a control cable or wireless link (e.g.
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A dimmer is a device used to vary the average voltage applied to an instrument's lamp. The brightness of a lamp depends on its
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Reflector – behind or around the light source in such a way as to direct more light towards the lens or opening.
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have built-in dimming and so are connected directly to the control cable or network and are independent of external dimmers.
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A lighting designer (LD) is familiar with the various types of lighting instruments and their uses. In consultation with the
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are used in this discipline. In addition to basic lighting, modern stage lighting can also include special effects, such as
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in creating a design. Many designers start their careers as lighting technicians. Often, this is followed by training in a
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or on permanent pipes in front-of-house locations. Hanging is the act of placing the instrument in its assigned position.
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of the fixture, the color and material to be lit, and the relative contrasts to other regions of illumination.
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Revelation of form: Altering the perception of shapes onstage, particularly three-dimensional stage elements.
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A gobo of this shape in a fixture with a red gel would produce a pattern like the one shown to the right.
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A lighting designer must satisfy the requirements set forth by the director or head planner. Practical
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Mood: Setting the tone of a scene. Harsh red light has a different effect than soft lavender light.
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Focus: Directing the audience's attention to an area of the stage or distracting them from another.
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Lens or opening – the gap in the housing where the light is intended to come out.
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that offers theatre courses. Many jobs in larger venues and productions require a degree from a
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Projection/stage elements: Lighting may be used to project scenery or to act as scenery onstage.
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Penzel, Frederick (1978) "Theatre
Lighting before Electricity". Middletown, CT: Wesleyan UP.
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An example of a rig including moving head, generic and LED fixtures at 'The Tuesday Club'
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Lamp power also influences color in tungsten lamps. As the lamp power is decreased, the
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was perhaps the first to define controllable qualities of light used in theater. In
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Plot (script): A lighting event may trigger or advance the action onstage and off.
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dimmers are solid state, though many mechanical dimmers are still in operation.
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1507:"Glossary of Technical Theatre Terms – Lighting (advanced) – Theatrecrafts.com"
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Classical Spectacular used ordinary stage lighting plus special laser effects
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is required to know the effective use of different lighting instruments and
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because, although they are far more efficient, they are expensive to make
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Interior Graphic Standards by Corky Binggeli and Patricia Greichen p. 558
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In the context of lighting design, a lighting instrument (also called a
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Designing With Light: An Introduction to Stage Lighting, Fourth Edition
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Additional features will vary depending on the exact type of fixture.
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An example of stage lighting, trusses and LED walls are used during a
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Moving lights hanging on a truss, ready for rigging and chain motors.
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or college in theatrical lighting, or at least a bachelor's degree.
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A pair of electronic 2.4 kW dimmers for tungsten incandescent lamps
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Ovation E-190WW LED ellipsoidal spots (ERS) hanging on 20.5" truss.
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is because one moving light can do the work of several generics.
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or hanging the battons to hang the lights is known as 'rigging'.
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73:. People who work on stage lighting are commonly referred to as
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Connecticut College Theater Services Hazard Communication Guide
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Scenic Art for the Theatre by Susan Crabtree and Peter Beudert.
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arm' fixed to the sides of the instrument, normally near its
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An alternative formulation is by Jody Briggs, who calls them
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Most instruments are suspended or supported by a U-shaped
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The Lighting Art: The Aesthetics of Stage Lighting Design
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it features as the final optical device within the chain.
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is a type of wash light and is named as such due to the
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Learn Stage Lighting - How do I Use Color Effectively?
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In addition to these, certain modern instruments are
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MIDI technology called MSC (MIDI show control). See
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to avoid confusion between light and light sources.
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Stage Lighting Design: The Art, the Craft, the Life
1656:. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.
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111:deal primarily with England and do not represent a
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224:Stage lighting has multiple functions, including:
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1379:. New York: Theatre Arts Books. pp. 55–56.
258:Effect: In pop and rock concerts or DJ shows or
1127:. New York: Theatre Arts Books. pp. 9–10.
888:inside a theatrical fixture are referred to as
648:in use at the United States Marine Corps Museum
244:("gobos") to project sky scenes, the Moon, etc.
1404:. Jefferson, NC: McFarland. pp. 318–319.
1377:A Method of Lighting the Stage, Fourth Edition
1125:A Method of Lighting the Stage, Fourth Edition
2126:
1718:
1089:
1087:
1085:
1083:
1081:
1057:, Stage Lighting Design Principle and Process
991:In many cases, a dimmer can be replaced by a
109:The examples and perspective in this section
8:
799:All lights are loosely classified as either
2234:
2133:
2119:
2111:
1856:
1761:
1725:
1711:
1703:
127:, or create a new section, as appropriate.
531:, the DSM (deputy stage manager) and the
143:Learn how and when to remove this message
914:MA Lighting's grandMA2 Full Size console
884:In Australia and many other places, the
844:, founders of Century Lighting, in 1933.
1048:
7:
1986:Parabolic aluminized reflector light
1349:Lampert-Gréaux, Ellen (2007-05-01).
1662:Light: Readings in Theatre Practice
1098:Theatre Lighting Before Electricity
45:as it applies to the production of
61:arts. Several different types of
25:
1665:, Basingstoke: Palgrave Macmillan
1102:. Middletown, CT: Wesleyan UP U.
1075:theatrecrafts' Types of Lanterns.
940:Architecture for Control Networks
320:Color temperature is measured in
27:Craft of lighting at performances
2096:
1281:| pages = 62–64 | year = 2003 }}
415:ellipsoidal reflector spotlights
388:
381:
216:Dazzling light effects during a
100:
2650:Parabolic aluminized reflector
2097:
1971:Ellipsoidal reflector spotlight
479:A Method for Lighting the Stage
2595:Hydrargyrum medium-arc iodide
1496:, Please see 'Lights' section.
1402:Encyclopedia of Stage Lighting
1351:"Remember Stanley McCandless?"
728:High-intensity discharge lamps
726:effects lighting in theaters.
1:
1613:Gillette, J. Michael (2003).
1584:Gillette, J. Michael (2003).
1555:Gillette, J. Michael (2003).
1526:Gillette, J. Michael (2003).
1425:Gillette, J. Michael (2003).
1320:Gillette, J. Michael (2003).
1291:Gillette, J. Michael (2003).
1238:Gillette, J. Michael (2003).
1209:Gillette, J. Michael (2003).
1177:Gillette, J. Michael (2003).
1148:Gillette, J. Michael (2003).
732:hydrargyrum medium-arc iodide
444:focused in several directions
1534:. pp. 95, 97, 100–102.
1375:McCandless, Stanley (1958).
1123:McCandless, Stanley (1958).
670:brings to a show. The term
440:Many stage lights hang on a
432:Focus, position, and hanging
2840:Automotive light bulb types
2690:Intelligent street lighting
1698:Stage Lighting for Students
840:created by Joseph Levy and
387:
380:
123:, discuss the issue on the
3177:
2603:Hydrargyrum quartz iodide
1094:Penzel, Frederick (1978).
949:
903:
820:Australia, and Europe, as
780:, power supplies, and the
769:in adjusting the fixture.
651:
582:
548:system and channel on the
520:
371:
63:stage lighting instruments
3042:Stage lighting instrument
2094:
1744:
1652:Palmer, Richard H (1985)
1645:Bergman, Gösta, M (1977)
795:Types of lighting fixture
654:Stage lighting instrument
288:Intensity is measured in
173:to light chandeliers and
3103:Battlefield illumination
2860:high-intensity discharge
2292:Electrochemiluminescence
1948:Theatrical smoke and fog
1923:Lighting control console
1671:Pilbrow, Richard (1997)
906:Lighting control console
550:lighting control console
2963:Electroluminescent wire
1647:Lighting in the Theatre
481:, McCandless discusses
2645:Multifaceted reflector
976:that draw significant
961:
915:
877:
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649:
600:Production electrician
535:, and after observing
512:Lighting professionals
461:
445:
285:
221:
195:
192:professional wrestling
35:
3035:ellipsoidal reflector
2640:Ellipsoidal reflector
2324:Fluorescent induction
2302:field-induced polymer
1659:Palmer, Scott (2013)
1477:Stage Lighting Primer
1400:Briggs, Jody (2003).
993:constant power module
984:to 100-ampere units.
959:
913:
896:will remove the oil.
875:
784:. (lighting console)
744:
644:
621:Best boy (electrical)
459:
439:
283:
271:Qualities in lighting
215:
208:Functions of lighting
183:
33:
2872:Rear position lights
2845:Daytime running lamp
2773:Mechanically powered
2660:Aviation obstruction
1981:Intelligent lighting
1328:. pp. 152–158.
836:, from the original
637:Lighting instruments
611:light board operator
121:improve this section
75:lighting technicians
2280:Electron-stimulated
1938:Stage pin connector
1872:Lighting technician
1792:Technical direction
1357:. Penton Media, Inc
672:lighting instrument
605:Lighting programmer
585:Lighting technician
18:Theatrical lighting
3123:Luminous gemstones
2297:Electroluminescent
2275:Cathodoluminescent
1877:Master electrician
1492:2010-05-27 at the
1433:. pp. 12–13.
1355:Live Design Online
1071:2012-06-29 at the
962:
916:
878:
747:
650:
632:Lighting equipment
609:Lighting operator/
596:/chief electrician
594:Master electrician
475:Stanley McCandless
462:
446:
421:profile spotlights
306:mechanical filters
286:
242:mechanical filters
222:
204:theatrical world.
196:
187:WWE SmackDown Live
79:lighting designers
36:
3148:
3147:
2665:Balanced-arm lamp
2621:
2620:
2505:Yablochkov candle
2373:Acetylene/Carbide
2343:Radioluminescence
2215:Luminous efficacy
2161:Color temperature
2108:
2107:
2081:Theatrical makeup
2014:
2013:
1928:Socapex connector
1846:
1845:
1685:978-1-85459-996-4
1628:978-0-7674-2733-3
1599:978-0-7674-2733-3
1570:978-0-7674-2733-3
1541:978-0-7674-2733-3
1440:978-0-7674-2733-3
1411:978-0-7864-1512-0
1386:978-0-87830-082-2
1335:978-0-7674-2733-3
1306:978-0-7674-2733-3
1253:978-0-7674-2733-3
1224:978-0-7674-2733-3
1192:978-0-7674-2733-3
1163:978-0-7674-2733-3
1156:. pp. 9–10.
1134:978-0-87830-082-2
1027:High-key lighting
978:three-phase power
900:Lighting controls
803:(wash lights) or
759:center of gravity
668:lighting designer
573:vocational school
523:Lighting designer
517:Lighting designer
506:Variable of Light
499:McCandless method
401:
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16:(Redirected from
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2882:Safety reflector
2877:Reversing lights
2812:Navigation light
2763:Bicycle lighting
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2314:Fluorescent lamp
2287:Chemiluminescent
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2198:Lightbulb socket
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2181:Light pollution
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1976:Fresnel lantern
1952:
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1777:Scenic painting
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1621:. p. 92.
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2220:Task lighting
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2176:Light fixture
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2040:Prompt corner
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2017:
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1782:Scenic design
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1217:. p. 7.
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1109:9780819550217
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997:line voltages
994:
989:
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912:
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895:
891:
887:
882:
874:
870:
868:
867:moving lights
859:
855:
852:A Fresnel or
851:
848:
847:
843:
839:
835:
831:
827:
823:
822:profile spots
818:
815:
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813:
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367:
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355:
351:
349:
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344:
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331:
330:subtractively
325:
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315:
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311:
307:
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275:
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193:
189:
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133:December 2023
126:
122:
116:
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107:
98:
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91:
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80:
76:
72:
68:
64:
60:
56:
52:
48:
44:
40:
32:
19:
2995:
2983:Strobe light
2978:Plasma globe
2953:Crackle tube
2943:Bubble light
2904:trafficators
2899:Turn signals
2725:Street light
2680:Gas lighting
2613:Sodium vapor
2585:Metal-halide
2487:Electric arc
2239:Incandescent
2208:Edison screw
2086:Video design
2071:Sound design
2066:Running crew
2054:Other fields
1851:
1672:
1660:
1653:
1646:
1614:
1608:
1585:
1579:
1556:
1550:
1527:
1521:
1510:. Retrieved
1501:
1482:
1471:
1460:
1449:
1426:
1420:
1401:
1395:
1376:
1370:
1359:. Retrieved
1354:
1344:
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1315:
1292:
1286:
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1262:
1239:
1233:
1210:
1178:
1172:
1149:
1143:
1124:
1118:
1097:
1062:
1051:
1022:Gas lighting
1005:
1001:
992:
990:
986:
974:dimmer racks
973:
969:
963:
929:
925:show control
921:
917:
889:
883:
879:
863:
858:Fresnel lens
833:
830:ellipsoidals
829:
825:
821:
811:
804:
800:
798:
787:Hanging the
786:
782:light boards
775:
771:
750:
748:
736:
718:
710:
704:
701:
680:
675:
671:
663:
659:
657:
646:Source Fours
615:
589:In theater:
588:
554:
526:
505:
503:
494:
490:
487:distribution
486:
482:
478:
473:
470:
463:
447:
420:
413:
402:
358:borderlights
354:LED fixtures
352:
347:
341:
335:
329:
326:
319:
298:foot-candles
287:
265:
223:
220:show in 2011
197:
185:
158:
154:
139:
130:
110:
83:
71:fog machines
57:, and other
38:
37:
3128:Signal lamp
3082:Stroboscope
2958:DJ lighting
2894:Stop lights
2865:sealed beam
2817:Searchlight
2557:Xenon flash
2500:Klieg light
2348:Solid-state
2309:Fluorescent
2267:Luminescent
2045:Prompt book
2006:Accessories
1958:Instruments
1738:scenography
1619:McGraw Hill
1590:McGraw Hill
1561:McGraw Hill
1532:McGraw Hill
1431:McGraw Hill
1326:McGraw Hill
1297:McGraw Hill
1279:McGraw Hill
1244:McGraw Hill
1215:McGraw Hill
1183:McGraw Hill
1154:McGraw Hill
1037:Tree lights
1017:DJ lighting
842:Edward Kook
801:floodlights
707:light bulbs
567:college or
348:amber drift
343:amber shift
310:field angle
59:performance
3072:Grow light
3067:Germicidal
3057:Scientific
3054:Industrial
3010:Floodlight
2996:Theatrical
2938:Blacklight
2933:Aroma lamp
2922:Decorative
2832:Automotive
2822:Solar lamp
2785:Glow stick
2768:Flashlight
2700:Nightlight
2695:Light tube
2670:Chandelier
2627:Stationary
2569:discharge
2495:Carbon arc
2365:Combustion
2231:generation
2229:Methods of
2022:management
1996:Striplight
1893:Barn doors
1823:Fly system
1755:Theatrical
1747:Scene shop
1734:Stagecraft
1679:, London.
1512:2019-05-11
1361:2008-01-29
1043:References
832:, or just
806:spotlights
767:technician
715:worklights
569:university
565:vocational
557:experience
537:rehearsals
451:fly system
302:color gels
218:Kanye West
190:televised
3138:Reflected
3118:Light art
3030:Spotlight
3015:Footlight
3000:Cinematic
2968:Lava lamp
2730:in the US
2635:Reflector
2552:Xenon arc
2533:Neon lamp
2462:Rushlight
2442:Limelight
2191:Hong Kong
2001:Spotlight
1913:Cyclorama
1903:Color gel
1828:Platforms
660:luminaire
616:In film:
541:plan view
491:intensity
466:automated
368:Direction
362:cyclorama
276:Intensity
201:Limelight
125:talk page
3155:Category
2850:Headlamp
2790:Headlamp
2778:Tactical
2756:Portable
2737:Torchère
2418:Petromax
2413:Kerosene
2383:Campfire
2353:LED lamp
2149:Concepts
2142:Lighting
2030:Blocking
1886:Hardware
1813:Curtains
1801:Hardware
1490:Archived
1069:Archived
1011:See also
982:kilowatt
838:Lekolite
755:trunnion
723:ballasts
529:director
495:movement
364:lights.
338:tungsten
119:You may
86:concerts
43:lighting
3133:Sources
3087:Tanning
2973:Marquee
2918:Display
2802:Lantern
2795:outdoor
2747:Troffer
2590:ceramic
2447:Luchina
2425:Lantern
2318:compact
2316: (
2252:Halogen
2247:Regular
2102:Outline
1943:Top hat
1898:C-clamp
1838:Weights
1787:Rigging
1757:scenery
946:Dimming
890:bubbles
849:Fresnel
816:Profile
778:dimmers
763:battens
664:lantern
322:kelvins
175:sconces
92:History
47:theater
2855:hidden
2720:Sconce
2545:Sulfur
2540:Plasma
2472:Tilley
2467:Safety
2430:Fanous
2393:Carcel
2388:Candle
2378:Argand
2257:Nernst
2186:Hawaii
1860:Fields
1808:Batten
1765:Fields
1683:
1625:
1596:
1567:
1538:
1437:
1408:
1383:
1332:
1303:
1250:
1221:
1189:
1160:
1131:
1106:
952:Dimmer
932:DMX512
789:lights
753:, or '
719:dimmed
626:Gaffer
546:dimmer
442:batten
294:lumens
159:While
67:lasers
3113:Laser
3025:Scoop
2652:(PAR)
2605:(HQI)
2597:(HMI)
2571:(HID)
2477:Torch
2435:Paper
2403:Flare
2171:Glare
2020:Stage
1991:Scoop
1933:Snoot
1818:Flats
970:racks
886:lamps
834:Lekos
711:lamps
676:light
561:color
483:color
417:(ERS)
316:Color
260:raves
194:show.
55:opera
51:dance
3020:Gobo
2528:Neon
2398:Diya
2076:Prop
1918:Gobo
1736:and
1681:ISBN
1623:ISBN
1594:ISBN
1565:ISBN
1536:ISBN
1435:ISBN
1406:ISBN
1381:ISBN
1330:ISBN
1301:ISBN
1248:ISBN
1219:ISBN
1187:ISBN
1158:ISBN
1129:ISBN
1104:ISBN
751:yoke
709:(or
690:lamp
493:and
425:gobo
409:lens
405:lamp
360:and
296:and
69:and
2457:Oil
2408:Gas
2035:Cue
972:or
936:RDM
826:ERS
662:or
419:or
346:or
304:or
290:lux
81:.
77:or
3157::
1675:,
1617:.
1588:.
1559:.
1530:.
1429:.
1353:.
1324:.
1295:.
1242:.
1213:.
1201:^
1181:.
1152:.
1080:^
927:.
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2120:v
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1712:v
1687:.
1631:.
1602:.
1573:.
1544:.
1515:.
1443:.
1414:.
1389:.
1364:.
1338:.
1309:.
1256:.
1227:.
1195:.
1166:.
1137:.
1112:.
146:)
140:(
135:)
131:(
117:.
20:)
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