Strand Lighting Education Guide 2003

A GUIDE TO LIGHTING IN EDUCATION Types of Light Floods Soft Spots Profile Spots Beamlights CHOOSING LIGHTING POSITIONS Lighting from the front Lighting from the back and side Finding the compromise SPECIALS For the Actor For Special Effects For the Scenery DIVIDING THE STAGE Dividing by Area Area planning for a play Area planning for a musical Colour planning for a play Colour planning for a musical THE DECISION PROCESS Example plan for a play Example plan for In the Round Example plan for a musical DECIDING WHICH LIGHTS TO USE THE RIG PLAN LISTS FOCUSING Focussing in comfort What can we adjust? GLOSSARY 3 3 3 3 3 3 4 4 4 5 6 6 6 6 7 7 7 7 7 8 9 9 9 9 10 11 11 12 12 12 17

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Strand Lighting Education Guide 2003

A GUIDE TO LIGHTING IN EDUCATION

Whatever the scale of a production - amateur or professional - lighting like other design processes is based on a sequence of logical decisions plus a good measure of creative inspiration. This brief guide offers a sequence of step-by-step decisions to form the basis of a lighting process for the smaller scale production. It has been prepared by a lighting designer with experience of working on productions of all types and sizes. Strand hope that it will be especially helpful to amateur groups, small touring companies and educational theatre.

Types of Light
How do we choose which type to use in each position? As Strand lighting equipment is so robust choice is further complicated, in that in s addition to the range in today's catalogue, many earlier models are still in use. However lighting instruments group into families and it is convenient to consider our requirements in terms of what each family offers in terms of beam size, beam shape, and beam quality.

Floods
The beam size, shape and quality emitted by a flood is fixed: there are no adjusting knobs. The light is therefore suitable for lighting skies and cloths. It is not selective enough for lighting actors. Coda units may be single or grouped in 3s or 4s for colour mixing. They have a reflector that is specially designed to ensure an even wash over a large area from a short throw

Soft Spots
Prism Convex (PC) spots allow control of the beam size, and the beam may be roughly shaped by a rotatable barndoor. The quality is even and soft-edged, with less light-spill outside the main beam than in the case of a fresnel. In addition to the PC Fresnels have a very soft s, edge. The beam angle is adjustable and its shape roughly containable by a 4-leaf rotatable barndoor. The extent of the spill outside the main beam makes them unsuitable for longer throws, particularly from the auditorium.

Profile Spots
Profile spots give precise control of the beam. An iris diaphragm (for round edges) and shutters (for hard edges) can produce shapes in all sizes. For more complex shapes, special masks can be cut. Edge quality can be adjusted from very soft to very hard by moving the lens, while a metal pattern plate called a gobo can texture the quality of the whole beam. The number in the profile's name indicates the beam angle. Whereas standard profile spots have a fixed beam angle, which is narrowed by shuttering, variable beam profiles use a pair of lenses whose differential movement gives a wide range of beam angles and edge qualities. The shutters are then only required for shaping. Adjustments are faster and more efficient use is made of the lamp's output The number in a variable profile's name indicates the range of available angles. The SL New Generation Profile Spots now provide increased light output with reduced power consumption. Often referred to as a coolbeam profile, they do this by using state of the art optical coating on a glass reflector, allowing the optical light to be passed forward, while the heat and infra red spectrum is allowed out of the rear.

Beamlights
Most lighting instruments produce a conical beam so that the spread widens as the throw increases. Beamlights use a parabolic reflector (and no lens) to produce a near parallel beam which is more intense than a lens spotlight of the same wattage. This is one of the more important developments of the past decade. The optics are fully contained within the glass envelope of the lamp. Various Lamps providing angles of a squashed near-parallel beam are available. The intensity produces a depth-enhancing haze in the air, so intense that it is effective even with deep colours. The basis of most rock lighting today.

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Strand Lighting Education Guide 2003

CHOOSING LIGHTING POSITIONS

Lighting from the front
Consider the effect of a light starting as a vertical downlight on an actor then moving in a frontal plane until its beam becomes horizontal and then carries on to light from below. How visible will be the actor's face, particularly eyes and teeth? To what extent will face and body be modelled or flattened? What area of stage will be selected and what will be the size and direction of shadows cast on floor and scenery?

upstage from the actor - i.e. the light is slightly less selective.

As the lighting comes increasingly from the front, the actor's eyes and teeth receive more light. But the area lit extends further and further upstage, reducing the selectivity and increasing the likelihood of the actor's shadow hitting the scenery

Light from below projects an actor shadow that looms above the actor rising and falling as she moves towards and away from the light source. When this is the only lighting angle, the effect on the face is not at all natural. But a little from below, usually just reflected light can help to soften the harshness of light from above.

Lighting from the back and side

Now consider a light from behind. Then a light or lights from a series of side angles (i.e. lights at right angles to those considered above). Once again the criteria is visibility, modelling, selectivity and shadows. A vertical beam is the most selective light possible. The lit area of stage, and the shadow cast upon it, need be no wider than the widest part of the actor. However, the actor's eyes will be black pools and a highlighted nose will shade the mouth.

As the light becomes more and more frontal, the actor's features become flattened (and so also does threedimensional scenery). The lit area and the actor's shadows increase until, when the light is horizontal, there is a lit corridor for the entire depth of the stage, and the actor shadows become actor length. A light source behind the actor does not illuminate the face, but it helps to give depth to the stage by separating the action from the scenery through creating a haze and highlighting head and shoulders. The shadow of the actor is cast forward, helping the selection of areas. Since the light does not fall on the face, strong colours can be used.

If the light comes from a little forward of the actor, it will start to reach the eyes and mouth (provided that she keeps her chin up and is not defeated by a hat brim!). However, the lit area, and shadow cast, starts to extend Page 4 of 20

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Strand Lighting Education Guide 2003

face from a lower angle, it will light more into the eyes and teeth, although there will still be a tendency towards a central dark line where the beams meet down the centre of the face. vertical and horizontal and midway between front and side. However to restrict the shadows cast and to give a better 'join', the lights are often positioned closer to the vertical and to the centre.

If the light comes from a little to one side of the actor it will start to reach the eyes and mouth on that side. The area lit, and the shadows cast, will extend along the stage floor on the other side.

As the angle lowers, sidelight has an increasingly modelling effect on the actor's face and body. This is particularly important in dance. When the light becomes horizontal there will be a lighting corridor across the whole stage. By focusing just clear of the floor, it is possible to lose shadows into the wings, and the light will only be apparent when an actor stands in it.

Finding the compromise

We normally seek to light an actor for maximum visibility and maximum modelling, with minimum shadow. Additionally in many productions, we need to select as tight an area as possible. Which combination of angles offers the optimum compromise?

A backlight added to the basic crossed pair brings depth to the scene and generally enhances the 'look' of the actor. The backlight can be used for strong atmospheric colour if required, while the crossed pair maintain a more natural tint on the actor's skin tones. Note: The actor is now It by three beams with a 120 separation between them.

Add a second light source from the other side, and both sides of the face will receive light. However, there is now a second shadow and the selected area of stage floor extends to both sides of the actor.

The problem with 'crossed pair' lighting (with or without a backlight) is the extent of the spread of light on floor and scenery beyond the area where the actor's head is lit (remember that head is usually about five feet above the floor). Although a single beam can be flat it can also be quite tight. The basic compromise that has long been the standard approach is a pair of beams crossing on to the actor (one for each side of the face) from positions that are both forward and to the side of the actor. The suggested angle is often around 45 degrees in both directions - i.e. midway between

As the side lighting comes from an increasingly lower angle, the shadows will lengthen to both sides of the actor and a larger corridor will be selected across the stage. As the light hits the Tel 020 8735 9790 Fax 020 8735 9799

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Strand Lighting Education Guide 2003

Adding a backlight can enhance this flatness quite considerably - and the selectivity is still a tightly controlled upstage/downstage corridor without side spillage.

For modelling, sidelights can be added and, although they will spread the lit area, they can be at quite steep angles since they do not need to make a major contribution to visibility. Note: Four beams now light the actor with a 90 separation between them

SPECIALS
The major proportion of a stage lighting rig is focused to form a palette of areas and colours whose various combinations will provide the desired fluidity of selectivity and atmosphere. However there are certain lights whose function is so 'special' that they cannot make a significant contribution when mixing the basic palette.

For the Actor

Specials usually consist of spotlights set so tightly that the spaces they light cannot be considered as areas. They are often for moments when an actor has to be picked' out (perhaps only head and shoulders) on an otherwise blacked-out stage. They need to be listed in a priority order for close scrutiny and reduction to essentials.

For Special Effects

There may be a request for equipment to produce clouds, flames, water, lightning, etc. When listing it is always prudent to remember that such effects can draw attention away from the actor rather than positively support a performance. And if the effect is essential, then the effect of light reflected from fire or water is often more telling than a pictorial representation of the actual fire or water

For the Scenery

The proportion of the rig focused on the scenery will be very small. With the exception of skies and back or front cloths, scenery normally gets sufficient general wash from the reflected light bouncing off the stage floor from the lights that have been set for the actors. Indeed, as discussed in the following pages, many of the basic problems of lighting design arise from difficulties in stopping actor light hitting directly on the scenery Successful lighting of scenery depends on augmenting the diffuse reflected general light by selective highlighting of chosen scenic elements, or parts of these elements. This can vary from bold gashes to soft emphasis. Again, to be listed and reduced to essentials after a debate based on priorities and available resources.

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Strand Lighting Education Guide 2003

DIVIDING THE STAGE

Dividing by Area
Once decisions have been made about the kind of contribution that we expect lighting to make to the production that we are planning - and these contributions have been put into some sort of order of priority - we need to break down the stage area into the segments over which we require independent selective control. The required breakdown may be symmetrical, in which case the stage plan will be divided into something that resembles a series of areas of different sizes corresponding to the placing of the action. Of course it could well be that there is no need for division into what it is useful to call production areas: all the stage may be in use all the time. In this case a simple division into centre and sides will allow balancing for maximum 'enhancement' of the look of the scene. Note: Adjoining areas overlap - both side to side and back to front. And remember to remember that these are areas where an actor's head is to be lit - they ore unlikely to be the some as the light patterns on the floor

Area planning for a musical

Musicals tend to have many scenes and many selective and atmospheric light changes within these scenes. Therefore, unless there are many - very many - lights available, the breakdown into areas has to be very general. In this example the breakdown is symmetrical because, as in so many musical productions, the settings consist of a symmetrical series of wings leading to a backcloth, possibly a skycloth. With the addition of cloths and scenic pieces, the method of staging gives a flexible masked acting area with the possibility of sufficient open space for dancing and lots of entrances for a large chorus to get on and off quickly In most musicals the big moments are staged in the downstage areas: to help both musical balance and the 'putting across' of numbers to the audience. For the same reasons, much of the essential action takes place centre stage. The most common selective lighting cue is to 'concentrate centre', usually downstage centre, by 'losing the edges'. This suggests a minimum of three areas across the stage - certainly at the front of the stage, and probably also midstage. However, it is often quite practical to consider the whole width of the rear of the stage as one area. This provides a seven area combination that offers an area palette giving the director considerable selectivity with the possibility of progressive tightening from back to front and from sides to middle.

Area planning for a play

In this naturalistic play -possibly but not necessarily in a box set -the areas are determined to a considerable extent by the positions of furniture and doors. And the lighting is expected to make some logic in terms of practical light fittings (table lamps, wall brackets, etc.) and the natural sunshine and moonlight coming through windows (including those in the audience's 'fourth wall'). In this particular example, we have a play where it is desirable to focus attention at various times on the sofa, the armchair, the table (with that essential tool of modern drama, a telephone) and the doors. These doors are tremendously important in any drama: some of the key appearances and speeches are made there. But for a long intimate scene on the sofa, it is useful to concentrate on that sofa and loose peripheral areas like the doors. Consider the seven areas shown here in terms of possible combinations: the area palette gives the director a wide range of selectivity of audience vision - whether a subconscious fluidity (slow cues that are not obvious) or an area selection obviously linked to the switching of the practical lamps

Colour planning for a play

In a naturalistic play, colour is often used to create a fluid atmosphere that can shift from warm cheerfulness to cool sadness. If an area is lit with some lights in warm tones and some in cools, the dimmers of the control board can be used to achieve a whole series of options from an extreme of the warm colour alone, through the neutrality of both together, to the other extreme of cool colour alone. Which (if any) of the areas need to have this kind of 'double cover' of colour tones? In this example, discussion with the director has established that such a colour palette seems necessary around the central areas and the desk, whereas the upstage corners and downstage right can manage on a warm tint only - although perhaps one that is a little closer to a compromise neutral than the warms in the mixable areas. In such a naturalistic production the actual colour tints chosen are likely to be quite subtle.

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Strand Lighting Education Guide 2003

respond well to positive use of quite strong colour This example shows a much used technique where the colour is applied in rather broader washes than the areas selected for scene location. The front half of the stage is divided into three areas, each lit from above in rather saturated colours: a hot and cold rather than a warm and cool. The rear half is treated as one area, also with a hot and cold from above. From the side comes further washes, probably in slightly less saturated hues. These may divide the stage into bands: in this case an upstage band and a downstage band, possibly splitting the stage into left and right but just as likely covering the full width. With relatively neutral colour from the front, saturated colours from above and intermediate colours from the side, we have a colour palette that offers considerable scope.

Colour planning for a musical

The dialogue scenes of a musical require the subtle colour tones that are appropriate for a naturalistic play However, the musical numbers, particularly when solo singers can be given isolating visibility from tightly focused follow spots, usually call for strongly atmospheric colouring. And many dance sequences, where the body is relatively more expressive than the face,

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Strand Lighting Education Guide 2003

THE DECISION PROCESS

So how does one decide where to put the spotlights? On many stages and in many auditoria there is not much choice: but, to make the best use of the positions available, it is necessary to start from an ideal and compromise that ideal to fit reality. By WHERE, we mean where to put the light and where to point it. Traditional advice involves a lot of crossing of light beams partly to help model/sculpture the actor by introducing a partially side-light angle and partly because lighting diagonally across a stage provides a bigger spread of light from each lamp: an important bonus when equipment is in short supply. Crossing the beams opens out the area lit but can cast excessive shadows on side wall or masking. And so, with spotlights becoming increasingly versatile as to beam width, there is every reason to consider using the traditionally discredited method of lighting the actor with light coming straight in from the front. Of course if this is the only light, yes it will be flat. (And if the available positions are so low that an actor shadow will be thrown on to the sky, then better to come diagonally - priorities again!) But with the addition of some backlight (even if it is nearly vertical) and some sidelight, the front-lit actors will come alive and the areas/ shadows brought more under control. There need not be precise side lighting for every area: it can often be quite general since it is frequently more important in the big wide areas than in smaller tighter areas (more important, that is, in priority terms!). In the examples shown here, the traditional crossing method has been used for the play, while the actors in the musical are lit' flat frontal'. But it could be vice versa. Whichever way, the next stage in the planning is to establish where the lights go and where they point.

than a pair, we could use a single straight in - but if so, we must make it really straight in because a single crossing beam does not do much for the other side of the face!

Example plan for In the Round

For staging in the round, light needs to come from all sides. And it should be evenly balanced to avoid favouring one segment of audience to an extent that is not really permissible in a staging form so democratic as theatre-in-the-round. To avoid hitting into audience eyes, light has to come from both within the acting area and from outside it. Angles can be closer to the vertical than in other forms of staging because the audience is closer to the actors and thus visibility is 'easier'.

Example plan for a musical

Example plan for a play

For each area of our play we need two lights. One for each side of the actors' faces. When an area requires a full colour control of cool and warm, the number will double to four spots - a crossed pair in warm and a pair in cool. A spot bar immediately behind the proscenium arch will give a suitable angle for lighting the upstage areas, but for the downstage areas a position in the auditorium is necessary Red and blue have been used to indicate warm and cool filters in the spots. Green indicates more neutral washes that have been added from back and sides. Not enough equipment? Well, do we really need all these areas? And so many of them with both warm and cool? (Back to priorities?) Or rather

In this musical the actors' visibility light is provided by spots in a neutral colour hitting straight in. The front areas are covered from the auditorium, the midstage areas from a bar just inside the proscenium, and the upstage areas from a midstage bar If the stage is very wide, two or more lamps may be required for each area as indicated. Strong colour comes from near vertical backlights and medium colour from the wings (on stands, booms or ladder-frames to be discussed under 'rigging). Note: For clarity these plans only include actor lights. The play would require light outside the window and on the door backings, while the musical is likely to need a colour mix for the backcloth and possibly specials for elements of scener

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Strand Lighting Education Guide 2003

DECIDING USE

WHICH

LIGHTS

TO

Deciding which instrument to use obviously depends to a large extent on what is available - meaning another exercise in listing priorities. For 'foh' (front of house) throws of any distance in the auditorium, profiles are essential, both to avoid undesirable lighting up of the auditorium from scatter light, and to allow sufficiently precise control of the beam to prevent spillage on to the proscenium. However in a small hall there is a lot of merit in considering fresnels or PCs (well barndoored) at close range when a lot of spread is possible from a few lamps. For onstage use, Fresnels and PCs come into their own with fast-to-set soft edges - profiles are the most versatile instruments but they inevitably take longer to focus. For backlight, fresnels and beamlights are favourite, while floods are to be thought of only for wide expanses of scenery. (Use for actor light only in situations of extreme desperation). For theatre-in-the-round, barndoored fresnels give the required smoothness and spread. Existing installations in most theatres and halls are likely to be based on fresnels and profiles: anyone buying new equipment should look seriously at including a goodly proportion of the new generation PCs giving smooth soft-edge beams without stray scatter light and at the versatility of the variable beam profiles.

Fresnels have been allocated everywhere because they have a good smooth spread (profile edges can be very difficult in small theatres in the round). Every spot must have a barndoor to contain spill from the audience eyes. Each become a pair of spots since this is the only way that it is possible to light fully to the sides of the acting area. Too many-spots? Then perhaps just one cover in a neutral shade (thereby halving the number on the plan) and utilising a couple of pairs of straight downlighters to add colour toning in warm or cool.

This plan shows instruments being allocated to our play in a very orthodox way: profiles for the front-of-house and fresnels for onstage. If a couple of PCs were available, they would be a useful alternative on the ends of the stage spot bar: this is a position where any scatter light shows up badly on the side walls of the set. Whether 500 or 1000W units are required will depend mainly on length of throw, perhaps with the changeover around 6 to 8 metres. However, it is important always to remember that the actual level of light intensity is not so important as the BALANCE.

The actor face lights are profiles from the front and fresnels onstage, with the second bar being less powerful units - face light is rarely important upstage in a musical. The backlights are fresnels, although parcans would be nice if available. For the sidelighting, profiles have been used downstage to contain the light in a tight corridor across the front - often advisable when front cloths or running tabs are in use. Midstage sidelighting use fresnels for a good spread, while the optional upstage sidelight again uses profiles to keep the light clear of the skycloth.

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Strand Lighting Education Guide 2003

THE RIG PLAN

THE PLAN is the kernel of any lighting design. minimum: 1. 2. 3. 4. The POSITION of each light. The TYPE of light in each position. Any ACCESSORIES, such as barndoors or gobo, required by any particular light. The DIMMER that will control each light. It shows, at

A good procedure is: 1. 2. Establish all lighting positions with Xs Convert these Xs to symbols of available (and/or acquirable) lighting instrument types, drawing them pointing in the approximate direction of proposed light travel. Write colour numbers inside symbols. Add dimmer numbers alongside symbols. Trace through key features of the set and stage - it is usually possible to trace through (in spaces clear of lighting drawing) enough to relate the positions of lights to the geography of the setting and stage.

3. 4. 5.

This will bring the plan to a point where it can be used to prepare and rig the equipment. The lighting designer's own copy will grow many extra markings to indicate precisely where the lights are to be pointed - markings so detailed that they would only confuse if included on all copies of the plan.

LISTS
From the plan, lists are prepared of the required number of: 1. 2. 3. 4. 5. The plan should be drawn to scale (1" to I ' or 1:25). This helps accurate indication of light positions. And if scale symbols are used for these lights, there is a check on space problems: if it can be drawn on the plan, there will be room for it on the stage. Any shapes may be used to indicate lights, but plans are more easily read if the symbol resembles the outline shape of the light. Either way, the plan should certainly include a key showing the type of lighting instrument represented by each symbol. Colour and dimmer are indicated by number: the usual convention is to write the colour number inside the symbol and the dimmer number alongside the symbol. Lights fixed to horizontal bars are easy to show in plan: the bar can be drawn in the position that it will occupy over the stage and its height indicated by a note (such as + 14') written at the end of the bar. Lights fixed to vertical bars, or stacked on a series of brackets, are more difficult to draw - they must be indicated diagrammatically FOH lights in the auditorium are usually drawn much closer to the stage than their scaled real distance which would make the plan inconveniently large. The easiest method is to work on tracing paper over a ground plan of the scenery and stage. Types Of Light Lengths Of Cable Accessories Colour Filters Section Drawings

Will there be borders to mask the lights (and other things) hanging above the stage? If so, draw a section to check that all the light beams will be able to reach all desired parts of the actors and the scenery. Usually (but not always) the heights of the borders and lighting bars can be adjusted. Only a section will determine what these relative heights should be, and only a section will determine how effective the masking arrangements will be for an audience eye in the front row.

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Strand Lighting Education Guide 2003

FOCUSING
Focusing is probably the most important part of the whole lighting operation. Not even the most sophisticated marvel of a microprocessor control desk can fill in that dark spot where the lights have not been properly overlapped. Nor can a hard edge be softened or a disturbing spill on to a border be shuttered off. Focusing involves tricky ladder work so that there is every incentive to get it right first time - although, inevitably, it will be necessary to get at the odd spotlight between rehearsals for a little fine adjustment.

Most profiles have an adjustment whereby the light can be adjusted so that it is either smooth across the whole spread of the beam, or 'peaked' to be brighter in the middle with the amount of light falling off towards the edge. For most purposes it is easier to light with an even brightness across the beam and so it is recommended that anyone beginning to work with light should use an even beam until through experience they discover a need for a 'peaky' beam. SOFT SPOT

Focussing in comfort
If you stand with your back to the light that you are focusing, (I) You will avoid being blinded (2) You will be able to see what the actor's light is doing to the scenery

VARIABLE ANGLE PROFILE SPOT

No clear shadow of head, therefore head is not lit.

Clear shadow of head, therefore head is lit

If the lighting designer is shorter than the actor, make an allowance check by raising hand

What can we adjust?

ON ALL LIGHTS Left/Right & Up/Down ON SOFT SPOTS Bigger/Smaller with optional Barndoor Rough shaping (& control of spill) ON PROFILE SPOTS Round size by optional Iris Shaped size by Shutters Texture by optional Gobo Beam edge quality by Lens and on Variable Beam Profile Spots Size and edge quality by differential movement of two Lenses Shape by Shutters The most difficult types of light are the basic Profile Spots since there is an interaction between shutters (or iris) and lens movement. Although adjusting the lens is principally a means of making the edge of the beam harder or softer, it will also change the size. Therefore it is usually necessary to adjust shutters and lens alternately to get the desired combination of size and edge quality Page 12 of 20 FIXED ANGLE PROFILE SPOT

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CONTROL CONSOLE RANGE

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Demux Units
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DIGITAL DIMMER RANGE

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Cat No 91701 91702 Description 300 Console, 24/48 manual/memory 50 Channel, Tracker, Communiqu & Reporter 300 Console, 48/96 manual/memory 100 channel, Tracker, Communiqu & Reporter Price 3,208.00 4,100.00

SD6 Rack Portable Dimmers

Cat No 75400 75401 75402 75403 Description SD6 Rack Hard Wired (terminal strip) SD6 Rack Single 15A Sockets SD6 Rack Single Schuko Sockets SD6 Rack Single CEE 17 Sockets Price 413.00 450.00 455.00 470.00

300 Series Memory Consoles

Cat No 91712 Description 300 Console, Entry Level 50 channel , 24 submaster , Tracker, Communiqu & Reporter (no Mouse) 300 Console, 125 channel, 24 submaster, Tracker, Networker, Communiqu & Reporter 300 Console, 250 channel, 24 submaster, Tracker, Networker, Communiqu & Reporter 300 Console, 400 channel, 24 subs, with 2 TFT, Tracker, Networker, Communiqu & Reporter Price 2,967.00

LD90 Digital Installation Dimmers

Cat No Description LD90 Rack, 24 X 2500w Dimmers Single Pole MCB's LD90 Rack, 12 X 5000w Dimmers Single Pole MCB's Price 3,325.00 3,819.00 74102 74103

91703 91704 91705

3,610.00 4,800.00 9,000.00

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Accessories
Cat No 76310 76311 76312 76313 76314 76102 Description Optional RCD for LD90 Power Block LD90 Analogue Connectors (2) LD90 16mm Cable Termination Kit LD90 Three Phase Linking Kit LD90 Wall Mounting Bracket SWC Hand Held, programming unit Price 305.00 28.00 96.00 55.00 55.00 915.00 STP003 RIGGING

Filter and Gobos

Cat No STP001 STP002 Description Colour Filter Pack of 12 sheets Gobo Starter Pack of 10 gobos for Quartet Profiles Gobo Starter Pack of 10 gobos for SL Profiles Price 60.00 60.00 60.00

Stands and Brackets

Cat No 81005 82030 Description Spartan Stand (suitable for Video Lights) 19mm Spigot to 10mm thread Cross Bar with 29mm Spigot and 4 x 10mm holes Folding Cast Base Stand (Suitable for Theatre Spots) 3m Double Extension Stand (Goliath) Price 49.95 8.50 40.00 94.00 226.00

CONNECTORS AND CABLES

Socket Boxes
Cat No SB04/15A SB06/15A SB12/15A Description 4 way 15A Socket box, 100mm deep wired to terminals, including back box. 6 way by Single 15A Socket box, 100mm deep wired to terminals, including back box. 12 way by Single 15A Socket box, 100mm deep wired to terminals, including back box. Price 59.70 81.40 147.60

82041 81030 81015

Internally Wired Bars

Cat No Description Price 155.58 178.20 206.70 193.90 232.80 301.91 252.39 296.48 340.59 314.72 359.66 404.46 IWB0404/15A Internally Wired Bar 4m x 4 way

Patch Panels
Cat No CP12/15A CP18/15A CP36/15A Description 12 Way Cord Patch Panel Unit 18 Way Cord Patch Panel Unit 36 Way Cord Patch Panel Unit Price 157.50 219.50 389.00

IWB0406/15A Internally Wired Bar 4m x 6 way IWB0506/15A Internally Wired Bar 5m x 6 way IWB0606/15A Internally Wired Bar 6m x 6 way IWB0608/15A Internally Wired Bar 6m x 8 way IWB0610/15A Internally Wired Bar 6m x 10 way IWB0806/15A Internally Wired Bar 8m x 6 way IWB0808/15A Internally Wired Bar 8m x 8 way IWB0810/15A Internally Wired Bar 8m x 10 way IWB1008/15A Internally Wired Bar 10m x 8 way IWB1010/15A IWB1012/15A Internally Wired Bar 10m x 10 way Internally Wired Bar 10m x 12 way

Mains Extension Cables

Cat No TRS05/15A TRS10/15A TRS20/15A TRS05/16A TRS10/16A TRS20/16A Description 15A Extension cable 5m 15A Extension cable 10m 15A Extension cable 20m 16A Extension cable 5m 16A Extension cable 10m 16A Extension cable 20m Price 14.00 16.00 22.00 25.50 29.00 36.00

Mounting Accessories
Cat No Description Ceiling Fixing Saddle Universal Bracket 300mm x 12mm Threaded rod c/w 4 no M12 nuts Price 3.18 3.60 1.95 CFS001 UBC001 M12/300

Connectors
Cat No 3561301 3561206 91116 91113 Description 15A 3 pin rubberclad plugtop for Theatrical Extension Cables 15A 3 pin rubberclad socket for Theatrical Luminaires and Extension Cables 16A CEE17 (BS4343) pin plugtop (for Video Lights) 16A CEE17 (BS4343) 3 pin cable socket (for Video Lights) Price 3.47 5.24 4.65 6.40

THEATRICAL LUMINAIRE RANGE

Quartet 650w Fresnel & Prism Convex
Cat No 11160/15A 11170/15A Description Quartet F 650w, 240v with fitted 15amp Plugtop Quartet PC 650w, 240v with fitted 15amp Plugtop Price 108.00 114.00

CONSUMABLES
Lamps
Cat No 41184 41264 41294 43784 43134 43204 43274 43824 43894 43404 44014 44044 Description T18 500w 240v GY9.5 base Lamp for use with Quartet, Prelude T26 650W 240v GY9.5 base Lamp for use with Quartet, Prelude T29 1200w 240v GX9.5 base Lamp for use with Cantata GKV 600W 240v Lamp for use with SL DXX 800W 240v R7s base Lamp for use with Redhead P2/20 1000W 240v R7s base Lamp for use with Iadi P2/27 2000W 240v RX7s base Lamp for use with Blonde CP82 500w 240v GY9.5 base Lamp for use with Quartet, Prelude CP89 650W 240v GY9.5 base Lamp for use with Bambino 560 CP40 1000W 240v G22 base Lamp for use with Polaris, Bambino 1000, Studio 1000 K1 500w 240v R7s base Lamp for use with Coda, Nocturne K4 1000W 240v R7s base Lamp for use with Coda, Nocturne Price 12.93 12.93 16.50 15.60 6.83 6.51 26.87 9.70 16.90 13.00 5.58 10.00

Accessories
Cat No 18040 18043 18044 41264 82000 82010/Z Description Barndoor Quartet, 4 Leaf Colour Frame, Quartet, 150mm, Card Colour Frame, Quartet, 150mm, Metal T26 650W 240v GY9.5 base Lamp for use with Quartet, Prelude Safety Cable, Max Load 16kG Hook Clamp, 48mm, M10 (Zinc) Price 26.00 P.O.A 10.00 12.93 9.00 2.95

Quartet 650w Profiles

Cat No 11180/15A 11190/15A Description Quartet 15/25 650w, 240v with fitted 15amp Plugtop Quartet 22/40 650w, 240v with fitted 15amp Plugtop Price 202.00 202.00

Accessories
Cat No 18041 18042 18043 18044 82000 82010/Z Description Iris Diaphragm, Quartet, 12 Leaf Gobo Holder, Quartet, M Size Colour Frame, Quartet, 150mm, Card Colour Frame, Quartet, 150mm, Metal Safety Cable, Max Load 16kG Hook Clamp, 48mm, M10 (Zinc) Price 49.50 15.00 P.O.A 10.00 9.00 2.95

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SL 600w Variable Angle Zoom
Cat No 11410/15A 11420/15A Description SL 15/32 degrees 600w, 240v with fitted 15amp Plugtop SL 22/50 degrees 600w, 240v with fitted 15amp Plugtop Price 380.00 380.00

STUDIO LUMINAIRE RANGE

Bambino 300/500w Fresnel
Cat No 27620 Description Bambino 500w Compact Fresnel, Manual (supplied with barndoor, colour frame and stirrup) Price 240.00

Accessories
Cat No 18049 18045 18114 18136 18137 43784 82000 82010/Z Description SL Iris (24 leaf) Gobo Holder SL Profiles, B Size Colour Frame, for all SL's except SL5 and SL10 Colour Frame (SL5) Colour Frame (SL10) GKV 600W 240v Lamp for use with SL Safety Cable, Max Load 16kG Hook Clamp, 48mm, M10 (Zinc) Price 88.00 8.00 10.00 20.00 18.00 15.60 9.00 2.95

Accessories
Cat No 28301 28081 28040 28080 43824 82603 Description Scrim Set No.1, EU, 110mm (HMI 200w, Bambino 500w) Cone 30-70mm, Base 110mm, (HMI 200w, Bambino 500w) EU 4 leaf Barndoor, 110mm (HMI 200w, Bambino 500w) Colour Frame, 110mm, (HMI 200w, Bambino 500w) EU CP82 500w 240v GY9.5 base Lamp for use with Quartet, Prelude Large Gaffer Grip 16mm Spigot Price 37.00 37.00 34.00 11.00 9.70 63.00

Cantata 1000/1200w Fresnel & Prism Convex

Cat No 12030/15A 12040/15A Description Cantata F 1200w, 240v with fitted 15amp Plugtop Cantata PC 1200w, 240v with fitted 15amp Plugtop Price 209.00 226.00

Bambino 650w Fresnel

Cat No 27630 Description Bambino 650W Compact Fresnel, Manual (supplied with barndoor, colour frame and stirrup) Price 260.00

Accessories
Cat No 18106 18104 41294 82000 82010/Z Description Cantata 4-leaf rotating Barndoor Colour Frame, Cantata, 185mm T29 1200w 240v GX9.5 base Lamp for use with Cantata Safety Cable, Max Load 16kG Hook Clamp, 48mm, M10 (Zinc) Price 42.00 13.00 16.50 9.00 2.95 Cat No 28309 28049 28048 28047 Price 122.00 160.00 310.00 370.00 43894 82603

Accessories
Description Scrim Set No.9, EU, 170mm (HMI 400w, PAR 200w, Bambino 650W) Cone 35-100mm, Base 170mm (HMI 400w, PAR 200w, Bambino 650W) 4 leaf Barndoor, 170mm (HMI 400w, PAR 200w, Bambino 650W) Colour Frame, 170mm (HMI 400w, Bambino 650W) CP89 650W 240v GY9.5 base Lamp for use with Bambino 560 Large Gaffer Grip 16mm Spigot Price 42.00 48.00 42.00 19.00 16.90 63.00

Coda 500/1000w Cyclorama Floodlights

Cat No 14010/15A 14020/15A 14030 14040 Description Coda One 500w, 240v with fitted 15amp Plugtop Coda 1000w, 240v with fitted 15amp Plugtop Coda Three 500w, 240v (terminal blocks) Coda Four 500w, 240v (terminal blocks)

Bambino 1000w Fresnel

Cat No 27640 Description Bambino 1000w Compact Fresnel, Manual (supplied with barndoor, colour frame and stirrup) Price 375.00

Accessories
Cat No 18123 18124 18125 18121 18122 44014 44044 83100 82010/Z 82000 Description Colour Frame, Coda 500w, 215X240mm Colour Frame, Coda 1000w, 285X240mm Colour Frame, Outrig, Coda 1000w Barndoor, Coda 500w Barndoor, Coda 1000w K1 500w 240v R7s base Lamp for use with Coda, Nocturne K4 1000W 240v R7s base Lamp for use with Coda, Nocturne CBL Gland, Coda 3 & 4 Cyc Hook Clamp, 48mm, M10 (Zinc) Safety Cable, Max Load 16kG Price 21.00 21.00 103.00 63.00 68.00 5.58 10.00 P.O.A 2.95 9.00

Accessories
Cat No 28844 28849 28846 28840 43404 82002 82012 Description Scrim Set EU, 186mm (HMI 575w, Bambino 1000w) Colour Frame, 186mm (HMI 575w, Bambino 1000w) 4 leaf Barndoor, 186mm (HMI 575w, Bambino 1000w) Cone, Small, Base 186mm (Bambino 1000w) CP40 1000W 240v G22 base Lamp for use with Polaris, Bambino 1000, Studio 1000 Safety Cable, Max Load 50kG Hook Clamp, TV, 48mm, 29mm Skt Price 48.00 25.00 48.00 35.00 13.00 23.00 30.00

Nocturne 500/1000w Symmetrical Floodlights

Cat No 14100/15A 14110/15A Description Nocturne 500w, 240v with fitted 15amp Plugtop Nocturne 1000w, 240v fitted 15amp Plugtop Price 122.00 160.00

PORTABLE LIGHTING KITS

Tungsten
Cat No 27334 27344 23024 Description Redhead 3 Kit Redhead 4 Kit Double Blonde Kit Price 920.00 1,189.00 1,039.00

Accessories
Cat No 18123 18124 18125 18121 18122 41264 82010/Z 82000 Description Colour Frame, Coda 500w, 215X240mm Colour Frame, Coda 1000w, 285X240mm Colour Frame, Outrig, Coda 1000w Barndoor, Coda 500w Barndoor, Coda 1000w T26 650W 240v GY9.5 base Lamp for use with Quartet, Prelude Hook Clamp, 48mm, M10 (Zinc) Safety Cable, Max Load 16kG Price 21.00 21.00 103.00 63.00 68.00 12.93 2.95 9.00

Daylight
Cat No 27521 Description PAR 200w Kit (includes: head, barndoor, extension cable, complete with set of lenses and ballast) PAR 575w Kit (includes: head, barndoor, extension cable, complete with set of lenses and ballast) HMI Fresnel 200w Kit (includes: head, colour frame, ballast, barndoor, stirrup and extension cable) HMI Fresnel 400w Kit (includes: head, colour frame, ballast, barndoor, stirrup and extension cable) Price 2,270.00

27541 27021

4,090.00 1,875.00

27031

2,595.00

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LOCATION LIGHTING RANGE

Iadi Fill & Cyc Floodlights
Cat No 26020 Description Iadi Fill, 1000w, with 4-metre cable to bare ends, inline switch, supplied with integral wire guard and barndoor Iadi Cyc, 1000w, with 4 metre cable to bare ends, inline switch, supplied with integral wire guard and barndoor Price 179.00

26030

202.00

Accessories
Cat No 28003 28004 28005 28006 28007 28008 43204 Description Reflectors Iadi, (4) Scrim, Iadi, Full Double Scrim, Iadi, Full Single Dichroic Filter, Iadi, Daylight Diffuser, Iadi, Opal Glass Wire Mesh, Iadi, 3mm P2/20 1000W 240v R7s base Lamp for use with Iadi Price #N/A 34.00 34.00 #N/A #N/A 30.00 6.51

Redhead 800/1000w
Cat No 27157 27158 Description Redhead 800W, inc. barndoor & safety mesh Redhead 1000W, inc. barndoor & safety mesh Price 200.00 240.00

Accessories
Cat No 28302 28021 28022 28023 28024 28025 28352 43134 82602 Description Scrim Set No.2, Redhead, 195mm Accessory Holder, Redhead Barndoor, Redhead, 4 leaf W/guard 3mm, Redhead, 165mm Safety Glass, Redhead, 165mm Dichroic Filter, Redhead, 165mm Scrim Set 5 Piece, Redhead, 195mm DXX 800W 240v R7s base Lamp for use with Redhead Small Gaffa Grip, with 16mm Spigot Price 49.00 37.00 37.00 17.00 20.00 83.00 36.00 6.83 32.00

Blonde 2000w
Cat No 21100 Description Blonde 2000w, inc. barndoor, accessory holder & safety mesh Price 293.00

Accessories
Cat No 28304 28050 28051 28052 28053 28054 28060 43274 82603 Description Scrim Set No.4, EU, 260mm (HMI 1200w, Bambino 2000w, Studio 1000w) 4 leaf Barndoor, 250mm (HMI 1200w, Bambino 2000w, Studio 1000w) Wire Guard 3mm, Blonde, 252mm Wire Guard 12mm, Blonde, 252mm Safety Glass, Blonde, 252mm 3152/185 Dichroic Filter Mount Flightcase, Blonde, 1 Head P2/27 2000W 240v RX7s base Lamp for use with Blonde Large Gaffer Grip 16mm Spigot Price 63.00 53.00 32.00 17.00 42.00 156.00 P.O.A 26.87 63.00

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GLOSSARY
Backlight Light coming from behind scenery or actors to sculpt and separate them from their background. Bar Horizontal metal tube of scaffolding diameter for hanging lights (pipe in America) Cue The signal that initiates a change of any kind. Lighting cue is a change involving light intensity alterations. clearly defined image; but usually used to cover the whole process of adjusting the direction and beam of spotlights in which the desired image may be anything but clearly defined. FOH All instruments which are 'front of house', i.e. on the audience side of the proscenium. Follow spot Spotlight with which an operator follows actors around the stage. Fresnel spot Spotlight with soft edges due to fresnel lens which has a stepped moulding on the front and a textured surface on the back. Frost A diffuser filter soften a light beam. used to

Barndoor Four-shutter rotatable device which slides into the front runners of fresnel and PC focus spots to shape the beam and reduce stray scatter light. Battens Lengths of overhead lighting floods arranged in 3 or 4 circuits for colour mixing. Beam angle Angle of the cone of light produced by a spotlight. Beamlight Lensless spotlight with parabolic reflector giving intense parallel beam Board Contraction of switchboard or dimmerboard. The central control point for the stage lighting. Boom Vertical pole, usually of scaffolding diameter, for mounting spotlights. Boom arm Bracket for fixing spotlights to a boom. Build An increase in light intensity.

Cyclorama Plain cloth extending around and above the stage to give a feeling of infinite space. Term is often rather loosely used for any blue skycloth, either straight or with a limited curve at the ends. Dead (1) The plotted height of a piece of suspended scenery or bar of lights. (2) Discarded items of scenery. Dichroic Colour filters which work by reflecting unwanted parts of the spectrum rather than absorbing them in the manner of traditional filters. Diffuser A filter, often called a frost, which softens a light beam, particularly its edge. Dimmer Device which controls the amount of electricity passed to a light and therefore the intensity of that light's brightness. Directional diffuser A filter which not only softens the beam but spreads it along a chosen axis. Also known as a silk Director Has the ultimate responsibility for the interpretation of the script through control of the actors and supporting production team. Discharge lamps Special high powered light sources whose use is normally restricted to follow spots and projection because of difficulties in remote dimming by electrical means. includes C.S.I., C.I.D. and H.M.1 lamps. Downstage The part of stage nearest to the audience. the

FUF Full-up-finish. An increase to bright light over the last couple of bars of a musical number. Gate The optical centre of a profile spot where the shutters are positioned and where an iris or gobo can be inserted. GAUZO Fabric which becomes transparent or solid under appropriate lighting conditions. Gobo A mask placed in the gate of a profile spotlight for simple outline projection. Also used, with softened focus, to texture the beam. Groundrow A low piece of scenery standing on the stage floor. Also lengths of lighting placed on the stage floor. Group A subdivision, temporary or permanent, of the channels in a control system. Hook clamp A clamp for fixing an instrument to a horizontal bar, usually of scaffolding diameter. Houselights The decorative lighting in the auditorium. Instrument A stage lighting unit, such as a spotlight or flood. An American term coming into increasing international use. Iris An adjustable circular diaphragm to alter the gate size in a profile spot. Also the muscleoperated diaphragm in the human eye which adjusts the eye's Page 17 of 20

Channel A control circuit, identified by number, from the 'board' to a light. Channel access The method (levers, pushes, keyboard, etc) in a memory system by which individual channels are brought under operator control. Check Decrease in light intensity.

Colour call A listing of all the colour filters required in each lighting instrument. Colour temperature A method of measuring (in Kelvin units) the spectral content of 'white' light. Control Surface Any device such as lever, push, wheel, rocker, mouse, pen, cursor, etc, used as an interface between an operator's fingers and a processing system which activates dimmers or motors controlling lighting instruments. Cross-fade Lighting change where some of the channels increase in intensity while other channels decrease. Tel 020 8735 9790 Fax 020 8735 9799

Ellipsoidal Strictly a type of reflector used in many profile spots but extended in North America to cover all profile spots. Flood Simple instrument giving fixed spread of light. Flys Area above the stage into which scenery can be lifted out of sight of the audience. Focusing Strictly speaking, the adjustment of lights to give a

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aperture to intensities. Kilowatt see wattage Ladder Framework in the shape of a ladder for hanging side lighting. Lamps The light source within an instrument, but sometimes used as an alternative to the word instrument. Lantern A lighting unit designed or adapted for stage use. A traditional word now being overtaken by 'instrument'. Linear flood A flood using a long thin double-ended halogen lamp, allowing the reflector to be designed for an increased beam spread. Load The lights controlled by an individual dimmer and limited by the rating of that dimmer. Master A lever or push which overrides (or 'masters') a complete preset, or group within a preset or selected memory. Memory Lighting control systems where channel intensities for each cue are filed automatically in an electronic store. Multiplexing Passing control instructions, particularly to dimmers or remotely focusable lights, by sending all information in digital format along a single pair of screened wires. Pan Horizontal (left/right) movement of an instrument. Parcan The simple instrument which holds a par Imp and therefore does not require any optical system of lenses or reflectors. Par Imp A sealed beam lamp with the filament contained within the same glass envelope as an optical system producing a near parallel beam. Patching A sort of central 'telephone exchange' where channels can be connected to dimmers and/or dimmers connected to socket outlets. P.C. [Plano convex] lens A lens with one flat surface and one curved surface. This 'PC' lens and the fresnel lens are the alternatives normally used in stage spotlights. changing light Pipe endsSpotlights on the ends of lighting bars, crosslighting to model dancer's bodies. Playback The part of a memory system where memorised lighting states are recalled to control the light on stage via master levers or pushes. Practical Light fitting which is not merely decorative but is wired to light up. Preset Anything which is positioned in advance of its being required --such as props placed on the stage before the performance. A control system where each channel has more than one lever to allow intensity levels to be set (i.e. preset) in advance of a cue. Profile Spot A spotlight which projects the outline (i.e. the profile) of any chosen shape and with any desired degree of hardness/softness. Profiled Cue Lighting change where the rates of increasing and decreasing intensities accelerate or decelerate during the progress of the change. Rating The maximum and minimum power in kilowatts that can be controlled by a circuit or dimmer channel. Record Plotting a cue state by filing it in the electronic data storage of a memory board. Resistance dimmerAn older mechanical form of dimmer which reduces the flow of electricity to a light by progressively converting the surplus into heat. Rigger's control A remote portable hand-held control unit which allows channels or groups to be switched from the stage for focusing when the control room is unmanned. Scatter Low intensity light cast outside the main beam of an instrument. Scrollers Colour changer where a roll of filters are taped together and positioned by a very fast motor activated by digital signals from a control system which includes a memory facility. Shin Busters Low level lights at stage floor level, used mainly for dance. 20 Sightlines Lines drawn on plan and section to indicate limits of audience vision from extreme seats, including side seats, front and back rows, and seats in galleries. Silks Diffusion filters stretch the light in a direction. which chosen

Spigot An adapter screwed to the hanging bolt of an instrument to enable it to be mounted on a floor stand. Spill stray or scatter light outside the main beam. Spotlight An instrument giving control of the angle of the emerging light beam and therefore of the size of area lit. Strobe Device giving a fast series of very short light flashes under which action appears to be frozen. Theatre-in-the-Round A form of staging where the audience totally encircle the acting area. Throw Distance between a light and the actor or object being lit. Thrust Form of stage which projects into the auditorium so that the audience are seated on at least two sides. TiltVertical (up/down) movement of an instrument. Tungsten lamps Older type of lamps (the stage types are high wattage versions of standard domestic lamps) whose tungsten filaments gradually lose the brightness of their light output. Tungsten halogen lamps Newer lamps (now virtually standard in professional theatre) which maintain their initial brightness of light output throughout life. Upstage The part of the furthest from the audience. UV stage

Ultra violet light (from which harmful radiation have been filtered out) used to light specially treated materials which fluoresce in an otherwise blackened stage.

Variable bean profile Profile spotlight using a type of zoom (q.v.) arrangement where the differential movement of two lens allows wide variations in both beam size and quality.

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Wattage The power of consumption of a lamp, or the maximum available power from a dimmer. A kilowatt is 1,000 watts. Ways The number of channels in a control system. Zoom A differential movement of two lenses in an optical system. In a simple zoom, the lenses are moved independently, but in more complex forms a single movement alters the size of the beam while the image remains in constant focus. Used in advanced profile spots and scene projectors.

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Strand Lighting Limited Unit 3 Hammersmith Studios 55a Yeldham Road London SW6 8JF Tel: +44 (0)20 8735 9790 Fax +44 (0)20 8735 9799 www.stranduk.co.uk www.strandlight.com