5.10 - STRIPLIGHTS

1.) DESCRIPTION5.10 - STRIPLIGHTS

Often the simple compartment floodlight is combined into multiple units connected together, forming a STRIPLIGHT. The striplight is one of the oldest stage lighting fixtures first having been developed for oil and candles and later for gas lighting. The striplight is also sometimes referred to a BATTEN or BORDER light as it often hung between the overhead masking borders.

With the introduction of the electric filament lamp it was possible to wire (or gang) a number of compartment floods together, forming a long linear fixture. The striplight has changed very little in the past 100 years. The typical unit of today is 4-9 feet long and is wired in 3 or 4 electrical circuits. By using alternating color filters (usually red, blue, green and sometimes amber) the striplight makes a very flexible color wash lighting fixture.

2.) APPLICATIONS

Permanent striplights are often found installed in older theatres, auditoriums and schools. Typically several units are used, running continuously from stage-left to stage-right. The 'strips' are usually installed downstage, centre stage and upstage. Through dimmer control, and using the 3 primary colors of light, the designer can mix almost any color. One moment the entire stage can be bathed in deep cold blue and the next it can be transformed into a warm golden amber. Overhead striplights as a general source of 3 color illumination are seldom used today, most designer preferring the more controlled use of the fresnel spotlight or even the PAR64, for wash, toning and blending applications. (p> Today, 3 or 4 circuit striplights are commonly used to light the top and bottom of backdrops and cycloramas (sky cloths).

FOOTLIGHTS are simply striplights placed on the floor, along the downstage edge of the stage. Once a principal source of stage lighting, footlights were also often wired to provide 3 or 4 color washes. Although seldom used today, footlights still can prove invaluable for certain lighting applications. Used sparingly, they can provide excellent low 'fill' light to a performer's face and can help eliminate shadows from overhead lighting, from hats, roofs, etc.

3.) TYPES

The modern STRIPLIGHT typically consist of a row of MR16, PAR, R (reflector) or double ended halogen lamps, mounted into a single compartmented fixture approximately 6-9 ft. long. The modern striplight is also wired in 3 (or 4) color circuits. Striplights are manufactured in various sizes, to use lamps with wattages of 75, 150, 300, 500 or 1000 watts each. Striplight fixtures commonly use glass or plastic colored filters in removable color frames. The modern striplight is used both in overhead and floor mounted applications (downlight and uplight)


TYPE BEAM SPREADS WATTAGE DESCRIPTION
=====================================================================
Striplights 70-100 fixed 75-1000 VERY SOFT edge
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INCLUDED: - (a) power cord (usually 3 or 4).

OPTIONS: - (a) lamps, (b) pipe clamps, (c) color frames, (d) safety cables, (e) electrical connectors, 3 or 4, (f) hanging hardware, (g) floor mounting hardware.

5.03 - ELLIPSOIDAL REFLECTOR SPOTLIGHT

1.) DESCRIPTION5.03 - ELLIPSOIDAL REFLECTOR SPOTLIGHT

The ELLIPSOIDAL REFLECTOR spotlight, (sometimes known as the LEKO or LEKOLITE) is a common fixture for many stage lighting applications. The 'ER' as it is sometimes called is available from many different manufacturers and is available in a number of different sizes and beam spreads.

The ellipsoidal fixture was first introduced back in 1933 by Joseph Levy and Edward Kook, founders of Century Lighting, each giving half of their names to the new invention, 'Lekolite' or 'Leko'. About the same time, Kliegl Brothers introduced their EF fixture known as the 'Klieglight'. Although ER's are now commonly called 'Lekos', the name is now owned by Strand Lighting and correctly only refers to their ellipsoidal reflector products.

2.) APPLICATIONS

The ER spotlight provides a narrow, directional beam with a hard edge. It is able to provide a sharp focus of integral metal shutters, an iris or a metal projection template. The ability to project a metal etched pattern (template or gobo), makes this fixture particularly useful to the stage lighting designer.

All ER's also allow focus adjustments by moving the lens tube forward or backwards. This produces an adjustable beam edge ranging from very sharp and hard to very soft. Some ER's do not allow the edges of the beams to soften sufficiently for the proper blending and sometimes the edge may need to be further softened using diffusion material.

Ellipsoidal reflector fixtures have one (1) or more lenses, usually, 4.5, 6, 8, 10 or 12" in diameter. Most ER's particularly the wider units, have two lenses. Generally, the narrower the beam spread (in degrees), the heavier the fixture will be, due to the longer lens barrel and the larger diameter lens, required.

Some (American) manufacturers specify a fixture by indicating the lens diameter then the focal length. For example a '6x9' (pronounced "6 by 9"), indicates a fixture with a 6" diameter lens and a 9" focal length. This tells the designer nothing about the beam spread of the fixture. Most modern lighting manufacturers now specify fixture beam spread simply in degrees. Approximate spread angles for typical ellipsoidal reflector fixtures are as follows: (in degrees) 4.5x9 =50, 6x9 =40, 6x12 =30, 6x16 =25, 6x22 =15, 8x13 =12, 10x23 =9.

3.) TYPES

Modern ER spotlights have beam spreads of 5 to 50 degrees and are available in wattages of 500 - 2000 watts.

They are available in both fixed focal length and variable focal length (zoom) models. Standard focal lengths include 5, 10, 20, 30, 40, 50 degrees, and many others in between. Generally, the adjustable focal length units are less efficient, heavier and more expensive than their fixed focal length counterparts. Some modern 'zoom' ER's however do perform very well and may indeed be the choice over comparable fixed focal length units.

ZOOM ER'S with adjustable focal lengths have been available since the 1970's. A typical fixture might provide spread angles of 12-35 degrees or 25-50 degrees. No single zoom fixture is available to provide a wide zoom range of say, 10-50 deg.


TYPE BEAM SPREADS WATTAGE DESCRIPTION
=====================================================================
Ellipsoidal 5-50 (fixed) 500-2000 ROUND beam, HARD edge,
Fixed f.l. with shutters & gobo slot
Beam or image can soften
---------------------------------------------------------------------
Ellipsoidal 15-35 (zoom) 500-2000 ROUND beam, HARD edge,
Zoom (typ.) 25-50 (zoom) with shutters & gobo slot
Beam or image can soften.
---------------------------------------------------------------------

INCLUDED: - (a) power cord, (b) four framing shutters, (c) template slot, (d) removable lens tube.

OPTIONS: - (a) lamp, (b) pipe clamp, (c) color frame, (d) electrical connector, (e) safety cable, (f) template holder, (g) iris, (h) lens safety mesh, (i) special accessories including gobo rotators and color wheels.

5.02 - PLANO CONVEX SPOTLIGHT

1.) DESCRIPTION5.02 - PLANO CONVEX SPOTLIGHT

The ELLIPSOIDAL REFLECTOR spotlight, (sometimes known as the LEKO or LEKOLITE) is a common fixture for many stage lighting applications. The 'ER' as it is sometimes called is available from many different manufacturers and is available in a number of different sizes and beam spreads.

The ellipsoidal fixture was first introduced back in 1933 by Joseph Levy and Edward Kook, founders of Century Lighting, each giving half of their names to the new invention, 'Lekolite' or 'Leko'. About the same time, Kliegl Brothers introduced their EF fixture known as the 'Klieglight'. Although ER's are now commonly called 'Lekos', the name is now owned by Strand Lighting and correctly only refers to their ellipsoidal reflector products.

2.) APPLICATIONS

The ER spotlight provides a narrow, directional beam with a hard edge. It is able to provide a sharp focus of integral metal shutters, an iris or a metal projection template. The ability to project a metal etched pattern (template or gobo), makes this fixture particularly useful to the stage lighting designer.

All ER's also allow focus adjustments by moving the lens tube forward or backwards. This produces an adjustable beam edge ranging from very sharp and hard to very soft. Some ER's do not allow the edges of the beams to soften sufficiently for the proper blending and sometimes the edge may need to be further softened using diffusion material.

Ellipsoidal reflector fixtures have one (1) or more lenses, usually, 4.5, 6, 8, 10 or 12" in diameter. Most ER's particularly the wider units, have two lenses. Generally, the narrower the beam spread (in degrees), the heavier the fixture will be, due to the longer lens barrel and the larger diameter lens, required.

Some (American) manufacturers specify a fixture by indicating the lens diameter then the focal length. For example a '6x9' (pronounced "6 by 9"), indicates a fixture with a 6" diameter lens and a 9" focal length. This tells the designer nothing about the beam spread of the fixture. Most modern lighting manufacturers now specify fixture beam spread simply in degrees. Approximate spread angles for typical ellipsoidal reflector fixtures are as follows: (in degrees) 4.5x9 =50, 6x9 =40, 6x12 =30, 6x16 =25, 6x22 =15, 8x13 =12, 10x23 =9.

3.) TYPES

Modern ER spotlights have beam spreads of 5 to 50 degrees and are available in wattages of 500 - 2000 watts.

They are available in both fixed focal length and variable focal length (zoom) models. Standard focal lengths include 5, 10, 20, 30, 40, 50 degrees, and many others in between. Generally, the adjustable focal length units are less efficient, heavier and more expensive than their fixed focal length counterparts. Some modern 'zoom' ER's however do perform very well and may indeed be the choice over comparable fixed focal length units.

ZOOM ER'S with adjustable focal lengths have been available since the 1970's. A typical fixture might provide spread angles of 12-35 degrees or 25-50 degrees. No single zoom fixture is available to provide a wide zoom range of say, 10-50 deg.


TYPE BEAM SPREADS WATTAGE DESCRIPTION
=====================================================================
Ellipsoidal 5-50 (fixed) 500-2000 ROUND beam, HARD edge,
Fixed f.l. with shutters & gobo slot
Beam or image can soften
---------------------------------------------------------------------
Ellipsoidal 15-35 (zoom) 500-2000 ROUND beam, HARD edge,
Zoom (typ.) 25-50 (zoom) with shutters & gobo slot
Beam or image can soften.
---------------------------------------------------------------------

INCLUDED: - (a) power cord, (b) four framing shutters, (c) template slot, (d) removable lens tube.

OPTIONS: - (a) lamp, (b) pipe clamp, (c) color frame, (d) electrical connector, (e) safety cable, (f) template holder, (g) iris, (h) lens safety mesh, (i) special accessories including gobo rotators and color wheels.

5.01 - GENERAL LUMINAIRE TYPES

3.) LAMPS3.) LAMPS Most modern stage lighting fixtures still use incandescent (or electric filament) lamps, in order to provide a completely 'dimmable' source. Specifically it is the tungsten halogen lamp that is used almost exclusively for stage lighting applications. This type of lamp actually has a 'self cleaning' cycle whereby the tungsten that normally blackens the outer glass bulb is redeposited back onto the filament, resulting in a more consistent light output over the life of the lamp.

Stage lighting luminaires (and lamps) are available for either 120 volt, or 240 volt lamps operation from about 12 major manufacturers, world wide. The incandescent lamp however is largely inefficient, using most of its energy to produce heat, not light. New more efficient lamp sources are slowly being introduced to stage lighting, using discharge and other lamp technology, however inherent dimming and re-strike problems still exist with these sources.

HID and fluorescent lamps, although seldom used for theatre lighting applications, are now commonly being used for film and television lighting. These sources are much more efficient than the electric filament lamp and produce much higher 'lumen per watt' outputs. The use of HID and other ARC LAMPS for stage lighting however is slowly starting to develop. New automated luminaires of the future will use sophisticated new sources and will be capable of producing any color or pattern, upon demand (software based). Many of today's automated lighting fixtures do use arc lamp capable of excellent dimming through mechanical means. (Most fixtures are still quite noisy due to lamp cooling requirements).

4.) SPOTLIGHT FIXTURES

Spotlight fixtures include the PLANO CONVEX, ELLIPSOIDAL REFLECTOR, FRESNEL, PAR LAMP, BEAM PROJECTOR and FOLLOWSPOT. These fixtures are used to provide a narrow and controlled beam of localized light, to the stage. All spotlight fixtures have one or more lenses and are generally available in beam spreads of approximately 5 to 70 degrees.

Designers use spotlight fixtures for AREA and WASH lighting applications, at distances of 15-150 ft. Designers will often provide a series of 'tight', circular pools of light, to each acting area, approximately, 8' to 20' wide (depending on the application). A single acting area will usually consists of 1 to 6 fixtures positioned as; front, back, side or down lights.

5.) FLOODLIGHT FIXTURES

Floodlight fixtures include; SCOOPS, BOX FLOODS and STRIPLIGHTS. These fixtures provide a WIDE distribution of light over a broad area and are primarily used to light backdrops and scenery at close distances of from 3 to 25 feet. Almost all floodlight fixtures are lensless. The exceptions are flood PAR/R lamps that have either spread lenses or diffusion applied to the bulb. Floodlight fixtures generally have fixed beam spreads of 70-150 degrees.

1.) THE LUMINAIRE5.01 - GENERAL LUMINAIRE TYPES

A STAGE LIGHT is referred to as a 'fixture' an 'instrument' or a 'unit' in North America, as a 'light fitting' or a 'lantern' in Britain and as a 'luminaire' (the 'e' is silent), in other parts of the world and by the engineering and architectural communities All terms have one thing in common. They all refer to a complete lighting 'package' - consisting of a housing, lamp (bulb), socket, reflector, electrical cord, connector and sometimes a lens, mounting clamp and color frame.

2.) BASIC TYPES

Luminaires designed for stage, television and film lighting applications fall into two (2) main categories; SPOTLIGHTS and FLOODLIGHTS. A third specialized category includes PROJECTORS and special lighting effects. Fixtures are typically designed to be mounted from overhead pipes, from vertical pipes or from floor stands. In this respect all fixtures incorporate a mounting yoke and usually a pipe ('C') clamp. The yoke and clamp allow the fixture to pan, tilt or rotate into any position and then securely lock in place. All types are fitted with color frame clips to accept a square metal (or cardboard) 'color frame'. The color frame clips often accept other accessories including, barn doors, top hats, donuts and color wheels.

Stage lighting fixtures range in wattage from about 300 watts to over 10,000 watts in size and capacity. Common fixtures used for stage, film and television have wattages of 300, 500, 575, 600, 750, 1000, 1200, 1500, 2000, 5000, and 10,000 watts. The wattage required depends on the amount of light needed at a specific distance and the particular characteristics of the fixture itself. Needless to say, the larger the wattage, usually the larger the fixture. In the display lighting field for example, miniature fixtures may range from 50 to 300 watts. Fixtures used for theatre lighting usually range from 500 to 2000 watts, and television and film lighting frequently employs fixtures of 1000 to 10,000 watts (or more).

3.15 LANDSCAPE LIGHTING DESIGN

1.) LANDSCAPE LIGHTING3.15 LANDSCAPE LIGHTING DESIGN

The art of landscape lighting usually merges with the field of architectural lighting design. The field of landscape lighting also goes hand in hand with the relatively new architectural specialty, the landscape architect.

The landscape lighting designer is responsible for large outdoor (usually) lighting designs consisting mainly of flora and foliage. Often the lighting design includes, trees, pools, bridges, paths, fountains, sculptures, benches, rest areas and much more.

The landscape lighting designer has similar goals to other lighting designers. He is often lighting for visibility, mood, atmosphere and interest, just as does the stage lighting designer for a dramatic presentation. The landscape lighting designer also usually has an additional concern in that he often must light for safety first and atmosphere and impact second.

2.) LANDSCAPE LIGHTING - TECHNIQUES

Most landscape lighting makes use of miniature low voltage lighting fixtures. A low voltage system is mandatory to ensure greater safety and to reduce risk from electrical shock, as the fixtures and wiring are often operated under wet conditions.

Fixtures are typically located at ground level to uplight plants and shrubs or may be placed on trees to uplight (or downlight) the trunks. Other landscape lighting fixtures include the use of illuminated bollards. These post like fixtures come in a wide variety of types and are typically used to illuminate paths, foliage or other exterior areas. Decorative lampposts, available in an unlimited number of designs are also commonly used.

Usually landscape lighting is placed on a control system that turns the system 'on' or 'off' at specific times. Alternately a system might use a photocell control, turning the system on at dusk and off at dawn.

3.14 - ARCHITECTURAL LIGHTING DESIGN

1.) ARCHITECTURAL LIGHTING3.14 - ARCHITECTURAL LIGHTING DESIGN

Indirectly related to stage lighting design, architectural lighting design is a relatively new field, becoming popular in the 1970's. Architectural lighting design refers to the planned lighting of both interior and exterior spaces. See also: Landscape Lighting.

Typically, for most buildings (commercial and industrial) 'illumination' is prescribed by the ELECTRICAL ENGINEER. This consultant is usually responsible for; general electrical systems, power distribution, audio systems, fire alarm systems and lighting. Occasionally, an ILLUMINATING ENGINEER may specify the lighting. Typically when these engineers specify a lighting system, they are most concerned with providing proper illumination - for specific work related tasks.

The LIGHTING DESIGNER is a fairly new addition to the architectural team. Although usually not an engineer, this consultant will often specify all lighting and illumination criteria. He will work directly with the other consultants (architectural, structural, mechanical and electrical) to ensure that the lighting systems are properly designed, detailed and drawn.

Architectural lighting is far more than illumination however. The architectural lighting designer may be concerned with properly lighting buildings and spaces. He may be concerned with lighting levels, lighting efficiency and lighting safety. The architectural lighting designer however should also be very much concerned with the performance and well being of a human being, in an architectural space. Good lighting design always works towards solving specific criteria. Architectural lighting may provide basic 'seeability' for specific tasks, or may assist in effect, esthetics, comfort, health, safety and well being.

The architectural lighting designer must have a complete understanding of both the physics of light and the psychological effects of light. He must be well versed with the architectural design and construction process and must be able to design responsibly within budgets.

2.) ARCHITECTURAL LIGHTING - TECHNIQUES

There are many hundreds of manufacturers around the world that specialize in the manufacture of architectural lighting fixtures. Fixtures come in all grades, shapes and sizes. Literally, thousands of different fixtures exist, for different application. Fixtures may use incandescent, fluorescent of high intensity discharge sources. H.I.D. sources are generally used where possible as they are highly efficient and have lamps with extremely long life.

Stage lighting fixtures are seldom used for architectural lighting. Stage fixtures use 'photo' type lamps with relatively low hours, and fixtures are generally not designed for continuous operation.

Architectural lighting (as does stage lighting) uses a combination of flood and spotlight techniques. Fixtures are typically positioned as down lights, however some applications may require uplighting or side lighting for dramatic effect.

4.03 - DESIGN PLANNING

PROSCENIUM THEATRE - PLAN VIEW

PROSCENIUM THEATRE - CROSS SECTION

The drawings above show standard lighting positions found in most proscenium theatres. They include: CEILING COVE(S), BALCONY RAIL(S), WALL SLOT(S) (BOX BOOM), OVERHEAD STAGE PIPES, BOOMS, FLOOR LIGHTING AND FOOTLIGHTS.

The lighting designer must always obtain facility or venue drawings that accurately show the location and detail of all lighting positions (both in the auditorium and above the stage. The venue drawings and the scenic drawings should be drawn to the same scale. This will allow the lighting designer to superimpose one set of plans on the other, showing the lighting positions in relationship to the set. This 'composite' drawing will usually form the fist stage in producing the final 'lighting plot'.

4.) OTHER DESIGN TOOLS

Today many different computer aided design (CAD) programs exist to help the lighting designer visualize the performance space in 3-D. Modern programs allow accurately rendered models to be 'rotated in space' and viewed from any angle. Some programs have excellent light rendering capabilities and are great visual aids.

Regardless of how he does it, the lighting designer must quickly be able to visualize a particular production in a specific venue. He must also be able to accurately determine the distance and angle to any lighting position. The designer not equipped with this basic information is poorly equipped to proceed with any lighting design

1.) GENERAL DESIGN PLANNING

Lighting design is a two part process. First the designer must create the lighting in his mind. Next he must create it in the real world.

Any lighting design begins with the designer having a complete understanding of just what it is that he is lighting. Not only must the lighting designer be able to accurately visualize his proposed design, he must visualize it in the actual venue or performance space. This only comes from a through understanding of the script, the scenic design and the venue. All of this is very important!

2.) THE SCENIC DESIGN

Usually the set designer will provide a scale rendering and a floor plan of each scene. These drawings are tremendously useful to the lighting designer and will show each scene both drawn from the front (elevation) and from the above, (plan view). The set designer may also provide a cross section and detailed construction drawings. Sometimes the set designer will include an indication of the anticipated lighting.

Many set designers will also construct an 3-D model of the set, (built to scale and accurately painted). The model is worth it's weight in gold and should be monopolized by the lighting designer whenever possible. This is the best design aid the lighting designer will ever have. He can position the model on a drawing of the theatre and easily determine the distances and angles to any lighting position. It doesn't get much better than this.

3.) THE VENUE4.03 - DESIGN PLANNING

After a complete understanding of the scenic design, the lighting designer must gain a full understanding of the performance venue. In particular the lighting designer must know the locations, distances and angles to all permanent lighting positions. Without this understanding, at best the lighting designer will only be able to 'fumble' through his design. Maybe things will work, but if they do it won't be because of planning.

The following drawings show the lighting positions of a typical proscenium theatre in both PLAN and SECTION. Note how the two drawings directly relate to each other. Distances may be accurately measured using a 'scale rule' having the same scale as the drawings. In the U.S.A. and Canada, common scales used for theatre drawings are: 1/8", 1/4" and 1/2" = 1.0 foot.