DOCSLIB.ORG

VINCENT LIGHTING SYSTEMS 2010 PRODUCT CATALOG Dear Friends

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VINCENT LIGHTING SYSTEMS 2010 PRODUCT CATALOG Dear Friends VINCENT LIGHTING SYSTEMS 2010 PRODUCT CATALOG Dear Friends, Welcome to our 2010 Product Catalog. We look forward to serving you again this year, by providing exceptional lighting solutions. You may have noticed a more streamlined version this year. In an effort to reduce our carbon footprint, we have trimmed the catalog to include our most popular items. Rest assured that we continue to offer a wide variety of products from more than 60 leading manufacturers. Items not included in the catalog can be found on our ecommerce store at www. vincentlighting.com. There, we have more than 10,000 items with expanded descriptions ready to be purchased with a click of the mouse. Our reference guides, including the throw distance charts and lamp reference, can all be viewed online as well. Our Cleveland office has settled into new space in Solon. This new location allows us to offer training and an expanded rental inventory. If you’re located in Michigan, perhaps you’ve had the opportunity to meet our newest sales rep, Drew Franklin. Please give him a call at 734-660- With a beautiful galaxy projected onto the ceiling, this 8959 for any lighting questions you may have. wedding took its guests out of this world. Want to be kept up-to-date with the latest news? Sign up to receive our eNews, and you will be notified of new products, event invitations and industry news on a regular basis. Send us a note to [email protected]. Thank you for your continuing support of our business. We appreciate your loyalty. As always, your comments and suggestions are most welcome. Sincerely, Paul Vincent Photo credits: (front cover, left to right) Wedding: Lighting design by Ted Van Hyning, Renaissance Cleveland Hotel and Derek Hons. Photo by Ted Van Hyning. Fundraiser: Photo by Bridget Nohalty. show: Pro Football Hall of Fame Festival Enshrinee Dinner. Event Planner EventWorks Inc. Photo by Adam Feig. Party: Viva La Rock. Venue: Rock and Roll Hall of Fame + Museum. Photo by Beth Reyes. (this page, above) Wedding: Venue: Renaissance Cleveland Hotel. Photo by Adam Feig. CONTENTS 4 CoLor, DIffuSIoN, PaTTErNS 20 LIGHTING fIxTurES 4 Filters & Diffusion 20 Complete Lighting Systems 4 Color Correction 20 Ellipsoidals 5 Black Foil 21 Fresnels 5 Patterns/Gobos 21 Followspots 6 Pattern Holders, Accessories 22 PARS 22 Borders and Cycs 7 ELECTrICaL SuPPLIES & LaMPS 23 Flood and Work Lights 7 Connectors and Cables 24 LED Lighting 8 Control Cable 24 Automated Lighting 8 Tieline 9 Tape 25 FixTurE aCCESSorIES 9 Lamps aND MouNTING DEVICES 11 Lamp Base and Bulb Shapes 25 Fixture Accessories 26 Color Changers 12 DESIGNEr, ELECTrICIaN TooLS 12 Drafting Tools 27 CoNTroL CoNSoLES 12 Electrician Tools 27 Consoles 28 Add-ons and Accessories 13 SCENIC SuPPLIES & EffECTS 29 DIMMING aND DISTrIbuTIoN 13 Scenic Tools, Coatings 29 Wireless Dimming 14 Paint 29 Small Dimmer Packs 15 Special Scenic Effects 30 Large Dimmer Packs 30 Portable Distro Boxes 16 FoG, SMokE, SPECIaL EffECTS 30 Portable Cable Assemblies 30 Portable Disconnect Boxes 16 Machines 17 Fog & Haze Fluid 31 RentaL EquIPMENT 18 Candle Effects 31 Theatrical 18 UV/Blacklight 35 Film and Video 18 Motion Effects 36 CoMPaNY aND 19 STaGE EquIPMENT & SuPPLIES orDErING INforMaTIoN 19 Flooring 19 Scenic Hardware and Pipe Couplers 37 INDEx VINCENT LIGHTING SYSTEMS 2010 PRODUCT CATALOG CoLor, DIffuSIoN, PaTTErNS COLOR FILTERS ARE TyPICALLy USED TO ENHANCE A DRAMATIC EFFECT OR CORRECT THE COLOR RENDERING OF A LIGHT SOURCE. DIFFUSION SOFTENS A LIGHT bEAM AND ALTERS ITS SHADOW CASTING CHARACTERISTICS. PATTERNS (ALSO kNOWN AS GObOS) ARE USED WITH ELLIPSOIDAL SPOTLIGHTS TO PROjECT IMAGES OR PROvIDE TExTURED LIGHT. COLOR SWATCHbOOkS AND PATTERN CATALOGS ARE AvAILAbLE TO ASSIST IN yOUR SELECTION. PLEASE CALL OR E-MAIL TO RECEIvE A FREE COPy. fILTErS & DIffuSIoN CoLor CorrECTIoN ProdUct NAMe PArt NUMBer UNit Price ProdUct NAMe PArt NUMBer UNit Price color MediA correctioN sheets ANd rolls aPoLLo DESIGN TECHNoLoGY PleAse sPeciFY color roSCo PleAse sPeciFY color 20” x 24” sheet $ 6.75 Cinegel, CalColor, Cinelux, Storaro 24” x 24” sheet 7.25 20” x 24” sheet $ 6.75 24” x 12’ half roll 45.00 48” x 25’ roll 160.00 24” x 25’ roll 90.00 Light Lab Edition 950SBLEC0612 125.00 [A] Perf Gel™ 10” x 12” sampler kit 11009020SKIT 34.95 20” x 24” sheet 6.75 20” x 24” sampler kit 11009020LKIT 89.95 24” x 24” sheet 7.25 Designer Gel Book APGELDESBOOK 175.00 Gel Packs, 12” x 12” sheets FlUoresceNt sleeves Variety Pack APGP12VA 23.25 aPoLLo DESIGN TECHNoLogy PleAse sPeciFY color Contains (1) each Soft Diffusion, Hard Diffusion, Apollo Blue 1/2 CTB, Gel Tube Apollo Orange 1/2 CTO, .6 Neutral Density, Sour Grape, Apollo Blue, Apollo Also available in clear UV tubes and UV tube with gel. Green, Bikini Yellow, Golden Amber, Diva Red, Bit of Pink. 1 ⁄2” x 48” (T5) ACGELTUBET5 $ 13.90 Theatre Pack APGP12TH 23.25 1” x 48” (T8) ACGELTUBET8 14.90 Contains (2) each of Dominant Lavender, Sultry Blue, Monday Morning 1 Blue, Harvest Gold, Fatherless Amber, Spanked Pink. 1⁄2” x 48” (T12) ACGELTUBET12 15.90 Concert Pack APGP12CO 23.25 [B] GelWrap™ Contains (2) each of After Hours Blue, Rock ‘n Roll Green, Neon Yellow, Scored seams shape the gel into a triangle that allows it to be conveniently fed Burnt Orange, Lipstick Red, Hot Pink. and “locked” around the fluorescent tube without removing the tube from the fixture. Diffusion Pack APGP12DI 23.25 1 Contains (2) each of Soft Diffusion, Hard Diffusion, Linear Diffusion, White T-5, ⁄2” x 48” ACGELWRAPT5 14.90 Diffusion, Light Textured Diffusion, Blue Diffusion. T-8, 1” x 48” ACGELWRAPT8 15.90 1 GaMProDucts PleAse sPeciFY color T-12, 1 ⁄2” x 48” ACGELWRAPT12 16.90 GamColor® GaMProDucts PleAse sPeciFY color 20” x 24” sheet $ 6.75 GAMTube 24” x 16.5’ Junior roll 68.00 Prices apply to T5 thru T12 sizes. 24” x 50’ roll 155.00 48” $ 15.50 48” x 25’ roll 155.00 100” 22.95 LEE fILTErS PleAse sPeciFY color LEE fILTErS PleAse sPeciFY color 21” x 24” sheet $ 6.75 Fluorescent Sleeve 48” x 25’ roll 149.00 Also available in 96” length and/or with UV coating. 60” x 20’ roll 149.00 T8 x 48” $ 14.95 High temp T12 x 48” 15.95 21” x 22” sheet 8.55 46” x 13’ roll 129.00 [A] [B] [C] roSCo PleAse sPeciFY color Roscolux 20” x 24” sheet $ 6.75 24” x 25’ roll 106.95 Light Lab Edition 950SBLEL0612 125.00 4 VINCENT LIGHTING SYSTEMS 2010 1.800.922.5356 FOR THE MOST UP-TO-DATE PRICING, SHOP AT VINCENTLIGHTING.CoM CLEVELaND 1.800.922.5356 CINCINNaTI 1.800.356.5356 PITTSburGH 1.800.877.5356 DETroIT 734.660.8959 CoLor, DIffuSIoN, PaTTErNS roSCo GaMProDucts PleAse sPeciFY PAtterN NUMBer Roscosleeve Pricing is for B Size. Other sizes available. Please call. Specify color. Other sizes available. Please call for pricing. Steel $ 12.25 T12 x 48” 110084014812 $ 15.00 Halftone patterns 17.50 T8 x 48” 110084014808 16.95 roSCo PleAse sPeciFY PAtterN NUMBer Quick Color Sleeves Unless indicated, pricing is for B Size. Other sizes available. Please call. A flat welded tube of Rosco color filter, available in all Rosco colors. Folded flat Stainless steel $ 12.50 for easy shipping and storage, the sleeve puffs open like an envelope to slide over a fluorescent tube. Easily cut to length with scissors or knife. Mesh patterns 17.00 T5 x 48” 110084304805 13.95 Colorizer 62.50 T8 x 48” 110084304808 13.95 ColorWaves™ T12 x 48” 110084304812 13.95 Waves 2553300X0860 75.00 Ripple 2553310X0860 75.00 Strands 2553320X0860 75.00 Mosaic 2553330X0860 75.00 bLaCk foIL moving light Waves 2553300X2066 54.00 ProdUct NAMe PArt NUMBer UNit Price moving light Ripple 2553310X2066 54.00 moving light Strands 2553320X2066 54.00 moving light Mosaic 2553330X2066 54.00 BlAck Foil Specify red (1), amber (2), magenta (3), cyan (4) or indigo (5) CITY THEaTrICaL Prismatics 255X0860 62.50 Blacktak™ Image Glass™ 255X0860 35.00 Used primarily for masking light spill, forming barndoors and as a high Spectrumgobo™ - Signature Series temperature tape. The high-temp adhesive will not melt, allowing the tape to high-resolution black & white 255X0860 85.00 be repositioned without leaving a residue. 2-color 255X0860 150.00 2” x 75’ roll 3600 $ 35.10 multi-color 255X0860 350.00 24” x 15’ roll 3624 35.10 GaMProDuCTS [C] Blackwrap cUstoM PAtterNs - stAiNless steel 12” x 50’ roll 2700 $ 19.95 aPoLLo DESIGN TECHNoLoGY 24” x 25’ roll 2710 19.95 Must specify pattern size, round or square on the following. Rush charges may 36” x 25’ roll 2715 39.95 apply for fast turn-arounds. Call for details. Tape 2” x 80’ roll 2780 39.00 Steel AMCORI $ 68.75 roSCo duplicates, same size AMCDUP 34.00 Matte Black Cinefoil™ roSCo 12” x 50’ roll 101010011250 $ 29.50 Pricing below is for B size only. Other sizes available, please call. Standard 24” x 25’ roll 101010012425 29.50 cut is round, specify square if needed. Rush charges may apply for fast turn- arounds. Call for details. 48” x 25’ roll 101010014825 80.00 Steel 829911 $ 68.75 duplicates, same size 829914 34.00 PaTTErNS/GoboS ProdUct NAMe PArt NUMBer UNit Price stANdArd PAtterNs (stock iMAges) QUICKTIP aPoLLo DESIGN TECHNoLogy PleAse sPeciFY PAtterN NUMBer Pricing is for B Size. Other sizes available. Please call. Steel $ 12.25 HOW TO SEND B&W SuperResolution 69.00 1-color Dichroic 69.00 ARTWORK ELECTRONICALLY 2-color Dichroic 189.00 Custom gobo artwork can be submitted in a ColourScenic 360.00 variety of electronic files, including JPG, TIF, Textured Glass 29.00 PDF and Photoshop files.
Load more

Recommended publications
  • John's List of Tech Theater Terms
    Department of THEATER & DANCE Office of the TECHNICAL DIRECTOR Tech Theater Terms file last updated: 7.29.2010 (JDE) All information contained in this document is original material copyright © 2005 by John D. Ervin and is intended for the use of my students. Please contact me at [email protected] for permission to use this material in any other way. This is a work-in-progress and will be occasionally appended. Apron – The portion of the stage or playing space that is downstage of the proscenium arch. In traditional proscenium-style theaters, acting on the apron was a big “no-no” because it violated the stage picture being created by the proscenium arch. Thus many older theaters have very shallow aprons. Nowadays though, Directors can’t get enough of having their actors as close to the audience as possible; despite how uncomfortable it makes some audience members. This is all done under the umbrella of ‘intimacy’ and we all know how much artists love that stuff. Sometimes the apron is referred to as the “Forestage”. (See Figure 1 and 2) Arbor – Part of a fly system. A device mounted in one of the wings, which is connected to the lift lines at the opposite end from the batten. Stage weights are stacked on the arbor to balance the load suspended from the batten. In the case of a counterweight fly system, a rope hand line is connected to the top of the arbor, passes sequentially through the head block and tension block, and is terminated to the bottom of the arbor, forming a loop.
    [Show full text]
  • These Definitions Are Provided Courtesy of Altman Stage Lighting, Inc
    LIGHTING TERMS GLOSSARY A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent Light Illumination used to make something stand out. It may be done with intensity and/or color. A luminaire that provides such illumination. Amp an abridged version of Ampere. Amperage (A) The measure of electrical current in amperes. Ampere(A) A unit of measurement for Electrical Current. AMX Abbreviation for Analog Multiplex. Analog Multiplex (AMX) A system that simultaneously transmits more than one analog signal. Analog Signal A continuous communication signal where the amplitude or frequency of the voltage and/or current takes any value within a range of values. ANSI Abbreviation for American National Standards Institute. ANSI Code A three letter system that has been devised to describe lamps of different manufacture but the same application. The letters have no relationship to lamp description, but the same letters always designate the same type of lamp. Some of the application parameters they define are wattage, base type, envelope size, and light center length. Arc The light caused by an electrical discharge between two electrodes in a gas such as xenon, argon, or air. The first usable arc as a practical light source was developed in 1809 by Sir Humphrey Davy. Automated Light A luminaire that is robotic, i.e., certain functions such as panning, tilting, focusing, dimming, beam shaping and coloring, etc., are motorized and remotely operated from a control console. Axial A term used to describe a luminaire whose lamp is mounted on the same axis as its optical system.
    [Show full text]
  • Table of Contents Ordering Info & Terms
    Table of Contents Ordering Info & Terms Pricing Installations & Web ................... 1 Prices shown are current at time of printing. Prices and specifications subject to change Pipe & Drape .............................. 2 without notice. Please call or e-mail for confirmation of prices and specifications. Updated Draperies ............................... 3 product pricing is also posted at our website: www.bmisupply.com. Payment Terms Fabric ............................... 4 - 5 Amex, Visa, MasterCard, Discover accepted, along with cash/check in advance or COD in Tape ............................... 6 select cases. Most government, Federal, college, university and private school purchase orders accepted on open account at the discretion of BMI Supply. Open account terms Hardware ............................... 7 - 11 are Net 30 from invoice date, unless other arrangements are agreed upon by BMI Supply. Rigging ............................... 12 - 17 Payments received Net 31 and later incur a 1.5% service charge initially, and for every thirty Cordage ............................... 18 (30) days thereafter. Any collection and/or legal fees are the responsibility of the purchaser. Ordering Curtain Track .............................. 19 - 21 All orders subject to acceptance by BMI Supply. Orders may be placed via web, phone, Special Effects .......................... 22 - 29 fax, email, or US mail. Whichever is most convenient for you. Tech-cessories .......................... 30 Returns Lighting Accessories ................ 31 - 44 We understand circumstances arise that necessitate a product return. Returns will not be accepted without a return authorization (RA#) number issued by BMI Supply. Request for a Electrics ............................... 45 - 62 RA# must be placed with BMI Supply within 10 days of receipt of order by customer. Returns Parts & Sockets ......................... 63 expire 20 days after issuance of RA#. All returns are subject to a minimum 20% restocking Lamps .............................
    [Show full text]
  • A Lighting Design Process for a Production of Stephen Schwartz’S Working
    A LIGHTING DESIGN PROCESS FOR A PRODUCTION OF STEPHEN SCHWARTZ’S WORKING A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Fine Arts in the Graduate School of The Ohio State University By Matthew Dale McCarren, B.A. The Ohio State University 2008 Masters Examination Committee: Approved By Mary A. Tarantino, M.F.A., Advisor Daniel A.Gray, M.F.A. Advisor Graduate Program in Theatre Maureen Ryan, M.F.A. ABSTRACT Stephen Schwartz’s Working was produced at The Ohio State University Department of Theatre during the spring quarter of 2008. Included in this document is all of the documentation used for the implementation of the lighting design for this production. The need to work forces humans to interact with one another daily and requires us to deal with the added stressors that being in contact with other humans creates. This theme is central to the story of Working and is a major point of emphasis for our production of Working. Chris Roche in his Director’s Concept states, “The construction of Working at first glance seems isolated and solitary, so many different stories – but very little unifying factor. I believe the common thread is the workers themselves. Who do we meet on a daily basis, and how does each of those domino-like moments affect the greater whole of our lives?” In support of the director’s concept, the lighting design for Working aimed to create two separate lighting environments one of reality and the other of fantasy. The challenge was to then connect the separate environments into one seamless world where the line of reality and fantasy are blurred.
    [Show full text]
  • Boll Theatre Specifications
    Dayton, Ohio Boll Theatre Technical Specifications For Bookings and Reservations: 937-229-3333 Boll Theatre Manager: Matthew J. Evans 937-229-3834 Email: [email protected] 1 BOLL THEATRE The John F. Kennedy Memorial Union, University of Dayton TECHNICAL INFORMATION SUMMARY: The stage is a proscenium style stage. The floor is flat, ¼" Masonite painted black, and can be fastened into with permission. There are pre-cut traps and floor pockets. The seating is all on the main floor with no balcony. There are two entrances into the theatre; one left and one right. The control booth is located on the 2nd floor. Theatre Capacity: 371 Theatre Capacity: 359 with tech table for audio Stage Width: 57’6” (Side wall to side wall) Stage Depth: 30’ (Proscenium to back wall) 38’ (With stage lift at stage level) Grid Iron Height: Top: 45’11 5/8” Bottom: 44’11 ½” Grid Iron Ceiling: 52’0 ¾” Loading Bridge: Top: 36’ 10 3/8” Bottom: 36’5” Operator’s Bridge: Top: 15’7 13/16” Bottom: 14’3 3/8” Maximum Batten Height: 42’ (depending on arbor size) Proscenium Height: 20’ Proscenium Width: 32’ Stage Lift: 24’ x 8’ (Hydraulic) Depth in Front of Curtain: 3’ (Without stage lift) LIGHTING EQUIPMENT: 1 ETC ION XE 20 Light Control Console 99 ETC Source Four lamp body 575w 32 Source Four lens tube (6x16) 19 degrees 65 Source Four lens tube (6x12) 26 degrees 58 Source Four lens tube (6x9) 36 degrees 10 Source Four lens tube (4.5x6) 50 degrees 10 Source Four Zoom 15-30/25-50 degrees 2 High-End Sola Frame 750 Moving Lights 32 ETC ColorSource Spots – Deep Blue 21 ETC ColorSource
    [Show full text]
  • Stage Lighting Technician Handbook
    The Stage Lighting Technician’s Handbook A compilation of general knowledge and tricks of the lighting trade Compiled by Freelancers in the entertainment lighting industry The Stage Lighting Technician's Handbook Stage Terminology: Learning Objectives/Outcomes. Understanding directions given in context as to where a job or piece of equipment is to be located. Applying these terms in conjunction with other disciplines to perform the work as directed. Lighting Terms: Learning Objectives/Outcome Learning the descriptive terms used in the use and handling of different types of lighting equipment. Applying these terms, as to the location and types of equipment a stagehand is expected to handle. Electrical Safety: Learning Objectives/Outcomes. Learning about the hazards, when one works with electricity. Applying basic safety ideas, to mitigate ones exposure to them in the field. Electricity: Learning Objectives/Outcomes. Learning the basic concepts of what electricity is and its components. To facilitate ones ability to perform the mathematics to compute loads, wattages and the like in order to safely assemble, determine electrical needs and solve problems. Lighting Equipment Learning Objectives/Outcomes. Recognize the different types of lighting equipment, use’s and proper handling. Gain basic trouble shooting skills to successfully complete a task. Build a basic understanding of applying these skills in the different venues that we work in to competently complete assigned tasks. On-sight Lighting Techniques Learning Objectives/Outcomes. Combing the technical knowledge previously gained to execute lighting request while on site, whether in a ballroom or theatre. Approaches, to lighting a presentation to aspects of theatrical lighting to meet a client’s expectations.
    [Show full text]
  • Lighting Design Concept and Development of Spring Awakening by Frank Wedekind
    Lighting Design Concept and Development of Spring Awakening By Frank Wedekind A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Alex Kyle-DiPietropaolo Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Professor Mary Tarantino, Advisor Assistant Professor Jimmy Bohr Assistant Professor Janet Parrott Copyright by Alex Kyle-DiPietropaolo 2011 Abstract This thesis documents the design process for the production Spring Awakening by Frank Wedekind, as translated by Jonathan Franzen. The show was produced in The Ohio State University‟s Thurber Theatre from February 24th through March 13th, 2011. The design concepts for the production were developed as informed by an adolescent‟s perspective on the world, and the representation of that viewpoint through lighting design. Modern theatre techniques were employed to address issues raised in the play. One such modern technique was the use of live video to reinforce the emotional impact in key scenes, which required researching lighting design for the medium of film, and how to adapt it to the stage. Working within these design ideas, color and the positions of instruments were used to develop a hyper-reality where the adolescents‟ emotions and feelings are echoed in the world around them. ii Dedication This document is dedicated to those people who never let me get away with mediocrity. iii Acknowledgments First, I would like to acknowledge my parents. They accepted my floating through reality after reality, and only momentarily balked at my choice to make a career in theatre.
    [Show full text]
  • Guild Hall Tech Specs.Pages
    GUILD HALL ! John Drew Theater Technical Specifications Updated May 5, 2018 Subject to availability and may change without notice Guild Hall Sebastian Paczynski Joe Brondo Josh Gladstone 158 Main Street Technical Director Assistant Technical Director Artistic Director East Hampton, NY 11937 [email protected] [email protected] [email protected] THEATER SEATING CAPACITY Orchestra: 286 Box: 22 (Handicapped Accessible) Balcony: 52 Total: 360 LOADING DOCK Upstage Left 10’ height by 6’ width Located on Dunemere Lane (Southeastern corner of Guild Hall) Eastbound: Follow Route 27 (Montauk Hwy / Woods Ln) into East Hampton. Turn left at traffic light (Main St.) and continue on Route 27. *You will see Town Pond on your right* Take the 2nd right after the pond and a quick left onto James Ln. Quick right onto Dunemere Lane. Loading dock is the first left. DRESSING ROOMS 6 Rooms or 5 Rooms plus Shared Chorus Space with sinks Star Dressing Room Suite: Off Stage Right with private bathroom and shower Kitchen Washer and Dryer available PARKING On site STAGE STAGE DECK Sprung Floor with Plywood (2) 4’x4’ Trap doors located under Proscenium Downstage Center STAGE DIMENSIONS Deck to House Floor: 3’ Apron to Proscenium: 5’ 6 3/4” Proscenium to Upstage: 28’ 6 1/4” Proscenium height: 15’ 11 1/4” Proscenium width: 25’ Maximum batten height: 19’ Stage Left Wing: 8’ - 18’ Stage Right Wing: 8’ - 12’ STAGE EQUIPMENT Music Stands: 15 Music Lights: 15 (4 battery powered LED / 6 plug in) Podium: 1 with built in microphone Grand Piano: Steinway & Sons 9’ Baby Grand: Samic Upright Piano: Yamaha Studio Genie 24’ Work Ladder: 12’ metal !2 SOFT GOODS DRAPERY QUANTITY FINISHED DIMENSIONS FULLNESS FABRIC COLOR 30’-0”w x 17’6”h Bi- Main Drape 1 50% 27 oz.
    [Show full text]
  • Lighting & Sound America
    www. lightingandsoundamerica.com Li g tin & nd plas$redia Eric Ghufch The Double Down Tour The Who's Moving On! Tour Canada's National Arts Centre \ Twilight for the PAR Chauvet Professional r Maverick Storm a, <l 1 Wash Lightwright 6 f-, 'r t t- ,'( rt ..-- Twilight for the PAR By: Michael Callahan A look back at its many contributions This month brings the news that Altman Stage Lighting is A 120V, Edison screw-base PAR 38, introduced in 1942, discontinuing its traditional PAR fixtures, after almost a half­ found architectural, home, and display applications. A thin century in production, because lamp manufacturers are wall "R" lamp was less expensive (if less efficient). Both thinning out their PAR bulb lines. would become staples in border strips and inexpensive fix­ This seems a good time for a look back at tools so useful tures for a variety of uses. In the 1970s, General Electric that the same lamps and fixture designs could serve us even sold PAR 38s with integral interference film filters for unchanged for five decades. vibrant colors. We remember the PAR for its dominant role in concert In the 1950s, 120V PAR lamps also began appearing in lighting in the 1970s and '80s; as an important player in progressively larger sizes and wattages. The 1953 GE cata­ location film and television; and, in smaller sizes, in border log offered a 300W PAR 56; in 1956, a 500W PAR 64 was strips, display, and architectural lighting. added. By making concert tour lighting practical, the PAR64 also encouraged efforts to make it more efficient, which gave us Fresnel vs.
    [Show full text]
  • The Milwaukee Theatre Technical Manual Version 1.0
    THE MILWAUKEE THEATRE TECHNICAL MANUAL VERSION 1.0 The Milwaukee Theatre Highlights: • 4,087 seat capacity with built-in flexibility • Plentiful, modern and flexible restrooms. to create a full house of 2,500. • Large box office lobby and canopied • Easy, efficient load-in with direct dock-to- passenger drop-off. stage access. • Disability access accommodations • Generous backstage space including including wheelchair ramps and platforms, dressing rooms, offices and backstage lowered counters, “family” restrooms, catering areas. elevators and more. • 21st-century physical plant, sound and • Two versatile and luxurious side halls for lighting systems and acoustical design. rehearsals, meetings, food functions and other uses. • Excellent patron sight lines, comfort and luxury with sloped, main, balcony and • Restored and enhanced architectural gallery box seating areas. details including preserved historical murals. • Spacious concourses and public circulation areas including huge, three-story, half- domed rotunda lobby, suitable for receptions, concessions or extensive merchandising. Basic dimensions and capacities* Area Gross Ceiling Stage 10 x 10 Banquet: 72" Theater School Room: Square Feet Dimensions Heights (GSF) Exhibits Rounds of 10 Style 4per table Main hall 31,897 irregular 65' (max.) 2,516 NA NA 4,087 NA Rotunda 32,815 irregular 65' (max.) build to suit NA 240 NA NA Plankinton Hall 6,131 100' 6" x 61' 14' (max) build to suit TBD 400 650 360 Kilbourn Hall 3,977 65'10" x 60' 5" 12'8" build to suit TBD 250 390 375 *Capacities shown are “design spec”; for practical purposes, these figures should be considered generous. THE MILWAUKEE THEATRE 3 PRODUCTION GUIDE All information in this manual is subject to change without notice.
    [Show full text]
  • H20 Music Festival 2012 | Excellence Awards Content from Live Design Magazine
    5/3/13 H20 Music Festival 2012 | Excellence Awards content from Live Design Magazine Subscribe Newsletter Advertise Contact Us Follow Us RSS Live Design Magazine REGISTER LOG IN LDI Envision Master Classes Gear Concerts T heatre Staging Rental Venues HOM E > AW ARDS > EXCELLENCE AW ARDS > H20 M USIC FESTIV AL 2012 H20 Music Festival 2012 Subscribe to Live Design Submitted by RE:BE Design | livedesignonline Mar. 13, 2013 Magazine's e- Newsletters SHARE Tw eet Recommend 24 COMMENTS 0 EMAIL Keep up with the latest news with our Stefan Beese and his team at RE:BE Design completed the full production design for the inaugural H2O weekly and monthly e-newsletters. Music Festival in Dallas and Los Angeles in 2012. SUBSCRIBE Advertisement Resource Center Advertisement Stefan Beese and his team at RE:BE Design had six weeks to complete the full production design for the inaugural H2O Music Festival in 2012. The team worked with Univision Radio to build a festival identity and graphics that represented second generation Hispanics and established the festival as the premiere bilingual and multicultural musical experience in North America. The team produced an aesthetic that was sensitive to the mission of H2O with an innovative approach to sponsor branding, stage design, and digital content that gave the festival a cohesive identity and communicated across diverse Hispanic audiences. RE:BE worked with headlining acts, such as Weezer and Gym Class Heros, to generate animated content with their logos incorporated into the fully digital stage instead of relying on physical backdrops. Two 50'x30' Go Vision Daktronics tiled sidescreens with custom masks for floating IMAG kept the performances dynamic and unique to each artist.
    [Show full text]
  • Robotic Motion New Lighting Options Are Available for Small to Medium-Sized Theaters
    Light On The Subject I By Andrew Rich & Erik Viker The Wybron Forerunner Robotic Motion New lighting options are available for small to medium-sized theaters. theater company does not need a Broadway-sized The simplest type of automated lighting equipment is the budget to bring state-of-the-art automated lighting color scroller, a narrow, box-like unit housing a string of gels equipment to the stage. Although at first glance mounted on an existing instrument A scroller can rapidly place robotic lighting instruments might seem too com- different color gels in front of the light beam, allowing one instru- plicated or costly, a modest investment in new technology ment to do the work of many for color washes and specials. Gel will enhance lighting design options, increase inventory strings can be custom made with 11. 16 or 32 colors, depending versatility and dazzle audiences with new effects. One or two on the scroller model selected. The Wybron Forerunner automated instruments might take the place of many static (www.wybron.com) model costs about $590 per scroller and fixtures and allow instant color changing and color mixing. $850 for a power supply suitable for up to 16 scrollers. Other Moving-head instruments can create rotating patterns, models are less costly and certainly serviceable, but the interesting fades and isolation effects, while visible light Forerunner is especially quick and very quiet Cable require- beams can conjure dramatic design opportunities. ments for this equipment upgrade include enough DMX 512 cable to reach from the lighting console to the power supply and enough four-pin scroller cable to install the units where desired.
    [Show full text]