The Stage Lighting Handbook Free Ebook

FREETHE STAGE LIGHTING HANDBOOK EBOOK

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Stage lighting instruments lanterns, or luminaires in Europe are used in stage lighting to illuminate theatrical productions, concertsand other performances taking place in live performance venues. They are also used to light television studios and sound stages. Many stagecraft terms vary between the United States and the United Kingdom. In the United States, lighting fixtures are often called "instruments" or "units". In the UK, they are called "lanterns" or "luminaires". This article mainly uses terms common to the United States. The lamp housing is a metal or plastic container that serves as a body for the entire instrument and prevents light from spilling in unwanted directions. It comprises all of The Stage Lighting Handbook exterior of the fixture except for the lens or opening. The housing may be designed with specific elements that help reduce heat The Stage Lighting Handbook increase the efficiency of a lamp. Older instruments were made from rolled and machined steel or aluminum. With the advent of the Source Fourmany lighting instruments are being made from die cast metal. Die casting allows for one single, light-weight body that is more economical to produce and use. The first lantern to make use of die castings was the Strand Pattern 23 designed by The Stage Lighting Handbook Bentham inthis small mirror spot enjoyed a year production run and found its way into many British schools, halls and theaters. Some instruments are made from plastic, such as the Selecon Pacific. The opening is the gap in the housing from where the beam of light is intended to come. Many fixtures use a lens to help control the beam of light, though some, such as border or cyclorama lights, do not have any lenses or optics other than the reflector. The lens and the reflector, along with other beam-altering devices, are both considered part of the optics system. The reflector affects the quality and directionality of the light output. A reflector is located behind or around the light source in such a way as to direct more light towards the lens or opening. Each unit has a characteristic reflector, used in conjunction with the lens or lack thereof to create the desired effect. An ellipsoidal reflector has a lamp set at one focus point of an ellipsoid-shaped reflector that bounces the light and focuses it at the second focus point of the ellipse. This focuses the beam of light into a tight beam. Ellipsoidal reflectors often are used for tight, focusable spots, although they The Stage Lighting Handbook be used for floodlightssuch as in scoops see below. A parabolic reflector has The Stage Lighting Handbook lamp set at the focus point of a parabola-shaped reflector that bounces the light in parallel beams away from the reflector. There is no point at which the light converges, so the light is unfocusable. Parabolic reflectors are used for lights intended to provide an unfocused wash, such as PAR cans. Reflectors can also be used to selectively reduce or eliminate unwanted thermal emission. Incandescent lamps produce light through heating of the filament, while arc lamps produce light through the heating and ionization of a gas. In either case, this heat The Stage Lighting Handbook also emitted from the lamp as infrared light. The thermal energy is often projected onto the stage with the visible light, and thousands of watts of incandescent lighting can be uncomfortably hot for the actors on stage. Specially designed reflectors are able to absorb and dissipate The Stage Lighting Handbook at the fixture before the visible light reaches the stage. Most instruments are suspended or supported by a U-shaped yoke, fixed at two points to the sides of The Stage Lighting Handbook instrument, providing an axis of rotation. The base of the yoke is typically a single bolt around which the yoke can The Stage Lighting Handbook rotated, providing a second axis of rotation. Combined together, these two axis allow the fixture to point nearly anywhere The Stage Lighting Handbook a spherical range of motion encircling the yoke. The yoke is connected to a pipe or batten by one of the clamps mentioned below. The Stage Lighting Handbook may also be affixed to the deck with floor mounts, or attached to the set with a stage screw. Some yokes are The Stage Lighting Handbook, allowing remote control systems to change The Stage Lighting Handbook a fixture is pointing during a show. C-Clamps are hook clamps that use a threaded bolt to attach to a pipe or batten and to hold the instrument secure. Once secured, the fixture can be panned and tilted using adjustment knobs on the yoke and clamp. A side arm is a metal pole bolted to the instrument with a clamp on the end. This enables the instrument to be hung to the side of an electric as opposed to below it. Most theatrical lamps The Stage Lighting Handbook tungsten-halogen or quartz-halogenan improvement on the original incandescent design that used halogen gas instead of an inert gas. Fluorescent lights are rarely used other than as work lights see below. Although they are far more efficient, they cannot be dimmed run at less than full power without using specialized dimmers, cannot dim to very low levels, do not produce light from a single point or easily concentrated area, and have a warm-up period during which they emit no light or do so intermittently. High-intensity discharge lamps or HID lamps are now common where a very bright light output is required, for The Stage Lighting Handbook in large follow spotsHMI hydrargyrum medium-arc iodide floods, and modern automated fixtures. Because these types of lamps cannot be electrically dimmed, dimming is done by mechanical dousers or shutters that physically block portions of the lamp to decrease output. Some specially-designed fittings now use light-emitting diodes LEDs as a light source. LEDs The Stage Lighting Handbook ideal where an intense but unfocused light source is required, such as for lighting a cyclorama. Conventional non- intelligent fixtures are designed to accept a number of different accessories intended to assist in the modification of the output. The most common, found on almost all stage lights, is the The Stage Lighting Handbook frame holder. The gel frame holder is intended to hold gelmounted in cardboard or metal gel frames. Other common accessories include gobo holders or rotatorsiris holders, donutsbarn doors and color scrollers. Lighting instruments can be broadly separated into two categories: floodlightswhich illuminate a wide area, and spotlights sometimes known as profileswhich produce a narrower, more controllable light beam. The distinction has to do with the characteristics of the light produced by the instrument. Spotlights produce a potentially tightly focused light, while floodlights produce a much more diffuse light. Instruments that fall somewhere in the middle of the spectrum can be classified as either a spot or a flood, depending on the type of instrument and how it is used. Like an old-fashioned automotive headlight, the reflector is integral to the lamp and the beam spread of the unit is not adjustable except by changing the lamp. PAR lamps are widely used in architectural lighting and may often be found at hardware stores. PAR lights have seen heavy use in rock and roll shows, especially those with smaller budgets, due to their low cost, light weight, easy maintenance, high durability, and high output. They are also often used as top, back, or side lights in the theatre and for special effects. All PAR lamps except those with narrow or very narrow lenses produce an intense oval pool of light, some with fixed focus and soft edges. Four different beam angles can be obtained on the PAR The beam angle is determined by the lamp. Each angle has two numerical values since the beams are elliptical rather than circular. PAR 16s are often referred to as "birdies". PAR-bars are aluminum pipes with par cans permanently attached and circuited through the pipe. Par-bars with 4 instruments are often referred to as 4-barsand par-bars with 6 instruments are referred to as 6-bars. Strip lightsalso known as cyclorama or cyc lights thus named because they are effective for lighting the cycloramaa curtain at the back of the stageborder lightsand codas by the brand nameare long housings typically containing multiple lamps arranged along the length of the instrument and emitting light perpendicular to its length. Lamps are often covered with gels of multiple colors often red, green, and blue, which, in theory, allow almost any color to be mixed with each color controlled by a separate electrical dimmer circuit. Many striplights use round pieces of glass called roundels rather than plastic gels for color. Roundels can sustain heavy use for a long time without fading and are often found in more permanent installations. Scoop lights or scoops are circular fixtures that do not have any lenses. They have an ellipsoidal reflector at the back of the fixture that directs the light out of the fixture. Since they do not have any sort of lens system they are cheaper than other fixtures. Scoops are most often used to flood the stage with light from above, or to light backdrops. Occasionally they are used as work lights see below. House lights provide light on the theater's seats The Stage Lighting Handbook aisles for the audience before and after performances and during intermissions. They are generally incandescent lights, however fluorescent lights or scoops may be used in some instances. House lights The Stage Lighting Handbook often controlled by dimmersbut are sometimes on simple switches. Worklights provide general lighting backstage or in the houseand are often fluorescent fixtures. Work lights are almost always non-dimmed. House and work lights are usually off during performances but are occasionally included in the lighting design to establish focus or emphasize plot elements. When the house lights are not on a dimmer, the switch is usually under the control of the stage manager. LED stage lighting instruments are stage lighting instruments that use light-emitting diodes LEDs as a light source. LED instruments are an alternative to traditional stage lighting instruments which use halogen lamp or high-intensity discharge lamps. Like other LED instruments, they have high light output with lower power consumption. Most LED fixtures use The Stage Lighting Handbook or more colors usually red, green, and blue which can be mixed to hypothetically create any color. LED stage lights come in four main types. PAR The Stage Lighting Handbookspotlights, striplights[13] and " moving head " types. Moving head types can either be a bank of LEDs mounted on a yoke or more conventional moving head lights with the bulb replaced with an LED bank. LED The Stage Lighting Handbook can and have been used to replace any conventional lighting fixture, and some shows, such as Radiohead 's recent tour, have used only LED lighting instruments. They can also be used as audience blinders lights pointed directly at the audience from a low angle. A spotlight is any lighting instrument used in theater to create a pool of light on the stage. The lens is named after French physicist Augustin-Jean Fresneland consequently pronounced with a silent "s". The distinctive lens has a 'stepped' appearance instead of the 'full' or 'smooth' appearance of those used in other lanterns. The resulting beam of light is wide and soft-edged, creating soft shadowsand is commonly used for back lighttop light, and side light. Another method of controlling the spread of light is to use either a top hat also referred to as The Stage Lighting Handbook snootwhich generally limits the light coming out, or a barn doorwhose flaps work as though they were shutters on an ERS shown on the right. These methods limit light output The Stage Lighting Handbook keep excess light from spilling into the eyes of audience members or where it is not desired. Fresnels use a spherical reflectorwith the lamp at the focus point. The Stage Lighting Handbook: Francis Reid: Methuen Drama

The Stage Lighting Handbook is well established as The Stage Lighting Handbook classic practical lighting guide. The book explains the process of designing lighting for all forms of stage production and describes the equipment used. This new edition includes up-to-date information on The Stage Lighting Handbook equipment and discusses its impact on working methods. A guide to stage lighting covers theory, equipment, preparation, and instructions for lighting drama, dance, ballet, and opera. Explains the operation of sound and lighting systems and discusses the handling of stage lighting and sound amplification for theatrical productions. The Handbook of Stage Lighting is a journey of The Stage Lighting Handbook into the heart of the fascinating world that paints pictures and tells stories with the most basic of all materials -- light. In this comprehensive guide, authors Neil Fraser and Simon Bennison bring to a clear and persuasive text a shared expertise and an inspirational joy in their subject. From the simplest beginnings, it takes you through the workings of lighting design and provides the technical know-how required to function as an effective lighting designer. Topics include: the lighting designer's role; researching and interpreting the text; production styles and the relationship between directors and designers; the theory of lighting: angle, shape, colour, movement, and composition; choosing, using and controlling lighting equipment; the task -- in preparation and practice; the play in rehearsal; creativity and inspiration, influences and ideas; and working lighting designs taken from real productions. An introduction to lighting design and execution for beginners and a comprehensive manual for experienced designers and electricians. Offers in- depth coverage of design development, layout, equipment and lighting positions. This encyclopedia contains more than detailed entries covering such topics as equipment, methods, concepts, design process, electricity, characteristics of light, and lightboard operations. Where applicable, entries present both the historical and current significance of the apparatus or concept being described. Entries are extensively cross-referenced, and many include line drawings and samples of The Stage Lighting Handbook paperwork. Each chapter gives the essential background, design practices, and equipment details for each specialization, The Stage Lighting Handbook readers can make informed decisions and ask informed questions when encountering each field. The book provides insight on the latest technology and includes profiles of prolific designers, such as James Moody, Jeff Ravitz, Alan Adelman, and Paul Gregory. Stage Lighting: Design Applications and More is intended to help lighting designers translate their theatrical skills to other areas of lighting design, and provides guidance on how The Stage Lighting Handbook take those initial steps into new ventures in their lighting careers. Written for stage managers, lighting professionals, and theatre enthusiasts, this book begins with a discussion of the purpose, functions, and qualities of stage lighting, followed by the principles, practices, and strategies of lighting design. Practical concerns and their effect on The Stage Lighting Handbook design are discussed in relation to mounting positions and lighting fixtures. Drawing on a lifetime's experience as a professional theatre designer and teacher, Colin Winslow describes these techniques in detail with explanatory drawings and photographs, and suggests practical ways to acquire them. Each chapter concludes with a useful series of practical exercises. The definitive guide to stage lighting design by a virtuoso in the field, now available in a completely revised and updated edition. Set Lighting Technician's Handbook, Third Edition is a friendly, hands-on manual covering the day-to-day practices, equipment, and tricks of the trade essential to anyone doing motion picture lighting. This handbook offers a wealth of practical technical information, useful techniques, as well as aesthetic discussions. The Set Lighting Technician's Handbook focuses on what is important when working on-set: trouble-shooting, teamwork, set protocol, and safety. It describes tricks and techniques for operating a vast array of lighting equipment including xenons, camera synchronous strobes, black lights, underwater units, lighting effects units, and many others. Since its first edition, this handy on-set reference continues to be widely adopted as a training and reference manual by union training programs as well as top university film production programs. New in the third edition is an The Stage Lighting Handbook resource section, new illustrations and tables, and coverage of new lighting products and techniques for how to use them.

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