Automated Lighting This page intentionally left blank Automated Lighting

The Art and Science of Moving Light in Theatre, Live Performance, and Entertainment

Second Edition

Richard Cadena

AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2010 Elsevier, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions . This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. Library of Congress Cataloging-in-Publication Data Cadena, Richard. Automated lighting : the art and science of moving light in theatre, live performance, and entertainment / Richard Cadena. -- 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-240-81222-9 (pbk. : alk. paper) 1. Stage lighting. 2. Television--Lighting. I. Title. PN2091.E4C33 2010 778.5’343--dc22 2009048623 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81222-9

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10 11 12 13 14 5 4 3 2 1 P r i n t e d i n C h i n a This book is dedicated to Noe Cadena, an extraordinary father, husband, little league coach, marathon runner, and engineer who gave of his mind, body and spirit to provide for his family and give them every opportunity he could. Dad, you are my inspiration. —Richard This page intentionally left blank Contents

Foreword ...... xvii

SECTION 1: Introduction to Automated Lighting...... 1 Chapter 1 Automated Lighting in the Third Millennium . . . . 3 Chapter 2 The Foundation of the Automated Lighting Industry...... 9 The Genesis of the Automated Lighting Industry ...... 9 Synchronicity ...... 12 “If We Can Make It Change Color …” ...... 17 The Black Hole ...... 25 For Sale: Automated Lighting ...... 28 Sue Me, Sue You Blues ...... 31 The Future of Automated Lighting ...... 32

Chapter 3 Automated Lighting Systems...... 35 Systems Overview ...... 35 Rigging Systems ...... 36 Aluminum Structures ...... 37 Theatrical Rigging ...... 39 Rigging Hardware ...... 40 Power Distribution Systems ...... 41 Disconnect Switch ...... 42 Feeder Cable ...... 43 Distribution Panels and Portable Power Distribution Units ...... 46 Overcurrent Protection ...... 47 Dimmers ...... 49 Branch Circuits ...... 49 Wire Gauges ...... 51

vii viii CONTENTS

Voltage Drop ...... 52 Connectors ...... 52 Worldwide Electrical Safety and Wiring Codes ...... 53 Compliance ...... 54 Data Distribution Systems ...... 54 Data Cables ...... 57 Data Splitters ...... 58 D a t a A m p l i fi ers ...... 60 Data Converters ...... 60 Data Terminators...... 61 A/B Switches ...... 62 Data Connectors ...... 62 Control Systems ...... 63 Automated Lighting Controllers ...... 63 Automated Lighting Consoles ...... 64 PC-Based Controllers ...... 64 Dedicated Controllers ...... 65 Playback Units ...... 65 Remote Focus Units ...... 65 Preset Stations ...... 66 Media Servers ...... 66 Redundant Backup Systems ...... 67 Luminaires ...... 68 Electrical Systems ...... 69 Electronics Systems ...... 69 Electromechanical Systems ...... 70 Mechanical Systems ...... 70 Optical Systems ...... 70 Communications Systems...... 70

SECTION 2: Electricity and Electronics ...... 73 Chapter 4 DC Electricity ...... 75 The Flow of Electrons ...... 76 The Relative Size of Electrons ...... 76 The Electron Drift Theory ...... 76 Friction ...... 77 Conductive Properties of Materials ...... 78 Current Convention ...... 79 Voltage, Current, and Resistance ...... 80 Water and Electricity—Bad Mix, Good Analogy...... 80 The DC Circuit ...... 81 Contents ix

Units of Measure—Current, Voltage, Resistance, Power . . 82 The Resistor Color Code ...... 83 Resistor Wattage ...... 84 Series Resistance ...... 84 Parallel Resistance ...... 85 Series/Parallel Resistance ...... 86 Ohm’s Law ...... 88 Practice Problems...... 88 DC Power ...... 89 Practice Problems...... 90

Chapter 5 Electricity and Magnetism ...... 91 Magnetic Lines of Flux ...... 91 Electromagnetic Induction ...... 92 Inducing Current...... 93 Alternating Current ...... 95

Chapter 6 AC Electricity ...... 99 The Alternating Current Generator ...... 99 Peak Voltage ...... 101 RMS Voltage ...... 101 The Inductor ...... 103 The Capacitor...... 106 Phase Relationships ...... 108 Impedance ...... 108 The Transformer ...... 112 AC Power ...... 115 Power Factor ...... 116 Three-Phase Power ...... 118 The Three-Phase Delta-Wye Confi guration ...... 118 Three-Phase Wye Connections ...... 119 The Three-Phase Delta-Delta Confi guration ...... 121 Electrical Safety ...... 122 Drugs and Alcohol...... 123

Chapter 7 Power Supplies ...... 125 The Diode ...... 126 H a l f - W a v e R e c t i fi cation ...... 128 F u l l - W a v e R e c t i fi cation ...... 129 The Linear Power Supply ...... 129 Switched-Mode Power Supplies ...... 133 x CONTENTS

Power Supplies for Arc Lamps ...... 134 The Magnetic Ballast Power Supply ...... 134 Electronic Switching Power Supply for Gas Discharge Lamps...... 137 Advantages of Magnetic Ballast Power Supplies . . . . 137 Disadvantages of Magnetic Ballast Power Supplies . . 137 Advantages of Electronic Switching Power Supplies. . 138 Disadvantages of Electronic Switching Power Supplies ...... 138

Chapter 8 Overcurrent and Overvoltage Protection ...... 139 Fuses...... 139 Circuit Breakers ...... 142 Metal Oxide Varistor ...... 145

Chapter 9 Digital Electronics ...... 147 Binary Numbering...... 148 Binary Offset ...... 150 Hexadecimal Numbering ...... 151 Digital Electronics ...... 153 Electronic Switching ...... 154 Data Transmission ...... 155

Chapter 10 Computer Architecture...... 157 The CPU...... 158 Memory ...... 161 I/O Ports ...... 162 The System Bus...... 163 μP Architecture ...... 163 Execution of a Cue ...... 164

SECTION 3: Electromechanical and Mechanical Systems . . . . 165 Chapter 11 Electromechanical Systems ...... 167 Stepper Motors ...... 168 Hybrid Stepper Motors ...... 168 Single Phase Excitation Mode ...... 171 Dual Phase Excitation Mode ...... 171 Half Step Excitation ...... 175 Microstepping ...... 175 Resonance...... 176 Contents xi

Stepper Motor Control Systems ...... 177 Position Sensing and Encoding ...... 178 The Mechanical Stop ...... 179 Optical Sensing...... 179 Hall Effect Sensors...... 181 Focus Correction ...... 183 Quadrature Encoding ...... 183 Absolute Encoding...... 185 Fans ...... 185 Fan Types ...... 187 Fan Cleaning and Maintenance ...... 187

Chapter 12 Mechanical Systems ...... 189 Materials ...... 190 Aluminum ...... 191 Stainless Steel ...... 192 Plastics ...... 192 Ceramics...... 193 Glass ...... 194 Fused Quartz ...... 194 Optical glass ...... 194 Metal Finishes ...... 195 Fasteners ...... 195 Thread Standards ...... 196 Preventing Vibrational Loosening ...... 201 Gears ...... 201 Belts ...... 203

SECTION 4: Optical Systems ...... 205 Chapter 13 Lamp Technology ...... 207 Incandescent Lamps ...... 208 Incandescence ...... 208 Gas Fill ...... 209 Halogen Lamps ...... 209 Discharge Lamps...... 211 Discharge Lamp Construction ...... 211 Starting a Discharge Lamp ...... 213 The Effects of Lamp Strikes ...... 214 Hot Restrike Lamps ...... 214 Testing Discharge Lamps ...... 215 xii CONTENTS

LEDs ...... 215 Plasma Lamps ...... 217 Color Temperature ...... 220 L u m i n o u s E f fi cacy ...... 222 Spectral Power Distribution ...... 224 Color Rendering Index ...... 225 Dimming ...... 226 Lumen Maintenance...... 228 Lamp Life Ratings ...... 228 Lamp Hazards ...... 229

Chapter 14 The Optical Path ...... 233 S p e c u l a r R e fl ection ...... 234 R e fl ector Geometry ...... 235 The Parabolic Refl ector ...... 235 The Elliptical Refl ector...... 236 The Spherical Refl ector ...... 239 R e fl ector Materials ...... 240 Infrared Filters ...... 241 Mechanical Dimming ...... 242 Optical Thin-Film Filters ...... 243 The Deposition Process ...... 244 Thin-Film Interference...... 245 Filter Types ...... 248 Color Selection ...... 250 DichroFilm ...... 250 Color Wheels ...... 250 Color Combining...... 252 Subtractive Color Mixing ...... 253 Additive Color Mixing...... 254 Gobos ...... 254 Metal Gobos...... 255 Glass Gobos ...... 256 Laser Ablation ...... 257 Installation Orientation ...... 258 Front Surface Mirrors ...... 259 A n t i - R e fl ective Coatings...... 259 Effects ...... 259 Lenses ...... 259 Spherical Aberrations ...... 262 Chromatic Aberration ...... 262 Contents xiii

SECTION 5: Networking and Communications ...... 265 Chapter 15 The Channel Count Explosion ...... 267 Cable Management in a 0–10 V World ...... 267 Taming the Cable Beast ...... 269 The Channel Count Explosion ...... 271 State-of-the-Art Protocols ...... 274

Chapter 16 DMX512 and DMX512-A...... 277 The DMX512 Physical Layer ...... 277 Data Cable ...... 279 DMX512 Over CAT5 ...... 282 DMX512 Connectors ...... 283 Termination...... 284 Building a Data Network ...... 286 DMX512-A versus DMX512 ...... 287 DMX512-A Data Protocol ...... 287 Reset Sequence ...... 288 ASCs...... 288 Proprietary ASCs ...... 289 Data Slot Format ...... 289 Refresh Rate ...... 289 Enhanced Function Topologies...... 290 EF1 ...... 290 EF2 ...... 291 EF3 ...... 291 EF4 ...... 291 Bi-Directional Distribution Amplifi ers/Return Data Combiners ...... 291 Termination...... 291 Isolation ...... 292

Chapter 17 Remote Device Management (RDM) ...... 293 The RDM Physical Layer ...... 294 RDM Packet Format ...... 295 The RDM Discovery Process ...... 297 RDM Parameter Messages ...... 299 Network Management Messages ...... 299 Status Collection Messages ...... 300 RDM Information Messages ...... 301 Product Information Messages ...... 301 DMX512 Setup Messages ...... 301 xiv CONTENTS

Sensor Parameter Messages ...... 301 Power/Lamp Setting Parameter Messages ...... 302 Display Setting Parameter Messages...... 302 D e v i c e C o n fi guration Parameter Messages ...... 302 Device Control Parameter Messages ...... 302

Chapter 18 Architecture for Control Networks (ACN) ...... 303 The ACN Suite of Protocols...... 303 ACN Elements ...... 305 Device Description Language...... 305 DMP ...... 306 Session Data Transport ...... 307 The ACN Transport ...... 310 Network Media...... 310 Streaming DMX512 Over ACN...... 311

SECTION 6: Maintenance and Troubleshooting...... 313 Chapter 19 Tools of the Trade ...... 315 Tools for the Task ...... 315 Load-In ...... 316 Programming ...... 317 Troubleshooting in the Field ...... 318 V o l t m e t e r S p e c i fi cations ...... 319 Voltmeter Category Ratings ...... 320 True RMS Meters...... 321 V-Rated Tools ...... 322

Chapter 20 Preventive Maintenance and Troubleshooting . . . . 323 Common Sources of Problems: Heat, Gravity, Age . . . . . 327 Preventive Maintenance...... 330 Cleaning Automated Lighting Components ...... 331 Lubrication ...... 332 Troubleshooting ...... 332 Sample List of Recommended Spare Parts ...... 333 Troubleshooting Procedures ...... 333 Common Failures ...... 335 Motor Drive Chips ...... 335 SMPS...... 336 Printed Circuits Boards ...... 338 Power Factor Correction Capacitors ...... 338 Ballasts...... 340 Contents xv

Transformers ...... 340 Fasteners...... 341 Sensors...... 341

SECTION 7: Convergence of Lighting and Video ...... 343 Chapter 21 Convergence of Lighting and Video ...... 345 The Digital Micromirror Device ...... 346 Digital Light Processing and LEDs ...... 349 Liquid Crystal Display Projectors ...... 349 Perceived Brightness...... 350 Lamp Technology and Projection ...... 352 The UHP Lamp ...... 353

SECTION 8: Lighting Design With Automated Luminaires ...... 355 Chapter 22 Lighting Design ...... 357 Design Goals ...... 357 Visibility ...... 358 Focusing Attention ...... 358 Lighting for Video ...... 359 Modeling ...... 359 Creating Depth ...... 360 Aesthetics and Mood ...... 361 Three-Point Lighting...... 362 Toning a Three-Point Lighting System ...... 364 Multi-Point Lighting ...... 365 Calculating Illuminance...... 366 Target Illuminance...... 371 Color Temperature and Green/Magenta Balance ...... 371 Finishing the Lighting Plot ...... 373 Color Wash ...... 373 Image and Beam Projection ...... 374

Chapter 23 Lighting Design Software ...... 377 CAD ...... 377 File Formats...... 381 CAD Libraries ...... 381 Data and Attributes ...... 382 Lighting Paperwork ...... 382 Rendering ...... 386 Fly-Throughs ...... 388 xvi CONTENTS

Visualization ...... 388 Off-Line Editors ...... 390

SECTION 9: Automated Lighting Programming ...... 391 Chapter 24 Automated Lighting Programming ...... 393 The Programming Approach ...... 394 Pre-Show Preparation ...... 396 Pre-Visualization and Off-Line Editing ...... 399 Backing Up ...... 399 On-Site Preparation ...... 400 The Linear Fader Model versus the Real World Model . . . 401 Patching Fixtures...... 402 Highlight ...... 410 Preparing Fixture Groups...... 410 Preparing Palettes or Presets ...... 411 Preset Focus Positions ...... 412 Program Blocking ...... 413 Tracking ...... 414 Precedence ...... 415 Laying Out the Cues on the Console ...... 415 Programming Cues ...... 416 Timing of Cues ...... 417 Mark Cues or Move in Black ...... 418 Blocking Cues ...... 418 Point Cues...... 418 Busking ...... 419 Perfecting the Craft ...... 419

Epilogue: The Future of Automated Lighting Technology . . . . 421 Appendix A: IP Ratings ...... 427 Appendix B: Useful Formulas ...... 431 Appendix C: Conversion Factors ...... 433 Appendix D: DMX512-A Enhanced Functions ...... 435 Appendix E: DMX512 Connector and Pinout ...... 437 Appendix F: Data Termination ...... 439 Index ...... 441 Foreword

Late last year, in 2008, I was fi nishing work on another book called Electricity for the Entertainment Electrician & Technician when Danielle Monroe, one of the many wonderful people at Focal Press, sent me an email. Almost as an afterthought—one of those oh-by-the-ways—she mentioned that we should start work on revising Automated Lighting: The Art and Science of Moving Light in the Theatre, Live Performance, Broadcast, and Entertainment . My initial reaction was that I must be in some sort of a time warp because that book, it seemed, had only recently been published. How much could possibly have changed since September 2006?

There’s a viral video that has gotten millions of hits on YouTube called “Did You Know?” by Karl Fisch. Fisch is the director of technology at Arapahoe High School in Centennial, Colorado. One month before the original edition of this book was published, he was asked by the principal of the school to speak at the beginning of the year faculty meeting. Having attended several of these meetings before, he felt that it might be a waste of time to discuss “anything of substance” during the meeting. Instead, he wanted to do something a little different. So he put together a thought- provoking PowerPoint presentation about what it takes for a student to be successful in the twenty-fi rst century. What he compiled turned out to be pertinent not only to high school students but to anyone who works with technology.

One of the most striking statements in the presentation—and there are many of them—is the idea that we’re living in “exponential times,” meaning that technology is accelerating exponentially. As of this writing, the amount of new technological information is thought to be doubling approximately every 72 hours, 3,000 new books are published daily, and there’s more information in a week’s worth of New York Times than a person was likely to come across in a lifetime in the eighteenth century.

xvii xviii FOREWORD

In a sense, we are in a time warp. Time is being warped by the speed of technological acceleration. Is it any wonder that a book like this needs to be updated so frequently?

Indeed, as I started going through the original text, I realized just how much has changed since I fi rst sat down to write it in 2003. But most of the changes weren’t the areas in which we might have expected seven years ago. At that time, we were in the early stages of the convergence of light- ing and video, and the scent of renaissance hung like haze in the air. Change was under foot and much promise was ahead.

But the promise of digital lighting was supplanted by the reality of media servers, LEDs, and video projection. The much anticipated proliferation of affordable digital luminaires was stymied while the market delivered LEDs by the googolplex in various forms such as lo-res displays, hi-res displays, color wash luminaires, battens, 3-D pixels, moving yokes, and much, much more. Meanwhile, the mantra of automated lighting—smaller, brighter, cheaper, and lighter—was almost drowned out by the chorus of networking and new protocols including DMX512-A, Remote Device Management (RDM), Architecture for Control Networks (ACN), and Lightweight Streaming of DMX512 over ACN. While some of us, myself included, were looking for changes in automated lighting technology, LED technology, computer technology, networking technology, and video tech- nology almost snuck by us.

That’s not to say that there have been no developments in automated light- ing technology, because there have been. Light sources continue to get better, meaning more effi cient, smaller, and brighter. New light sources have emerged in the market including the plasma source and LEDs (there’s that acronym again!). The fact that the automated lighting market remains one of the most competitive in our industry is a good indication that it’s alive and well.

In the fi rst edition of the book, I wrote that if you think this book is about the nuts and bolts of moving lights, then you’re missing the big picture. That’s still as true today as when it was fi rst written. It’s really not about automated lighting so much as it’s about the irrepressible ingenuity of the human mind and our insatiable hunger for a deeper understanding of the universe and how to experience it. It’s about how art and science can trans- form one another; how the non-negotiable (science) and the negotiable (art) can combine to create the unimaginable. It’s a book about life as seen Foreword xix through the fi lter of science, art, and technology. My hope is that it will serve to illustrate just how vast the possibilities are, what incredible poten- tial lies ahead, and how far we’ve come in relatively little time.

Many, many people are responsible for helping me to negotiate this wild and wonderful world we call the entertainment lighting industry. Without the help of all of the people with whom I’ve had the pleasure of meeting and working with in this industry, and without the good fortune to follow a largely circuitous and exhilarating path, there would be no book. For that I offer my sincere and heartfelt thanks. Some of these people include:

Lisa and Joey Cadena, aka my wife and daughter (you both give me the motiv- ation to strive for excellence and keep me young at heart) Noe and Yolanda Cadena, aka Dad and Mom (How can I ever repay you for all that you’ve done for me?) Richard Belliveau, High End Systems (a division of Barco) Lowell Fowler, High End Systems (a division of Barco) Bob Schacherl, Vari-Lite Cara Anderson, Focal Press Stacey Walker, Focal Press Diane Wurzel, formerly of Focal Press Danielle Monroe, formerly of Focal Press Mike Wood, Mike Wood Consulting (You’re the real industry guru!) Steve Shelley, freelance lighting designer Daniel W. Antonuk, Electronic Theatre Controls, Inc. Scott Blair, High End Systems Rusty Brutsche, PRG/VLPS Michael Callahan, Variable-Parameter Fixture Corporation J a c k C a l m e s , S y n c r o l i t e Christian Choi, freelance programmer Andy Collier, Technical Marketing Ltd. Gi l D e n s h a m , C a s t S o f t w a r e Harry Donavan, Rigging Seminars (deceased) xx FOREWORD

Michael Fink, Magical Designs Jules Fisher, Fisher Dachs Associates Doug Fleenor, Doug Fleenor Designs Kirk Garreans, ALP Design & Production, Inc. John Gott, SLS Loudspeakers Breck Haggerty, Diagonal Research Mitch Hefter, Design Relief Chas Herington, Zenith Lighting Bill Hewlett, Hubbell Lighting Matthias Hinrichs, Martin Professional James D. Hooker, Osram-Sylvania Anne Hunter, Rosco John Glen Hunter, Rosco Scott Ingham, fi rmware engineer Steve Irwin, freelance programmer George Izenour, Yale School of Drama (deceased) Mats Karlsson, Martin Professional Maribeth Linden, TLC International Debi Moen, formerly of High End Systems R o b e r t M o k r y , L i g h t p a r t s . c o m Jim Moody, PhD, lighting designer Joel Nichols, Apollo Design Technology Paul Pelletier, Martin Canada Richard Pilbrow, Theatre Projects Consultants Don Pugh, Lightparts.com Jeff Ravitz, Visual Terrain Scott Riley, freelance automated lighting programmer Karl Ruling, ESTA L u c i a n o S a l v a t i , T e c h n i - L u x Foreword xxi

Brad Schiller, High End Systems Ar n o l d S e r a m e , p r o d u c t i o n d e s i g n e r Woody Smith, Affi neon Lighting David Snipp, Stardraw.com Ltd Bill Strother, William Strother Design Da n y T a n c o u , C a s t S o f t w a r e Er m a n n o T o n t o n i , l i g h t i n g t e c h Howard Ungerleider, Production Design International Teddy Van Bemmel, Affi neon Lighting Steve Terry, Electronic Theatre Controls, Inc. Rufus Warren, Design & Drafting Steve Warren, Avolites Apurba Pradhan, Sr. Marketing Engineer, Luxim Corporation George Masek, Vari-Lite Steve Vanciel, Walt Disney Entertainment Anthony Caporale, lighting designer Thomas Barnett, Technical Director/Designer, Macalester College Kevin Dowling, PhD, VP Innovation, Philips Color Kinetics and so many, many more. This page intentionally left blank SECTION 1 Introduction to Automated Lighting This page intentionally left blank CHAPTER 1 Automated Lighting in the Third Millennium

Talent alone won’t make you a success. Neither will being in the right place at the right time, unless you are ready. The most important question is: ‘Are you ready?’ —Johnny Carson, television personality

In the fall of 1998, a handful of people got a peek into the future of the entertainment lighting industry. In a private showing across the street from the Lighting Dimen- sions International (LDI) trade show in Phoenix, Arizona, a group of employees from Lighting & Sound Design (LSD) unveiled a prototype of the Icon M. In that rarefi ed air, a select group of lighting designers witnessed the promise of the fi rst digital luminaire with “soft” gobos that were designed and projected digitally using a graphics engine driven by Texas Instruments’ Digital Mirror Device (DMD). Not since the Genesis tour with original Vari*Lite automated luminaires in 1981 had such a monumental paradigm shift taken place in the industry. But not in the way the participants expected.

Even though the Icon M was never fully realized as a commercial success, it was a groundbreaking luminaire that sparked a revolution in the lighting industry. It enabled a massive expansion of expressive freedom in lighting and set design, and helped overcome the limitations of “conventional” automated luminaires. Now, instead of having a fi xed palette of gobos in a luminaire, the lighting designer could design custom soft gobos by the thousands and call them up at will. Not only could they rotate, like a gobo rotator, but they could also morph, blend, change, move, and do anything that could be done with video. In fact, the DMD used in the Icon M eventually became the heart of the Digital Light Processor (DLP), which is the graphics engine in about half of the video projectors manufactured today.

3 4 AUTOMATED LIGHTING IN THE THIRD MILLENNIUM

But the DMD was only the tip of the technological iceberg. Over the next few years, the media server—the part of the system that stores and retrieves the digital content—put an exclamation point on the digital lighting revolution. What began as supporting circuitry for the digital luminaire eventually became the fuel for the next wave of technology. At the same time, advances in LED and computer technology combined with those of the media server to completely change the production landscape. Suddenly, the production designer had access to powerful tools that allowed for the creation, integration, and display of animated graphics and colorful projections.

Today, the vast majority of medium- to large-scale productions, and even some smaller productions, have some element of video and make extensive use of media servers. With LEDs and pixel mapping software, even the smallest productions can quickly and easily create colorful animated sets using low- or high-resolution video content. For that reason, the role and use of automated lighting has, in many cases, changed. Although it can still be the main source of image projection, it’s no longer the best source for it. The availability and versatility of video displays in the form of monitors, tiles, curtains, screens, and projection has transformed the look of the modern production.

In productions where video is prominent, automated lighting can and does take on new roles. It can be used for beam projection, color wash, lighting a subject or sub- jects, or to supplement the projection of patterns or images. But in these instances it has to work hand-in-hand with the projection and care must be taken to keep moving lights off of projection surfaces so that it doesn’t wash it out, and the colors must be carefully chosen to support and not undermine the colors in the video content.

Even though automated lighting isn’t the premier production tool it was 25 years ago, it’s still a very important part, and in some cases the most important part, of the modern production. It has continued to gain acceptance in every area of the industry, including areas that were initially resistant like theatre production, television production, houses of worship, corporate events, architectural installa- tions, and more. And those gains have come for very good reasons.

Today’s automated lighting systems are technological marvels with incredibly sophisticated engineering, a rich feature set, a high level of reliability, and increas- ing effi ciency. They’re still getting smaller, lighter, and brighter (relative to power consumption), and the optics are still getting better and more effi cient. Lamp manufacturers are doing their part by developing a wider range of lamps with better effi ciency, longer life, and better quality of light. For those of us who use automated lighting, life is good.

State-of-the-art automated lighting instruments embody a wide range of disparate technologies in the convergence of optics, mechanics, robotics, and electronics, mixed with a bit of artistic ingenuity and a fl air for design. Few products combine Automated Lighting in the Third Millennium 5 this level of sophistication and complexity in one package. In automated lighting fi xtures, high-current devices like lamp circuitry reside in close proximity to high-speed, microelectronic components and circuits like communications trans- mitters and digital signal processors. Voltages inside the fi xture range from a few volts for the electronics and motor drive circuits to thousands of volts in the lamp starting circuit. The internal operating temperature can reach 1832ºF (1000ºC) in the optical path of a typical automated lighting fi xture, yet the electronics are sensitive enough to require a reasonably cool environment to perform reliably. These fi xtures regularly cycle between room temperature and operating tempera- ture, placing great stresses and strains on the interfaces between glass, ceramics, metal, and plastics. At the same time, many of these fi xtures are designed to withstand the rigors of being shipped all over the world in freighters, airplanes, and trucks. They’re often subject to daily handling from stagehands, physical shock from being bounced around on moving trusses, and thermal shock from cycling on and off. They’re truly an amazing blend of modern machinery, com- puter wizardry, and applied technology.

While the number of automated lighting manufacturers has remained fairly steady over the last 10 or 15 years, the supply of automated luminaires continues to climb. Each manufacturer has expanded its range of products due to the development of an increased range of available lamps ranging from 150 to 2500 W or more. The global competition for a slice of the automated lighting market is as fi erce as ever. Many automated lighting producers have moved at least some of their manufacturing operations to China to stay competitive. Others rely on innovation to differentiate their products in the ongoing effort to keep market share. And the number and quality of Chinese-manufactured luminaires continues to climb. The result is that a number of very good automated luminaires are available at very competitive prices.

One of the best ways to see these products is to attend one of several entertain- ment lighting trade shows around the world. Just at the LDI trade show ( www. ldishow.com ) alone, there are at least two dozen different automated lighting manufacturers and distributors represented, largely from the top-tier manufac- turers; about a dozen and a half automated lighting console manufacturers; and all variety of manufacturers of gobos, road cases, lamps, design software, and more. And there are trade shows all over the world that focus on entertainment lighting. At shows such as PLASA in London (www.plasa.org ); Siel in Paris (www. siel-satis.com ); Musicmesse in Frankfurt ( www.music-messefrankfurt.com ); and SIB International Exhibition in Rimini, Italy ( www.sibinternational.com ), there are many more European, Asian, and Australian lighting manufacturers exhibit- ing their wares. Italy alone is home to at least a dozen well-known entertainment lighting manufacturers. The supply side of the industry is thriving, much to the benefi t of the automated lighting consumer.

Technology has advanced to the point where today’s automated lighting fi xtures are less than half the size and weight—with more than twice as much light 6 AUTOMATED LIGHTING IN THE THIRD MILLENNIUM

output—of an equivalent fi xture of 20 years ago. Manufacturers are learning how to design and build more effi cient power supplies and optics, making better use of light and electricity. Many are using high-tech polymer or carbon fi ber hous- ings, and some components are made of exotic materials such as magnesium- coated ceramics to save weight, labor costs, and manufacturing costs (provided they can exceed the break-even point of the heavy cost of tooling). At the same time, the price of automated lighting is falling relative to an equivalent fi xture 20 years ago. Today, you can buy an automated lighting fi xture for less than half the price (adjusted for infl ation), with more than twice the light output, and with many more features than you could in the late 1980s and early 1990s.

The design of automated lighting requires the cooperation of several disciplines that coordinate their efforts to bring a fi nished product to market. Designers draw from disciplines as diverse as physics, electrical and electronics engineering, software and fi rmware engineering, mechanical and chemical engineering, thermal engineering, and aesthetic design. These designers are under constant and intense pressure to innovate and leapfrog the competition before they’re out- innovated. Every year, dozens of manufacturers and distributors compete for the business of thousands of prospective buyers at dozens of trade shows around the world. These trade shows put an incredible amount of pressure on manufacturers to bring fi nished products to the market, sometimes at the expense of perfecting the product. Millions of dollars are at stake when a new product is under develop- ment; the faster a product comes to market, the better the return on the investment. Conversely, the longer it takes a manufacturer to get a new product to market, the more money it takes and the better the chance that another manufacturer will beat them to market. As a result, manufacturers sometimes launch a product prematurely in their rush to meet the market demand. It’s a big stakes game. Manufacturers who can give customers what they want are the ones able to survive another year and have a chance to compete again.

To make matters more interesting, increased global competition has changed the entertainment lighting industry. A fl ood of inexpensive imported products coming from places like China, where labor is cheap, have changed the market dynamics. Many years ago these products were decidedly inferior to the products of more industrialized nations. This is no longer the case. Many of these products are very well designed and manufactured and are surprisingly robust. The technology and resources to manufacture quality products are available to anyone with access to labor and the ability to obtain investment capital to buy machinery and equipment. The barrier to entry into the automated lighting manufacturing arena has fallen considerably as materials and components have become more readily available. In the early days of automated lighting, manufacturers often had to customize certain components. For example, stepper motors were adapted for automated lighting by developing specialized grease, custom magnets, custom rotors, customer windings, and custom insulation. Today, suitable stepper motors are available off the shelf. Automated Lighting in the Third Millennium 7

The availability, reliability, and pricing of automated lighting have served to make them ubiquitous in the world of live event production. If there was ever any doubt about the impact it has made since they were fi rst made widely available in the 1980s, it was completely obliterated in August 2008 at the Opening Ceremonies of the Games of the XXIX Olympiad. Lighting designer Sha Xiao Lan designed and used a lighting system with a total of 2342 automated luminaires. Three lighting consoles were networked and partitioned so that three programmers, Feng Bin, Wu Guoquing, and Huang Tao, shared programming duties in multi- user sessions. One programmer was responsible for all the wash lights in the roof, another programmed all the remaining wash fi xtures, while the third program- mer ran all of the spot fi xtures.

The production spectacle served as a vivid reminder that what began as a curios- ity in rock and roll touring events has been integrated into every segment of the entertainment industry by every culture in every corner of the world. And more important, it set the bar for the pinnacle of live event production that will stand for a long time. Or at least until the next Olympics. This page intentionally left blank CHAPTER 2 The Foundation of the Automated Lighting Industry

If I have been able to see further, it was only because I stood on the shoulders of giants. —Sir Isaac Newton, scientist and philosopher (1642–1727)

In the relatively short period of time from 1981 to the present, automated lighting has gained tremendous popularity in the entertainment and “architainment” lighting industries. What began mostly as a concert and touring phenomenon quickly gained acceptance in nightclubs and discotheques throughout the world, where technology is often embraced and nurtured. Once it was proven that auto- mated lighting could meet certain criteria for noise, intensity, and reliability, it slowly found applications in Broadway, off-Broadway, and other theatre applica- tions across the spectrum. Now automated lighting has permeated almost every aspect of theatrical lighting, including television and fi lm, cruise ships, houses of worship, and retail environments.

The Genesis of the Automated Lighting Industry

The concept of mechanized lighting can be traced at least as far back as 1906 when Edmund Sohlberg of Kansas City, Missouri, was issued a patent for a remote- controlled spotlight. The fi xture had a carbon-arc source, an electromechanical color changer, and a series of cords and pulleys that allowed an operator to remotely change the pan, tilt, and zoom by manually adjusting the cords. The idea was to locate the operator in a hidden location while the light was perched on the balcony rail, and the operator could move it at will.

9 10 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

In 1925, Herbert F. King of Newtonville, Massachusetts, fi led a patent application for an “automatic spotlight” with motorized pan and tilt. On August 14, 1928, U.S. patent number 1,680,685 was issued in his name for “a light projector which may be moved automatically to cause the stream of beams to move through a predetermined path and spot successively a plurality of objects and hold the spot for an interval on at least one of said spots.” His patent describes successively spotlighting items in a store window; however, it appears that it might be one of the earliest uses of electric motors for motorizing the pan and tilt in a luminaire.

A couple of years later, on November 30, 1927, Charles Andreino of Montreal, Quebec, Canada, fi led a Canadian patent for an “adjustable projector,” and on November 29, 1928, the same patent was fi led in the U.S. patent offi ce. The U.S. patent, number 1,747,279, was issued on February 18, 1930, for a projector with a remote control that facilitated pan and tilt, as well as remote focus.

Later, in the 1930s, Robert Snyder applied for a U.S. patent related to “improve- ments . . . on spotlights which are remotely controlled.” Patent number 2,097,537 was applied for on June 7, 1933, and was issued on November 2, 1937. Almost simultaneously, Joseph Levy was also thinking about a remotely controlled spotlight. Levy worked for Century Lighting (which was eventually bought by Strand Lighting) where he was the co-inventor of the Leko, (a combination of Levy and Edward Kook.) In 1936 Levy received patent number 2,054,224 for a motorized pan and tilt unit on which a mirror or a luminaire could be mounted and which was controlled by a joystick. It used self-synchronizing, or “selsyn” motors, to precisely control the pan and tilt position.

Also in the 1930s, a contemporary of Levy, George Izenour, began conceptualizing a lighting fi xture with remote control of the pan, tilt, focus, beam angle, and color. He was employed by the Federal Theatre Project working repertory theatre when he realized the fl exibility that such a system might afford. But the complexity of the system, and the available technology at the time, made it virtually impossible to realize his concept.

By the end of 1949, Cecil B. DeMille was working on a movie for Paramount Pictures called The Greatest Show on Earth, and he wanted a remotely operated lighting fi xture that they could mount high under the big top. Century Lighting was brought in as a collaborator and, along with Paramount, built a remote- controlled fi xture for the movie. In 1954, 2 years after The Greatest Show on Earth was released, Lou Erhardt of Century Lighting succeeded in building a remotely controlled 1000 W Fresnel fi xture. It was a modifi ed version of the popular Century FeatherLite 8” Fresnel with servo motors driving the pan and tilt. Izenour, working as a consultant to Century Lighting, developed the mechanical dimming system to keep the color temperature constant through the dimming The Genesis of the Automated Lighting Industry 11

Figure 2-1 A 1960 Century Lighting catalog offers “motorized drives for vertical or horizontal movement,” a motorized iris in a Leko, or a motorized focus screw in a Fresnel in any of their products up to 750 W. (Catalog courtesy of Bob Schiller, who started with Century Lighting in 1950 and retired from Strand Lighting in 1992.) 12 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

curve; this system is still in use today in the Wybron Eclipse II double irising dimmer (www.wybron.com ). By 1960, literature from Century Lighting was advertising a “large variety of remote control devices for positioning and varying spotlight distributions,” all of which were “assembled to special order.” They offered “motorized drives for vertical or horizontal movement,” a motorized iris in a Leko, or a motorized focus screw in a Fresnel in any of their products up to 750 W (Figure 2-1). Motorized FeatherLite Fresnel units were installed in NBC’s Studio 8H at Rockefeller Center in New York City sometime in the late 1950s or early 1960s. According to Izenour, the lights were sabotaged by stagehands who feared for their jobs. They reportedly put sand in the gear boxes, which ended their useful life only a couple of years after they were installed. In 1971, the lights were donated to the Pennsylvania State University Stage Lighting Archives, where they remain to this day.

When Izenour became an associate professor at Yale University School of Drama in the 1950s, he developed two prototypes of a remote-controlled 2K Fresnel fi xture. The fi rst attempt didn’t work, but the second, which was a refi ned version of the fi rst, was more successful. The working prototype used three servo motors driven by a null-seeking signal bridge circuit using electron tube push–pull servo amplifi ers. But the potentiometers used in the feedback circuit lacked the preci- sion to provide accurate repeatability.

Izenour attempted to build another remote-controlled fi xture in 1969. The moving mirror fi xture was built around a 1K ellipsoidal, and it had to be water cooled to prevent the motor-driven iris from seizing up. The mirror was panned and tilted by means of a self-synchronous (selsyn) drive motor and the douser was solenoid driven. Another selsyn-driven motor controlled the remote focus. Only two production models were ever manufactured; they were operated at Milwau- kee Repertory Theatre for a short period, but it was never a commercial success.

Synchronicity

Oftentimes when an inventor in one part of the world begins working with one idea, other inventors simultaneously and independently develop similar ideas. This happened with the inventions of calculus (Leibnitz and Newton) and the electric light bulb (Edison and Swan). Psychiatrist Carl Jung defi ned this phe- nomenon as synchronicity and described it as “meaningful coincidence.” So it seems that the idea of using remote control of the pan, tilt, and focus (PTF) of a spotlight came into the collective consciousness of the lighting industry in the early 1960s. It was then that a young lighting designer named Jules Fisher had been pondering the problem of lighting a musical production of Peter Pan in the round. Synchronicity 13

“I was working at the Casa Mañana arena theatre in Fort Worth, Texas,” he said. “Faced with the problem of how to do ‘Tinkerbell’ in the round got me thinking of a remote control instrument. I knew of Century [Lighting’s] work with remote positioning instruments that were in development for the television studios and a remote positioning mirror device for the ANTA Theatre in Washington Square. George [Izenour], I believe, was involved with these as well as Stanley McCandless. They were both under a contract arrangement with Century. I was working with a theatre technician/sound designer, Garry Harris, and he sug- gested using [synchro] motors to drive the motion. [Synchro] motors of all sizes were available on Canal Street at surplus stores as they were a staple to the armed forces to move everything in planes and ships.”

Fisher designed, patented, and built the remote-controlled lights with a 120 W PAR 64 12 V lamp with a very narrow beam ( Figure 2-2 ).

On September 28, 1965, U.S. patent number 3,209,136 was issued in his name for a “remote control movement system including a unit for variably positioning a light source device and controller therefor.” The fi xture panned 360 degrees and tilted 270 degrees using selsyn motors. It had a chain drive for the tilt and a worm gear for the pan. It was manually controlled by an operator who turned a pair of selsyn motors built into the remote. The motors in the remote

Figure 2-2 Fisher’s patented 120 W remote-controlled PAR 64. 14 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

( transmitters) and the motors in the fi xture (receivers) were wired together and moved in tandem. When the operator moved the potentiometer on the control- ler, the motor in the fi xture followed it. Because the two motors were a quarter of a degree out of synch with each other, the operator could feel increased resis- tance when the pan and tilt dials were turned, which provided a feel for the inertia of the system.

“In a [synchro],” Fisher explained, “being an analogue device, the motion is extremely smooth. Stepper motors, although easier to index, introduce increments [steps] to the motion. Roger Morgan, my assistant at that time, suggested we bake the paint on in my kitchen stove, which we did. It was fi rst used in Texas for that production of Peter Pan . Mounting it in the center of the grid over the circular stage the light could move anywhere on the stage, as well as all over the audience in 360 degrees. I added a variable-speed, motor-operated micro switch in series [with the lamp] so [it] had a blinking quality [and] appeared to ‘breathe.’ Tinkerbell had a heart. As she grew weaker or stronger with the audience applause the blinking rate decreased and increased.”

Fisher built several of these fi xtures, which were used in various capacities, including the showroom of an antique dealer. Ultimately, he had a diffi cult time convincing lighting manufacturers of the commercial feasibility of the fi xture. According to him, they “didn’t quite see the future for such a unit.”

Meanwhile, across the Atlantic Ocean in Vienna, Austria, Pani Projection and Lighting was helping to mechanize the lighting in some of the German opera houses. The PTF functions were mechanically linked and motor driven, not so much for effects during a show, but for the changeovers between shows. Many times the lighting positions were diffi cult to reach, and shows were coming in and out so quickly that there was precious little time to refocus. The phenomenon was fairly limited to that part of Europe, since the opera houses were among the few who could afford the high price tag.

But in England, a different approach to motorized lighting was in its infancy. It was there that a young lighting designer was, by his own admission, engaged in an “obsession with mirrors,” which began after he saw a version of the camera obscura (a primitive pinhole camera from the 1700s) as a child in Bristol, England. Peter Wynne-Willson went on to become one of the fi rst lighting designers for an English band called Pink Floyd.

“In 1968,” he related, “for a Pink Floyd gig at the Round House in Chalk Farm, London, we ran the entire lightshow from [1000 W slide] projectors, which I had fi tted with long [300 mm] lenses and resiliently articulated mirrors [at rest, the mirrors returned to a home position]. In the gate were progressive gobos, an iris diaphragm, variable speed color [gel fi lter applied to an acrylic disc], and fl icker Synchronicity 15 wheels. With dexterity, the units could be spotlights, followspots, laser-simulators and 3D gobo projectors.”

A few years later, in the 1970s, his company, the Light Machine Company, designed, manufactured, and sold luminaires, both static and with motorized mirror attachments. They were marketed as the Light Machine Gun system.

Also in the late 1960s, a design competition for a new performing arts center was held in Basel, Switzerland. An architect enlisted the help of a friend named Dr. Fritz von Ballmoos to help with the design. Dr. von Ballmoos, who was a trained physicist and an opera buff, had no background in entertainment or light- ing; he owned a company that built custom electronics and electromechanical systems. But his research led him to the idea of building an automated lighting system, which was proposed along with the design for the performing arts center. Theirs was the winning proposal, and in the early 1970s they fabricated and installed 200 automated lights in the center. The lights had the ability to pan, tilt, change color, change the size of the beam, and dim remotely. The color changer consisted of two color wheels mounted on the same axis, each of which had an open position for no color. The controller had memory for the storage of cues, and the entire system remained in use for 20 years. Dr. von Ballmoos received patents for this system in six countries, and he sought to promote the concept among manufacturers. He found no takers.

By the early 1970s, the idea of motorized PTF fi xtures was slowly taking root in opera houses and television studios. Jim Moody, in his book Concert Lighting: Techniques, Art and Business , reports seeing motorized lighting in Japan’s NKH television studios, in the BBC studio in London, and in Germany in the early 1970s.

In the United States, at about the same time, lighting designer Stefan Graf and production electrician Jim Fackert were touring with the popular rock and roll band Grand Funk Railroad. It was before the advent of truss towers and fl own rigging, so they had to rely heavily on followspots. They were playing in a dif- ferent venue every night, with different followspot operators provided by the local facility. Graf grew increasingly frustrated with the followspots and operators, and he often spoke to Fackert about it. Fackert, who was an inventor and tinkerer, came up with the idea of putting a servo-controlled mirror on the followspots and operating them remotely. When he mentioned the idea, Graf thought it was completely outlandish. Nevertheless, he provided the seed money to build the units. Fackert succeeded in building four units, which they dubbed the Cyklops ( Figures 2-3 and 2-4 ). Grand Funk Railroad toured with the Cyklops fi xtures for several years before they were placed in Graf’s rental company, Fantasee Lighting (www.fantaseelighting.com ), where they were used for many other tours and p r o d u c t i o n s . 16 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

Figure 2-3 C y k l o p s fi xture, circa 1972.

Figure 2-4 Grand Funk Railroad on stage, lit by Cyklops. “If We Can Make It Change Color . . . ” 17

“If We Can Make It Change Color . . . ”

One of the shows that Grand Funk Railroad played was in Dallas, Texas. The company that provided the sound for that show was called Showco, which was owned and operated by Rusty Brutsche, Jack Maxson, and Jack Calmes. Showco watched the Cyklops with interest. A few years later, Showco got into the lighting business, with great success. They landed several big-name concert tours including Led Zeppelin, the Who, the Rolling Stones, Wings, Eric Clapton, and Genesis. They hired several lighting designers, technicians, engineers, and support personnel.

In response to the demand for lighting, Showco’s engineering department devel- oped lighting equipment that they could use in their rental operation. At that time, very few lighting manufacturers made the type of equipment they needed, so they built their own. In 1978, they began work on a color-changing PAR can. The PAR was the main instrument of choice for concert lighting at the time. They tried a number of different ideas such as a high-speed semaphore mechanism to move the gel frames and a system of pneumatic-powered cylinders using compressed air to move the gel frames. Another attempt used a liquid dye system with three cham- bers, each with a different color dye. It varied the amount of dye in a chamber to vary saturation and change the color. None of these ideas proved to be practical.

Jim Bornhorst was the head of Showco’s audio engineering department in 1980, when Brutsche assigned him to the project. He was soon joined by Showco engineers Tom Walsh, John Covington, and Brooks Taylor ( Figure 2-9 ). Bornhorst familiarized himself with a new light source, the GE MARC 350 metal halide arc lamp, which John Tedesco of Phoebus Lighting had been using in his Ultra Arc followspots since 1977. The 350 W discharge lamp had an integral dichroic glass refl ector that refl ected visible light but not infrared light. As a result, the projected light was signifi cantly lower in temperature than a PAR lamp. Still, when a gel fi lter was placed in the optical path, it quickly evaporated. So, Bornhorst started looking for another color medium. His interest in photography led him to try dichroic fi lters, which are coated glass color fi lters used in photographic enlargers. Bornhorst and his team ordered some samples from Edmund Scientifi c and began experimenting with them. Much to their delight, they discovered that the dichroic fi lters could handle the heat from the MARC 350, and they did a great job of coloring the light. Bornhorst and the others felt that they could build a color-changing mechanism based on dichroic fi lters, and they soon developed two approaches. The fi rst was to build a series of three color wheels, each with a family of dichroic fi lters mounted in them. By using the fi lters individually, or in series, they could create a wide range of colors. (This design was later used in the VL1, VL2, and VL6 luminaires.) The second design used three pivoting dichroic fi lters that gradually cross-faded from one color to another. (This design was later used in the VL3, VL4, and VL5 luminaires.) They built a prototype of the cross-fading design, and it proved to work well ( Figure 2-5 ). 18 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

Figure 2-5 Prototype of the fi rst Vari-Lite on the optical bench.

One day, a group of Showco employees including Brutsche, Bornhorst, Walsh, Covington, Maxson, and Tom Littrell went to lunch at Salih’s Barbeque in Dallas. They were discussing the new color-changing light when out of the blue, Maxson said, “You know, if we can make it change color, we should also make it move.”

According to Brutsche, “We all stopped eating, like that EF Hutton ad, and said, ‘Of course; what an obvious thing to do.’ ”

Before they left the restaurant that day, they decided that, in addition to adding a pan and tilt yoke, they would add dimming, add an iris, and they would use computer control. They went back to the shop and started building a prototype using handmade and model airplane parts. In 12 weeks they had a working pro- totype, which they later named VL0 (Figure 2-6). Walsh designed and hand-built a controller that used a single microphone cable to transmit a serial digital data signal, and Taylor wrote the software ( Figure 2-7 ). It could store 16 cues.

Flush with the success of the working prototype, the company set out to market it. One of their clients, Genesis, prided themselves on using cutting-edge technol- ogy, so Brutsche thought they would be the ideal partner to launch the new product. He called Tony Smith, the band’s manager, told him about the prototype, and asked if he could show it to him. Smith and the band agreed.

On December 15, 1980, Brutsche and Bornhorst fl ew to London and went to the recording studio where Genesis was working on their next album, Abacab . The album was to be released in the summer of 1981, and they were planning a major “If We Can Make It Change Color . . . ” 19

Figure 2-6 T h e fi rst Vari-Lite fi xture.

Figure 2-7 T h e fi rst Vari-Lite console. 20 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

Figure 2-8 The English country house where the Vari-Lite was demonstrated to Genesis.

world tour to promote it. The studio was located in the English countryside (Figure 2-8), and when they arrived the temperature was near freezing. Smith suggested that they set up the prototype in an old barn that stood next to the studio.

“The barn was nearly 300 years old and the oak beams in the ceiling were like steel,” Brutsche said. “We had diffi culty securing the prototype luminaire to the beams. It was cold [and we had] no heat in the barn. When we fi rst fi red the unit up, it was so cold that none of the parts would move. But as the bulb heated the unit it started to work. We programmed four cues, the beam shooting to each of the four walls in a different color.”

With the light rigged and programmed, Brutsche and Bornhorst were ready to unveil the prototype to the band. They asked Smith and the band to come to the barn for the demonstration. While everyone stood shivering in the cold, they executed the four cues.

Mike Rutherford, the band’s bass player, broke the silence. “By Jove,” he said, “I didn’t know it was going to move!”

Smith and the band were very impressed, and they all went inside to negotiate a deal to use the lighting system in the upcoming Abacab tour. The band agreed to use a system of 55 lights. In the process of closing the deal, Brutsche told Smith “If We Can Make It Change Color . . . ” 21

Figure 2-9 The Vari-Lite engineering development team standing around the fi rst Series 100 console. They are, left to right, John Covington, Jim Bornhorst, Brooks Taylor, and Tom Walsh. Covington and Bornhorst designed the VL1 luminaire, Taylor wrote the software, and Walsh designed the digital hardware. The circuit boards were handmade by Walsh using wire wrap technology. The console communicated with the VL1 lumi- naires over a serial data link that Walsh and Taylor developed. Taylor wrote the soft- ware and loaded it into the console using paper punch tape from a teletype machine. The console used fi ve RCA 1802 processors and operated 32 channels. This is the console that was used on the 1981 Genesis tour where the fi rst Vari-Lite system was introduced to the world on September 27, 1981, in a bullring in Barcelona, Spain. that they were trying to think of a name for the new lighting system. Smith blurted out, “How about Vari-Lite?” Thus was born the name and a new era in entertainment lighting.

Rehearsals for the tour were scheduled to begin in August 1981. From the time Brutsche and Bornhorst signed an agreement to deliver the lights they had a little over 6 months in which to build all 55 lights and the controller, including the soft- ware, from scratch. On March 2, 1981, Bornhorst fi led a patent for a “computer controlled lighting system having automatically variable position, color, intensity, and beam divergence.”

In July, they assembled the system for the fi rst time and turned it on ( Figure 2-10 ). What they saw wasn’t what they had expected. 22 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

A

B Figure 2-10 The “magic moment.” The fi rst Vari-Lite system in operation. (A) The crew watches as the fi rst cues are programmed. (B) Genesis on stage with the new Vari-Lite system.

“ W h e n w e fi rst conceived Vari-Lite,” said Brutsche, “we thought we were building a system of color changing lights that were repositionable. When we fi red the system up the fi rst time and saw the light beams move in unison under the control of the computer, we were astounded at the visual impact of the effect. The whole idea of the kinetic and visual effect of the moving light beams wasn’t precon- ceived; it was an unexpected result of the system. It was the beam movement and “If We Can Make It Change Color . . . ” 23 the instantaneous dichroic color changing that made Vari-Lite such a sensation in the industry.”

On September 25, 1981, the Abacab tour kicked off with its fi rst show in a bullfi ght- ing ring in Barcelona, Spain. It was there that the fi rst system of Vari-Lites was unveiled to the public.

While Showco was in the early stages of attempting to build a color-changing PAR can, Peter Wynne-Willson began producing a moving mirror fixture called the PanCan. In 1979, the first units were sold. The PanCan was a pro- grammable moving mirror that could be retrofitted to theatre spotlights and PAR cans. The first units used an analog open-loop system with a joystick for pan and tilt. The second-generation system, introduced in September 1982, was a digital system with stepper motors and computer control. System III was a closed-loop servo system. It was sold and used in many parts of Europe and the United States, primarily in nightclubs and discotheques. One of the units was purchased by Bruno Dedoro, who was then the owner of an Italian theatrical lighting manufacturer named Coemar. In a few years he would design and build an automated moving mirror fixture called the Coemar Robot.

Also in 1979, the same year that the PanCan appeared on the market, a company in France named Cameleon, led by Didier LeClercq, started building a remote followspot that LeClercq called the Telescan. It was a moving mirror fi xture built specifi cally for hire. By 1981, the fi rst Telescan Mark 1 fi xture with a 1200 W HMI lamp had been built. It was a very large fi xture that resembled a followspot with a moving mirror attachment, originally built as a remote followspot for the theatre and opera. Later on, the Telescan Mark 2 became popular in the touring market with large music productions ( Figure 2-11 ).

The early 1980s was a heady time for touring production and automated lighting. Showco was building a following with their new moving yoke creation and was touring around the world with different bands. Several production companies saw or heard about the new technology and decided to follow suit by building their own moving lights. One of those companies was Morpheus Lights, as Dan English explains.

“We were doing a Journey show in Seattle. It was J. R. (John Richardson), his brother Bruce, and myself on the lighting crew. We were subbing in the lights because their lights were out with somebody else. Ken Mednick, who was their lighting designer, was driving us over to the show, and he said, ‘I just heard about this show in Europe with Vari-Lites!’ He had all these ideas about prism lighting and we thought, ‘What is this guy talking about?’ In the meantime, J. R. was thinking, ‘Hmmm, I think I can do that.’ 24 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

Figure 2-11 T h e T e l e s c a n M a r k 2 . (Photograph by Jocelyn Morel, 2001, www.movinglights.net .)

And by the time I got back from the tour, Bruce already had a light moving around.”

The Richardson brothers had started Morpheus as a production company after attending engineering college at Berkeley; they knew their way around electronics. After they heard about Vari-Lite, they dissected and studied the optics of several short-throw followspots. Within about 6 months of the Vari-Lite debut, they built their own servo-driven yoke fi xtures out of sheet metal that “looked kind of like a shoe box.” It was dubbed the Pana-Spot. The color change was accomplished by solenoids tripping a boom with gel colors, and the lamp source was a MARC 350 with the power supply in a separate enclosure. Rather than build their own con- troller, they used a Kliegl Performer, using one channel for each attribute.

The fi rst time the Pana-Spots were used was when six units were sent out on a Jimmy Buffett show. Soon to follow were a Paul Anka show in Las Vegas and a tour with Devo.

“That was pretty startling because people weren’t used to seeing these lights. The show was set up with a lot of symmetry, and, of course, with Devo it was pretty dramatic. It was a great looking show. Candace Brightman (lighting designer for the Grateful Dead) and I saw that show and that’s when she went, ‘Oh yeah, I’ll take those.’” The Black Hole 25

By October 1982, Morpheus was building the second generation of the Pana-Spot with a single gobo and seven colors. That December, English was operating the lights on the Grateful Dead tour.

The Black Hole

The atmosphere was no less charged about automated lighting in Europe than it was in North America. In 1980, a special effects company called Cause & Effects Limited was started in response to a need for 21 fi berglass cannons that were to be used on an AC/DC tour. At that time, the only common automated fi xture used in Europe was the PanCan. The owner of the company, Nick Lynch, had the idea to mount a standard “Thomas” PAR 64 in a moving yoke driven by DC motors controlled with a pulse-width modulated signal. One of the idiosyncrasies of the fi xture was that once it reached its fi nal destination the motors would power down and relax the tension in the gear system. The unit would then relax and fall away from position by a couple of degrees, then the sensor would pick this up and re-energize the motor, pushing it back into position. This series of actions would cause the lamp to oscillate. According to former employee Steve Warren, this is where the term “nodding buckets” (a popular colloquialism in Europe) originated. The problem was addressed by the addition of an electrical braking device. The company produced approximately 50 units, which were used in various tours, most notably a Gary Newman tour. Some of the fi xtures were installed in the London Hippodrome, a famous nightclub. Since there were no moving light consoles available at the time, the company was forced to design and manufacture a controller, the complexity of which contributed to the dissolu- tion of Cause & Effects Limited in 1984.

Other European companies enthralled with automated lighting were slightly more long lived. Shortly after the Vari-Lite took off, another English company called Tasco entered the automated lighting business. They began by producing a moving yoke fi xture called the Starlite. They found early success in Europe and opened an offi ce in the United States shortly afterward. Before it was all over they had built fi ve generations of the Starlite, and their controller was very advanced; it had a voice recognition system and a visualizer much like today’s visualization programs. But their ambitious attempt to produce such an advanced controller for moving lights ultimately proved to be their undoing. The company was eventually bought by David Snipp, and today they manufacture a software product called StarDraw.

Because the original Vari-Lites were used on tour in both Europe and North America, their infl uence was far reaching. Dyna-Might Sound and Light in Springfi eld, Missouri, was one of the companies quick to follow. While touring with acts such as Huey Lewis, Pat Benatar, Alabama, Talking Heads, and Chicago, John Gott, the owner, saw something that drew his attention. 26 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

“I saw some Vari-Lites at an early Genesis show,” Gott said, “when they were fi rst starting to come onto the market in the early ‘80s. We were getting excited about what we were doing with little portable lighting systems and I said, ‘This is going to be the future of lighting.’ So I started fi guring out how to dump lots more big money down a black hole [laughs].”

Dyna-Might had about half a dozen employees at that time, and they started building prototypes of moving lights.

“We started off with a yoke, and I contracted a satellite dish company to do some of the original engineering design. We used DC servo motors with analog control. Then we built a controller that had joysticks and memory positions that were analog sets—you’d set trim pots to a position and you’d move the joystick and it would go to a position and stop there. You had limit settings, basically, left and right, up and down.”

Their fi rst production run was a PAR 64-based moving yoke light called a Moto- Yoke. They built and sold 500 units. Next came an ellipsoidal-based unit, built around a Times Square 1000 W ellipsoidal, and eventually they built an arc source fi xture called the Moto-Arc.

“Probably 70% of our product went out of the country. They went to Europe and Asia—we had guys fl ying in here and wiring in hundreds of thousands of dollars trying to get product. We were growing like crazy. We had 35 people by ’87 just cranking out product like crazy.”

And there were more companies who recognized the opportunity. In the mid-1980s, Summa Technologies began manufacturing a moving yoke fi xture called the Summa HTI (Figure 2-12). It was the fi rst moving yoke fi xture to use the DMX512 control protocol. At the time, there were some people who believed that DMX512 was unsuitable for controlling automated lighting.

Despite the growing competition, Vari-Lite was intent on protecting their market share by protecting their intellectual property. On July 5, 1983, U.S. patent 4,392,187 was issued to Vari-Lite, Ltd. The abstract of the patent ( www.uspto.gov ) describes the system in broad terms:

A lighting system is disclosed which includes a control panel for operating a plurality of lights by means of a single two conductor signal cable and a power cable. Two embodiments of lights are provided for use in the present lighting system. In the fi rst embodiment, the light includes four dichroic fi lters mounted for pivotal motion on axes passing through the light path formed by light emanating from a lamp. The dichroic fi lters may be aligned with the light path, thereby eliminating the effect of the fi lters. The dichroic The Black Hole 27

Figure 2-12 The Summa HTI was the fi rst automated light to use DMX.

fi lters may be singly or in combination pivoted so that the light in the light path is incident on the dichroic fi lter at a predetermined angle to transmit a preselected color therethrough. Four primary color dichroic fi lters are employed. An integrating lens is provided for homogenizing the color of the light. A projection lamp may be employed with an elliptical mirror which refl ects light to converge at a focus. A collimating lens is then used to align the light for passage through dimmer and douser units and a focusing lens. The second embodiment of the light includes two color wheels each having 32 apertures formed in their outer periphery. Thirty one of the apertures are fi lled with dichroic fi lters to permit a preselected color to be transmitted therethrough with one aperture left open for passing white light. A gobo wheel and an intensity wheel may also be provided. A zoom lens may be provided. The lighting system permits the color, intensity, divergence and pan and tilt of each of the lights to be adjusted from the control panel for each cue in a show. The settings for each cue during a show may be stored in a memory and recalled to set the variable functions of each light when desired. 28 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

As more and more competitors entered the fi eld, Vari-Lite clung stubbornly to a big share of the market. They also stuck to their rental-only policy and closely guarded their intellectual property. Vari-Lite technicians literally worked behind cloaked areas to prevent prying eyes from taking ideas.

For Sale: Automated Lighting

In 1986, an Italian lighting manufacturer named Coemar built a moving mirror fi xture they called the Robot. The fi rst incarnation of the fi xture used a MARC 350 arc lamp and Airtronics servo motors, both of which proved to be problematic. The U.S. distributor for Coemar at the time was an Austin-based company named High End Systems. Richard Belliveau, one of the three owners of High End and the de facto technology offi cer, experimented with the Robot lamp and power supply and found that an HTI 400 with a magnetic ballast was brighter and much more reliable. So High End began modifying the fi xtures and reselling them.

Another issue with the Coemar Robot at the time was the dedicated controller. It could only control one address even though the fi xtures were individually address- able. As a result, every fi xture under its control would always pan, tilt, and change color and gobo together. A small company in the UK called WB Lighting, which was the distributor for Coemar in the UK at the time, built a computer-based controller that could individually address each fi xture. It was the fi rst moving light controller to use a mouse and icons with a visual display. The developer of the software, Mike Wood (now of Mike Wood Consulting), had to reverse engi- neer the communication protocol because “Coemar refused to tell me.”

A short time later, another Italian lighting manufacturer, Clay Paky, began ship- ping a moving mirror fi xture called the Golden Scan. This fi xture had an HMI 575 lamp and condenser optics, which yielded a far more uniform beam and better center-to-edge focus. It also had another technology that rendered it far more reliable than the Coemar Robot: it had stepper motors instead of servo motors.

High End Systems, interestingly enough, was also the distributor for Clay Paky at the time, and the improvements of the Golden Scan weren’t lost on Belliveau. In 1989, High End and Clay Paky had a falling out, and as a result Belliveau designed and built a moving mirror fi xture called the Intellabeam (Figure 2-13). High End then put their manufacturing operation into high gear, shifting their f o c u s f r o m d i s t r i b u t i o n t o m a n u f a c t u r i n g .

Around the same time, a small Danish company called Martin was building fog machines. Soon they graduated to building moving light scanners they called Roboscans. Over the years they expanded their product line and vastly improved the reliability of their automated lighting. Today, they’re among the world’s largest For Sale: Automated Lighting 29

Figure 2-13 H i g h E n d S y s t e m s I n t e l l a b e a m 7 0 0 .

High End Systems started out as a distributor of European lighting equipment, most of which ended up in nightclubs. For that reason, the Intel- labeam was initially perceived by much of the professional lighting com- munity as a “disco” light. Richard Belliveau, the inventor of the Intellabeam, was determined to change the market perception. One day, he copied the Upcoming Tours page from Performance Magazine , a now-defunct trade publication dealing with concert tours, and scribbled “$1000” across the top of it. He made several copies and handed them out to the staff. I was one of those staffers.

Belliveau emphatically offered a $1000 cash reward to the fi rst person who could get at least 24 Intellabeam fi xtures placed on any of the half dozen upcoming tours listed on the page. After several unsuccessful attempts to contact the lighting designers through artist’s management over the course of 2 weeks, I temporarily gave up out of frustration and set aside the photocopy.

A few days later I received a call from a man with an English accent asking for a High End Systems dealership. He was designing and installing a lighting system at a club in Bali and he had heard about the Intella- beams. Because we had semi-exclusive dealer arrangements and because 30 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

we received several calls per week asking for a dealership, I was reluctant to grant him a dealership. But he was very persistent, refusing to hang up the phone. Instead, he played every card he could, fi nally mentioning that he was the lighting designer for Dire Straits. That immediately set off an alarm in my head, and I madly scrambled through the stack of papers on my desk looking for the $1000 photocopy. I found it and confi rmed that Dire Straits was one of the target tours. I quickly reversed course and invited him to Austin at the company’s expense.

Chas Herington, Dire Straits’ lighting designer, arrived in Austin in the fall of 1990 to investigate the possibility of using Intellabeams on the band’s upcoming tour. He spent two days looking at the Intellabeam and talking to everyone in the company, particularly Richard Belliveau, who is a very persuasive man. By the time he left, he had agreed to specify Intellabeams on Dire Straits’ On Every Street tour in 1990–1991.

Knowing Belliveau as I do, I fi rmly believe that he was so bound and deter- mined to capture this tour that he wouldn’t have let Herington leave without agreeing to use the fi xture—he would have sat on him if he had to. Fortu- nately, no one had to resort to physical restraint, and Herington ended up using a system of 64 Intellabeams plus a plethora of other High End gear. His faith in Belliveau and the untried gear was rewarded with a spectacular show, thanks to his superb lighting design skills and the tenacity of a High End System tech named Bill McCarty, who the company sent on the road with the gear. By the time the tour ended, High End Systems had gained a reputation as a manufacturer of reliable touring gear. Their policy of selling gear rather than exclusively renting it did much to change the concert and touring lighting industry. High End Systems went on to garner market share and develop many more automated lighting systems, including the Cyber- light, Studio Color, Studio Spot, Studio Beam, Technobeam, and x.Spot, before venturing into manufacturing digital luminaires. They were subse- quently bought by the Belgian projector manufacturer Barco. automated lighting manufacturers with annual sales in excess of $185 million (€140 million) worldwide.1 Their line of MAC fi xtures includes the MAC 2000 Profi le, Wash, and Performance fi xtures, which were among the most specifi ed automated lights in the concert and touring industry during the 2000s.

Today, the competition in the automated lighting market is as intense as it ever was. The landscape of the industry has changed but the players remain much

1 Schouw & Co. Annual Report 2008 (www.schouw.dk ). Sue Me, Sue You Blues 31 the same. Martin, Robe, Vari-Lite, Morpheus, Coemar, and Clay Paky are still battling it out for market share while other companies such as SGM, Studio Due, Pearl River, and many more, are fi nding niche markets for many of their automated lighting products. There are more Chinese manufacturers going into lighting manufacturing, and distributors such as American DJ and Elation Professional are increasingly bringing better quality, affordable goods into the marketplace. ETC, one of the world’s largest dimming and controls manufacturers, has yet to fi nd overwhelming success in the automated lighting business with their Source Four Revolution, an automated Source Four fi xture, that they created with their dimming, controls, and Source Four products. There are many more manufacturers and distributors, far too many to name; suffi ce it to say that there’s no shortage of choices for the discriminating lighting designer and specifi er.

Sue Me, Sue You Blues

The landscape of the automated lighting industry has been shaped by innovations and the protection of the intellectual property that resulted from hard work and long hours of research. Over the years the Vari-Lite Corporation has brought liti- gation on at least fi ve separate occasions against companies including Syncrolite, Summa Technologies, High End Systems, Clay Paky, and Martin Professional. In all of the cases, Vari-Lite either won or settled out of court, and in the case of Summa, the lawsuit was enough to shut down the company.

Vari-Lite might have more successfully limited their competition if it wasn’t for a prior patent, which had been issued to Dr. von Ballmoos, and their failure to either acquire or license that patent. When Vari-Lite originally applied for its patent, the European Patent Offi ce rejected its broad claims on the basis of the prior art established in 1972 by the von Ballmoos patent. Vari-Lite’s patent claims were said to “lack novelty.” The patent Vari-Lite did fi nally receive was limited in scope, allowing them to protect specifi c features of its system.

Prior to this, a company called Variable-Parameter Fixture Development Corpora- tion had acquired the rights to the von Ballmoos patent to clear the way for them to develop automated luminaires and automated features in followspots. In 1984, Variable-Parameter sent Vari-Lite a letter raising the question of apparent infringe- ment on the von Ballmoos patent based on information available at the time. Vari-Lite inquired about licensing fees, but instead of pursuing licensing they fi led suit against Variable-Parameter, seeking to have the von Ballmoos patent declared invalid and/or not infringed. After years of discovery and with the case heading to trial, Vari-Lite fi led a request for a re-examination of the von Ballmoos patent in the U.S. Patent Offi ce, saying that several earlier patents weren’t con- sidered when the von Ballmoos patent was originally fi led. Along with the 32 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

re-examination, they requested a delay in the original lawsuit pending the outcome of the re-examination. After considering Vari-Lite’s documentation and additional material submitted by Variable-Parameter, the Patent Offi ce announced that it would recertify the von Ballmoos patent as valid. Vari-Lite decided to settle out of court. In July, 1988, Variable-Parameter and Vari-Lite entered into a consent decree by which Vari-Lite accepted the von Ballmoos patent as “ . . . . duly and legally issued . . . good, valid and enforceable . . . ” and that Vari-Lite’s Model 100 and Series 200 systems were . . . . adjudged covered by said patent.” Vari-Lite paid Variable-Parameter $1,000,000 for a limited covenant not to be sued under the patent.

Next, Variable-Parameter sought to license the patent to Morpheus Lights, who refused to enter into discussions. Like Vari-Lite, Morpheus then sought to have the patent examined a second time, hoping to have the U.S. Patent Offi ce declare it invalid. Instead, the patent was once again certifi ed as valid. Still, Morpheus refused to go to trial or to settle out of court. In the end, the court entered a default judgment against the company’s owner. The court found that the owner “ . . . . personally knew of the patent and was personally informed by his engi- neers, as well as his patent counsel, that the manufacture and lease of the . . . [accused] systems was an infringement.” As a result, the court awarded Variable-Parameter $12 million on $30 million in sales. Before a similar judgment could be entered against Morpheus, the secured creditor sought to impose a receiver and the company fi led Chapter 11 bankruptcy. The creditor then forced the owner out and installed a CEO of their own choosing, and the company operated in bankruptcy. The assets of the company were then sold to another company in which the patent holder held substantial interest. They have since revitalized their new product development, resulting in a new 1200 W Pana- Beam wash fi xture.

The Future of Automated Lighting

When Lighting & Sound Design (now part of Production Resource Group; PRG) held a private showing of the prototype of the fi rst digital luminaire in a hotel room across the street from the LDI trade show in 1998, it was as close a peek into the future of the lighting industry as anyone could get at the time. The prototype of the Icon M automated light was the fi rst with a digital graphics engine enabling the projection of “soft” gobos and the fi rst to use a media server in a lighting system. It was a harbinger of things to come.

In the ten-plus years since the digital revelation, the entire landscape of the indus- try has been transformed to the same extent that automated lighting changed the industry in the 1980s. The proliferation of media servers and LEDs—both as light sources and as display devices—has changed the role of automated lighting from The Future of Automated Lighting 33 that of the primary projection source to a secondary one, at least in those productions where the budget allows for it. But this industry never seems to shed older technology in favor of new; instead, it simply adds to the designer’s toolbox. So automated lighting remains a very important part of the industry, and it will continue to do so for the foreseeable future.

Meanwhile, advances in automated lighting continue at a steady pace. New lamp technology has provided for an abundance of sources with increasing greater effi ciency and smaller arc gaps, allowing manufacturers to more effi ciently gather and redirect the emitted light. Automated lights with LEDs are multiplying, and new lamp sources like the LiFi plasma lamp are showing great promise for bright- ness and effi ciency, allowing luminaires to be made even smaller and lighter in weight.

The widespread use of switch-mode power supplies in computers and consumer electronics has helped make them more affordable and more readily available for use in automated lighting as well as making them smaller, lighter in weight, and more effi cient. New materials have contributed to the smaller size and lighter weight of automated luminaires, and continuing software development has served to make them more reliable and easier to troubleshoot and repair.

Since the approval of two ANSI standard control protocols—Remote Device Management (RDM) and Architecture for Control Networks (ACN)—in 2006, the future of automated lighting continues to be shaped by software develop- ment. Both of these protocols allow for bi-directional communication between a luminaire and one or more controllers. Once they’re fully implemented and permeate the industry, lighting consoles will be able to “discover” each device plugged into the control network. It will record a unique electronic serial number called a component identifi er (CID) and then the operator will be able to execute from the console virtually any command that can be executed via the menu display of an automated fi xture. For example, the DMX512 address could be set, the operating mode selected, and the personality of the fi xture could be manipulated.

When ACN is implemented to its full potential, even more housekeeping and tasks can be made easier or eliminated altogether. With ACN’s bulk fi le transfer capabilities, there’s no reason why every device couldn’t carry its own database with any and every bit of information needed by anyone who might use it. The database might include user manuals, CAD blocks, weights and dimensions, electrical requirements, and more. Those who need this information—including lighting designers, programmers, electricians, riggers, and more—will be able to download this information from the console, from the manufacturer’s Web site, or by connecting their laptop or handheld device. And that’s just the beginning. Where it will lead is anyone’s guess. 34 THE FOUNDATION OF THE AUTOMATED LIGHTING INDUSTRY

Regardless of where the technology takes us, one thing is certain: what the future holds for the industry is more and better automated lighting, and along with it, a growing demand for designers, programmers, technicians, engineers, and sales and marketing personnel. The technology will become increasingly complex, and those who have a fi rm grasp of the fundamental principles behind it will have the best opportunity for meaningful work in the fi e l d . CHAPTER 3 Automated Lighting Systems

The future of art is light .—Henri Matisse (1869–1954), French painter and sculptor

Today’s automated lighting systems range from a few luminaires running preset programs in a master/slave confi guration with no external controller, to extremely large systems with hundreds of fi xtures of multiple types and multiple controllers running simultaneously on a network. It used to be that a large automated light- ing rig had a few dozen automated lights; today it’s not unusual to see rigs with hundreds of automated luminaires.

Many lighting designers spend years building a portfolio before they have an opportunity to design and use a lighting rig of that size and scope. But regardless of whether an automated lighting system is small, medium, large, or mega large, there are common systems, practices, and elements that should be familiar to the designer, programmer, operator, technician, or stagehand. Learning about how these systems go together and work together will help you prepare for the even- tuality of handling an automated lighting system of any size.

Systems Overview

From a systems standpoint, every automated lighting system has certain common elements:

■ R i g g i n g s y s t e m

■ Power distribution system

■ D a t a d i s t r i b u t i o n s y s t e m 35 36 AUTOMATED LIGHTING SYSTEMS

■ C o n t r o l s y s t e m

■ L u m i n a i r e s o r fi x t u r e s

Figure 3-1 illustrates the major components of an automated lighting system.

Truss/rigging system Strain relief

Multicore power cables to Dimmers/ data cables Company to switch Automated luminaires Data distributor Feeder cable

Monitor Data homerun Lighting from console console Data output to Power from console Data distributors distro/ dimmers

Figure 3-1 A typical automated lighting system comprises the following: a rigging system on which to hang the luminaires; a power distribution system, which safely distributes electricity among the luminaires; a data distribution system, which distributes the control signal to each luminaire; a control system, which generates the control signals; and the luminaires.

Rigging Systems

From a safety standpoint, the rigging system and the power distribution system are the two most important aspects of any lighting rig. The purpose of a rigging system is to provide a safe and convenient structure on which to hang production equip- ment such as lighting, sound, video, scenic elements, and equipment. Automated lighting fi xtures tend to be very heavy compared to conventional lighting and require the utmost care in rigging for the prevention of accidents. The internal components, and sometimes external components such as large chokes and transformers, tend to increase the size and weight of automated lighting fi xtures. The higher the power, the larger and heavier they tend to be. A typical 1200 W automated lighting fi xture can weigh up to 100 pounds (45 kg) or more. Considering that a typical lighting rig might have at least a dozen or more fi xtures for a small- to medium-sized rig, the weight of the entire system can be measured in tons. Because these rigs are typically hanging over the heads of performers and very often the audience as well, it’s crucial to use the proper rigging hardware and techniques and Aluminum Structures 37 to use caution and practice safe rigging. While rigging practices are beyond the scope of this book, suffi ce it to say that a qualifi ed rigger should be involved in rigging any structure on which you’re planning to rig a lighting system.

There are many ways to rig automated lighting systems. In concerts and touring and special events, typical rigging systems are fl own aluminum truss structures, ground supported truss structures, or a combination thereof. In the theatre, auto- mated lighting is typically rigged on a counterweight rigging system or on a motorized line-shaft system. For smaller portable systems, motorized lighting towers, crank towers, and/or lighting trees can also be used for rigging automated lighting. Of course, automated lighting is sometimes placed on fl at surfaces, such as on the ground, on a stage, on a riser, or in a set without any rigging at all.

Aluminum Structures

Portable rigging built from modular sections of aluminum truss are used for temporary structures in entertainment lighting. They’re lightweight, relatively quick, easy to assemble, and can be confi gured in a variety of different structures by as few as two people.

Sections of truss ( Figure 3-2 ) aren’t made from pure aluminum because it wouldn’t be strong enough for structural support. Instead, raw aluminum is often mixed with other metals, usually copper, magnesium, manganese, silicon, and zinc, to produce the alloys from which an aluminum truss is made. The amount of other metals used in the alloy gives it certain desirable characteristics such as hardness,

Chord

Node

Diagonal End frame

Figure 3-2 The parts of a typical section of truss. 38 AUTOMATED LIGHTING SYSTEMS corrosion resistance, light weight, and a bright fi nish. In North America, the alloy 6061-T6 is used for a truss and in Europe 6082-T6 is more common.

A truss is classifi ed as light-duty, medium-duty, or heavy-duty, depending on its dimensions. A light-duty truss is usually 12 ϫ 12 in. (30.48 ϫ 30.48 cm) or 12 ϫ 18 in., a medium-duty truss is 20.5 in. (52 cm) square, and a heavy-duty truss is 20.5 ϫ 30 in. (52 ϫ 76.2 cm). The main chords of a typical section of truss are typically 2 in. in (outer) diameter.

Each class of truss can come in different confi gurations including ladder (two main chords), triangular (three main chords), or box truss (four main chords), and they can be either spigoted or plated. A spigoted truss is assembled using short sections of aluminum inserts called spigots that link sections of truss together. A plated truss is assembled by bolting the end plates of two or more sections of truss together.

Every truss is rated according to the maximum allowable point load and the maximum allowable uniformly distributed load (UDL; Figure 3-3 ).

ALLOWABLE LOAD DATA MEDIUM DUTY TRUSS 20.5'''' ϫ 20.5 '''' PLATED

MAXIMUM MAXIMUM ALLOWABLE POINT LOADS ALLOWABLE CENTER THIRD QUARTER UNIFORM LOADS POINT POINT POINT

Max Max Max Max Span Load Load Defl. Load Defl. Load Defl. Load Defl. ft. (mtrs) #/ft. Ibs (kgs) in. Ibs (kgs) in. Ibs (kgs) in. Ibs (kgs) in. Single Camloc through 3/8'''' gusset plates 10 (3.04) 658 6580 (2985) 0.06 3292 (1493) 0.05 2469 (1120) 0.06 1646 (747) 0.06 20 (6.09) 157 3140 (1424) 0.24 1580 (717) 0.19 1185 (538) 0.24 790 (358) 0.23 30 (9.14) 65 1950 (885) 0.53 980 (445) 0.44 735 (333) 0.54 490 (222) 0.51 40 (12.21) 32 1280 (581) 0.93 658 (298) 0.80 493 (224) 0.97 329 (149) 0.91 50 (15.24) 17 850 (386) 1.43 447 (203) 1.28 335 (152) 1.50 223 (101) 1.43 Two Camlocs through 3/8'''' gusset plates 10 (3.04) 839 8390 (3806) 0.08 5336 (2420) 0.08 4002 (1815) 0.10 2668 (1210) 0.09 20 (6.09) 260 5200 (2359) 0.38 2602 (1180) 0.31 1951 (885) 0.39 1301 (590) 0.36 30 (9.14) 110 3300 (1497) 0.86 1661 (753) 0.70 1246 (565) 0.88 831 (377) 0.82 40 (12.21) 58 2320 (1052) 1.52 1169 (530) 1.26 876 (397) 1.56 584 (265) 1.46 50 (15.24) 34 1700 (771) 2.38 856 (388) 2.01 642 (291) 2.43 428 (194) 2.30 5/8'''' Diameter Grade 8 bolts with standard washers through 3/8'''' gusset plates 10 (3.04) 839 8390 (3806) 0.08 4744 (2152) 0.07 3558 (1614) 0.09 2372 (1076) 0.08 20 (6.09) 230 4600 (2087) 0.34 2306 (1046) 0.27 1729 (784) 0.35 1153 (523) 0.32 30 (9.14) 97 2910 (1320) 0.76 1464 (664) 0.62 1098 (498) 0.78 732 (332) 0.73 40 (12.21) 51 2040 (925) 1.36 1021 (463) 1.13 765 (347) 1.39 510 (231) 1.30 50 (15.24) 29 1450 (658) 2.10 737 (334) 1.80 553 (251) 2.16 369 (167) 2.05 Note: Deflections reported in the above tables are maximum expected for full loadings (indoors only). All loads are based on 10''-0'''' sections. Other section lengths are available. Load tables are reprinted from engineering reports developed by Parkhill, Smith & Cooper, Inc., structural engineers, and apply to truss fabricated after December, 1989.

Figure 3-3 Typical truss loading table. ( C o u r t e s y o f T o m c a t . ) Theatrical Rigging 39

Most truss manufacturers supply data for each type of truss they offer, showing the defl ection for a given span of the truss with a given point load and UDL. If the truss system is ground-supported by truss towers, each tower also has a maximum load and a maximum height.

Theatrical Rigging

Theatres typically use either a counterweight system or motorized line-shaft system to rig lighting and set pieces (Figure 3-4). A counterweight system nor- mally uses a series of pipes and a system of lines, blocks, and counterweights to balance the weight of the load on each pipe and bring them to equilibrium. In North America, 1.5 in. schedule 40 black iron pipe, referred to as a “batten,” is

1

2 2 2

3 3 3

9 4 1 - Head block 2 - Loft blocks 3 - Aircraft cable lift lines 5 4 - Batten 5 - Hand line 6 6 - Counterweight arbor 7 - Lock rail 8 - Tension block 9 - Loading bridge

7

8

Figure 3-4 Parts of a typical counterweight rigging system. 40 AUTOMATED LIGHTING SYSTEMS typically used, while in Europe, a 75 mm outer diameter (OD) pipe is used to rig scenery and a 48 mm OD pipe, referred to as a “barrel,” is rigged underneath for lighting and electrics. Incidentally, a 48 mm OD pipe is the same dimension as a 1.5 in. (actually 1.61 in. inner diameter; ID) schedule 40 pipe. A motorized line- shaft system is similar to a counterweight rigging system except it uses electric w i n c h e s i n s t e a d o f c o u n t e r w e i g h t s .

Rigging Hardware

Lighting instruments, whether automated or conventional, normally have a yoke onto which a clamp or a half-coupler can be bolted to rig it on a rigging system. Automated lighting is, in most cases, very big and heavy; it’s often rigged with two clamps or half-couplers ( Figure 3-5 ). Dual clamps also provide more stability for moving lights and help prevent rotation due to the torque generated when the fi xture is panned. In some cases three clamps are used for more mounting s t a b i l i t y .

There are many different types of clamps and couplers, including cast iron c-clamps, but half-couplers offer the most stability and security. Regardless of which type of clamp or coupler is used, a safety cable should always be used with l i g h t i n g i n s t r u m e n t s ( F i g u r e 3 - 6 ) .

Figure 3-5 Many automated luminaries are rigged with two c-clamps or half-couplers. Power Distribution Systems 41

Figure 3-6 Left to right: cast iron c-clamp, half-coupler, and safety cable.

Power Distribution Systems

Like a rigging system, a well-designed power distribution (PD or power distro) system is a key component for the safe operation of a lighting rig. The job of a PD system is to safely and reliably distribute power to each of the electrical loads in the system while providing protection from overloading and short circuits. Because of the dangers involved in working with, and around, high voltage, only qualifi ed personnel should design, confi gure, or connect power distribution equipment. It’s beyond the scope of this book to cover PD distribution system design in detail; however, there are some very important basic principles with which every lighting professional should be familiar.

Every PD system should have certain elements ( Figure 3-7 ):

■ Disconnect switch, sometimes known as a company switch

■ F e e d e r c a b l e s

■ Distribution panel with overload protection (circuit breakers)

■ B r a n c h c i r c u i t s

■ C o n n e c t o r s

In addition, some, but not all, PDs also have dimmers and dimmer circuits. The majority of automated lighting uses arc lamps, although more incandescent lamp models are being introduced. And more recently automated lighting with plasma lamps has also been introduced. Arc lamps can only be dimmed electronically to about 40% and plasma lamps to 20% of full brightness; therefore, they usually have a mechanical dimmer that allows the intensity to be controlled from 0 to 100%. So an automated lighting system without incandescent lamps has no need for electronic dimmers or dimmer circuits. However, most automated lighting systems have at least some conventional lighting, which is mostly incandescent lighting and requires dimming circuits. 42 AUTOMATED LIGHTING SYSTEMS

(E) Panel ‘A’

(E) Feeders, 4 #2 THWAL

(E) 70 A/3 P

(E) 200 A, 120/208 V, 3 f, 4 W basement distribution panel

Disconnect (E) F (E) Gutter

Circuit breaker (E) Transformer

(E) Main (E) M 800 A 400 A 3P 3P NEUT. (E) 800 A, 120/208 V, 3 f, 4 W ‘MSB’ GND

(E) (E) GND electrode

Figure 3-7 Typical electrical one-line diagram showing the transformer, circuit breakers, disconnect switch, and distribution panel.

Disconnect Switch

A disconnect switch, or a mains disconnect switch, is a dry contact closure switch that, in the off state, de-energizes the output terminals or connectors so that a portable PD system can be safely tied in to the electrical supply (Figure 3-8). In a theatre or performing arts facility, a mains disconnect switch designed especially for touring companies is called a company switch because it’s provided as a c o u r t e s y t o a v i s i t i n g c o m p a n y . Feeder Cable 43

Figure 3-8 A disconnect switch allows the feeder cable to be safely tied in.

Before a portable PD is tied in or wired into the mains circuit, the disconnect should be placed in the off position and if it is out of sight it should be locked out. In the case of a multiconductor system, such as a three-phase power system (also known as a four-wire system plus ground or earth), the disconnect isolates all “poles” of the switch with the throw of a single lever.

Feeder Cable

Feeder cable is the largest cable in a PD system, and its job is to tie a lighting, audio, and/or video system to the main power grid. The size of the feeder cable needed for any particular job is based on the total connected load of the entire system. According to the NFPA 70: National Electrical Code® 2008 Edition , feeder cable for theatres, performance areas, and similar locations must be listed for “extra hard usage,” which means type SC, SCE, SCT, or W cable. It must also be fused or have a circuit breaker that’s plainly marked as such, and it must have suffi cient ampacity to carry the total connected load. The Entertainment Standards & Technical 44 AUTOMATED LIGHTING SYSTEMS

Association (ESTA; www.esta.org ) is developing a standard called BSR 1.18, Enter- tainment Technology—Recommended practice for the selection, installation, use, and maintenance of single-conductor portable power feeder cable in the entertain- ment industry. This standard is intended as a guide to selecting, installing, using, and maintaining single-conductor portable power feeder cables to promote safety and compatibility in the equipment and practices used in live performance, fi lm, and video production in North America.

The ampacities of the allowed cable types (SC, SCE, SCT, and W) are listed in Table 3-1 . The ratings are based on an ambient temperature of 86°F (30°C). The

Table 3-1 Ampacity of cable types SC, SCE, SCT, PPE, G, G-GC, and W [based on an ambient temperature of 30°C (86°F)]. Temperature Rating of Cable

Size (AWG 60°C (140°F) 75°C (167°F) 90°C (194°F) or kcmil) I II III I II III I II III 2 140 128 112 170 152 133 190 174 152 1 165 150 131 195 178 156 220 202 177 1/0 195 173 151 230 207 181 260 234 205 2/0 225 199 174 265 238 208 300 271 237 3/0 260 230 201 310 275 241 350 313 274 4/0 300 265 232 360 317 277 405 361 316 250 340 296 259 405 354 310 455 402 352 300 375 330 289 445 395 346 505 449 393 350 420 363 318 505 435 381 570 495 433 400 455 392 343 545 469 410 615 535 468 I—The ampacities under subheading I shall be permitted for single-conductor Types SC, SCE, PPE, and W cable only where individual conductors are not installed in raceways and are not in physical contact with each other except in lengths not to exceed 600 mm (24 inches) where passing through the wall of an enclosure.

II—The ampacities under subheading II apply to two-conductor cables and other multiconductor cables connected to utilization equipment so that only two conductors are current-carrying.

III—The ampacities under subheading III apply to three-conductor cables and other multiconductor cables connected to utilization equipment so that only three conductors are current-carrying.

Table 400.5(B) above reprinted with permission from NFPA 70-2009, the National Electric Code® Copyright ©2007, National Fire Protection Association, Quincy, MA 02169. National Electric Code® and NEC® are registered trademarks of the National Fire Protection Association, Quincy, MA 02169. Feeder Cable 45 three major columns identify the temperature rating of the insulation and each of the three columns under the temperature rating corresponds to single- conductor, two-conductor, and three-conductor cables. Feeder cable shouldn’t be bundled, tied, taped, or otherwise grouped together because the heat generated by one cable affects the ambient temperature around the other, thereby reducing its ampacity accordingly. Some electricians can recite from memory the ampacity of certain sizes of feeder cable; for example, 4/0 AWG is good for about 400 amps or 2/0 AWG is good for 300 amps. But most often the ampacity cited is for single- conductor, 90°C cable in free air when the ambient temperature doesn’t exceed 30°C (86°F), even though they may not even be aware of the conditional nature of the ampacity of the cable.

There should also be a 20% overhead allowance so a circuit that’s protected with, for example, a 400 amp breaker, shouldn’t carry more than 320 amps. Note that excess feeder cable should never be stacked in circular coils because its concen- trated excess heat could melt the insulation. Instead, stack the excess cable in a fi gure eight, which spreads and dissipates the heat better.

Most modern facilities in North America operate on a three-phase, four-wire plus ground or earth “wye” system, which has three hot legs or phases (black, red, and blue), one neutral (white), and one ground (green, green with yellow stripes, or bare copper). The phase-to-phase voltage is 208 V, and the phase-to-neutral voltage is 120 V at 60 Hz. Most of Europe operates on either 220 V single- phase/380 V three-phase or 230 V single-phase/400 V three-phase at 50 or 60 Hz. Since 1988, the harmonized standard in Europe allows a range of voltages from 216.2 to 253 V (230 V +10%/−6%). Australia operates on 240/415 V and Japan uses a 100/200 V power grid. The color code for European countries was harmonized in 2004, but the old colors could have been used until April 2006. The color codes are shown in Table 3-2 .

The feeder cable in a portable PD system ( Figure 3-9 ) should be tied into the mains circuit by a qualifi ed electrician. The disconnect switch should always be turned off and locked out before the feeder cable is tied in. In the rare event that there is no disconnect switch, then the feeder cable might have to be tied in live, or “hot,” which

Table 3-2 European color standards for three-phase systems. Old Color New Color Earth (ground) Green/yellow striped Green/yellow striped Neutral Black Blue Live/phase 1 Red Brown Phase 2 Yellow Black Phase 3 Blue Gray 46 AUTOMATED LIGHTING SYSTEMS

Figure 3-9 Excess feeder cable should be stacked in a fi gure eight. is a very dangerous task that should only be undertaken when there is no other option, and then only by qualifi ed personnel with the proper personnel protective equipment (PPE), including a rubber mat, rubber-soled boots, rubber gauntlets, a face shield, and voltage-rated (V-rated) tools with the proper insulation rating.

Distribution Panels and Portable Power Distribution Units

A distribution panel is typically the next component of a PD system after the feeder cable. It serves two purposes: it divides the incoming power into branch circuits and provides the overcurrent protection equipment (circuit breakers) for them. In a permanent installation like in a nightclub or a church, the distribution panelboards, or circuit breaker panels, are normally housed in a wall-mounted enclosure with a hinged door. In North America the breakers are arranged on the breaker panel in two columns with up to 21 breakers per side, and they’re numbered left to right, then top to bottom. Every third row is connected to the same phase in a three-phase system, so that rows 1, 4, 7, etc., are phase X; rows 2, 5, 8, etc., are phase Y; and rows 3, 6, 9, etc., are phase Z. In the UK the breakers are arranged on the breaker panel in two columns, but they’re numbered from top to bottom in the left-hand column, and then from top to bottom in the right-hand column.

In a portable power distribution unit (PPDU; Figure 3-10), the circuit breakers are typically built into a rack-mounted enclosure and mounted in a fl ight case with Overcurrent Protection 47

Figure 3-10 Portable power distro unit showing Cam-Lok inputs and outputs with double neutral (bottom), Socapex connector outputs (middle and top), twist-lock connectors (top), and Edison connectors (top). casters (wheels). In North America, feeder cables are usually connected with a cam-type connector, such as a Crouse-Hinds Cam-Lok or equivalent. In Europe they’re typically PowerLock or Power Link connectors. The outputs of the PD are typically confi gured with a variety of connectors, depending on your preference or the preference of the rental house from which it came. In North America they can be Edison, twist-lock, stage pin, terminal strip, multi-circuit (typically referred to as “socopex” as a generic name for the Socopex trademark name), camlock, or CEE-form connectors. In Europe they can be CEE 17 connectors for “hard power” or non-dimmed power, IEC, or Schuko connectors. In the UK, 15 amp Duraplugs are typically used for dimmed power. PDs often have many accessories, such as LED indicators, built-in volt meters, and built-in ammeters.

Overcurrent Protection

Overcurrent protection devices are designed to protect equipment and personnel from the hazards of overloads and electrical faults. In a PD system, overcurrent protection is normally in the form of fuses and/or circuit breakers ( Figure 3-11 ). 48 AUTOMATED LIGHTING SYSTEMS

Figure 3-11 Circuit breakers are available in a variety of confi gurations. Left to right: GE 15A single pole, GE 40A double pole, Square D 30A single pole, and Siemens 20A single pole.

They’re rated by the maximum current they will allow to pass at the rated voltage and the maximum short circuit current they can handle. Both fuses and circuit breakers are inverse-time devices; the higher the overcurrent the faster they will trip.

Most household circuit breakers in North America are thermal breakers. They sense current by means of a bimetallic strip that fl exes due to the difference in the coeffi cient of expansion of each side of the strip. When current fl ows through it, one side expands faster than the other, and if enough current fl ows through it, then it will fl ex enough to trip the spring-loaded shutoff mechanism. Thermal circuit breakers are infl uenced by the ambient temperature, and in hot environments they might trip sooner than they should. In addition, they gradually lose their calibra- tion every time they trip, eventually becoming too weak to operate properly.

In Europe, and in many PPDUs, magnetic circuit breakers are more common. They measure the current fl ow by sensing the magnetic fi eld around a conductor in direct proportion to the current. Branch Circuits 49

They trip much faster and more accurately than thermal breakers. In North America, circuit breakers for 14, 12, and 10 AWG circuits should have an interrupt rating of no more than 15, 20, and 30 amps, respectively.

Dimmers

Conventional lighting like PAR cans and Lekos typically have no built-in electron- ics or dimming; they rely on outboard dimmers that control the light level of the lighting instruments connected to it. Most automated luminaires have mechanical dimming or onboard electronic dimming, but some, like the Vari-Lite VL1000, require external dimmers.

Branch Circuits

A branch circuit is the set of wires (hot, neutral, and ground or earth in a single-phase system) that carries power from the last overcurrent protection device to one or more electrical loads. Every branch circuit must have its own overload protection, and it can have as many receptacles or outlets as necessary as long as the connected load doesn’t exceed the rated current of the circuit. In practice, it’s a good idea to allow for 20% overhead by loading a circuit only 80%. For example, if you only load a 20 amp circuit to 16 amps then there is room for error.

In a permanent installation, branch circuits are normally run through electrical metallic tubing (EMT) or “conduit,” which helps protect the insulation on the wires from nicks and cuts. The more conductors in a single conduit, the higher the temperature in the conduit; thus the ampacity of each conductor has to be de-rated according to the total number of current carrying conductors.

In portable PD systems, branch circuits are often run using multicore cable, which is a single cable containing several individually insulated wires. The most common confi gurations of multicore cable for entertainment applications are 19-conductor, 14-conductor, and 7-conductor cable. They’re terminated on either end with a S o c a p e x - t y p e 1 9 - p i n ( F i g u r e 3 - 1 2 ) o r 7 - p i n c o n n e c t o r .

A multicore cable is typically terminated at the load by using a breakout assembly, which splits a multicore cable from a single connector to individual branch circuits ( F i g u r e 3 - 1 3 ) . 50 AUTOMATED LIGHTING SYSTEMS

19-pin Socapex Pinout

7 6 6 7 8 5 5 8 16 15 15 16 9 4 4 9 17 19 14 1914 17 10 3 3 10 18 13 13 18 11 2 2 11 12 1 1 12

Male Female

Circuit Number Hot Neutral Ground 1 Pin #1 Pin #2 Pin #13 2 Pin #3 Pin #4 Pin #14 3 Pin #5 Pin #6 Pin #15 4 Pin #7 Pin #8 Pin #16 5 Pin #9 Pin #10 Pin #17 6 Pin #11 Pin #12 Pin #18

Figure 3-12 Nineteen-pin Socapex pinout and their associated circuits shown from solder side. Pin 19 isn’t connected.

Figure 3-13 Socapex to IEC breakout. (Photograph courtesy of Rhyner Event Renting.) Wire Gauges 51

Wire Gauges

Wires and cables are sized according to standards that define the cross- sectional diameter of the conductors. The ampacity (how much current they can safely carry under specified conditions) is determined by the wire size, the ambient temperature, and the temperature rating of the insulation covering the conductor. For example, THHN wire is used in North America for permanent installations in commercial buildings and it’s rated at 194°F (90°C).

The American Wire Gauge (AWG) is the standard by which wire and cable is manufactured and used in North America; the smaller the gauge, the larger the diameter of the wire. In most parts of the world, wire is specifi ed by the area of its cross-section in square millimeters. For example, 4/0 cable (pronounced four- ought, also designated as 0000) is 107.22 mm 2 . Table 3-3 shows the ampacity of listed extra-hard-usage cords and cables with temperature ratings of 75°C (167°F) and 90°C (194°F) in air temperature of 30°C (86°F). Note that the ampacities apply only to multiconductor cords and cables where only three conductors are current- carrying and the load diversity factor (the ratio of the sum of the peak demand of each load connected to the system to the peak demand of the entire system) is at least 50%.

Ampacity shown is for multiconductor cords and cables where only three conduc- tors are current-carrying. For cords or cables where there are more than three current-carrying conductors and the load diversity factor is a minimum of 50%,

Table 3-3 Ampacity of listed extra-hard usage cords and cables with temperature ratings of 75°C (167°F) and 90°C (194°F) based on ambient temperature of 30°C (86°F). Max Rating of Diameter Ampacity with Ampacity with Overcurrent Size (AWG) (mm/in.) 75°C (167°F) 90°C (194°F) Device 14 1.63/0.064 24 28 15 12 2.05/0.081 32 35 20 10 2.59/0.10 41 47 25 83.25/0.13 57 6535 6 4.115/ 0.17 77 87 45 45.189/0.2010111460 26.543/0.2613315280 From NEC Table 520.44 and AWG tables. 52 AUTOMATED LIGHTING SYSTEMS the ampacity of each conductor will be de-rated according to the following table:

Number of Conductors Percent of Ampacity 4–6 80 7–24 70 25–42 60 43 and above 50 For complete details please see NEC Table 520.44.

(Reprinted with permission from NFPA 70-2009, the National Electric Code® Copyright ©2007, National Fire Protection Association, Quincy, MA 02169. National Electric Code® and NEC® are registered trademarks of the National Fire Protection Association, Quincy, MA 02169.)

Voltage Drop

When branch circuits are run a long way and/or when the wire gauge is small, the inherent resistance of the wire causes a voltage drop, which should be taken into account. The National Electrical Code (NEC) allows for a 3% voltage drop across a branch circuit and another 2% across the feeder circuit, or a total voltage drop of 5%. For a 120 V circuit, that’s a maximum voltage drop of 6 V. The maximum length of a branch circuit for 14, 12, and 10 AWG with a maximum 3% voltage drop in a 120 V/60 Hz single-phase circuit and 100% power factor (purely resistive load) at 80% of full load is given in Table 3-4 .

Table 3-4 Maximum allowable length for branch circuits.* Wire Gauge Max. Length for 3% Voltage Drop #14 49.22’ (15 m) #12 58.82’ (17.93 m) #10 62.42’ (19 m) *Maximum allowable voltage drop (3%) based on NEC 2008 210.19 (A)(1) FPN No. 4.

Connectors

There are many types of connectors with which to connect an electrical load to a branch circuit ( Figure 3-14 ). Depending on the voltage, the application, and the geographical area, there are a handful of connectors that are more common in entertainment lighting and automated lighting. For small 120 V AC loads in North America such as consoles and rack-mounted gear, the NEMA 5-15 plug, also known as the Edison plug, is very common. For 120 V AC and 208 V AC automated Worldwide Electrical Safety and Wiring Codes 53

Figure 3-14 Left to right: Locking connector, stage pin connector, Edison connector, CEE connector, and IEC connector. lighting, twist-lock-type connectors work well because they lock on connection, but stage pin connectors are more common in the theatre. In Europe, CEE con- nectors in a variety of sizes are very common.

Worldwide Electrical Safety and Wiring Codes

The invention of the electric light bulb near the end of the nineteenth century spawned the widespread use of electricity, resulting in a rapid increase in the number of fi res reported. The National Electrical Code, NFPA 70 (NEC), is a set of model codes and standards pertaining to the installation and operation of electrical equipment in the United States. It was fi rst written in 1897 after recog- nizing a need for it. Today’s NEC is updated regularly, and it’s used in the United States and its territories as well as other countries.

Many other countries have their own set of codes and regulations. In Canada, the Canadian Standards Association has the Safety Standard for Electrical Installations , while in the UK, the Institute of Electrical Engineers has the Requirements for Electrical Installations: IEE Wiring Regulations . Other European countries use por- tions of the IEC Electrical Installations for Buildings standard.

The NEC is often adopted by local governing bodies such as cities, states, or municipalities who can make it the rule of law. Many jurisdictions amend, modify, or append the NEC and they might not always keep up with the latest changes, which occur on a three-year cycle. The authority having jurisdiction (AHJ) is the local authority, so it’s important to fi nd out the local codes. The National Electrical Contractors Association offers a helpful resource to fi nd out which codes are in force according to the location. It can be found at http://www.necanet.org/job/ compliance/?fa=stateRegs. 54 AUTOMATED LIGHTING SYSTEMS

Most municipalities have a local electrical inspector whose job it is to interpret and enforce the sometimes confusing local codes in an effort to protect the safety and well-being of the general public. They have the authority to shut down or “red tag” any construction project that doesn’t meet local codes or ordinances according to their interpretation. In addition, the local fi re marshal has the ability to stop a show if there are certain unsafe conditions, such as a fi re hazard due to the improper use of power distribution equipment or pyrotechnics.

Many performance facilities employ a full-time house electrician or master electri- cian (ME) whose job it is to accommodate the power distribution needs of a visit- ing show. In those instances, the local ME has authority over visiting electricians in the case of a dispute over the safety of the system. In most cases, the ME is very helpful and will do most anything, as long as it’s deemed safe, to ensure that the show will go on.

Compliance

In certain applications of entertainment lighting, particularly permanent insta- llations, any equipment in a lighting system that uses electricity is expected to comply with regulations regarding the manufacture of electrical and electronic equipment. There are testing laboratories (Nationally Recognized Testing Laboratories; NRTLs) that specialize in compliance testing and listing equipment, the most common of which are Underwriters Laboratories (UL), Intertie Testing Services NA, Inc. (ITSNA, formerly ETL), Canadian Standards Association (CSA), and TUV. When equipment is in compliance, it’s listed with an NRTL and issued a compliance sticker that must be visible on the unit. In some cases companies are allowed to self-certify. In Europe, it’s a requirement that all lighting products sold in the European Economic Area, Turkey, and Switzerland carry the CE mark of compliance.

The NEC requires that all electrical components, including automated lighting, are “listed” by an NRTL. Any gear that isn’t listed can be rejected by the AHJ.

Data Distribution Systems

The purpose of a data distribution system is to reliably deliver high-speed digital data from a control system to every receiving device in the system (Figure 3-15). The system can be as simple as a single controller with one data line running to a single receiving device such as an automated light, or it can be very complex with multiple sources of data, distribution splitters, and amplifi ers and several Data Distribution Systems 55 interface AMX/DMX LED LED LED LED P/S1 P/S2 P/S3 P/S4 DMX line 9 – basement P/S house right DMX line B – LED

DMX line 7 – LED P/S house left LED LED LED LED P/S1 P/S2 P/S9 P/S4 11-ray DMX data splitter LT35 LT36 LT37 LT38 LT33 LT34 DMX line 6 – Ceiling LTS DMX line 5 – Upstage LT27 LT28 LT29 LT30 LT31 LT32 LT21 LT22 LT23 LT24 LT25 LT26 DMX line 4 – Downstage left LT16 LT17 LT18 LT19 LT20 DMX line 3 – Downstage right DMX line 2 – FOH house right LT11 LT12 LT13 LT14 LT15 Typical Typical control riser diagram. DMX control riser diagram DMX line 0 LT9 LT8 LT7 LT6 LT10 DMX line 1 – FOH house left Figure 3-15 Figure 3-15 LT1 LT2 LT3 LT4 LT5 DMX lighting control system 56 AUTOMATED LIGHTING SYSTEMS

DMX512 DMX512

Ethernet-to- Ethernet- DMX512 to-DMX512

Ethernet- Ethernet- to-DMX512 to-DMX512

DMX512-to-Ethernet converter

Figure 3-16 Typical DMX512-to-Ethernet-to-DMX512 data distribution network. isolated output links. The system may be composed of any or all of the following elements (Figure 3-16):

■ D a t a c a b l e s

■ DMX512 or Remote Device Management (RDM) data splitters

■ D a t a d i s t r i b u t i o n a m p l i fi er Data Cables 57

■ Data converter

■ D a t a t e r m i n a t o r

■ A / B s w i t c h

The majority of data distribution systems in existence today are built for the origi- nal DMX512 standard, a 250K baud uni-directional serial digital signal encoded with commands and data. But an increasing number of manufacturers are build- ing devices that take advantage of the bi-directional communication capabilities of DMX512-A and RDM. The combination of these protocols allows any device to communicate with a controller via a half or full duplex link between the devices under control and the controller. This requires the use of RDM-enabled data splitters (where data splitters are used) and RDM-enabled devices and console.

Some consoles also incorporate networking protocols that allow them to output many universes of DMX512 data on a single cable. There are a number of protocol converters and proprietary adaptations of TCP/IP such as ArtNet, ETCNet3, ShowNet, and Pathport, that are used to convert back and forth between DMX512 and Ethernet protocols. In cases where these protocols are used, the data from the console are distributed through an Ethernet network using copper (CAT5 cable), fi ber, or air (IEEE 802.11 or WiFi) before it’s converted back to DMX512 using an Ethernet-to-DMX512 converter. The advantage is that this system uses fewer cables from the console but still takes advantage of the bus topology (daisy chain cabling) offered by DMX512.

Data Cables

Data cables are purpose-built, low-impedance cables designed to effi ciently trans- mit digital signals with minimal signal degradation. Microphone cables are high- impedance cables and aren’t suitable for high-speed data transmission and therefore shouldn’t be used in lieu of data cables. Data cables such as Belden 9841 ( www.belden.com ) are low capacitance cables with a characteristic impedance between 100 and 120 ohms, which helps maintain the original waveform of the data signal.

For permanent installations, CAT5 shielded twisted-pair (STP) cable has been tested and proven reliable for DMX512 transmission. A report titled DMX512 Over Category 5 Cable—Task Group Report was published by ESTA ( www.esta.org ) and is available on their Web site. For portable applications, ordinary CAT5 cable isn’t durable enough to withstand the rigors of touring. Certain products such as Dura-Flex DMX control cable (Figure 3-17) or ProPlex data cable are made specifi cally for data distribution applications with more durable jackets and larger c o n d u c t o r s . 58 AUTOMATED LIGHTING SYSTEMS

Figure 3-17 DMX512 data cable with 5-pin XLR connectors. (Photograph courtesy of Creative Stage Lighting.)

Data Splitters

A data splitter takes a single input and retransmits it to several outputs. The number of outputs varies by manufacturer and model. The purpose of a data splitter is to increase the number of devices that can be connected to a single data line and to isolate branches of a data distribution system to increase reliability of the system and to facilitate troubleshooting.

Any RS-485-type data transmission system such as DMX512 is limited to 32 devices per line. If more than 32 devices, such as automated lights or LEDs, are connected to a single data line, the signal will be too weak to properly drive them and they will behave erratically. Because a data splitter retransmits the incoming signal to several outputs, each output is capable of driving up to 32 devices. For example, a one-input, fi ve-output data splitter is capable of driving 160 individual devices.

A data splitter also makes it easier to troubleshoot a data distribution system because each output is isolated from the input. For example, without a data split- ter, if there are 32 devices connected to a single data line and one of them is malfunctioning by shorting the data line, then every device on that data link is susceptible to erratic operation or complete inoperability. If, on the other hand, a data splitter is used to split the data line into four output data links, then a mal- function of one device will be isolated to one of eight devices instead of 32.

The use of a data splitter (Figure 3-18) is recommended wherever a group of devices is isolated. For example, if there are four truss structures—one upstage, one downstage, one stage left, and one stage right—then it’s a good practice to Data Splitters 59

Figure 3-18 DMX 11-way splitter with fi ve-pin XLR connectors. (Photograph courtesy of Doug Fleenor Design.)

Figure 3-19 RDM-capable DMX Hub (data splitter). (Photograph courtesy of Doug Fleenor Design.)

use a data splitter to run individual data lines to each truss structure instead of running a single data line to and from each truss structure.

Since DMX512 is a uni-directional protocol, a DMX512 data splitter only needs to receive data from the controller and send it to multiple ports to which devices are connected. But RDM is a bi-directional protocol, therefore an RDM data splitter, sometimes known as a hub, can send or receive data through any of its ports. To work properly, an RDM data splitter has to be used with RDM-enabled devices using data cables built for this purpose ( Figure 3-19 ). There are four different ways these cables can be used—Enhanced Functions 1 through 4, as follows:

Enhanced Function #1—Data can be sent or received in half duplex (send or receive data but not at the same time) using the primary data link (pins 2 and 3 on a 5-pin XLR connector). The secondary data link (pins 4 and 5) aren’t used. Enhanced Function #2—Data can be sent on the primary data link and returned on the secondary data link in full duplex (data can be sent and received at the same time). 60 AUTOMATED LIGHTING SYSTEMS

Enhanced Function #3—Data can be sent on the primary data link; data can be sent and received on the secondary data link in half duplex. Enhanced Function #4—Data can be sent and received in half duplex on the primary data link; data can be sent and received in half duplex on the secon- dary data link (one universe of DMX512 on the primary and one on the s e c o n d a r y d a t a l i n k ) .

Data Amplifi ers

The purpose of a data amplifi er ( Figure 3-20 ) is to boost a data signal. Any RS-485 data transmission system such as DMX512 is limited to a maximum transmission length of 1000 m (3281 ft), but the recommended practice is to limit it to a maximum of 500 m (1541 ft). 1 For applications in which the combined data links (excluding outputs from a data splitter) exceed the recommended maximum, a data amplifi er should be used to boost the signal and ensure the integrity of the data.

Since a data splitter retransmits the incoming signal, it’s by defi nition an amplifi er as well as a data splitter. But there are some data amplifi ers that aren’t data splitters.

Data Converters

In the world of entertainment lighting, there is one dominant protocol, DMX512, but there are a few other protocols that were formerly in use or were used in proprietary systems. In addition, there are new protocols being developed all the time. For that reason, protocol converters are sometimes necessary, particularly

Figure 3-20 D M X f o u r - c h a n n e l i s o l a t e d a m p l i fi er. (Photograph courtesy of Doug Fleenor Design.)

1 Recommended Practice for DMX512—A Guide for Users and Installers, 2nd Edition, by Adam Bennette (© PLASA 2008). Data Terminators 61 in systems that integrate legacy equipment. Various protocol converters, such as analog-to-DMX and DMX-to-Ethernet, are available from a variety of manufactu- rers: Doug Fleenor Designs, Interactive Technologies, Pathway Connectivity, Artistic Licence, and Goddard Design.

Data Terminators

A data terminator (Figure 3-21) should always be used at the end of every DMX512 data link. The purpose of a data terminator is to match the impedance of the line to prevent signal refl ections that interfere with the signal propagation. A data terminator is a simple device that plugs into a data port on a device and places a 120 ohm resistor across the two individual conductors in a data line. If a data link isn’t terminated it will cause signal refl ections, which can cause the equipment connected to that line to behave erratically or to not operate at all. In the event that a data splitter is used, or if multiple outputs from a console are used, then all of the data lines require termination. The larger the data distribution system, the longer the data runs; the more devices that are connected to the data line, the more likely a missing terminator will cause problems. Some people falsely believe

Figure 3-21 DMX512 data terminator. (Photograph courtesy of Doug Fleenor Design.) 62 AUTOMATED LIGHTING SYSTEMS

that it’s okay to build a data distribution system without data termination because they have gotten away with it on a smaller system without any problems. But it’s a good practice to always use termination to avoid problems.

A/B Switches

In some data distribution systems there might be a redundant backup controller to ensure operability in the event of a failure of the primary controller. In such systems, an A/B switch is necessary to provide for the manual selection of the active data source (Figure 3-22). Most A/B switches are simple devices with a provision for two inputs, one output, and a manual rotary switch.

Data Connectors

The type of connector used on a data cable depends on the type of data signal and the manufacturer’s choice of connector. The DMX512 and DMX512-A stan- dards call for a fi ve-pin XLR connector and many production companies stock fi ve-pin cable exclusively. However, some automated lighting manufacturers use three-pin XLR connectors, despite the fact that they don’t conform to DMX512 protocol, because the fourth and fi fth pins in DMX512 are unused. They are, however, used in the DMX512-A control protocol, which does use the fourth and fi fth pins. Therefore, it’s a good practice to use fi ve-pin XLR connectors on all DMX512 data cables to ensure compatibility with legacy DMX512 systems and RDM-enabled systems alike.

Figure 3-22 A/B switch for DMX512 data. Automated Lighting Controllers 63

Figure 3-23 Neutrik Ether-Con connector for RJ-45 connectivity.

Many automated lighting console manufacturers provide both XLR connectors for DMX512 data and RJ-45 connectors for Ethernet networking. Ethernet can be used as a transport for DMX512 data using a variety of protocols including Archi- tecture for Control Networks (ACN), ArtNet, Pathport, ETCNet3, ShowNet, and more. Standard plastic RJ-45 connectors aren’t suited for portable data distribution applications, but ruggedized RJ-45 connectors such as the Neutrik Ether-Con con- nector are marketed for this purpose. Ruggedized connectors have a die cast aluminum shell, much like the shell of an XLR cable, around a standard RJ-45 c o n n e c t o r ( F i g u r e 3 - 2 3 ) .

The output of a device is always a female connector and the input is always a male connector, except in the case of patch cables, which typically use male con- nectors on both ends. This is important to remember, because it’s a huge waste of time to run cable the wrong way. This standard is easy to remember if you con- sider that a live cable would be easy to short if its output were male; therefore, a female output protects against shorts.

Control Systems

Control systems can be very simple or very complex. In its simplest form, a control system is a single controller connected to a data distribution system. On the other extreme, a control system may have multiple controllers, redundant backup, storage and playback units, media servers, remote focus units, and preset stations, all linked together through Ethernet and/or DMX512.

Automated Lighting Controllers

Automated lighting controllers come in many sizes, shapes, and forms. The earliest controllers were dedicated consoles and controllers with proprietary protocols or direct analog control of multiple parameters. Today, virtually every automated light- ing console uses DMX512 protocol or they stream DMX512 through ACN or Ether- net. Many automated lighting consoles have both DMX512 and Ethernet outputs. 64 AUTOMATED LIGHTING SYSTEMS

Automated Lighting Consoles

The vast majority of automated lighting controllers today are consoles or desks. Consoles range from entry-level models that operate a dozen or more fi xtures to the very upper range models that can operate hundreds or thousands of fi xtures. The more popular consoles in the touring world and in many other applications, to name but a few, are the MA Lighting grandMA, the Martin Maxxyz, the range of Flying Pig Systems Hog consoles, the ETC Eos and Congo consoles, and the Jands Vista console ( Figure 3-24 ). In theatre applications the ETC Expression and the Strand 520 are very popular.

The more high-end consoles have many features that help speed the program- ming process, particularly with very large automated lighting systems. Among these features are fi xture libraries, effects generators, off-line editors, pixel mapping, and visualizers.

PC-Based Controllers

There are a growing number of automated lighting controllers that are nothing more than a software program that runs on an ordinary laptop or desktop com- puter. They’re sold with a dongle or widget that converts the computer’s USB or RS-232 output to DMX512. They often have many of the features that are found

Figure 3-24 Automated lighting consoles. Clockwise from top left: MA Lighting grandMA, Martin Maxxyz, ETC Eos, ETC Congo, High End Systems Wholehog III, and Jands Vista T2. Remote Focus Units 65 in more expensive consoles, and some even share the same software as their full-console versions.

Dedicated Controllers

In the early days of automated lighting before DMX512 was introduced, all auto- mated lighting controllers were dedicated to a certain brand and model fi xture. They used either a proprietary multiplex digital signal or analog control signals and individually run cables for every fi xture. Today, dedicated controllers are seldom, if ever, manufactured, but they can still be found on rare occasions in older systems. Examples of popular dedicated controllers are the Intellabeam LCD controller and the Martin 3032.

Playback Units

A playback unit is a storage device that records and plays back DMX512 informa- tion (Figure 3-25). They’re used in applications in which a repeatable light show can be preprogrammed and played back without the need to make changes on the fl y. For example, a DMX512 playback unit might be used on a dark ride at an amusement park where an event, like a passing car, would trigger the start of the show. They’re also sometimes used as an emergency backup unit in the event of a failure of the primary controller.

Figure 3-25 A u t o m a t e d l i g h t i n g r e p l a y u n i t . (Photograph courtesy of MA Lighting.)

Remote Focus Units

A remote focus unit (RFU) is usually a small handheld accessory to a console that allows the programmer to stand on the stage or in a remote location to more easily focus the lights. The RFU usually has limited functions that allow for the selection of individual fi xtures, intensity, and focus control. 66 AUTOMATED LIGHTING SYSTEMS

Preset Stations

A preset station is a remote panel that either calls up cues remotely from a separate console or stores a limited number of cues that can be played back at will. In permanent installations they’re often used by non-lighting personnel to gain limited control of house lights and stage lighting for various purposes. For example, a janitor might use it to turn on house lights for cleanup. They’re also used in the theatre at the stage manager position to turn on work lights or to control the house lights. Preset stations sometimes output DMX512 and some- times work on a proprietary protocol (Figure 3-26).

Media Servers

Video is increasingly playing a part in productions of every type. As a result, there have been an increasing number of media servers on the market that can call up

Figure 3-26 Wall-mount preset station with 10 presets. (Photograph courtesy of Doug Fleenor Design.) Redundant Backup Systems 67

Figure 3-27 A DMX512-controlled media server stores and plays back graphic fi les that are fed to a display device such as a projector or LED display. Pandora’s Box is one example of such a media server.

digital fi les and trigger them from any DMX512 lighting console ( Figure 3-27 ). These media servers take a DMX512 input and output a variety of video signals that are then routed to a video display device.

Redundant Backup Systems

In live performance applications, having a redundant backup system is highly recommended. A backup system is sometimes a scaled-down version of the primary controller, or even a PC-based version of the controller (Figure 3-28). For true redundancy, the backup controller should have the same show fi le running on the same version of software, and the two controllers should be synchronized through MIDI, SMPTE, MIDI Show Control, or some other time- coded system. The outputs of the two controllers should be connected to an A/B switch that can be switched in the event of a failure or malfunction of the p r i m a r y c o n t r o l l e r . 68 AUTOMATED LIGHTING SYSTEMS

DMX512 output

DMX512 A/B switch DMX512 A DMX512 B

Synch signal

Console A Console B

Figure 3-28 A redundant backup system can provide security for the control system in show mode. Two consoles are locked in synchronization with MIDI, SMPTE, MIDI Show Control, or some other signal. If one console crashes, then the operator can throw the A/B switch to divert the DMX512 output from the backup console to the lighting system.

Luminaires

At the heart of every automated lighting system are the fi xtures themselves. Automated lighting fi xtures come in a vast array of sizes and shapes, and new models are introduced every year. They can be classifi ed, with a few exceptions, as moving mirror fi xtures or moving yoke fi xtures. They can be further classifi ed according to their light source, which is typically an incandescent lamp, an arc lamp, a plasma lamp, or LED. If they have an arc lamp or a plasma lamp, then they can be further classifi ed by the type of power supply they have, either a magnetic ballast power supply or an electronic switching power supply. But most automated luminaires have more in common than they have differences between fi xture types.

Every automated light fi xture, regardless of the type, has the following systems in common ( Figure 3-29 ):

■ E l e c t r i c a l

■ E l e c t r o n i c Electronics Systems 69

Communications system

Electro- Electrical Electronics Mechanical mechanical system system system system

Optical system

Figure 3-29 Bl o c k d i a g r a m o f a n a u t o m a t e d l u m i n a i r e .

■ E l e c t r o m e c h a n i c a l

■ M e c h a n i c a l O p t i c a l

Electrical Systems

The electrical system has two main functions: to supply the power for the lamp circuit and to supply low-voltage power to the electronics systems and electro- mechanical systems. The input to the electrical system is always at the connector at the end of the power cord and usually encompasses the lamp power supply and lamp, as well as the circuitry that drives the integrated circuit (IC) chips and motor drivers. Some incandescent automated luminaires have two power cables, one for the lamp and one for the electronics.

Electronics Systems

The primary function of the electronics system is to take the control signal input, translate it to computer code, and execute commands in the form of motor move- ments or, in the case of electronic dimming, lamp voltage. The main components in the electronics system include:

■ Control signal transmitters and receivers

■ M i c r o p r o c e s s o r s o r m i c r o c o n t r o l l e r s

■ M e m o r y 70 AUTOMATED LIGHTING SYSTEMS

■ Digital-to-analog converters

■ Motor drivers

■ P o s i t i o n - s e n s i n g c i r c u i t r y

Electromechanical Systems

The electromechanical system consists of components that convert electrical energy to movements. The main electromechanical components in automated lights are motors, usually stepper motors but sometimes servo motors, and solenoids.

Mechanical Systems

The mechanical system is made up of the moving parts such as gears, belts, bear- ings, axles, and the chassis.

Optical Systems

The optical system comprises the following:

■ R e fl ectors

■ L a m p s

■ UV and I/R fi lters

■ Color media

■ G o b o s

■ L e n s e s

■ E f f e c t s

Communications Systems

When a fi xture receives a control signal, the communications circuit in the auto- mated lighting fi xture amplifi es it and feeds it to the processor, where it’s deci- phered and executed. Some communications circuits also provide electrical isolation from the data line. In the early days of automated lighting before Communications Systems 71

DMX512, there was no standard communications protocol. Some automated lighting used analog control with one pair of control wires for each parameter, e.g., pan, tilt, color, gobo, etc. Other fi xtures used proprietary digital multiplexed control signals that were similar, from a physical standpoint, to DMX512.

When the United States Institute for Theatre Technology (USITT) developed the DMX512 in 1986, it was a huge step forward, although it wasn’t originally intended for automated lighting, but for dimming only. Of course, it turns out that the DMX512 can run large systems of automated lighting with no problem, but panning and tilting do present special issues. A single channel of DMX512 is an 8-bit value with 256 values, so the smallest step that can be taken by a fi xture that pans 180 degrees is 0.7 degrees; therefore, with a 15 m (about 49 ft) throw the smallest step would move the beam 18.4 cm (7.24 in.), which is unacceptable for the vast majority of applications. So most automated lighting consoles use two DMX512 channels for certain attributes such as pan and tilt and sometimes color and gobo selection.

DMX512-A is the current standard for controlling automated lighting even though the new ACN standard was approved by ESTA in October 2006. ACN is a very powerful but complex protocol, and it’s used primarily as a transport for DMX512 data because it can send hundreds or thousands of universes of DMX512 using a single CAT5 cable. Meanwhile, RDM was developed for use in automated luminaires by ESTA to bridge the gap between DMX512 and ACN. RDM allows the console operator to remotely perform many tasks that previously could only be done by physically accessing the fi xture. Examples include changing the DMX512 starting address, changing the mode of operation of the fi xture, and changing the personality of the fi xture.

In Section II, we will learn about these systems in more detail. Most of the material will focus on the underlying principles behind the technology. As the technology has evolved there have been many improvements in size, weight, effi ciency, cost, and effects. Barring a major technological revolution in the industry, an event that rarely happens but is often claimed, the principles you’ll learn in the following pages will serve you throughout your professional lighting career. This page intentionally left blank SECTION 2 Electricity and Electronics This page intentionally left blank CHAPTER 4 DC Electricity

Benjamin Franklin proved an important scientifi c point, which is that electricity originates inside clouds. There, it forms into lightning, which is attracted to the earth by golfers. After entering the ground, the electricity hardens into coal, which, when dug up by power companies and burned in big ovens called “generators,” turns back into electricity, which is sent in the form of “volts” (also known as “watts,” or “rpm” for short), through special wires with birds sitting on them to consumers’ homes, where it is transformed by TV sets into commercials for beer, which passes through the consumers and back into the ground, thus completing what is known as a “circuit.”— Dave Barry, humorist

One of the keys to understanding automated lighting, or any lighting, for that matter, is to follow the fl ow of energy from the input to the output. A fundamental law of nature is that energy can be neither created nor destroyed; it can only change forms. Electricity is one form of energy, and the job of any lighting system is to take electrical energy and effi ciently convert it to light energy. In the real world, only a fraction of the energy put into a lighting system comes out as visible light. Most is lost to heat, some is lost to mechanical energy, and some is converted to invisible light waves.

The process of converting electrical energy to light can be as simple as passing a current through a fi lament to heat it up to the point where it gives off light (incan- descence), or it can be a much more complicated process involving arc lamps or LEDs. In automated lighting, we will come across each of these scenarios, and it’s imperative that we understand them all. In each case, understanding begins with the concept of direct current (DC) electricity.

75 76 DC ELECTRICITY

Figure 4-1 An electron is an electrostatically charged particle. Electricity is the fl ow of electrons.

The Flow of Electrons

In simple terms, electricity is nothing more than the fl ow of electrons ( Figure 4-1 ). A single electron is an extremely small particle that carries a negative electrostatic charge. Whether it’s at rest or in motion, it’s a charged particle. An electron is a subatomic particle that’s so small that it takes millions and millions of them to produce any signifi c a n t a m o u n t o f e l e c t r i c i t y .

The Relative Size of Electrons

Because an electron is so small, it’s sometimes diffi cult to grasp the simple concept of electricity. We can’t see electrons fl owing with the naked eye, nor can we see electrostatic attraction; therefore, it’s diffi cult to learn by direct observation. To give you an idea of the scale we’re talking about, let’s suspend our belief momen- tarily and pretend that we can shrink down to the atomic level. Now, take a look at the period at the end of this sentence and you will fi nd that we can fi t something on the order of 6.25 trillion atoms within the circumference of it. Atoms vary in size according to their type, but a simple carbon atom is approximately 0.1 nm, or 0.0000000001 m, in diameter, and the vast majority of its empty space. If the nucleus of an atom were half a centimeter in diameter, then you would have to walk about a mile to fi nd the orbit of the outermost electrons. The electrons orbit- ing the nucleus of the atom are much smaller than the nucleus—approximately one-billionth of a nanometer in diameter, perhaps even smaller; no one knows for sure. Given the dimensions we’re dealing with, it’s no wonder we sometimes fi nd it diffi cult to grasp the concept of electricity ( Figure 4-2 ).

The Electron Drift Theory

Still, the fl ow of electrons is a relatively simple concept that becomes clear when you understand what happens when you apply a voltage to a conducting material. The nucleus of an atom is made up of positively charged protons and uncharged neutrons. Since opposite charges attract, the electrostatic attraction between the positively charged protons in the nucleus and the negatively charged electrons orbiting the nucleus is the main force that holds an atom together. The residual attraction of neighboring atoms Friction 77

13 miles

6.5 cm

Figure 4-2 If the nucleus of an atom were the size of a tennis ball, the orbit of the outermost electron would be about 13 miles away. binds them together to form molecules, of which the entire world is made. Under normal circumstances, the total number of electrons and protons in an atom is exactly the same, producing a net charge of zero (neither positively or negatively charged).

When voltage is applied to a conductor, the more loosely bound electrons in the outermost orbit of the atom are pulled from their orbit and follow the path of least resistance toward the higher voltage potential. When one electron is pulled away from an atom, it leaves a “hole,” and that atom now carries a net positive charge in the absence of the electron. The free electron will “drift” toward the higher poten- tial, colliding with atoms along the way. Each collision the electron encounters takes away some of its kinetic energy and converts it to heat energy. As the kinetic energy of the traveling electron is lost it slows down. The more it slows down, the more likely it is to “fall” back into the orbit of another atom that has lost its outer electrons ( Figure 4-3 ). This is known as electron drift. Billions and billions of these interac- tions are going on at lightning speed, creating the massive fl ow of energy due to the motion of the electrons. This is what we know as electricity. More specifi cally, we refer to the fl ow of energy through the motion of the electrons as current.

Friction

In the process of the mass migration of electrons, the collisions between free electrons and the larger molecules produce friction that heats up the conducting material. For a given amount of current, the amount of friction produced is directly proportional to the resistance of the conducting material. 78 DC ELECTRICITY

Free electrons

Electron “hole”

Figure 4-3 When voltage is applied to a conductor, electrons are pulled from the outermost orbit of the atoms. The free electrons move toward the higher poten- tial, colliding with atoms along the way. As the electrons collide, they lose energy and eventually “fall” back into the orbit of an atom with a missing electron.

H e a t ~ R e s i s t a n c e

Friction is lost energy that won’t be recovered. In addition, the added thermal load in the venue due to lost heat energy contributes to the heating, ventilation, and air conditioning (HVAC) requirements for the building, which drives up the cost of operating lighting systems. As we will see later on, there’s a simple way to calculate the heat load in British Thermal Units (BTUs) or in joules based on the ineffi ciency of a power distribution and lighting system. This should be taken into consideration in the design phase of a lighting system for permanent instal- lation. In touring situations it’s less of an issue because the building architects have most likely already taken into consideration the HVAC requirements under normal show conditions, including the building occupancy and the lighting and electrical loads.

Conductive Properties of Materials

For current to fl ow, there must be a conducting medium such as a wire or cable. Some materials are better conductors than others because their molecules contain atoms that more readily give up electrons. These materials are known as good Current Convention 79

Table 4-1 Resistivity and temperature coeffi cient at 20°C. Conductivity (␴) ؋ 107 Material Resistivity (␳) (ohm m) (/ohm m) Silver 1.59 10−8 6.29 Copper 1.68 10−8 5.95 Aluminum 2.65 10−8 3.77 Tungsten 5.6 10−8 1.79 Iron 9.71 10−8 1.03 Platinum 10.6 10−8 0.943 Lead 22 10−8 0.45 Mercury 98 10−8 0.10 Nichrome (Ni, Fe, Cr alloy) 100 10−8 0.10 Constantan 49 10−8 0.20 Carbon (graphite) 3 10−5 60 10−5 — Germanium 1 10−3 500 10−3 — Silicon 0.1 60 — Glass 1 109 10,000 109 — Quartz (fused) 7.5 1017 — Hard rubber 1 1013 100 1013 — Source: Giancoli, Douglas C., Physics, 4th ed., Prentice Hall (1995).

conductors, and they offer little resistance to the fl ow of electrons. Copper, gold, silver, aluminum, and other metallic elements are good conductors and have a very low resistance value ( Table 4-1 ). Other materials such as carbon, wood, paper, and rubber are poor conductors of electricity. They’re considered insulators because they inhibit the fl ow of electricity. Still others, such as germanium and silicon, will conduct electricity under certain conditions and are known as semiconductors.

Current Convention

When we think of the direction of the fl ow of DC electricity, we tend to think in positive terms. For example, if a current fl ows from left to right, then we tend to think of some ethereal substance traveling from left to right. But electrons are negatively charged. Therefore, when an electron travels from left to right, the standard convention is that the current is fl owing in the opposite direction 80 DC ELECTRICITY

Direction of electron flow

Direction of current flow

Figure 4-4 The direction of current is opposite the direction of the fl ow of electrons because electrons carry a negative charge.

(Figure 4-4). Only the U.S. Navy refers to the direction of current fl ow as the same direction as the fl o w o f e l e c t r o n s .

Voltage, Current, and Resistance

In the study of DC electricity, it’s important to have a fi rm grasp of at least three basic concepts: voltage, current, and resistance. Those three parameters are closely related in an electric circuit. You already have a basic understanding of current, which is the fl ow of electrons, and resistance, which is the resistance to the fl ow of electrons.

Voltage is sometimes referred to as potential because, like gravity, it has the potential to cause something to happen. Gravity has a potential to make some- thing fall, thereby giving it kinetic energy; electricity has the potential to make electrons fl ow, thereby producing electrical energy. In both cases, there’s potential energy available.

Water and Electricity—Bad Mix, Good Analogy

To better understand the concept of electricity fl owing in a circuit, it’s sometimes easier to consider an analogy between water and electricity. In the water– electricity analogy, water pressure is analogous to voltage; it’s the force that causes water to fl ow. Without water pressure, water won’t fl ow. Without voltage, current won’t fl ow. A water pipe is analogous to a conductor. The bigger the pipe, the easier the water fl ows. The smaller the pipe, the less water can fl ow. A very small pipe, then, is analogous to a small conductor with a high resistance and a large pipe is analogous to a large pipe with low resistance.

A complete water distribution system, then, is analogous to an electric circuit (Figure 4-5). The water stored in a reservoir is like a battery that stores a The DC Circuit 81

Reservoir

Flow valve

Flow restrictor

Electrical load Battery

Resistor

Figure 4-5 Top: The water pressure from the reservoir forces water through the pipe, the fl ow restrictor limits the amount of fl ow, and the fl ow valve turns the fl ow on and off. Bottom: The voltage supplied by the battery drives current through the wires, the resistor limits the fl ow of electricity, and the light bulb draws the current.

charge. The dam that holds back the water has a tremendous amount of water pressure at the bottom. That water pressure is like the voltage in the battery, ready to deliver the water or electricity on demand. The pipe that carries the water to the subdivision is like the feeder cables that carry electricity from the power generation station to the houses in the subdivision. Along the way there are switches and valves that turn the water and electricity on and off. When the tap is on, the water flows. When the light switch is on, c u r r e n t f l o w s .

The DC Circuit

A simple DC circuit is shown in Figure 4-6. The battery provides the voltage that makes the current fl ow when the circuit is completed. The wiring provides a path for the fl ow of electricity, and it completes the circuit. The resistance of the load prevents the current from becoming too large and destroying the entire circuit. The load, in this case, is a light bulb, but it might just as well be a motor, a fog machine, or anything that uses electricity. 82 DC ELECTRICITY

Resistor

Battery Lamp

Figure 4-6 Schematic diagram of a DC circuit.

Units of Measure—Current, Voltage, Resistance, Power

In the International System of Units (Système International d’Unitès, or SI units), there are base units and derived units. A base unit is one that’s standardized by agreement, such as the standard unit of one meter. Derived units are character- ized as those that can be derived using base units and a formula; for example, a cubic meter is a derived unit.

The unit of measure of current, the ampere or amp (A), is a base unit in the SI system of units. One ampere is defi ned as “that constant current which, if main- tained in two straight parallel conductors of infi nite length, of negligible cross- section, and placed one meter apart in a vacuum, would produce between these conductors a force equal to 2 10−7 ne w t o n s p e r m e t e r o f l e n g t h . ” 1 The original defi nition of an amp was one coulomb of charge moving past a point in one second. It takes 6.24 1018 electrons to produce one coulomb of charge. Current is usually represented in an equation by the letter I for “intensity.”

Voltage is a derived unit in the SI system. It’s usually represented in an equation by the letter V, though sometimes it’s referred to electromotive force (EMF). It describes the potential for current to fl ow and it’s measured in volts (V).

Resistance is also a derived unit in the SI system. It’s measured in ohms, represented by the Greek letter (omega). Although resistance is always repre- sented in a schematic diagram as a separate entity, it’s sometimes a characteristic of a component such as a wire or a motor. The math symbol for resistance is R.

A watt, as defi ned by the SI system, is a measure of power defi ned as one joule per second. Power is usually represented in an equation by the letter P and some- times by the letter W. It’s measured in watts (W), kilowatts (kW), or megawatts (MW). A kilowatt is 1000 W and a megawatt is 1,000,000 W.

1 International Bureau of Weights and Measures (BIPM) http://www.bipm.fr/en/si/ si_brochure/chapter2/2-1/2-1-1/ampere.html . The Resistor Color Code 83

Figure 4-7 D i s c r e t e r e s i s t o r s .

The Resistor Color Code

A resistor is a component used as a building block for electronic circuits. It’s sometimes integrated in chips (integrated circuit chips, or IC chips) and some- times used as discrete components ( Figure 4-7 ). Discrete component resistors in through-hole circuit boards are normally cylindrical in shape, and most are approximately a half-inch long and about a quarter of an inch in diameter. Newer surface-mount technology resistors are typically rectangular.

Resistors vary in value depending on the requirements of the circuit design. The value is determined in the manufacturing process, during which they’re color- coded with their designated value. The color code consists of four bands printed on the cylindrical body of the resistor. By deciphering the color code of each band, the value of the resistor can easily be determined.

The bands are read from left to right, with the resistor oriented so that the tolerance band (typically gold or silver and usually separated from the other three bands by a space) is on the right. Each resistor value has two digits and a multiplier. The fi rst band represents the fi rst digit of the value. The second band represents the second digit, and the third band represents the multiplier (Table 4-2).

By looking at the values of the fi rst two bands and the multiplier represented by the third band, the value of the resistor can be calculated. For example, if a resistor has a brown band, a black band, and a red band, the fi rst band (brown) represents 84 DC ELECTRICITY

Table 4-2 R e s i s t o r c o l o r c o d e . Color Digit Multiplier Black 0 1 Brown 1 10 Red 2 100 Orange 3 1000 or 1 k Yellow 4 10,000 or 10 k Green 5 100,000 or 100 k Blue 6 1,000,000 or 1 million Violet 7 Silver: divide by 100 Gray 8 Gold: divide by 10 White 9 Tolerances Gold 5% Silver 10% None 20% the digit 1. The second band (black) represents the digit 0. Together, they represent the two-digit number 10. The third band (red) represents a multiplier of 100. Therefore, the value of the resistor is 10 100, or 1000 ohms.

The fourth band is the tolerance band. It represents the guaranteed accuracy of a resistor. A gold band states that the resistor will be within 5% of its stated value. A silver band represents 10% tolerance, and if there’s no fourth band then the resistor has a tolerance of 20%.

Resistor Wattage

In addition to having a resistance value, resistors also have a wattage rating that shouldn’t be exceeded. The wattage is normally stated on the packaging, and in general, the bigger the resistor, the higher the wattage rating. The wattage rating is important because it determines the maximum amount of power that the resistor can handle before destructing.

Series Resistance

When two or more resistors are connected in a circuit end to end, then the total value of resistance is the sum of the individual resistors. They’re said to be c o n n e c t e d i n s e r i e s . Parallel Resistance 85

100 K ohms 150 K ohms 300 K ohms 50 K ohms

Figure 4-8

Example In the resistor network shown in Figure 4-8 , the total resistance can be calculated by adding the value of each resistor in series. Rtotal 100 k 150 k 300 k 50 k Rtotal 100,000 150,000 300,000 50,000 Rtotal 600,000 ohms 600 k ohms.

Parallel Resistance

When two or more resistors are connected to common nodes, they’re said to be connected in parallel ( Figure 4-9 ). To fi nd the value of resistors in parallel, use

1 / RT 1 / R1 1 / R 2 … 1 / R n− 1 1 / R n

where R T is the total resistance, R 1 is the fi rst resistor in the parallel network, R 2 is the second, and Rn is the last resistor in the network.

R1 R2 Rn21 Rn

Figure 4-9 86 DC ELECTRICITY

100 K 150 K 300 K 50 K ohms ohms ohms ohms

Figure 4-10

Example In the resistor network shown in Figure 4-10 , fi nd the value of the total resistance. 1 / RT 1/R1 1/R2 1/R3 1/R4

1 / RT 1/100 k 1/150 k 1/300 k 1/50 k

1 / R T 3/300 k 2/300 k 1/300 k 6/300 k

1 / R T 12/300 k

R T 300 k/12

RT 25,000 2 5 k o h m s

Series/Parallel Resistance

If a circuit has resistors connected both in series and parallel, the total resistance can be found by calculating the value of the parallel components and adding them to the series components. Series/Parallel Resistance 87

Example Find the total value of resistance in the circuit shown in Figure 4-11. Step 1—Calculate the value of the parallel resistor network. From the previous example, we know the total resistance is 25 k ohms. Step 2—Replace the parallel resistor network with a single resistor of the same value and redraw the network, as shown in Figure 4-12. Step 3—Sum the series resistors. A: 625 k ohms.

100 K ohms 150 K ohms 300 K ohms 50 K ohms

100 K 150 K 300 K 50 K ohms ohms ohms ohms

Figure 4-11

100 K ohms 150 K ohms 300 K ohms 50 K ohms

50 K ohms

Figure 4-12 88 DC ELECTRICITY

Ohm’s Law

Ohm’s law is one of the most important fundamental relationships in electronics. It describes the mathematical relationship between the voltage, current, and resistance.

V ( v o l t s ) I ( a m p s ) R ( o h m s )

According to Ohm’s law, for a constant resistance, the current is directly propor- tional to the voltage in a circuit; the higher the voltage, the higher the current. Alternatively, for a constant voltage, the current is inversely proportional to the resistance; the higher the resistance, the lower the current.

Example In a 12 V DC circuit, how much current does a 150 ohm resistor draw? V I R 1 2 V I 150 ohms I 12 V/150 ohms 0 . 0 8 a m p s

Example How much current does a 150 ohm resistor draw in a 24 V DC circuit? V I R 24 V I 150 ohms I 24 V/150 ohms 0 . 1 6 a m p s

Practice Problems 1. In a 24 V circuit, a lamp draws 6.25 amps. What is the effective resistance of the lamp? A : 3.84 ohms. DC Power 89

2. A 12 V circuit has a 3-amp fuse. How much resistance is required to keep the fuse from blowing? A : 4 ohms or more. 3. I f 1 0 a m p s i s fl owing through a 150 ohm resistor, what’s the voltage drop across the resistor? A : 1500 V. 4. If a 9 V battery is connected to a circuit and it draws 100 milliamps (mA; a milliamp is 0.001 amps), what’s the resistive load on the circuit? A : 90 ohms. 5. A 24 V circuit is connected to a 150 ohm resistor. How much current will fl ow? A: 0.16 amps. 6. F i v e a m p s i s fl owing through a circuit with a 9 V battery. What’s the resistance in the circuit? A : 1.8 ohms.

DC Power

In a DC circuit, the power in watts is equal to the voltage times the current.

P ( w a t t s ) V ( v o l t s ) I ( a m p s )

In production electrician’s parlance, the power is often referred to by its unit of measure, which is watts, and the current is sometimes referred to as amps. So the power formula becomes what is colloquially known as the West Virginia formula, or:

W a t t s Volts A m p s

This is exactly the same as the power formula fi rst given. However, for some people it’s easier to understand as written above.

Example A 12 V DC circuit draws 10 amps. How much power is consumed? P V I or W V A P 12 V 10 amps 120 W 90 DC ELECTRICITY

Example A 12 V battery is connected across a light bulb with a resistance of 24 ohms. What’s the wattage of the lamp? V I R 1 2 V I 24 ohms I 12 V/24 ohms 0.5 amps P V I P 12 V 0.5 amps 6 W

Practice Problems 1. A 12 V bulb is drawing 10 amps. What’s the wattage of the bulb? A : 120 W. 2. How many amps will a 150 W lamp draw in a 12 V circuit? A: 12.5 amps. 3. How much current does a 250 W lamp draw in a 24 V circuit? A: 10.4 amps. 4. If a 9 V battery is connected to a circuit and it draws 100 mA, what is the resis- tive load on the circuit? A : 90 ohms. 5. A 24 V circuit is connected to a 150 ohm resistor. How much current will fl ow? A: 0.16 amps. 6. F i v e a m p s i s fl owing through a circuit with a 9 V battery. What’s the resistance in the circuit? A : 1.8 ohms

CHAPTER 5 Electricity and Magnetism

(Electricity, heat, and magnetism) are all by one and the same dynamical action. —Lord Kelvin, British scientist who developed a mathematical analysis of electricity and magnetism.

Do you remember playing with magnets when you were a kid? It was fun to discover that a permanent magnet has a north pole and a south pole and how they interact. You may not have known what they were called, but you most likely observed that one end of a bar magnet is attracted to the opposite end of another bar magnet. If you put them side by side with the wrong ends touching each other they would fl ip around and right themselves so that the north pole of one magnet was stuck to the south pole of the other and vice versa.

Magnetism is an integral part of electricity. Wherever you fi nd electricity, you will fi nd magnetism. To fully understand how electricity is generated and distributed, how motors work, and how sensors detect things like yoke positions, color wheel positions, and gobo wheel positions, it’s imperative to understand how electricity and magnetism relate to each other.

Magnetic Lines of Flux

If you could see the magnetic fi eld around two poles of a permanent magnet, you would realize that there’s a path from one pole to the other on which the strength of the magnetic fi eld is constant. If you picked a point that’s a fi xed distance from the magnet and followed the path of equal magnetic strength, then

91 92 ELECTRICITY AND MAGNETISM

Figure 5-1 A line upon which the strength of the magnetic fi eld is constant is called a line of fl ux.

you would be following a magnetic line of fl ux. It’s similar to an isobar on a weather map.

Lines of fl ux, of course, aren’t visible. But if you took a magnet and put it under a glass table, then sprinkled iron fi lings on the table top, they would align them- selves along the lines of fl ux, enabling you to “see” the magnetic lines of fl ux fl o w i n g a r o u n d t h e m a g n e t ( F i g u r e 5 - 1 ) .

Electromagnetic Induction

Magnets fi gure prominently in the generation of electricity and in electric motors, as we’ll soon see. But permanent magnets aren’t the only source of magnetism. When electricity fl ows, it also produces a magnetic fi eld around the fl ow. In the case of a current passing through a conductor, a magnetic fi eld is induced in such a manner that the lines of fl ux wrap around the length of the conductor in a predictable direction. The right hand rule is a good way to remember the direc- tion of the lines of fl ux fl owing around a current-carrying conductor. If you wrap the fi ngers of your right hand around the conductor and stick out your thumb in the direction of the fl ow of conventional DC current, then your fi ngers indicate the direction of the lines of fl u x ( F i g u r e 5 - 2 ) .

The strength of the magnetic fi eld is inversely proportional to the square of the distance from the conductor. The farther away from the source, the weaker the Inducing Current 93

Magnetic lines of flux

Direction of current flow

Figure 5-2 A m a g n e t i c fi eld is induced around a current-carrying conductor in the direction of your fi ngers if you wrap the fi ngers of your right hand around the conductor and stick out your thumb in the direction of the fl o w o f c u r r e n t .

fi eld will be. The phenomenon of inducing a magnetic fi eld by the fl ow of current is known as electromagnetic induction; thus, an electromagnet is a tem- porary magnet produced by a coil of current-carrying wire wrapped around an iron core.

Inducing Current

We know that a current-carrying conductor induces a magnetic fi eld, but did you also know that a magnet can induce a current in a conductor? If a conductor passes through a magnetic fi eld in such a way as to “cut” the lines of fl ux, then the mag- netic attraction of the electrons in the conductor causes them to move and it induces a fl ow of current in the conductor (Figure 5-3). But the conductor has to cut the lines of fl ux to produce a current, not move parallel to them ( Figure 5-4 ). That’s not to say that it has to move exactly perpendicular to the lines of fl ux; if it’s moving at an angle to the lines of fl ux then only the perpendicular component of the movement will generate a current ( Figure 5-5 ). For example, if a conductor moves at a 45 degree angle to a magnetic fi eld at a rate of two inches per second, then that’s equivalent to moving perpendicular to the magnetic fi eld at a rate of 1.414 in./sec (2 in./sec the cosine of 45 degrees 1 . 4 1 4 ) .

A current can be induced in a conductor as long as there’s relative movement between the two and the movement has some component of perpendicular travel relative to the magnetic lines of fl ux. It makes no difference if the magnet is moving and the conductor is stationary or the other way around as long 94 ELECTRICITY AND MAGNETISM

Magnetic flux Direction Conductordegrees 90 Of Travel

Current flow

Figure 5-3 Moving a conductor in a direction perpendicular to magnetic lines of fl ux will induce a current in the conductor.

Magnetic flux Direction of conductortravel

No current flow

Figure 5-4 Moving a conductor in a direction parallel to magnetic lines of fl ux induces no current in the conductor.

Magnetic flux

Direction conductor 45 degreesof travel

Current flow

Figure 5-5 Moving a conductor at an angle relative to magnetic lines of fl ux will induce a current due to the perpendicular component of movement.

as one is traveling relative to the other. The magnitude of the current is directly proportional to the speed of travel; the faster the travel the greater the current.

There’s another right hand rule that can be used to determine the direction of the induced current. If you take your right hand, stick out your thumb in the direction of travel for the conductor, extend your index fi nger in the direction of the magnetic fl ux (north to south) and hold your middle fi nger out so that it’s perpendicular to both your index fi nger and your thumb, then your middle fi nger will indicate the Alternating Current 95

Motion of conductor

Direction of magnetic field

Direction of induced current

Figure 5-6 The right hand rule helps to determine the direction of an induced c u r r e n t . direction of the fl ow of induced current (Figure 5-6). The mnemonic MFC can help you remember the orientation:

t h u M b M otion of conductor F irst fi nger magnetic F lux s e C ond fi nger C u r r e n t

Alternating Current

The principle of induced current is the basis of alternating current (AC) genera- tion. Once we have established that we can induce a current by moving a conduc- tor through the magnetic lines of fl ux, building a generator is a simple matter of confi guring a rotor with windings that spin about an axis suspended in a mag- netic fi eld. As the rotor spins, the windings rotate through and cut the lines of fl ux, thereby generating a current. 96 ELECTRICITY AND MAGNETISM

To illustrate, let’s build an imaginary generator. We’ll start with an axle, around which we’ll place a loop of wire so that it can rotate about the axis. To simplify things, we’ll fashion the loop in a rectangle so that two sides of the loop will cut the lines of fl ux as it rotates and two sides will rotate parallel to the lines of fl ux so they won’t contribute to the current. Then we’ll place the axle and wire in the center of two poles of a magnet.

As the rotor spins, the two sides of the conductor that cut the lines of fl ux rotate through 360 degrees to complete a full cycle. The instantaneous direction of travel of the conductors is tangential to the circle through which the conductors rotate. During one complete cycle, there are four critical points of interest. At the top of the circle the conductors are traveling parallel to the lines of fl ux, so no current is generated. At the 90 degree point, the conductors are traveling at a right angle to the fl ux and generate the peak current. At 180 degrees the conduc- tors are traveling in the opposite direction from the start of travel and parallel to the fl ux. Then at 270 degrees, they’re traveling at a right angle and opposite in direction from the 90 degree point, thereby generating a negative peak current ( F i g u r e 5 - 7 ) .

Position Degrees Unit current value

(A) 0 0

(B) 90 1

(C) 180 0

(D) 270 21

Figure 5-7 (A) At zero degrees the conductors are traveling parallel to the mag- netic fl ux and generate no current. (B) At 90 degrees the conductors travel at right angles to the fl ux and generate the peak current. (C) At 180 degrees the conductors are traveling parallel to the fl ux and the current falls back to zero. (D) At 270 degrees the conductors travel at right angles to the fl ux but in the opposite direc- tion. The current that is generated is the negative peak. Alternating Current 97

The above illustrations show the unit current values at specifi c points along the path of the conductors as they travel in a circle through the magnetic fi eld. Obvi- ously there are many points in between the four points that are plotted. Each point along the way generates a unique value of current fl ow in direct proportion to the perpendicular component of travel. For example, at 30 degrees the wire has a perpendicular component and a parallel component of travel of equal magnitude. The parallel component contributes nothing to the current but the perpendicular component is traveling at 0.5× the speed of the wire. Therefore it generates 0.5× the peak current.

If we were to plot the value of the current for each of the 360 degrees in one cycle, see would see a curve taking shape ( Figure 5-8 ). We refer to this curve as a s i n e w a v e .

You may remember sines and cosines from your high school trigonometry classes. In abstract form, trigonometry can be challenging, but in real-world applications it’s a lot easier to visualize the relationship between periodic motion like that of a spinning rotor and trigonometric functions. In fact, the single revolution of the rotor in the generator that we just described is closely related to trigonometry. In the study of automated lighting, it’s helpful to know a little bit about sine waves. It’s especially applicable when we’re dealing with AC and the beam angle of lighting fi xtures.

Current 1.5

1

0.5

0 0 90 180 270 360

20.5 Unit current value

21

21.5 Degrees Figure 5-8 Plot showing the unit values of the current generated at the four points around a circle. A full cycle of the current waveform produces a sine wave. This page intentionally left blank CHAPTER 6 AC Electricity

George Westinghouse was, in my opinion, the only man on this globe who could take my alternating-current system under the circumstances then existing and win the battle against prejudice and money power. He was a pioneer of imposing stature, one of the world’s true noblemen of whom America may well be proud and to whom humanity owes an immense debt of gratitude.—Nikola Tesla, inventor of the AC synchronous motor.

The sine wave discussed in Chapter 5 is an example of a periodic function or a function that repeats regularly. When current alternates periodically between positive and negative values it’s known as alternating current (AC). AC electricity has some unique properties as we’ll soon see.

The Alternating Current Generator

The generator we “built” in Chapter 5 is a simplifi ed example of a more complex machine. An actual generator would have a coil of wire wrapped around each pole of the rotor and the magnetic fi eld would be generated by a pair of electro- m a g n e t s ( F i g u r e 6 - 1 ) .

But the principles are the same. As a generator spins it produces a current if there’s a complete circuit. If the circuit is open (not a complete path for electricity to fl ow) then it has the potential for current to fl ow, otherwise known as voltage. In a two-pole generator, the speed of rotation coincides with the speed at which one complete sine wave is generated; if the generator is spinning at one revolu- tion per minute (rpm), then the sine wave will take one minute to complete. The

99 100 AC ELECTRICITY

Stator Rotor

Field coil

Pole Shaft pieces

Figure 6-1 An AC generator showing major components.

speed of rotation is proportional to the frequency of the sine wave. Frequency is an important concept of AC electricity and it’s measured in cycles per second or more commonly as hertz (Hz).

S p e e d o f r o t a t i o n o f g e n e r a t i o n ( r p m ) ~ f r e q u e n c y ( H z )

In the United States, Canada, parts of Mexico, and some other places around the world, the frequency of the power grid is standardized at 60 Hz. That means the voltage from a common household electrical outlet is always going to be generat- ing 60 complete sine wave cycles every second. In a two-pole generator, 3600 revo- lutions per minute, or 60 revolutions per second, produces a 60 Hz sine wave. In real life, most generators have multiple poles and run at slower speeds. A 12-pole generator, for example, generates 60 Hz power when it spins at 600 rpm.

Example In Europe and many parts of the world, the standard frequency is 50 Hz. What’s the rotational speed of a two-pole generator producing 50 Hz? A : 3000 rpm RMS Voltage 101

Peak voltage 1169.7 V

0V Voltage

2169.7 V

0 90 180 270 360 Degrees

Figure 6-2 The sine wave varies between its positive and negative peak values.

Most automated lighting luminaires, with the exception of those with an auto voltage sensing power supply, have a multi-tap transformer that allows it to be tapped for various voltage and frequency combinations. If the voltage is set properly but the frequency isn’t, the luminaire won’t behave according to specifi cation.

Peak Voltage

Up until now we have avoided referring to any specifi c values in the AC waveform by referring to the unit value, meaning some unit of measure. The unit to which we’re referring is the peak value of the waveform. If, for example, the peak is 170 V, then the AC voltage fl uctuates between 170 V and Ϫ170 V. ( Figure 6-2 )

RMS Voltage

Because the positive half cycle and the negative half cycle of a sine wave is per- fectly symmetrical, the average value over the entire cycle is zero. But intuitively, we know that if we were to touch a “live” wire with 170 V peak value, we would 102 AC ELECTRICITY instantly recognize that the average value doesn’t convey enough information. A much more meaningful measure of the average value of a period function like a sine wave is something called the root mean square (RMS) value.

RMS literally means the square root of the average, or mean, squared. That simply means that if you take a voltage reading at a number of sample points during one complete cycle and square them, fi nd the average of those numbers and then take the square root of the result, the answer would be the RMS value. This is the value of an AC that would provide the equivalent power transfer compared to a direct current (DC) value. For example, in North America the peak voltage in the typical theatre is 169.7 V but the RMS voltage is 120 V. To produce the same amount of heat in a 1500 W heating element we could apply 120 VDC or 120 VAC (RMS).

For a sine wave, the RMS value is 0.707 times the peak value ( Figure 6-3 ). This is true whether you’re describing the RMS voltage, current, or power.

R M S V a l u e ϭ P e a k V a l u e ϫ 0 . 7 0 7 ( f o r a s i n e w a v e )

Peak Voltage 1169.7 V RMS Voltage

0V Voltage

2169.7 V

0 90 180 270 360

Figure 6-3 The RMS value of a sine wave is 0.707 times the peak value. The Inductor 103

In the UK, the typical wall receptacle produces a peak voltage of 339.5 V AC or 240 V AC RMS. When it isn’t specifi ed whether we’re referring to peak voltage or RMS voltage, it’s assumed that we’re referring to the RMS value.

The Inductor

A magnetic fi eld can induce current to fl ow in a conductor, but it can also impede the fl ow of current under certain circumstances. If a length of wire is wrapped around a cylinder to form a coil, then the fl ow of current through the wire will set up a strong magnetic fi eld through the center of the coil (remember the right hand rule?) (Figure 6-4). Each turn in the coil strengthens the magnetic fi eld and reinforces the fl u x .

In a DC circuit, a coil of wire with current passing through it produces a strong magnetic fi eld but it’s of little consequence to the fl ow of current. It’s in essence still just a length of wire. Once the coil is energized and the magnetic fi eld reaches full strength, the circuit sees the coil as nothing more than a dead short, just as if it weren’t coiled.

On the other hand, in an AC circuit it’s a different story. (Remember, the current is constantly changing directions.) During the positive half cycle of the sine wave, the current sets up a strong magnetic fi eld in a specifi ed direction. During the negative half cycle when the current changes direction, the magnetic fi eld that was set up by the positive half cycle takes time to dissipate. Before it completely collapses it will oppose the change of direction in the current. It acts as to “choke” the current. After a short while, the magnetic fi eld collapses and sets up in the

Figure 6-4 A coil of wire with current fl owing through it generates a strong magnetic fi eld through the center of the coil. 104 AC ELECTRICITY

opposite direction. Both the current and the magnetic fi eld are constantly chang- ing directions and the current is constantly impeded.

This coil of wire is known as an inductor (Figure 6-5). It’s sometimes referred to as a choke because it chokes the current. In our water–electricity analogy, an inductor may be thought of as a large paddle wheel in a channel of water. When the water fl ows it starts the paddle wheel turning, giving it momentum. If the water current suddenly changes direction, the paddle wheel will resist it because it’s turning the other way. Once the reverse current overcomes the momentum of the wheel it will begin to turn the other way, but it initially resists the change in direction until the momentum is overcome. The same is true of an electrical current. The magnetic fi eld of the inductor is like the momentum in the paddle wheel.

Inductance is measured in henrys, after the American scientist, Joseph Henry. The henry (H) is a very large value; therefore it’s more common for inductors to be measured in millihenries (mH; 10−3 henries or 0.001 henries). Many components in an automated light have some inductance, for example, motors, transformers, ballasts, and even lamp fi laments, to a small degree.

The exact value of inductance in an inductor can be calculated based on the wire gauge, the diameter of the coil, and the number of turns. The mathematical symbol for an inductor is L .

Figure 6-5 An inductor opposes the fl ow of AC electricity but acts as a short in a DC circuit. The Inductor 105

In a DC circuit, an inductor is seen as a dead short. To an AC circuit, however, an inductor resists the fl ow of current in direct proportion to the frequency and the inductance. The resistance to the fl ow of current in an inductor is called inductive reactance, X L , and it’s measured in ohms.

X L ( o h m s ) 2 ƒ L

where X L is the inductive reactance, is pi (3.14), f is the frequency, and L is the i n d u c t a n c e i n h e n r i e s ( F i g u r e 6 - 6 ) .

Example What’s the inductive reactance of a load with an inductance of 250 mH at a frequency of 60 Hz? A : X L 2 f L

X L 2 60 0.250

X L 9 4 . 2 5 o h m s

10

9

8

7

6

5

4

3 Inductive reactance 2

1

0 0 1000 2000 3000 4000 5000 6000 7000 8000 9000 10,000 Frequency

Figure 6-6 A graph of inductive reactance versus frequency. The higher the frequency, the lower the capacitive reactance. 106 AC ELECTRICITY

The Capacitor

A capacitor is a charge storage device. It stores an electrostatic charge temporarily by collecting electrons on a pair of plates separated by an insulating material ( Figure 6-7 ). It’s similar to a battery except that a battery produces a charge through a chemical reaction while a capacitor only stores a charge from an external source.

In our water–electricity analogy, a capacitor can be thought of as a water tower that temporarily stores water from a reservoir until it’s needed. It can’t generate new water; it can only take on water that’s pumped from the reservoir. It holds the water at elevation so that the water pressure assures delivery on demand.

The value of a capacitor is measured in farads (F), after Michael Faraday, a British physicist and chemist who discovered electromagnetic induction. A farad is a very large quantity, so most capacitors have a value in microfarads (F; 0.000001 F or 10 6 F) or smaller.

The classic capacitor is a discrete component made from two layers of foil sepa- rated by an insulating fi lm, mica, or paper (Figure 6-8). The foil collects the charged electrons when a voltage is applied to the two leads, and it discharges them when it fi nds a path for the fl o w o f e l e c t r o n s .

Because the two plates in a capacitor are separated by an insulating material, a capacitor acts like an open circuit to a DC source once it’s charged. To an AC

Capacitor

Plates Stored charge

2 Insulation

1

Capacitor symbol

Figure 6-7 A capacitor stores a charge by collecting electrons and holes on two plates separated by an insulating material. The Capacitor 107 circuit, however, a capacitor resists the fl ow of current in inverse proportion to the frequency and the capacitance. The resistance to the fl ow of current in a capaci- tor is called capacitive reactance, XC , and it’s measured in ohms.

X 1 , C 2 f C

w h e r e X C is the capacitive reactance, f is the frequency, and C is the capacitance i n f a r a d s ( F i g u r e 6 - 9 ) .

0123 Figure 6-8 A capacitor is a charge storage device. The devices on the left half of the photo are surface mount technology (SMT) capacitors, in the upper right is a tantalum capacitor, and in the lower right is an electrolytic capacitor. (Photo courtesy of Wikipedia.org .)

10 9 8 7 6 5 4 3 Capacitive reactance 2 1 0 0 1000 2000 3000 4000 5000 6000 7000 8000 9000 10,000 Frequency

Figure 6-9 A graph of capacitive reactance versus frequency. The higher the frequency, the lower the capacitive reactance. 108 AC ELECTRICITY

Example What’s the capacitive reactance of a load with a capacitance of 250 μF at 150 kHz? A : X 1 C 2 f C X 1 C 2 1 5 0 , 0 0 0 0 . 0 0 0 2 5 X 1 C 2 3 5 . 5 XC 0 . 0 0 4 2 5 o h m s

Phase Relationships

In a purely resistive load, current fl ows instantaneously when voltage is applied to a circuit. There’s no lag time between the applied voltage and the current fl ow; the voltage and current are always in phase with each other. In a pure inductor, however, there’s a 90 degree shift between the voltage and the current [ Figure 6-10(A) ]. The current lags behind the voltage because the energy fl owing to the inductor has to fi rst set up a magnetic fi eld before current can fl ow.

In a capacitor, there’s also a 90 degree shift between the voltage and the current, but in this case it’s the voltage that lags the current [ Figure 6-10(B) ]. That’s because the capacitor has to fi rst build a charge.

In each case the time lag between the voltage and current is referred to as the phase angle. It can be measured by the number of degrees relative to a complete cycle (360). For example, if, in a partially inductive load, the applied voltage leads the current by an eighth of a cycle, then the phase angle is 45 degrees.

The phase relationships between the voltage and current in an inductor and a capacitor can more easily be remembered by memorizing the phrase ELI the ICEman. ELI is a mnemonic for the voltage (E) leading the current (I) in an inductor (L). ICE is a mnemonic for the current (I) leading the voltage (E) in a capacitor (C).

Impedance

In real life, there’s no such thing as a purely resistive load. Every load has some element of resistance and some element of inductance or capacitance. For example, loads with windings, like motors and transformers, are highly Impedance 109

Voltage Current

0 90 180 270 360 (A)

Current Voltage

0 90 180 270 360 (B)

Figure 6-10 (A) The voltage leads the current by 45 degrees. (B) The current leads the voltage by 45 degrees.

inductive. In addition, the resistance of the wire adds a resistive element, however small.

The combination of resistance, capacitive reactance, and inductive reactance make up the total impedance of a load. The letter Z is often used to represent imped- ance, which is a complex number in the mathematical sense; it has a magnitude and a phase angle. It can be represented as a vector in which the x-axis represents the resistance and the y-axis represents the reactance ( Figure 6-11 ). If the reactance is positive then the impedance is an inductive load; if the reactance is negative then it’s a capacitive load. The length of the vector is the magnitude of the imped- a n c e i n o h m s . 110 AC ELECTRICITY

Reactance

Positive reactance indicates inductive load Total impedance Inductive component Resistance 0 Resistive component

(A) Reactance

Resistive component 0 Resistance Capacitive component Total impedance Negative reactance indicates capacitive load

(B)

Figure 6-11 Illustration of an impedance vector. The total impedance is a complex number made up of the resistance (a real number) and the reactance (an imagi- nary number). (A) If the reactance is positive then the impedance is inductive. (B) If the reactance is negative then the impedance is capacitive.

The magnitude of the impedance in ohms can be found by using the following equation:

I m p e d a n c e 2 ( o h m s ) R e s i s t a n c e 2 ( o h m s ) R e a c t a n c e 2 ( o h m s )

where Reactance XL XC

or 2 2 2 Z R ( X L XC ) Impedance 111

Remember, the complete value of impedance includes both a magnitude and a phase. If a load is more inductive than capacitive, then the current will lag the voltage in that load. If the load is more capacitive than inductive, then the voltage will lag the current.

Example In the following 60 Hz circuit (Figure 6-12), the load has a resistance of 75 ohms, an inductance of 75 mH, and a capacitance of 25 μF. What’s the magnitude of t h e i m p e d a n c e ? A : Step 1: First calculate the inductive reactance and the capacitive reactance. X L 2 f L

X L 2 60 0.075

X L 28.26 ohms

X 1 C 2 f C X 1 C 2 60 0.000025 XC 1 . 0 0 0 9 4 2 XC 1 0 6 . 1 2 o h m s

Step 2: Calculate the impedance. 2 2 2 Z R (X L XC)

Z2 75 2 (28.26 06.12) 2

75 ohms

75 millihenrys

25 microfarads

Figure 6-12 Schematic diagram of RLC circuit. 112 AC ELECTRICITY

Z 2 5.625 10 3 (77.9) 2

Z 2 5.625 10 3 6067.96

√ Z 1 1 6 9 2 . 9 6

Z 1 0 8 . 1 3 o h m s

Note: The value we calculated for Z, 108.13 ohms, is the magnitude of the imped- ance. To calculate the phase angle would require the use of vectors, which is beyond the scope of this book.

The Transformer

A transformer converts voltage from low to high, and vice versa, without chang- ing the power (except for losses in the transformer). It allows the transmission of large amounts of energy at a reduced current. In the process, energy is conserved, which means that, with the exception of ineffi ciency due to I 2 R losses (heat losses), the power output is the same as the power input. The voltage and current are inversely related (when one goes up the other goes down for the same amount of power), but the power transmitted remains the same.

Transformers play a very important role in the distribution of electricity. They were instrumental in the widespread acceptance of AC power distribution at the turn of the twentieth century. At the time there was much debate over the best way to generate and distribute energy. Thomas Edison was a proponent of DC power while Nikola Tesla and George Westinghouse believed that it was much safer and economical to use AC power distribution. One of Edison’s arguments against AC was that it was used for the electric chair; therefore it must be more dangerous! Ultimately the AC distribution model won out and transformers were the key.

A transformer is merely a pair of windings wrapped around a common core. The windings are in close enough proximity to each other that they become induc- tively coupled or linked through the magnetic fi eld generated when one winding is energized. The winding that’s connected to the voltage source is the primary and the side that’s connected to the load is the secondary. When AC current is passed through the primary winding it generates a magnetic fi eld of increasing intensity. As the magnetic fi eld grows, the lines of fl ux cut the windings in the secondary, thus inducing a current in the secondary winding ( Figure 6-13 ). The Transformer 113

Primary Secondary

Figure 6-13 A transformer changes the voltage between the primary and the secondary windings. The magnetic fi eld generated by the fl ow of current in the primary winding induces a current in the secondary winding. The voltages are proportional to the ratio of the number of turns in the coils.

Depending on the ratio between the number of turns in the primary and the number of turns in the secondary windings, the voltage is either increased or decreased. If the voltage is increased it’s a step-up transformer, and if the voltage is decreased it’s a step-down transformer.

The ratio of turns in the primary winding to the number of turns in the second- ary winding is called the turns ratio. The output voltage is the product of the input voltage and the turns ratio. turns in s e c o n d a r y V V out in turns in primary

Example A 120/240 V transformer has 50 turns in the primary. How many turns does the secondary winding have? A : 100 114 AC ELECTRICITY

Example A transformer has a turns ratio of 8:115. What should the input voltage be to generate 6900 V at the output? A : turns in secondary V = V sec pri turns in p r i m a r y 6 9 0 0 = V 115 pri 8 V pri 6900 8 115 480 V

Transformers are manufactured in a wide range of sizes and styles, but they usually have at least four wires—two for the primary and two for the secondary— unless it’s an autotransformer, in which case the primary and secondary windings share a lead in common. This is often the case in 120/240 V step-up transformers used in automated luminaires. Some automated lights with 24 V lamps have small transformers to step down the voltage from 120 or 240 V. At the other extreme, some performance facilities have their own feeder transformers that distribute power at 480 V or more and are rated for several hundred kVA.

A multi-tap transformer is one that has several connections or “taps” on the sec- ondary, allowing for multiple confi gurations with different voltages. For example, many automated luminaires have a multi-tap transformer that allows the user to change the voltage according to its needs. If the fi xture is sent to a different country where the mains voltage is different, the transformer can be re-tapped to operate at a different input voltage.

Transformers are rated according to the amount of power in volt–amps (VA, kilo-VA, or kVA) that they can safely handle. The schematic symbol for a trans- f o r m e r i s s h o w n i n F i g u r e 6 - 1 4 .

Primary Secondary

Vin Vout

Figure 6-14 Transformer symbol. AC Power 115

AC Power

If the voltage and current are in phase with each other (their waveforms both cross the zero at the same time), the power is simply the product of the voltage and the current.

P o w e r ( w a t t s ) Voltage (volts) C u r r e n t ( a m p s )

The product of the voltage and current in an AC circuit is also known as the “apparent power.” You’ll often see generators, transformers, and motors rated in VA or kVA.

If the impedance has a component of reactance in the circuit then the voltage and current won’t be in phase with each other. This reactance will produce an element of reactive power, which is the product of the voltage and the portion of the current that’s due to the reactance of the load. In practical terms it’s the power that’s used to maintain the charge in a capacitor or the magnetic fi eld in an inductor. Other than the losses due to ineffi ciencies, reactive power isn’t used up and is eventually returned to the system. Capacitive and inductive loads sometimes have a reactive power rating in units of VARs (volt–amps reactive) or kVARs.

When the voltage and current are out of phase with each other, the power con- sumption of the load is reduced by a factor of the cosine of the phase angle. The actual power consumed is the product of the cosine of the phase angle, the voltage, and the current.

P o w e r ( w a t t s ) V o l t a g e ( v o l t s ) C u r r e n t ( a m p s ) c o s

You can see that if the voltage and current are in phase, then the phase angle is zero and the cosine is one. Then the power is simply the product of the voltage and current. If the voltage and current are, for example, 45 degrees out of phase, then the power is 0.707 times the product of the voltage and current (cosine of 45 degrees is 0.707).

Example If the voltage and current are in phase, the phase angle is zero. What’s the cosine of zero?

A : 1 116 AC ELECTRICITY

Example How much power is consumed in a 24-VDC circuit if the current is 10.4167 amps?

A : 250 W

Example How much power is consumed if the above circuit is an AC circuit and the voltage and current are 45 degrees out of phase?

A : Power (watts) cosine (45) 24 V 10.4167 amps Power (watts) 0.707 24 10.4167 P o w e r 176.75 W

Power Factor

In the power formula above, the value of the cosine of the phase angle is known as the power factor. Power factor is a very important concept relating to power distribution. If the power factor is a very small number, then little power is con- sumed even though the current fl owing through the system is very large. That’s because the voltage and current are so far out of phase that the actual power con- sumption is very low (Figure 6-15). The magnitude of the current is very high, but much of the energy is returned to the power source without being consumed. It’s actually fl owing to the load and then back the other way to the power source.

When the phase angle is very large and the power factor is very small, the result is a large increase in the current for the same power consumption. Distributing power to a highly reactive load requires much more current-handling capability than is really necessary. Everything in the system has to be oversized to deliver the same amount of power. The generator, the power distribution cables, the switches, the transformers, the breakers, the connectors, and the transmission towers all have to be oversized to handle the increase in current. In addition, the manpower to install the larger system, including hundreds of miles of cables and distribution gear, add to the infl ated cost.

On the component level, an automated lighting fi xture, for example, with a low power factor requires more current to produce the same amount of light. It also Power Factor 117

Phase angle 5 0/Power factor 5 1

120 V 169.7 V peak 120 Vrms 0V Voltage 2120 V

1A 1.414 A peak 1Arms 0A Current 21A

120 W Real power 120 Wrms 0W Power

Reactive power

(A)

Phase angle 5 90/Power factor 5 0

120 V 169.7 V peak 120 Vrms 0V Voltage 2120 V

1A 1.414 Apeak 1Arms 0A Current 21A

120 W Real power 120 Wrms 0W Power Reactive power

(B) Figure 6-15 (A) When the voltage and current are in phase, then the phase angle is zero and the power factor is 1. (B) When the voltage and current are 90 degrees out of phase (phase angle = 90) then the power factor is 0. When the graph of the power drops below zero, then it’s reactive power, indicating that power is returning to the source. In the case of a completely reactive load, then the sum of the real power and reactive power over time is zero and the net consumed power is zero. 118 AC ELECTRICITY requires bigger fuses, breakers, internal wiring, transformers, switches, and power supplies, which only add to the size, weight, and cost of the fi xture.

It’s easy to see why power factor is very important and why it’s desirable to keep it as close to 1 as possible. Since most loads like transformers, heating elements, fi laments, motors, and ballasts are inductive, the solution to keeping the power factor as close to unity as possible is to add capacitors to the circuit. For that reason, many automated lighting fi xtures have a power factor correction capacitor. You may also see banks of large, oil-fi lled capacitors on transmission towers or in electrical substations, particularly in industrial areas like refi neries that consume lots of power.

Because of the increased costs associated with reactive power, power companies sometimes charge a “demand factor” to incentivize consumers, particularly large consumers, of electricity to keep their overall power factor as high as possible. That helps them keep their costs lower by maximizing the amount of real power they can deliver over the same power distribution system.

Three-Phase Power

The generator we "built" has a stator with a bi-polar magnet and a rotor with two windings rotating about an axis. If we added two more sets of rotor windings and placed them on the axis so that they were 120 degrees apart from each other, then we could generate three distinct voltage sine waves ( Figure 6-16 ).

Such a generator produces three-phase power. Most modern power distribution systems are four-wire plus ground three-phase systems. The fourth wire is for the neutral, which provides a return path for the current, and the ground is for safety and to provide a 0 V reference.

The advantage of using a three-phase power distribution system is that it increases the current-handling capability without increasing cable and wire sizes, and it provides more fl exibility in wiring options.

The Three-Phase Delta-Wye Confi guration

The three-phase delta-wye confi guration is the most common power distribution scheme used in modern buildings and performance venues in North America and many other places throughout the world (Figure 6-17). The primary (input) has four wires—three hot legs and a ground—while the secondary (output) has fi ve wires—three hot legs, a neutral, and a ground (Figure 6-18). Three-Phase Wye Connections 119

Phase A

1 Phase C s 2 e 0 e r d g e e g d r Phase B e 0 e 2 s

1

Phase B Phase

Phase C Phase

1

s 2 e 0 e

r d g e Phase A Phase

Phase A Phase B Phase C

Figure 6-16 A three-phase generator uses three sets of windings spaced 120 degrees apart from each other to generate three voltage waveforms.

In a 120/208 V three-phase wye secondary, any one phase conductor can supply 120 V to neutral. 208 V can be found from any one phase conductor to another. Despite the fact that it uses more than one phase of the three-phase system, it’s still referred to as “single phase 208” because the two phases combine to produce a single voltage waveform.

Three-Phase Wye Connections

The NEC doesn’t specify color codes for phase conductors but there’s a de facto standard in the United States. The NEC does, however, specify that the neutral should be white or in a 277 V system it should be gray. It also specifi es that the ground 120 AC ELECTRICITY

Primary Secondary

C c

120 V

Neutral 208 V 120 V 208 V

120 V B b 208 V

A a Figure 6-17 A three-phase delta-wye hookup showing three phase conductors and a ground on the primary (input) side and three phase conductors, a neutral and a ground on the secondary (output) side.

should be green, green with yellow stripes, or bare copper. In the United States, a 120/208 V four wire plus ground system is usually color coded as follows:

Purpose Color Phase A Black Phase B Red Phase C Blue Neutral White Ground Green

Each of the three phases can be used to supply 120 V AC branch circuits. But it’s important to note that care should be taken to balance the loads equally between the three phases, because an unbalanced load causes current to fl ow in the neutral conductor. This presents a special problem for a theatrical lighting system that uses dimmers because the load varies from cue to cue. In addition, phase- control dimming like those typically used in theatrical applications and switch- ing power supplies alter the voltage waveform in an electrical system, which causes current to fl ow in the neutral conductor of a three-phase system. The combination of an unbalanced three-phase system and phase-control dimming can overload the neutral feeder conductor. Therefore, the NEC requires that the The Three-Phase Delta-Delta Confi guration 121

Figure 6-18 120/208 V AC four-wire plus ground portable power distribution systems. (Photo courtesy of Motion Labs.) neutral feeder conductor in system feeding phase-control dimmers is “at least 130 percent of the ungrounded conductors. . .” In practice, it’s easier to double the neutral feeder cable (use two cables instead of one) instead of carrying dif- ferent sized feeder cables, so many portable dimmer racks have two neutral terminals.

The Three-Phase Delta-Delta Confi guration

A delta–delta transformer as shown in Figure 6-19 is typically used for high- voltage power transmission over very long distances. Because a delta system has no neutral, power companies can save millions of dollars in copper wires, smaller transmission towers, and labor in cross-country power distribution systems. Some commercial buildings use delta power distribution for motor power and some older buildings still have it from the days when it was more common. Sometimes one of the windings is center-tapped to provide 120 V. The phase-to- phase voltage is 240 V and the voltage from the neutral to phase C, the “high leg” in Figure 6-19 , is 208 V. 122 AC ELECTRICITY

120/240 V Delta B

240 V

208 V “High leg”

C 120 V 240 V Neutral

120 V A

Ground

Figure 6-19 A three-phase delta–delta system with three phase conductors and a ground on the primary and on the secondary.

Electrical Safety

The two biggest hazards in lighting production are gravity and electricity. To protect yourself against the hazards of electricity it’s important to arm yourself with knowledge and take steps to guard your safety.

Current can kill. As little as 60 milliamps (0.06 amps) of current passing through a human heart can cause it to stop. Fortunately, human skin has a relatively high impedance value. That’s not to say that we’re immune from disaster, but our skin is the fi rst line of defense against fatal accidents involving electricity.

We can further protect ourselves from the hazards of electricity by artifi cially increas- ing our resistance with the use of personal protective equipment. Wearing voltage- rated or V-rated gloves helps to add a layer of insulation between yourself and a live wire. V-rated boots help insulate you from the ground, making it more diffi cult for electricity to fi nd a path through you. Long sleeves help insulate bare skin in the event that your arms accidentally come into contact with a live conductor.

When a person comes in contact with electricity, it tends to make muscles contract. Therefore, whether or not you think a conductor is live or dead, it’s a good Drugs and Alcohol 123

practice to avoid grasping an exposed conductor with your hand. If it turns out to be live it could cause you to clench it tightly, making it very diffi cult to break free.

Electricity is most likely to kill when it passes through the heart; therefore, it’s always a good idea to practice habits that minimize the risk of completing a path to ground through your heart. For example, never grasp a grounded truss with one hand and probe near hot wires with the other. Instead, try to make sure your shoulder on your probing arm is touching a grounded truss or structure. That way, if you do accidentally come in contact with a hot wire, it will hurt but it might not kill you. Just be sure that if you’re in the air you’re protected against falling.

Ohm’s law tells us that, for a fi xed resistance like your body, the current is directly proportional to the voltage. Therefore, higher voltage is potentially more dangerous than lower voltage because it can potentially cause more current to fl ow through your body. In addition, very high voltage is more dangerous because it can potentially ionize the air and cause a “fl ash” or a big ball of fi re that can fi ll a small room in a fraction of a second. This sometimes occurs in electrical substations where equipment is operating at thousands of volts. Avoid high voltage whenever possible.

Drugs and Alcohol

Safely working around electrical and electronic gear is a matter of knowledge and good judgment. It requires a sharp mind and quick refl exes. The production envi- ronment is a dangerous place in which to bring drugs and alcohol, not only for the user, but for everyone involved in the show, including the audience. For the sake of the safety of everyone involved, keep all drugs and alcohol away from the production crew. Even some prescription and over-the-counter drugs that cause drowsiness should be avoided. Every production and event is a potential safety hazard and deserves to be treated with care and the utmost attentiveness. This page intentionally left blank CHAPTER 7 Power Supplies

Electricity can be dangerous. My nephew tried to stick a penny into a plug. Whoever said a penny doesn’t go far didn’t see him shoot across that fl oor. I told him he was grounded.— Tim Allen, comedian

An alternating current (AC) power supply can be thought of as a power converter; its job is to convert the line level AC power to another form which is more useable for the load with as little loss as possible. The fi rst law of thermodynamics is the conservation of energy, which says that energy can neither be created nor destroyed; it can only change forms. The main function of a power supply is to convert electrical energy from a certain voltage, current, and frequency to electri- cal energy with a different voltage, current, and possibly a different frequency. Except for the losses due to ineffi ciency, energy is conserved in the process of conversion.

In an automated luminaire, at least two power supplies are usually needed to reliably supply enough current at the proper voltage (and frequency in the case of an AC power supply) to drive the lamp, electronics, motors, and fans. The power supplies for the electronics, motors, and fans often share a common multi-tap transformer, and then separate into a low-voltage supply for the logic (CPU, memory, etc., usually either 3.3 V DC or 5 V DC) and a 24 V DC supply for the motors and fans.

There are two basic types of power supplies that are common in automated lumi- naires: the linear power supply and the switched-mode power supply (SMPS). Linear power supplies operate at the same frequency as the mains supply, which requires a relatively large transformer and components. They’re becoming increas- ingly rare as economies of scale are enabling SMPS to be more affordable. Some

125 126 POWER SUPPLIES lower end automated luminaires still use linear power supplies and there are still thousands of legacy linear power supplies operating in the fi eld. One of the keys to understanding how a linear power supply works is to understand diodes and rectifi cation.

The Diode

A diode, or rectifi er, is a component that allows current to pass in one direction and not the other. It acts as a sort of turnstile for electrons, letting them through as long as they’re traveling in the right direction.

Forward-biased diode

Reverse-biased diode

Depletion region

Figure 7-1 Top: Forward-biased diode showing electrons crossing the P–N junction and fi lling the holes in the P-type semiconductor material. Bottom: Reversed- biased diode showing depletion zone. No charges cross the P–N junction, therefore no current fl ows. The Diode 127

Like most electronics components, a diode can be a discrete component or it can be etched into an integrated circuit. Either way, it’s made of a junction between two types of semiconductor material; an “N” type and a “P” type material. These materials are made by “doping” or adding impurities to a semiconductor material such as silicon, germanium, or selenium. An N-type semiconductor has an excess of electrons and a P-type has a shortage of electrons or an excess of “holes.” When a junction is formed between an N- and a P-type material, it makes a diode. The lead connected to the N-type side is called the cathode and the other lead is the a n o d e ( F i g u r e 7 - 1 ) .

When a positive voltage is applied to the anode and a negative voltage is applied to the cathode, then the diode is “forward biased.” The electrons in the N-type side are attracted to the positive voltage on the opposite side of the junction, whereas the holes in the P-type are attracted to the negative voltage on the oppo- site side of the junction. The electrons cross the junction and fi ll the holes. Alter- natively, if the diode is reverse-biased (positive voltage applied to the cathode and negative voltage applied to the anode) then the electrons are pulled away from the junction and no current fl o w s ( F i g u r e 7 - 2 ) .

If

Break- Forward down bias region

Zener voltage

Vr Vf On voltage Reverse ~0.65 V for Si bias ~0.2 V for Ge

Ir

Figure 7-2 Voltage versus current in a diode. When the forward-biased voltage exceeds the turn-on voltage, then current starts to fl ow. A reverse-biased diode won’t conduct current (except for the leakage current caused by the voltage drop across the junction) unless the breakdown voltage is exceeded. 128 POWER SUPPLIES

Diode

Symbol

Figure 7-3 S y m b o l f o r a d i o d e .

Vin Vout

Figure 7-4 A single diode in series with an AC generator produces a half-wave rectifi ed waveform.

In real life, there is a forward-biased threshold voltage below which no current will fl ow. This is called the forward breakover voltage, which is 0.3 V for germanium diodes, 0.7 V for silicon diodes, and about 1 V for selenium diodes. The vast majority of discrete diodes in most electronics applications are silicon diodes.

Diodes are used for a variety of functions, one of which is voltage rectifi cation in a power supply. Voltage rectifi cation is the conversion of AC to direct current (DC) v o l t a g e o r c u r r e n t .

Half-Wave Rectifi cation

In an AC circuit, a diode will conduct only during the positive half cycle of the waveform. During the negative half of the cycle, the diode is reverse-biased and doesn’t conduct. The result is a half-wave rectifi ed waveform, which is a type of p u l s i n g D C ( F i g u r e 7 - 4 ) . The Linear Power Supply 129

Full-Wave Rectifi cation

A half-wave rectifi ed DC waveform isn’t ideal for a DC supply because the pulses are too far apart. A better way of converting AC to DC is to use full-wave rectifi cation.

Full-wave rectifi cation converts the entire AC waveform to DC by reversing the direction of the negative half of the sine wave. This is accomplished by using four diodes arranged in a certain confi guration called a full-wave bridge rectifi er. The diodes in a full-wave bridge rectifi er conduct in alternating pairs depending on whether the AC voltage is in the positive half cycle or the negative half cycle ( F i g u r e 7 - 5 ) .

Vin Vout

Figure 7-5 When an AC input is fed to a full-wave bridge rectifi er, one pair of diodes conducts during the positive half cycle and the other pair conducts during the negative half cycle. The result is a full-wave rectifi ed DC waveform.

The Linear Power Supply

With an understanding of diodes and full-wave rectifi cation, building a regulated linear power supply is simply a matter of adding a few components. Figure 7-6 is a schematic diagram of the power supply for a Lightwave Research Trackspot fi x t u r e .

The fi rst step in the linear power supply is to convert the power from the line level voltage to the maximum voltage required by the fi xture. In this case both the fans and the motors need 24 V. A multi-tap transformer steps down the voltage from the line voltage to 24 V AC (Figure 7-7).

The next step is to rectify the AC voltage and convert it to a pulsing DC voltage. The bridge rectifi er is represented in the schematic as a square block (BR1) with 130 15V REG1 1N70B5CT V IN V OUT 31 END

1 2 1 XREF 5 9

1 124 VAC C46 C44 C66 1 C43 2200 mF .1 mF .1 mF m 12 4.7 F 12 2 25 V 2 SP3 1 Red 2 24 VAC END 1 2PB64 SP4 F1 DB 1 3 5 [Transformer wires] Yellow 2 24 VAC_IN 12 3 1 XREF 4.10.11.12.13.14 1 BR1 24 24 MOT

END 2

1N4005 1 SP5 5 A/250 V FAST 2 4 C41 1 RBB Red/Yellow 2 24 VAC 1 2200 mF 4.7 K 1

50 V 2

END 1 LD2 Yellow

5 2 2 XREF 9 24 VAC END 124 V 15V REG2 MC7824CT XREF58.8 1 V IN V OUT 3 END 2

2 1 2 C49 2 C75 R101 1 C45 10 K .1 mF .1 mF m 1 1 4.7 F 1

XREF 5 8 2 ZERO_IN 50 V RB7 1K 3 C END 1 2 2 T5

B E MP52222 1 2 2

RB5 2 C14 RB6 470 R .33 mF 4.7 K 1/2 W 1 1 1

END

Figure 7-6 The Trackspot power supply has a 5 V DC rail for the logic section, a 24 V DC rail for motors, and another 24 V DC rail for the fan. The Linear Power Supply 131

240 V

220 V

200 V

140 V 24 VAC

120 V

100 V

Neutral Figure 7-7 A multi-tap transformer accepts a line level voltage input and outputs 24 V AC. 24 VAC 2 24 VAC

LD2 Yellow LED 221 Red R88 Fuse 4.7 K 2 ~ 1 F1 2 4 2 Br1 24 V MOT Red ~ 1 C41 1 1 C42 3 1 2200 mf 2200 mf 2 2 To fan supply 1 REG2 24 V 11 7824 3 1 C49 .01 mf 2 C50 2 .47 mf

Figure 7-8 T h e b r i d g e r e c t i fi er converts 24 V AC to DC with a pulsed output. four leads. The input is 24 V AC and the output is a fully rectifi ed DC pulsing w a v e f o r m ( F i g u r e 7 - 8 ) .

After the bridge rectifi er, the voltage is split into two separate rails; one for the motors and one for the fan. The motor power supply rail is fused (F1) to protect it from current overload. From there, a pair of 2200 μF smoothing capacitors (C41 and C42) fi lter out the pulses in the waveform to convert it to a non-pulsing steady DC waveform. The capacitors fi lter out the ripples by holding a charge at 132 POWER SUPPLIES the peak voltage (Figure 7-9). When the voltage tries to drop below the peak the capacitors provide the energy to keep the circuit at steady-state DC voltage. When the voltage peaks the capacitors recharge.

There is also a 4.7 kilohm resistor (R88) and a yellow LED tied to the 24 V DC rail. The purpose of the resistor is to drop the voltage to the proper level for the LED. The purpose of the LED is to indicate when the motor circuit is energized. If the power to the fi xture isn’t on or the fuse is blown, the LED indicator will be dark.

The fan circuit is regulated by a 7824 voltage regulator ( Figure 7-10 ). A voltage regulator holds the output voltage at 24 V DC provided the input is within the 24 VAC 2 24 VAC

LD2 Yellow LED 221 Red Fuse R88 4.7 K 2 ~ 12F1 4 2 24 V MOT Br1 C41 1 1 C42 Red ~ 1 m mm 3 1 22002200mf 2200 ff 2 2 To fan supply REG2 124 V 11 7824 13 C49 .01 mf 2 C50 2 .47mf

Figure 7-9 The capacitor fi lters the power supply ripple and smoothes the voltage. 24 VAC 2 24 VAC

LD2 Yellow LED 221 Red Fuse R88 4.7 K 2 ~ 12F1 4 2 24 V MOT Br1 Red ~ 1 C41 1 1 C42 3 1 2200 mf 2200 mf 2 2 To fan supply 1 REG2 24 V 11 7824 3 1 C49 .01 mf 2 C50 2 .47 mf

Figure 7-10 The voltage regulator holds the voltage at the prescribed level as long as the input is within the required limits. Switched-Mode Power Supplies 133 prescribed limits of voltage and current. The 7824 is rated for a maximum of o n e a m p .

Switched-Mode Power Supplies

Linear power supplies, like the one detailed above, are relatively ineffi cient, convert- ing only about 30% of the input power and dissipating the rest. SMPS are much more effi cient, typically in the range of about 70 to 80%, so they’re becoming more common. A SMPS uses a very fast switch that turns the current on and off to control the power sent to the load. They’re often used to supply low voltage DC for the logic and communications in automated luminaires. Because they operate at much higher frequencies than a linear power supply, the transformers and fi lters are much smaller and lighter. But electronic switching power supplies are also more expensive, and because they have many more components they’re more susceptible to failures.

SMPS are often auto voltage-ranging, accepting an AC input anywhere from 100 to 240 V at 50 or 60 Hz. There are a number of different types of SMPS, and a block diagram of a basic one is shown in Figure 7-11. The fi rst stage is usually to rectify the AC input using a full-wave rectifi er and smoothing capacitors to produce a rough DC input. The capacitance in this stage is typically very large to accommodate wide fl uctuations of the input power.

The next stage is a high-frequency power switch typically operating in the range of 20 to 200 kHz using a high-current MOSFET transistor or an insulated gate

Fixed frequency pulse- AC input Unregulated DC width modulated signal DC output

Rectification High-freq Power Output and filtering switch transformer filter

Duty cycle control Control circuitry

Figure 7-11 At the heart of an SMPS is a high-frequency power switch operating at a fi xed frequency and a variable duty cycle to control the output voltage and current. An IGBT is used as a switching component in an SMPS. 134 POWER SUPPLIES bi-polar transistor (IGBT). The switch typically operates at a fi xed frequency with a variable pulse width controlled by a logic circuit. This circuit monitors the output voltage and current in a feedback loop that includes the switch and the control circuit.

Depending on the application, the output of the switching device may be fed to a transformer to provide isolation between the input and output and to optimize the duty cycle of the switch. It can also serve to provide multiple outputs by using multiple windings on the secondary.

SMPS are tricky to design, have many components, and can be diffi cult to trouble- shoot. Most fi eld technicians opt to carry spare power supplies to swap with suspected failures and send them to the factory for repair.

Power Supplies for Arc Lamps

Unlike an incandescent lamp, an arc lamp has no fi lament. Instead, it produces light by sustaining an arc between a pair of electrodes. The most common arc lamps used in automated luminaires are Philips (www.philipslighting.com ) MSR and MSD lamps, and Osram (www.osramsylvania.com ) HMI and HSR lamps. To start and maintain the arcing process, arc lamps have special power supply requirements. First, there’s a gas fi ll in the inner envelope of the lamp that has to be ionized by the application of very high voltage. Ionization drops the resistivity of the gas and facilitates the start of an arc from one electrode to the other. Once the arc has started, the power supply must then detect the fl ow of current and drop the voltage to the normal operating level.

There are two types of power supplies for discharge lamps; a magnetic ballast power supply and an electronic switching power supply. Each has its advantages and disadvantages in cost, performance, and packaging.

The Magnetic Ballast Power Supply

A magnetic ballast power supply is the simpler of the two types of power supplies for arc lamps. It primarily consists of a few basic parts: a power input, a ballast (sometimes referred to as a choke), an ignitor, and a lamp ( Figure 7-12 ).

The lamp ignitor is a small self-contained unit that initiates the arcing process ( Figure 7-13 ). When the circuit is fi rst turned on, the lamp ignitor applies several thousand volts across the lamp terminals to ionize the gas in the lamp envelope. The rarefi ed gas presents a low impedance path for the fl ow of current and makes The Magnetic Ballast Power Supply 135

Ballast Ignitor

B L N

Lamp Power Power source factor correction capacitor

Figure 7-12 A magnetic ballast power supply is a simple circuit with a power source, a ballast, an ignitor, and a lamp. The ballast limits the fl ow of current by creating a magnetic fi eld that impedes alternating current. The function of the lamp ignitor is to create a high starting voltage and then drop out of the circuit once the lamp ignites.

Figure 7-13 A typical lamp ignitor for a magnetic ballast power supply. it easy for the high voltage to jump the gap between the electrodes. As the arc jumps across the electrodes it produces a plasma ball made of hot gas that sustains the arc. As current starts to fl ow in the lamp circuit the lamp ignitor senses it and drops out of the circuit. With the lamp ignitor out of the circuit, the current is r e g u l a t e d o n l y b y t h e b a l l a s t . 136 POWER SUPPLIES

Lamp starters are typically sealed units and are not serviceable. They can’t be fi eld tested with a continuity tester, nor can they be tested for impedance. The only way to test a lamp starter is to place it in a known good lamp circuit to see if it starts a lamp. Lamp starters are prone to failure, and in the event that a fi xture with an arc lamp won’t strike after re-lamping it with a new or a known good lamp, the starter should be among the fi rst components suspected of failure.

With the lamp starter out of the circuit, the ballast and lamp are in series. A ballast is simply a large inductor wound around an iron core (Figure 7-14). It provides enough impedance in an AC circuit to limit the current to the lamp so that it operates at the rated power.

Because a ballast is just a coil of wire, there are few things that can go wrong with it. However, they can fail in one of two ways: the varnish that’s used to insulate the windings can break down resulting in a short circuit, or the terminals can break causing an open circuit. A continuity test can determine if a ballast has an open circuit, but it’s very diffi cult to determine with common fi eld testers if a short circuit has occurred because the normal impedance is very low.

Figure 7-14 A magnetic ballast (sometimes called a choke) is a large inductor. Electronic Switching Power Supply for Gas Discharge Lamps 137

Electronic Switching Power Supply for Gas Discharge Lamps

An electronic switching power supply is a solid-state power supply that performs the same function as a magnetic ballast power supply but in a much more effi cient manner.

All power supplies are not created equal. Although there are obvious advantages and disadvantages to each type of power supply as they relate to an automated luminaire, choosing the right fi xture and power supply is a function of the application. There are different requirements for permanent installations then for rental and hire applications. Some of the considerations are budget, size, weight, reliability, and fl icker.

Advantages of Magnetic Ballast Power Supplies 1. Fewer components make it more reliable than an electronic switching power supply. A magnetic ballast power supply has very few components, most of which provide several years of trouble-free operation. 2. Three main components (ballast, starter, and lamp) make it easy to troubleshoot. A good tech can troubleshoot and repair a magnetic ballast power supply problem in the fi eld using common fi eld test equipment and a couple of hand tools. 3. Relatively inexpensive compared to an electronic switching power supply. In a perma- nent installation, most of the advantages of an electronic switching power supply are sometimes outweighed by the extra cost involved.

Disadvantages of Magnetic Ballast Power Supplies 1. Frequency is dependent on power source and at 50 or 60 Hz causes fl icker with fi lm cameras. The alternating current supply causes the arc to fl icker at twice the rate as the supply frequency, because the arc follows the peaks and valleys of each half cycle. Although this fl icker is faster than the human eye response, it can affect fi lm and video, which operate at 24 and 30 frames per second, respec- tively. Prior to the introduction of electronic switching power supplies, cameras and lighting power supplies had to be locked in synch to prevent fl icker. 2. Ballast is big and heavy. A ballast for a 575 W fi xture can add 8 pounds to a fi xture and it requires a bigger chassis to house it. 3. Relatively ineffi cient due to I 2 R losses. The resistance of the ballast, although small, translates to relatively large heat losses in the lamp circuit. Increased heat production in each luminaire adds to the heating, ventilation, and air conditioning (HVAC) costs in new construction. A typical system has multiple 138 POWER SUPPLIES

luminaires, each of which contributes to the energy consumption and heat generation, adding up to signifi cant ongoing costs. The rate at which heat is generated in a luminaire can be calculated by multiplying the wattage of the fi xture by the conversion rate for British Thermal Units per hour of operation (BTUs/hour) to watts. That, in turn, determines how much air conditioning, in tons of AC, is needed to displace the equivalent amount of heat.

1 k W h 3 4 1 2 B T U 0 . 2 8 4 t o n s o f A / C

Advantages of Electronic Switching Power Supplies 1. Better effi ciency. Because there is no ballast, the heat losses are much smaller in an electronic switching power supply. For permanent installations, the long- term cost savings for electricity and HVAC can be signifi cant. 2. Smaller and more lightweight. The lack of a ballast also signifi cantly reduces the amount of copper in the unit, which translates to much less weight and a much smaller power supply. 3. Flicker-free. The output of an electronic switching power supply is a square wave rather than a sine wave; therefore, the voltage maintains the same level until it switches polarity, resulting in a constant intensity from the arc. 4. Auto-voltage sensing. Many automated luminaires with an electronic switching power supply have the ability to sense the input voltage and accommodate almost any voltage and frequency. The notable exception is fi xtures with a 1200 W source or higher, which draw too much current at voltages under 200 or 208 V AC. They’re typically limited in voltage requirements.

Disadvantages of Electronic Switching Power Supplies 1. More prone to failure. There are many more parts that can fail in an electronic switching power supply, which makes them ultimately less reliable than their magnetic ballast counterparts. 2. Higher cost. The added cost of engineering and components makes them more expensive than a magnetic power supply. Oftentimes the difference can be hundreds of dollars per fi xture. 3. Harder to troubleshoot. In the event of a failure, they can be almost impossible to troubleshoot on the component level in the fi eld with common hand tools. Most failures are treated by replacing the entire power supply, and it can be expensive to carry a spare, particularly if you have several different types of fi xtures. CHAPTER 8 Overcurrent and Overvoltage Protection

Thus, the task is, not so much to see what no one has yet seen; but to think what nobody has yet thought, about that which everybody sees.— Erwin Schödinger, Nobel Prize-winning physicist

Murphy’s law says that anything that can go wrong, will go wrong. In live event production, that applies doubly. In the design of electric power distribution and automated lighting systems, it’s imperative to build in protection for personnel and equipment in the event of a fault (short circuit) or malfunction. One of the most important means of providing such protection is with the proper use of overcurrent and overvoltage protection.

Fuses

Electrical protection devices come in several varieties. The simplest is a fuse, which is a wire link that will predictably and reliably melt when a predetermined magnitude of current is reached for a designated duration. When the fuse element melts, the circuit is interrupted and the current will cease to fl ow.

Fuses are sized according to their rated current and voltage. If the current rating of a fuse is undersized then it’s subject to nuisance tripping due to fl uctuations and spikes in the line voltage. If it’s oversized it can be a potential fi re hazard or a hazard to personnel. When you replace a fuse it’s critical to use the fuse type specifi ed by the manufacturer. Because UL and CSA ratings are different

139 140 OVERCURRENT AND OVERVOLTAGE PROTECTION from IEC ratings they aren’t interchangeable. A 250 V, 1.4 amp UL/CSA fuse, for example, is approximately the same as a 1 amp IEC rated fuse. Therefore, if a fuse manufactured to UL standards is replaced with a fuse manufactured to IEC standards, then the circuit will no longer be protected properly. And it goes without saying that it’s never a good idea, regardless of the circumstances, to bypass a fuse with a chewing gum wrapper or any other conductive material.

It’s also very important that the fuse is rated at, or higher than, the circuit voltage or there’s a risk of arcing across the open fuse terminals, thus defeating the purpose of the overcurrent protection. Furthermore, a fuse with the wrong voltage rating will work just fi ne until the fuse link blows and an arc is generated across the terminals. Therefore, it’s extremely important to pay close attention to the current and voltage ratings of replacement fuses. A properly rated fuse is designed to withstand the open circuit voltage for 30 seconds after the fuse blows or to have an interrupt resistance of at least 1 kilohms.

When a lamp is cold, it behaves differently than when it’s at its normal operating temperature. Depending on the type of lamp, the temperature rises from room temperature to the lamp operating temperature, and in the process the lamp current changes. In the case of a cold incandescent lamp (a fi lament lamp), the inrush current peaks at approximately ten times the steady-state operating current, but it lasts a relatively short duration, no more than a few cycles. A cold arc lamp with a magnetic ballast exhibits a high inrush current and a relatively long stabi- lization period before reaching its steady-state temperature and operating condi- tions. The peak inrush current is approximately 50% above the steady-state current for a minute or so before gradually dropping to its normal level after approxi- mately fi ve minutes. The main fuse, therefore, needs to be able to withstand the higher inrush current for a relatively long duration.

If the luminaire has an electronic switching power supply then the current is under control of the power supply and it never exceeds its rated value. Also, automated lighting manufacturers recognize the potential problems associated with an entire system of arc lamps all powering up at the same time and the effect that it can have on an electrical system. For this reason they sometimes build in staggered ignition so that each lamp strike is separated in time by a short duration to ease the demand requirements for instantaneous current. Some manufacturers go further and program the luminaires to sequence the lamp turn-on and the homing of the motors so that the power consumption on start-up is less demanding.

In addition to time lag fuses, IEC standards provide for the manufacture and testing of quick-acting fuses. In the UL standard, there are fast-acting normal blow fuses and time delay fuses. UL/CSA 248-14 IEC 60127-2 % Fast Acting Rated Current Normal Quick- Quick- Time-Lag Time-Lag Time-Lag Current Range Blow Time Delay Acting I Acting II III V VI 100 0–10 A * * 135 0–10 A <1 hr <1 hr 150 50 mA–6.3 A >1 hr >1 hr >1 hr >1 hr >1 hr 32 mA–6.3 A 1–6.3 A 200 0–10 A <2 min <5 sec 0–3 A 210 50 mA–6.3 A <30 min <30 min <2 min <30 min <2 min 32 mA–6.3 A 1–6.3 A 275 50 mA–3.15 A 10 ms–2 s 10–500 ms 200 ms–10 s 1–80 s 200 ms–10 s 4–6.3 A 10 ms–3 s 50 ms–2 s 600 ms–10 s 600 ms–10 s 32–100 mA 125 mA–6.3 A 1–6.3 A 400 50 mA–6.3 A 3–300 ms 3–100 ms 40 ms–3 s 95 ms–5 s 40 ms–3 s 32–100 mA 10–300 ms 150 ms–5 s 150 ms–5 s 150 ms–3 s 125 mA–6.3 A 1–3.15 A 4–6.3 A 1000 50 mA–6.3 A <20 ms <20 ms 10–300 ms 10–100 ms 10–300 ms 32 mA–6.3 A 20–300 ms 20–100 ms 20–300 ms 32–100 mA 125 mA–6.3 A 141 1–3.15 A 4–6.3 A * Fuse shall not open upon reaching stable operating temperature. Miniature fuse time-current characteristics for UL/CSA and IEC standards. (Courtesy of Wickmann—www.wickmann.com.) 142 OVERCURRENT AND OVERVOLTAGE PROTECTION

40

20 Time lag, med, Time lag

0 Very quick acting & quick acting de-rating (%) rated I 220 23 deg C

240 240 220 0 20 40 60 80 100 Ambient temperature (degrees C)

Figure 8-1 Ambient temperature at fuse versus de-rating. (Courtesy of Wickmann— www.wickmann.com. )

In high ambient temperature conditions it may be necessary to de-rate a fuse according to the graph in Figure 8-1 . For example, if a MAC 2000 Profi le is mounted inside an enclosure in the Arizona desert, then the ambient temperature at the fuse may reach as high as 70°C. If the main fuse begins to nuisance trip during the day, then it may be de-rated 22% and replaced with a fuse of higher value with the caveat that the fi xture won’t be properly protected at night when t h e t e m p e r a t u r e d r o p s .

Circuit Breakers

A circuit breaker is a resettable device that senses current and automatically opens a set of contacts to interrupt a circuit at a predetermined overcurrent. Common sense and local electrical codes dictate that circuit breakers are used in each and every circuit in a power distribution system. Sometimes they’re integrated into automated luminaires as well. Circuit breakers rated for up to 30 amps come in two main types—the thermal breaker and the magnetic breaker. There are also hybrid thermal–magnetic circuit breakers as well.

The typical household circuit breaker and the kind most often found in North America is the thermal type ( Figure 8-2 ). The mechanism by which they sense current is a bimetallic strip through which the current fl ows. The resistance in the metal causes them to heat up due to the current fl ow and causes them to expand as they heat up. Because each of the two metals has a different coeffi cient of expansion they expand at different rates. When the current reaches a Circuit Breakers 143

Actuator mechanism

Actuator lever

Terminals Contacts

Bi-metallic strip Arc chute

Calibration screw

Figure 8-2 A thermal circuit breaker uses a bimetallic strip to sense current and trip the switch in the event of an overcurrent situation. The two metal strips have a different coeffi cient of expansion and expand at different rates as current fl ows through them and resistance causes them to heat up.

predetermined magnitude there’s enough of a difference in the thermal expansion that the bimetallic strip will bend and trigger a spring-loaded switch. The switch then opens the contacts and breaks the circuit.

Thermal circuit breakers are somewhat forgiving of voltage spikes and surges because of the time it takes for the current to heat up the bimetallic strip. A spike or surge of a few cycles will have no obvious effect on a thermal breaker. For this reason, thermal–magnetic hybrid circuit breakers are sometimes used to protect equipment from very high currents. The magnetic trip mechanism reacts much quicker than the thermal trip mechanism and helps prevent damaging levels of current in the circuit.

Thermal breakers are temperature dependent, thus, they’re less reliable in extreme ambient weather conditions. In hot environments they can nuisance trip and in extremely cold environments they may be slow to react. Thermal circuit breakers also tend to fatigue with each trip and eventually have to be replaced after repeated trip cycles. 144 OVERCURRENT AND OVERVOLTAGE PROTECTION

Magnetic circuit breakers are more common in Europe and are found to a lesser degree in North America ( Figures 8-3 and 8-4 ). Rather than using a bimetallic strip, magnetic circuit breakers use a solenoid, which is nothing more than an inductor with a moveable iron core. When the inductor is energized by the fl ow of current, it produces a magnetic fi eld that pushes the core in a certain direction. When the current is strong enough, the core moves far enough to trip a spring-loaded switch.

Magnetic circuit breakers are much more accurate and fast acting than thermal breakers. They’re unaffected by fl uctuations in ambient temperature and they don’t suffer from trip fatigue.

Windings

Spring

Solenoid Armature (A) (B) (C)

Figure 8-3 A magnetic circuit breaker senses current with a solenoid. The magnetic fi eld of the inductor pushes a moveable core, which trips a spring-loaded switch at a predetermined current level. (A) Normal operating position. (B) As the current exceeds the allowable limit, the solenoid begins to trip the armature. (C) When the armature trips all the way, the circuit is interrupted.

Figure 8-4 The inside of a magnetic circuit breaker showing the electronic control circuitry, current sensors, and solenoid. Metal Oxide Varistor 145

Although circuit breakers also have a means of opening and closing the circuit manually, they aren’t necessarily made to be used as an on/off switch. Common circuit breakers have a very limited number of on/off cycles. Each time the breaker is cycled on and off it weakens the spring-loaded actuator. Special circuit breakers that are designed to be used as on/off switches are called switch-rated breakers or switch duty (SWD) breakers.

Metal Oxide Varistor

A metal oxide varistor (MOV) is a type of overvoltage protection device ( Figure 8-5 ). It’s often used to protect a circuit from a high-voltage spike caused by a lighting strike or the accidental application of the wrong voltage, such as when a 120 V fi xture is connected to a 208 V supply.

An MOV is a type of diode called a tunnel diode. When low to moderate voltage is applied to it with the proper polarity (reverse-biased), then it conducts only a small amount of current due to the leakage across the diode junction. But when the threshold voltage is exceeded, the diode breaks down because of something known as the avalanche effect and it passes a very large current ( Figure 8-6 ). It acts as a very non-linear resistor exhibiting very high resistance below the thresh- old voltage and low resistance above the threshold voltage. If a power supply circuit is placed in parallel across the input of the circuit (hot to neutral) and the

Figure 8-5 An MOV is a type of diode with certain characteristics that make it ideal for overvoltage protection. 146 OVERCURRENT AND OVERVOLTAGE PROTECTION

Varistor schematic diagram

1400

1200

1000 Protection 800 area

Voltage (V) Voltage 600

400

200 Maximum permissible operating 270260250240230220210 10 20 30 40 50 60 70 2200 Current (kA) voltage 2400

2600

2800

21000

21200

21400

Figure 8-6 An MOV conducts no current under normal operating conditions. But if the threshold voltage is exceeded it becomes a linear resistor and conducts current in direct proportion to the voltage. It can protect a circuit by shorting it at the input and blowing a fuse or tripping a circuit breaker. threshold voltage is exceeded, it will short the conductors and blow a fuse or trip a breaker, thereby sparing all the components downstream from the MOV.

MOVs are sacrifi cial devices. When an MOV experiences a high voltage spike, it’s often destroyed in the process of protecting the circuit. If it isn’t destroyed, it should be replaced after it experiences high voltage because it will become stressed. Because it’s usually in parallel with the circuit, an open circuit diode has no effect on the normal operation of the rest of the circuit, so it may not be apparent that anything out of the ordinary has occurred other than the possible exception of a blown fuse or a tripped breaker. If there’s reason to believe that the threshold voltage has been exceeded, an MOV can be tested out of the circuit with a conti- nuity tester. Often a damaged MOV can be detected by visual inspection and it will be apparent by the bits and pieces found spread around the inside of the enclosure. CHAPTER 9 Digital Electronics

There are three types of people in the world: those who understand binary and those who don’t.— seen on T-shirt

There’s no magic in the decimal (base 10) numbering system; it’s one of many different numbering schemes and it just happens to be the most common human numbering system. Is it just a coincidence that there are ten unique numbers in the decimal system and we have ten fi ngers and toes? Perhaps. But we can imagine that there exists some connection between the convenience of counting on fi ngers and the management of large numbers.

By the same token, a computer has two “fi ngers” to count on, so to speak, or two states by which to keep track of numbers—“on” and “off.” At the heart of every computer is a complex arrangement of microscopic switches that do everything from carrying out instructions to keeping track of numerical and graphical data. Each of these switches can be turned on or off individually. By arranging them in groups called bytes, each group can represent a piece of data that, taken collectively, paints an entire picture.

The key to interpreting zeroes and ones as data lies in the processor’s ability to encode and decode each switch or “bit” of data. Because a switch has two states, on and off, the binary numbering system is a natural numbering system for a computer.

147 148 DIGITAL ELECTRONICS

Binary Numbering

The binary numbering system has only two digits: zero and one. It works the same way the decimal system does in terms of place values—each number occu- pies a specifi c place and is assigned a value—except in binary the places are factors of two, not ten (Figure 9-1). Just as in the decimal system, the fi rst place value is the ones. In the decimal system, each subsequent place value is equal to ten times the place value to its right. In the binary system, each subsequent place value is equal to two times the place value to its right.

Counting in binary is very similar to counting in decimal, except that in binary, the number 1 is the highest single digit. To increment a binary number, add 1 to the ones place. If the result is higher than 1, then put a 0 in the ones place and carry 1 to the next place. If the carry results in a number higher than one, put a 0 in that place and carry 1 to the next place and so on.

Table 9-1 shows the decimal numbers from 0 to 49 and their binary equivalents.

To convert a binary number to decimal, add the value of each place to fi nd the sum. Table 9-2 shows the fi rst 20 place values for binary numbers:

1,011

Thousands Hundreds Tens Ones place place place place

(A) Decimal numbering

1011

Eights Fours Twos Ones place place place place

(B) Binary numbering

Figure 9-1 In any numbering system each digit occupies a place according to its weight. (A) In the decimal system each place is a factor of 10. (B) In the binary system each place is a factor of two. Binary Numbering 149

Table 9-1 Binary equivalents for decimal numbers 0 through 49. Decimal Binary Decimal Binary Decimal Binary Decimal Binary Decimal Binary 0 0 10 1010 20 10100 30 11110 40 101000 1 1 11 1011 21 10101 31 11111 41 101001 2 10 12 1100 22 10110 32 100000 42 101010 3 11 13 1101 23 10111 33 100001 43 101011 4 100 14 1110 24 11000 34 100010 44 101100 5 101 15 1111 25 11001 35 100011 45 101101 6 110 16 10000 26 11010 36 100100 46 101110 7 111 17 10001 27 11011 37 100101 47 101111 8 1000 18 10010 28 11100 38 100110 48 110000 9 1001 19 10011 29 11101 39 100111 49 110001

Table 9-2 Place values for binary numbers 1 through 20. Place Value Place Value 1111 1,024 2212 2,048 3413 4,096 4814 8,192 51615 16,384 63216 32,768 76417 65,536 8 128 18 131,072 9 256 19 262,144 10 512 20 524,288

Example Convert the following numbers from binary to decimal: 1. 1 0 2. 1 0 0 3. 1 1 1 0 1 4. 1 0 0 1 1 0 0 1 150 DIGITAL ELECTRONICS

5. 111111 6. 1111111 7. 11111111

Example Convert the following number from decimal to binary: 1. 1 0 2. 1 0 0 3. 2 5 5 4. 1 0 2 4 5. 5 0 6. 7 5 7. 9 9

Binary numbers are important in automated lighting for several reasons. First, some of the older automated luminaires and less expensive fi xtures use a series of dual inline package (DIP) switches for DMX512 addressing. Although there can be a confi guration chart next to the DIP switches telling you how to set the switches for a particular DMX512 starting address, it’s important to understand how to calculate the settings in case a chart isn’t available. Secondly, understanding binary numbers helps to understand the encoding scheme for DMX512 data and the structure of computer data. It’s quite possible that you could spend an entire career in lighting and never have to decode an electronic signal, but it’s virtually impossible to have a thorough understanding of how DMX512 is generated, transmitted, and decoded without understanding binary numbers. Thirdly, if you ever want to write com- puter code you should know binary. Writing code for lighting applications is a very specialized fi eld, but if you understand lighting and you can write computer code, then you could be a valuable asset to a lighting or controller manufacturer.

Binary Offset

Some automated fi xtures have eight DIP switches for DMX addressing. A switch in the “off” position is considered a binary 0 and a switch in the “on” position is considered a binary 1. However, when all the switches are off (00000000), the Hexadecimal Numbering 151

DMX address is 1. Even though the DMX512 addressing scheme is binary encoded, it has an offset of 1—there’s no address zero.

Example Write down the DIP switch confi guration for the following DMX addresses if the least signifi cant bit on the switches is at the left. 1. 3 2 2. 5 5 3. 2 5 6 4. 2 5 5. 1 5 6. 1 0 0 7. 1 2 5 8. 2 1

Hexadecimal Numbering

Computer data are arranged in groups of eight bits, which in most computers is called a byte. Whereas 8-bit binary numbers are somewhat large and unwieldy for human beings to manipulate, they can be broken into two 4-bit numbers, which can then be easily converted to two hexadecimal (base 16) numbers. The advantage of working in hex over binary is that it’s much more user-friendly for humans to decipher.

There are 16 4-bit binary numbers ranging from 0000 to 1111. Each of these 16 unique binary numbers may be represented by a unique number in base 16. The 16 hexadecimal symbols are

0 1 2 3 4 5 6 7 8 9 A B C D E F

So a computer programmer working in machine language would write the hexa- decimal equivalent of the binary numbers 1011 and 1011, which is B B.

Table 9-3 shows the decimal numbers 0 through 29 and their equivalent binary and hexadecimal numbers. 152 DIGITAL ELECTRONICS

Table 9-3 Decimal, binary, and hex equivalents for decimal numbers 0 through 29. Decimal Binary Hex Decimal Binary Hex Decimal Binary Hex 0 0 0 10 1010 A 20 10100 14 1 1 1 11 1011 B 21 10101 15 2102121100C221011016 3 11 3 13 1101 D 23 10111 17 4 100 4 14 1110 E 24 11000 18 5 101 5 15 1111 F 25 11001 19 6 110 6 16 10000 10 26 11010 1A 7 111 7 17 10001 11 27 11011 1B 8 1000 8 18 10010 12 28 11100 1C 9 1001 9 19 10011 13 29 11101 1D

Hexadecimal is easier for people to deal with than binary, but a computer only understands 0 and 1. So we only use hex as shorthand for writing code. A compiler is a software package that converts higher level computer languages like C and Cϩϩ to machine code (binary), which the computer then understands and works with. The lower level languages are closer to binary numbers and run faster than uncompiled code, but they’re harder to deal with than higher level languages that use mnemonic codes to represent commands.

Example Convert the following numbers from hexadecimal to decimal: 1. 1 0 0 2. 1 0 3. 2 A 4. 2 1 5. 3 F 6. F F 7. A F Digital Electronics 153

Example Convert the following numbers from binary to hex: 1. 11110000 2. 1 1 0 1 0 0 1 0 3. 110111 4. 1 0 0 1 1 0 5. 101111 6. 1 1 0 1 1 0 7. 10101111

Digital Electronics

The key to digital electronics lies in a circuit’s ability to turn a switch on and off electronically. That allows a digital circuit to process data in the form of a logical “1” or a logical “0.” A logical 1 corresponds to a high voltage, typically ϩ5 V DC and a logical 0 corresponds to a low voltage which is 0 V or ground.

Some of the earliest electronic computers, like the Electronic Numerical Integrator and Computer (ENIAC; circa 1943) used electromechanical relays or a combina- tion of relays and vacuum tubes to process data and store numbers. An electro- mechanical relay is a dry contact closure switch that’s activated by an electromagnet, which, in turn, is energized by an electronic control signal. When the coil in the electromagnet is energized, it closes the contacts and completes the circuit. These relays were simply a means of tracking and processing data by holding a switch open or closed.

The same principles apply to modern computers except the switches are com- pletely electronic (solid-state) and smaller and faster. As developments in electron- ics advanced computer technology, the electromechanical relay gave way to the vacuum tube, then the solid-state transistor, and fi nally the integrated circuit. A typical microprocessor chip contains hundreds of millions of transistors and elec- tronic components in a very small package. 154 DIGITAL ELECTRONICS

Collector

Base

Emitter NPN transistor circuit diagram

Low-voltage control signal

Schematic equivalent of transistor in digital circuit Figure 9-2 A transistor in a digital circuit is similar to a switch that’s controlled by a low-voltage control signal.

Electronic Switching

A transistor can be used in a digital circuit as an electronic switch. It functions the same as a switch with the action controlled by a low-voltage signal (Figure 9-2). One side of the switch is tied to the voltage rail, or VCC, and the gate controls the switch. When the gate sees a logical “1” it closes the switch (or opens it, depend- ing on whether it’s a positive or negative logic circuit) and the output of the transistor goes to a logical “1.” A simplifi ed representation of a transistor is a low-voltage operated switch.

Electronic switching plays a vital role in automated lighting systems. The three areas in which digital circuits handle data are transmission, storage, and processing.

Example For each of the 4-bit switch banks in Figure 9-3 write down the equivalent binary n u m b e r a n d c o n v e r t i t t o d e c i m a l . Data Transmission 155

MSB LSB

1. ON OFF ON OFF 1010

2. ON ON OFF OFF

3. OFF ON OFF OFF

4. ON ON ON ON

Figure 9-3

1. 1010; 10 2. 1 1 0 0 ; 1 2 3. 0100; 4 4. 1111; 15

Data Transmission

In the examples above we discussed static data states where a set of data is tem- porarily stored in a known location. However, data are only useful if we can get them to the right place at the right time. One of the ways in which we accomplish this is by transmitting data across copper wires, fi ber, or through the air in the case of wireless data transmission.

If we want to transmit a series of logical 1s and 0s, then we have to agree to a certain set of rules by which we can transmit and receive data for it to make any sense. For example, if you were to transmit a series of logical 0s, it might appear on the receiving end that you aren’t transmitting anything at all since a logical 0 is the same as 0 V or ground. To make sure that doesn’t happen, we have to 156 DIGITAL ELECTRONICS

establish a protocol or a set of rules by which we all agree to abide. Some of the issues include:

■ Starting point: When does the transmission start?

■ Duration of each bit of data: If we receive a series of logical 1s, how do we know how many there are? If we know the duration of each bit of data, then we can slice the data into a set number of bits.

■ Transmission rate or Baud rate: How many bits per second will we transmit and receive?

■ Packet size: How many bits of data represent a single number? Does 1011 mean binary 10 and binary 11, or is it just binary 1011?

■ Ending point: How does the receiver know we’re fi nished transmitting data for the time being?

These are some of the issues when trying to transmit digital data. We will cover these topics in more detail when we discuss lighting control protocols such as DMX512-A ( Chapter 16 ), RDM ( Chapter 17 ), and ACN ( Chapter 18 ).

CHAPTER 10 Computer Architecture

W e h a v e m o d i fi ed the bugs in the program .—Japanese user manual.

It’s no accident that the advent of automated lighting coincided with the prolifera- tion of cheap, easy-to-use microprocessors (μPs). Some of the earliest attempts at automation before computers were readily available were hobbled by the lack of accuracy and sophisticated control.

Early automated lights, like the Coemar Robot, used μPs like the 8-bit Zilog Z-80 that had a clock speed of no more than 1 or 2 MHz (1000 to 4000 times slower than today’s μPs). The processors that are used in today’s automated lighting are usually not the fastest or most powerful available, but they’re suffi cient for the needs of the application. The demands of a moving light—receiving data, reposi- tioning stepper motors, storing data, etc.—are easily met by processors of moder- ate speed and power. The overriding factor in engineering most automated lighting computer systems is having enough power and speed for the minimum cost. But the trend toward the convergence of lighting and video has placed increasing demands on the processing power and speed of transmission and control.

Computer manufacturers and component manufacturers have always developed the enabling technology for automated lighting manufacturers. Automated light- ing borrows heavily from computer technology and, although they may not look like a computer, they certainly function in much the same way. Most automated lighting uses modular components and requires very little component level trou- bleshooting, but it’s imperative to understand the basics of computer architecture to fully understand automated lighting.

157 158 COMPUTER ARCHITECTURE

Memory

CPU

Input/Output port

Figure 10-1 Three main parts of a computer are the CPU, memory, and I/O ports.

The three major parts of a computer system are the central processing unit (CPU) or μP, the input/output ports (I/O), and the memory (Figure 10-1). We’ll discuss each of these areas as they relate to automated lighting.

The CPU

The CPU is the brains of an automated light fi xture. It’s responsible for process- ing data, performing arithmetic operations, executing instructions, and output- ting data. There are several different types of CPUs. For general applications the most common is a μP. Every desktop and laptop PC and server has at least one μP residing on the motherboard. Many automated luminaires also have a The CPU 159

PSRAM DPRAM DSRAM

ProgMem EBC Flash CPU LXBus Control 256 Kbytes External Bus

PMU Control C166SV2-Core DMU OCDS Debug Support

Osc / PLL RTC WDT Clock Generator Interrupt & PEC LXBus Interrupt Bus

ADC GPT ASC0 ASC1 SSC0 SSC1 Cc1 Cc2 IIC Twin 8-Bit/ T2 USART USART SPI SPI CAN 10-Bit T0 T7 12 Ch T3 T1 T8 T4

T5 A B

T6 BRGen BRGen BRGen BRGen BRGen Peripheral Data Bus

P 20 P 9 P 7 Port 6 Port 5 Port 4 Port 3 Port 2 Port 1 Port 0

6 6 4 8 12 8 15 8 16 16

Figure 10-2 XC161CS-32F μC block diagram. This is the processor used in the Martin MAC 700.

μP, but some use a microcontroller (μC), which is essentially a computer on a chip (Figure 10-3), or an application-specifi c processor called an application- specifi c integrated circuit (ASIC). A μC is a lower cost alternative to a μP that combines a CPU with on-board memory (both static and volatile) and all the I/O interfaces required. One variation of a μC that has been used in automated lighting is the digital signal processor (DSP), which is designed for specifi c applications in the digital domain. For example, the Martin MAC 700 uses an Infi neon Technologies (formerly Siemens) XC161CS-32F 16-bit single-chip μC ( Figure 10-2 ). It operates at 40 MHz. It has 2K bytes of internal RAM, plus another 4K bytes of data RAM, 6K bytes of program RAM, and 256K bytes of fl ash memory, which can be used to store the operating system software. It also has up to 99 general purpose I/O data lines. The fact that it’s a 16-bit chip means that it can handle 2 bytes of data or instructions at a time and the “word” size is 16 bits. There are 24 address lines, meaning it can address 16 MB of data (224 ϭ 16,777,216). 160 COMPUTER ARCHITECTURE

Figure 10-3 Left: A Motorola MC68332 μC, which is used in some automated lights. Right: A Microchip PIC17C43 μC as found in a Chinese manufactured automated color wash luminaire.

Regardless of the type, the function of the processor is the same. Some of its jobs include:

■ Send and receive serial data through the data link (DMX512, RDM, or ACN)

■ Interpret incoming data (e.g., intensity level, color wheel position, gobo wheel position, focus position, etc.)

■ Translate data into action (e.g., change intensity level, change color wheel position, etc.)

■ Execute command (send new attribute information such as intensity level, color wheel position, etc.)

■ Output information about the current status of the luminaire (e.g., menu display output or bi-directional communications with controller, LED status information about lamp status, DMX512 activity, power status, etc.)

All of this activity, and more, is coordinated and executed by the CPU. Memory 161

Memory

Memory is the part of the computer that stores information such as data and instructions. There are several different types of memory devices but they each function in a similar manner.

■ RAM, or random access memory, is typically used for temporary storage of data in the computer in a luminaire. It’s volatile memory, meaning that it loses data when it’s not powered.

■ ROM, or read-only memory, is typically used to store the operating system or the set of instructions that operate the computer in a luminaire. It’s non- volatile memory, so it retains all of its data even when it’s not powered.

■ Flash memory is typically used in lighting consoles to back up the show data to an external storage device such as a thumb drive or a memory card. It’s a type of electrically erasable programmable read-only memory (EEPROM) and it’s non-volatile so it keeps the data regardless of whether or not it’s powered.

Every memory device is made up of groups of storage cells and each cell can store one bit of information in the form of a binary 0 or a binary 1. The storage cells are organized in groups of eight cells, which is one byte. A 1MB memory chip has 1,048,576 such groups (2 20 ϭ 1,048,576). For example, if we store an intensity level of 50% in a cue, the console puts the binary equivalent of 128 (50% of 256) in memory.

10000000

Each of the memory cells above stores one bit of the 8-bit binary number corre- sponding to the intensity level of 50% (10000000 binary or 80 hex).

To store and retrieve the data, each byte of memory must also have an address. In our previous example, if the fi rst intensity level was stored at address 10 hex (00010000 binary), then the intensity level for the next cue, say 100% or 11111111 binary, might be stored at address 11 hex (00010001 binary).

Address Data 0001000010000000 0001000111111111 162 COMPUTER ARCHITECTURE

D0 D1 D2 D3 D4 D5 D6 D7

BA0 BA1 RAS CAS A0 A1 A2 Bank0 Bank1 Bank2 Bank3 A3 A4 Memory Memory Memory Memory A 5 Array Array Array Array A6 A7 A8 A9 A10 A11

Figure 10-4 A 16MB memory chip with 16 multiplexed address and control lines Ϫ arranged in 4 banks of 4MB each. The eight data I/O lines are labeled D 0 D 7 , and Ϫ the address lines are labeled A 0 A 11 . The control lines include a column address line (CAS), row address line (RAS), and two bank address lines (BA 0 , BA1 ) .

A memory device has both data lines and address lines. The number of data and address lines depends on the size of the memory. For example, a 16MB memory chip uses a 24-bit address. But rather than dedicating 24 pins on a RAM chip to addressing, a chip will often use a multiplex control scheme to switch the same set of address lines between rows and columns; when the Row Address Select pin is asserted, then the values on the address lines are applied to the address row. When the Column Address Select pin is asserted, the values on the address lines are applied to the column. These are the same pins on the RAM chip; they’re just switched internally ( Figure 10-4 ).

In this example, there are 12 row address lines (2 12 ϭ 4K unique addresses) and 10 column address lines (210 ϭ 1K), for a total of 22 lines that can address 4MB of storage (4K ϫ 1K ϭ 4MB). In addition, there are two bank address lines that can address four separate banks, yielding a total of 16MB (4MB ϫ 4 banks ϭ 1 6 M B ) .

I/O Ports

An automated luminaire or console needs a way of communicating with the outside world to send and receive control information. The most common way of communicating is by way of a data line, which is connected directly to the proces- sor by way of the I/O. In some computers the I/O is a discrete chip called a peripheral interface adaptor (PIA), or a programmable peripheral interface (PPI). The job of the PIA or PPI is to act as a buffer between the I/O signals and the μP Architecture 163 processor, affording protection to the CPU and ensuring the proper voltage levels to operate reliably. On the other hand, a typical μC might have a variety of built-in I/O devices such as DACs, universal asynchronous receiver transmitters (UARTs), and a serial peripheral interface.

The System Bus

A bus is a set of wires or copper traces on a printed circuit board (PC board) that interconnect the major parts of a computer. A system bus in a μP normally comprises an address bus, a data bus, and a control bus. The number of lines on the address bus corresponds to the amount of memory the system can address. For example, an address bus with 20 lines can address 1MB of memory. By setting each line high or low, the proper address is placed on the address bus allowing the memory or I/O port to decode it and route it properly. The data bus transmits data or instructions between the CPU, memory, and the I/O port. The control bus is used to transmit special instructions between the CPU and other devices in the system.

μP Architecture

In a μP there are four fundamental parts: the registers, the arithmetic and logic unit (ALU), timing and control, and decoding circuitry. These parts are integral to the programming and function of the computer system.

A register is a temporary storage location with a very specifi c purpose. For example, to carry out an operation on two numbers, the input device places each of the binary numbers in a register and the result of the operation, such as a multiplication or division, appears in another register. Typically, there are at least three registers in a μP. The accumulator stores the results of arithmetic and logical operations. The program counter stores the address of the next instruction in line for operation and the instruction register stores the binary coded instruction such as an add, subtract, multiply, or divide instruction, on which the μP is currently working.

The ALU is the part of the CPU that performs arithmetic and logic operations on the data. It can add, subtract, multiply, and divide as well as perform the logical operations AND, OR, Exclusive OR, and complement, plus much more.

The timing and control sections may or may not include an internal clock that outputs clock signals for timing purposes. The decoding circuitry decodes the binary coded instructions in the programmed code. For example, if the binary code for “add” is 10000110, the decoding circuitry interprets it and sets up the microcode to perform that operation. 164 COMPUTER ARCHITECTURE

Execution of a Cue

All of the parts of the computer system come into play during the execution of a cue. When the operator presses the “go” button on the console, it sets in motion a chain of events. The exact procedure depends on the type of processor and the fi rmware, but a typical chain of events might be as follows:

1. The console outputs a serial digital signal with binary encoded information about the execution of the cue including the data (in binary) and, implicitly, the DMX512 address for which it is intended. The address is actually deter- mined by its place in the data packet (data are sent in order of the DMX512 address). 2. The data are brought in through the I/O port and loaded into a register in the CPU. 3. The incoming DMX512 signal makes one of the control lines, the interrupt line, go high, signaling to the processor that an interrupt has occurred. 4. The decoding circuitry analyzes the data and decides if any further action is warranted. 5. I f t h e fi xture determines that it’s the intended target of the data, then it goes to work. The memory address of the fi rst instruction, which is stored in an EPROM, is loaded into the program counter. 6. The program counter puts the memory address onto the address bus lines. 7. The EPROM sends the instruction to the μP by way of the data bus lines. 8. The instruction is placed in the instruction register in the μP. 9. The μP decodes the instruction. 10. If the μP decides it needs to update the data, it sends the new binary encoded data to a buffer before it’s passed on.

All of this happens in a tiny fraction of a second. The performance of a μP is measured in millions of instructions per second (MIPS). Given the speed and effi ciency of μPs, it’s easy to see why an automated lighting luminaire uses but a fraction of the available computing power. Therefore, some manufacturers seek to minimize their costs by using more economical μCs. SECTION 3 Electromechanical and Mechanical Systems This page intentionally left blank CHAPTER 11 Electromechanical Systems

The special music of physics lies in harmony between beautiful ideas and reality. —Frank Wilczek, Nobel Prize-winning physicist

In 1986, Coemar, an Italian theatrical lighting manufacturer, started producing a 350 W moving mirror fi xture called the Robot. It had exactly fi ve control channels: pan, tilt, color, gobo, and shutter. At about $2500 each, they were popular sellers in nightclubs with a moderate-to-large budget. They sold well in Europe and North America but after several months some of them started failing. After the initial batch of installations, it was learned that the plastic Airtronics servo motors driving all the motorized functions were only reliable to a point, and that point was usually surpassed shortly after the fi xtures were turned over to the club operators. The robotic movement was such a novelty, it seems, that the club opera- tors loved to program lots of very fast movements. The result was that the motors were getting thrashed to death. The motors were failing as fast as they could be replaced.

Many failed attempts to fi nd more robust servo motors led to much hand wring- ing and head scratching. Autopsies of the dead servos revealed two problems: the plastic gears in the gear box were breaking and the carbon contacts on the feed- back potentiometers were deteriorating and turning into black powder, which caused the contacts in the wiper arm to conduct erratically.

A few months later, another Italian lighting manufacturer, Clay Paky, started manufacturing moving lights called the Golden Scan. These fi xtures used

167 168 ELECTROMECHANICAL SYSTEMS stepper motors instead of servo motors, and within a very short time it was learned that stepper motors were far more reliable than a typical servo motor. Stepper motors are inductively coupled, which means they have no commuta- tors or brushes to wear out, nor do they have positional feedback so there are no potentiometers to fail.

Stepper Motors

The single biggest characteristic that distinguishes automated lighting from conventional lighting is its ability to receive data and translate it to mechanical motion, whether it’s moving the fi xture or changing an effect like a color or gobo wheel. The most common way of producing movement is with stepper motors.

A stepper motor is a type of motor with a unique ability to rotate its shaft a number of steps with a measurable distance and stop at a known angle of rotation. It also has a holding torque that provides a certain amount of holding power in a static position when its coils are energized.

There are three types of stepper motors: variable reluctance motors, permanent magnet motors, and hybrid motors. The vast majority of stepper motors used in automated lighting are hybrid motors, although some moving yoke fi xtures use permanent magnet motors in multi-phase confi gurations because they provide more torque at low speeds. For our purposes, we will limit most of our discussion to hybrid motors.

Hybrid Stepper Motors

Just like any other motor, a stepper has a stator and a rotor. The stator, or station- ary chassis, has a number of coils, called windings, in an angular array about the chassis that function as electromagnets (Figure 11-1). The rotor rotates about the axis on bearings or bushings inside the stator.

In a hybrid motor, the rotor is made of a cylindrical permanent magnet with its poles oriented along the length of the axis; one end of the axis is magnetic north and the other is magnetic south. Each half of the magnet, or “cup,” has a number of grooves cut into it and the ungrooved portions form teeth. One of the most common hybrid motors, a 2-phase bi-polar stepper motor, has 50 teeth cut into each cup, yielding a pitch of 7.2 degrees per tooth. The second cup is offset 3.6 degrees ( Figure 11-2 ) and, as we will see shortly, each step is half that distance, o r 1 . 8 d e g r e e s . Hybrid Stepper Motors 169

Stator

Windings

Rotor

Shaft

Windings

Figure 11-1 Cross-sectional view of a stepper motor. A series of electromagnets arranged around the circumference of the stator can be turned on and off to align the rotor in a precise orientation.

Teeth

Magnetic north cup

3.6 Degree offset Magnetic south cup

Shaft

Rotor Figure 11-2 A rotor from a 2-phase bi-polar stepper motor showing two cups offset by 3.6 degrees, each with 50 teeth.

The stator has two sets of coils, or two phases, each of which has four windings spaced 90 degrees apart from one another. They’re oriented so that if the windings of phase A are at 0, 90, 180, and 270 degrees, then the B phase windings are at 45, 135, 125, and 315 degrees. Further, every other winding in a phase is wound in the opposite direction. So when the phase is energized, the windings at 0 and 180 become magnetized in one direction while the windings at 90 and 270 are magnetized in the opposite direction. 170 ELECTROMECHANICAL SYSTEMS

Phase A N Phase B

N Phase B Phase A S N S N Phase A

1/4 Tooth pitch offset

Phase B N Phase B N Phase A 3/4 Tooth pitch offset 1/2 Tooth pitch offset

- Attraction - Repulsion Figure 11-3 Phase A is energized and phase B is de-energized. Because the windings at 90 and 270 degrees are wound in the opposite direction as the windings at 0 and 180 degrees, they become a magnetic south when the other two become a magnetic north. When they’re energized they attract the teeth of the magnetic north rotor cup, whereas the windings at 0 and 180 degrees attract the teeth of the magnetic south rotor cup (not shown).

If phase A is energized and phase B is off, then the 0 and 180 degree windings are a magnetic north and they attract the teeth of the magnetic south rotor cup, whereas the 90 and 270 windings are a magnetic south and they attract the teeth of the magnetic north rotor cup (Figure 11-3). As long as the windings are ener- gized, the motor will have a holding torque.

When a phase is energized and the rotor is locked in position, some of the rotor teeth are aligned with the stator teeth, but some are out of alignment by three- quarters, one-half, and one-fourth of a tooth pitch. As the currently energized phase is de-energized and the next phase is energized, the rotor will rotate so that the most closely aligned teeth, the ones one-fourth of a tooth pitch out, will line up with the stator teeth ( Figure 11-4 ). Consequently, each full step movement is one-fourth of a tooth pitch or 1.8 degrees. Dual Phase Excitation Mode 171

Phase A

Phase B

N S PhaseN B Phase A N N Phase A

Phase B S N N Phase B

Phase A

Figure 11-4 When phase B is energized and phase A is de-energized, the windings at 45 and 225 degrees become a magnetic south and attract the teeth of the mag- netic north rotor cup. The windings at 135 and 315 degrees become a magnetic north and attract the teeth of the magnetic south rotor cup (not shown).

Single Phase Excitation Mode

By energizing the windings in alternating phases (A/B/A/B, etc.) and by revers- ing the polarity of the winding every other time it’s energized (ϩA/ϩB/ϪA/ϪB, etc.), the rotor will spin ( Figure 11-5 ). Each time the phase sequence is advanced, the rotor will move a full step (1.8 degrees) and after 200 steps it will complete one revolution. This is known as single phase or “one-phase on, full step” excita- tion mode. This mode requires less power than other excitation modes but pro- vides the least amount of torque.

Dual Phase Excitation Mode

By energizing both phases at one time and alternating their polarity in sequence, we can achieve the same full step motion as with the one-phase, full step mode ( Figure 11-6 ). This mode of excitation is known as dual phase or “two-phase on, full step” excitation. It requires twice as much input power but it delivers 30–40% more torque. 172 ELECTROMECHANICAL SYSTEMS

1.8 Degrees

Phase A Phase A N Phase B Phase B

N N S Phase B PhaseN B Phase A Phase A S N N S N N Phase A Phase A

Phase B PhaseS B N N N

Phase B Phase B N Phase A Phase A

(A) (B)

3.6 Degrees 5.4 Degrees

Phase A Phase A S Phase B Phase B

N N N Phase B PhaseS B Phase A Phase A N N N N N N Phase A Phase A

Phase B Phase B N N N S

Phase B Phase B S Phase A Phase A

(C) (D)

- Attraction - Repulsion

Figure 11-5 In single phase excitation mode, the windings are turned on in sequence but the polarity alternates between positive and negative on the same phase. This mode requires less power but delivers less torque than other excitation modes. Dual Phase Excitation Mode 173

1.8 Degrees

Phase A Phase A N Phase B Phase B

S N N N Phase B Phase B Phase A Phase A S N N N N S Phase A Phase A

Phase B Phase SB N N N

Phase B Phase B N Phase A Phase A

(A) (B)

3.6 Degrees 5.4 Degrees

Phase A Phase A S Phase B Phase B

N N S N Phase B Phase B Phase A Phase A N N N N N N Phase A Phase A

Phase B PhaseN B N N S

Phase B Phase B S Phase A Phase A

(C) (D)

- Attraction - Repulsion

Figure 11-6 In dual phase mode, both phases are turned on at once and the teeth of the rotor are locked between the two. Each time the polarity is changed the rotor moves a full step. This mode requires double the power input compared to single phase mode, but it delivers 30–40% more torque. 174 ELECTROMECHANICAL SYSTEMS

0.9 Degrees 1.8 Degrees

Phase A Phase A Phase A N N Phase B Phase B Phase B N N S N PhaseN B Phase B Phase B Phase A Phase A Phase A N N N S S N N N S S Phase A Phase A Phase A

Phase B Phase B Phase SB N N N N

Phase B Phase B Phase B N N Phase A Phase A Phase A (A) (B) (C)

2.7 Degrees 3.6 Degrees 4.5 Degrees Phase A Phase A Phase A S S Phase B Phase B Phase B

S Phase B PhaseN B N N Phase B N Phase A Phase A Phase A N N N N N N N N N N Phase A Phase A Phase A

Phase B Phase B Phase SB N N N N Phase B Phase B Phase B S S Phase A Phase A Phase A (D) (E) (F)

5.4 Degrees 6.3 Degrees

Phase A Phase A

Phase B Phase B

N N N N Phase SB Phase SB Phase A Phase A N N N N Phase A Phase A

PhaseN B PhaseN B N S N S

Phase B Phase B

Phase A Phase A (G) (H)

- Attraction - Repulsion

Figure 11-7 Alternating between single and dual phase excitation for each step results in half step rotation. This mode provides about 15% less torque than dual phase stepping, but by increasing the current in the winding during the single phase step the loss of torque can be eliminated. Microstepping 175

Half Step Excitation

By alternating between single phase and dual phase excitation, the rotor will move in half steps, resulting in twice the resolution but about 15% less torque than dual phase stepping (Figure 11-7). By increasing the current in the windings during the single phase step, the torque remains comparable to that of dual phase step- ping. This method is known as modifi e d h a l f s t e p p i n g .

Microstepping

Microstepping is a technique that’s often touted in automated lighting literature as a special feature. But, as we will see, it’s fundamental to the smooth, natural movement of an automated luminaire.

Up until now we have been discussing a hybrid stepper motor with 1.8 degree steps. With that degree of resolution, a 100 ft (30.5 m) throw yields a movement of 3’ 2” (0.97 m), which is altogether unacceptable for fl uid movement and accurate positioning of a luminaire. By microstepping a hybrid motor, we can increase the step resolution considerably. Suppose, for example, that you confi gure the control of a stepper motor so that you increase the resolution 256 times higher than a full step. Now, instead of moving 3’ 2” (0.97 m) for every step at a 100 ft (30.5 m) throw, each step results in a movement of only 0.15 in. (3.81 mm).

Instead of simply energizing the windings fully on or fully off as in single phase and dual phase excitation, a sinusoidal input on phase A and a simultaneous cosine input on phase B produces, in theory, less than full steps and smoother rotation. In practice, the control signal isn’t a true sine or cosine, but it’s typically modifi ed by adding third-order harmonics (three times the fundamental fre- quency) to compensate for the geometry of the motor and how the shape of the teeth affects the torque at specifi c angles. Alternatively, a pulse-width modulated (PWM) control signal with a fi xed voltage and variable current is often used to control a microstepping system (Figure 11-8). A PWM signal looks like a square

0% 100% Duty Duty cycle cycle

Figure 11-8 A PWM signal is often used to control stepper motors. The duty cycle varies according to the speed and torque required of the stepper. 176 ELECTROMECHANICAL SYSTEMS

wave with a variable duty cycle. The width of the pulse corresponds to the amount of energy sent to the motor. Although microstepping produces about 30% less torque than dual phase stepping, it vastly improves smoothness of movement and positional accuracy.

Resonance

When a stepper motor moves from step to step, it tends to overshoot its destina- tion and then over correct, moving back and forth a few times before fi nally stopping. This phenomenon is known as ringing and it occurs each time a stepper motor takes a step.

The frequency at which ringing occurs is the natural resonant frequency of the system in which that stepper motor belongs. When the control frequency matches the natural resonant frequency of the system, the two frequencies reinforce each other resulting in a very strong vibration known as resonance. If the vibrations are strong enough they can cause the motor to lose steps and fall out of synch. This can be a problem for automated lighting design engineers who understand how critical it is to maintain proper positioning. Consequently, much attention is paid to the problem of resonance and the control software is written to avoid resonant frequencies. They either accelerate quickly through the resonant fre- quency or they skip the resonant frequency altogether by writing acceleration and deceleration curves into the control systems.

Some automated luminaires use a spring-loaded plunger to dampen the vibra- tions and reduce the resonance problem (Figure 11-9). In addition, the dampening helps prevent overshooting and the subsequent “nodding bucket” effect where it wobbles until it comes to a complete stop. Dampening has another side effect—it exacerbates hysteresis. Hysteresis is a property of a system where its state depends on its recent history. For example, an automated luminaire can exhibit hysteresis in its pan and tilt system by stopping at a slightly different focus position

Figure 11-9 A spring plunger is sometimes used in pan/tilt systems to dampen vibrations and reduce resonance. They also increase hysteresis. Stepper Motor Control Systems 177

depending on which direction it arrives. It’s caused by slack in the gearing and other parts of the system. Also, the greater the dampening, the greater the hys- teresis problem. Dampening is a trade-off between smooth movement and increased hysteresis.

If a stepper motor has gearing or a belt-drive, as moving yoke fi xtures do, then the gear ratio increases the resolution and decreases the resonance by a factor of the gear ratio. Gear ratios typically range from 1:4 to 1:8. For a gear ratio of 1:8, the resonance is decreased by a factor of eight and the resolution is increased by the same.

Stepper Motor Control Systems

For a stepper motor to move, it must have two additional system components; a controller and a motor drive circuit ( Figure 11-10 ).

The control of a stepper motor in an automated luminaire originates at the console, which sends instructions to the luminaire via a DMX512 signal. The data are interpreted by an on-board processor that sends a digital control signal to the D/A converter (DAC or digital-to-analog converter). A typical converter is an 8-bit DAC such as an Ericsson PBM 3960 8-bit DAC. The DAC outputs two signals for each of the two phases in a two-phase bi-polar stepper motor, one to control the speed and another to control the direction for each phase (four signals total). The analog outputs of the DAC are fed to a motor driver chip such as the Ericsson PBL 3771, which provides the current to drive the stepper motor. The fi nal output of the motor driver is typically two constant current PWM control signals that are fed to each of the two windings in the stepper motor.

Some processors have a built-in DAC, in which case it isn’t necessary to use an external DAC and motor driver combination. Instead, a microcontroller with a built-in DAC outputs a PWM signal and an H-bridge is used to provide the current

Phase A - phase Phase A motor current

Phase A - Vin Digital control Digital-to- Motor Microprocessor signal analog Phase B motor driver current converter Phase B - Vin Phase B - phase Stepper motor

Figure 11-10 A stepper motor system consists of the motor, a controller, and a motor drive circuit. The motor drive circuit typically has a digital-to-analog converter (DAC) and a motor driver. 178 ELECTROMECHANICAL SYSTEMS

ϩ Vs power supply

Bridge A Bridge B

Input 1 (ON) Stepper motor Stepper motor Input 3 (OFF) winding phase A winding phase B 1 3 5 7

Output 1 Output 2 Output 3 Output 4 2 4 6 8 Input 2 Input 4 (OFF) (ON) Enable A Enable B

Sense A Sense B Sense resistor A Sense resistor B

Figure 11-11 A s i m p l i fi ed block diagram of a typical dual H-bridge. The four AND gates in each bridge act as a switch to turn the transistors on and OFF. When both inputs are high (logic 1), then the AND gate turns on the transistor to which it’s tied. In the bridge on the left, Input 1 is ON and Input 2 is OFF and in the bridge on the right, Input 3 is OFF and Input 4 is ON. Notice that the top input in AND gates 2, 4, 6, and 8 are NOT inputs (inverted inputs) so that when the input signal is high the AND gate reads it as a low.

to drive the stepper motor. An H-bridge is a motor drive circuit with a power supply and four switches that can energize the stepper motor windings in either direction ( Figure 11-11 ). The switches can be opened or closed by the PWM control signal to control the direction of current fl ow through the stepper motor windings and thus control the speed and direction of rotation.

Because motor driver chips are manufactured in relatively small quantities, they’re relatively expensive to use with a microprocessor and DAC combination com- pared to a microcontroller with a built-in DAC and an H-bridge combination. When this type of control is used then a sense resistor is used to detect the current fl owing through the windings. That information is fed back to the microcontroller to create a closed loop between the stepper motor and the controller.

Position Sensing and Encoding

Steppers have no built-in position feedback to monitor the angular position of the motor shaft. Yet it’s imperative for an automated luminaire to keep track of the position of all of its functions at all times to operate accurately and reliably. Optical Sensing 179

Therefore, they always have a secondary means of determining the starting position or “home” position of each stepper motor in the luminaire. In addition, most moving yoke fi xtures have position encoders for their pan and tilt motors to count steps and monitor the position of the drives. They effectively make them stepper servo drives. Once the fi xture is homed, the microprocessor keeps track of each step or fractional step taken by each stepper motor. That way, as long as the stepper doesn’t lose synch, the fi xture knows the current position of every stepper motor and thus, each attribute of the fi xture.

There are at least three methods of setting the home position of a stepper motor: a mechanical stop, a magnetic encoder, and an optical encoder.

The Mechanical Stop

The simplest means of setting the home position of a stepper motor is to physically restrain it from traveling beyond a predetermined point by using a hard stop or a mechanical stop. A typical mechanical stop is simply a bolt or a standoff attached to the shaft of the motor that, at the far end of travel, hits another bolt or standoff preventing it from traveling any farther. Since stepper motors are inductively coupled, it simply stops the rotor while the control signal continues to try to rotate it. The result is a repetitive clicking sound associated with homing an automated luminaire.

In the early days of automated lighting, almost all attributes, including pan, tilt, color selection, and gobo selection, had a mechanical hard stop. As a result, the color and gobo wheels couldn’t rotate beyond 360 degrees and they had to reverse their direction at the end of travel. Now most automated luminaires have a hard stop for pan and tilt, although they can often pan 540 degrees.

Optical Sensing

In the case of effects wheels like color and gobo wheels, a mechanical stop pre- vents continuous rotation. In addition, it might have to rotate almost 360 degrees to change to an adjacent color or gobo if that color or gobo happens to be on the other side of the stop. A much better way of tracking position in a wheel is by using an optical sensor.

An optical sensor is an infrared (IR) transmitter and a photoelectric device such as a photoresistor that senses the presence or absence of the IR beam (Figure 11-12). A photoresistor is a semiconductor such as cadmium sulfi de that has a very high resistance in total darkness but decreases in resistance in proportion to the 180 ELECTROMECHANICAL SYSTEMS

Wheel

Sensor

Emitter Receiver

Figure 11-12 Optical sensors are used to signal the processor that a stepper motor is in its home position. It senses correct angular position of a wheel by detecting the presence or absence of an IR beam with the use of a photoreceptor. L to right: Side view of wheel in optical path; isometric view of color wheel and optical sensor. (Inset: PC board-mounted optical sensor and optical sensor with wire leads.) amount of light energy falling on it. In an optical sensor, when the IR beam path is interrupted it raises the resistance of the receptor and changes the output voltage of the photocell. When an opening allows the IR beam to pass uninter- rupted, the resistance drops signifi cantly, thus triggering an event in the feedback c i r c u i t .

In an automated light, a disc or wheel is positioned between the IR transmitter and optical receiver so that it either interrupts the path of the beam or it’s posi- tioned close enough to the beam path that a protruding tab will interrupt the beam when it passes. In the fi rst instance a notch cut in the disc allows the light pass. In the second instance the tab blocks the beam when it’s in the home posi- tion (Figure 11-13). In each case the interruption alerts the microprocessor that some event has occurred, most likely the parameter in question is in the home position. From that point on, the microprocessor tracks the movement of the stepper motor and compares the results with the sensor each time the notch is d e t e c t e d . Hall Effect Sensors 181

Figure 11-13 Left: Typical color wheel showing a notch that allows the IR beam to pass when the wheel is in the home position, signaling the processor to mark the stepper motor alignment. Right: Color wheel showing alternative homing tab, which blocks the IR beam when the color wheel is in the home position.

Optical sensors are generally reliable except when they get so dirty that the IR beam can’t reach the photoreceptor. This often happens when dust collects in the gap between the transmitter and photoreceptor. Fog and haze exacerbates the problem when glycol and mineral oil coats the sensor and attracts dust.

Hall Effect Sensors

In 1879, a physicist named Edwin Herbert Hall discovered that a current carrying conductor in a magnetic fi eld produced a voltage perpendicular to the direction of the fl ow of current and the magnetic fi eld (Figure 11-14). This phenomenon became known as the Hall Effect.

A magnetic fi eld sensor is a device that makes use of the Hall Effect to sense the presence or absence of a magnetic fi eld by generating a measurable voltage in the presence of a magnetic fi eld. Automated luminaires sometimes employ magnetic fi eld sensors in position-sensing circuits. By attaching a small magnet to a moving wheel, a magnetic fi eld sensor sends a voltage signal to the processor indicating that the wheel is in the home position (Figure 11-15). Once home is located, the micro- processor counts steps to keep track of the angular position of the stepper motor.

Magnetic fi eld sensors are normally very reliable as long as they remain posi- tioned correctly. In some automated fi xtures, they tend to move when they’re handled roughly because the sensors have long leads holding them in place.

182 ELECTROMECHANICAL SYSTEMS Magnetic flux Conductor Hall voltage

Current

Figure 11-14 The voltage produced by a current-carrying conductor in the presence of a magnetic fi eld is called the Hall voltage. This phenomenon is known as the Hall Effect.

Gradient color Magnet wheel

Figure 11-15 A small magnet attached to a moving wheel triggers a Hall Effect sensor when the wheel is in the home position. The sensor then sends a voltage signal to the microprocessor. Quadrature Encoding 183

If they move far enough then the magnetic fi eld is too weak to trigger the sensor. The simple fi x is to bend them back in place without breaking the leads.

Focus Correction

A feature unique to moving yoke fi xtures found on some models is the ability to automatically correct the pan and tilt position in the event that it’s bumped or moved out of focus. This is an important feature for moving yoke fi xtures because the yoke makes the pan and tilt positions more prone to being bumped, particu- larly if they’re located on the fl oor or anther accessible location.

To reliably maintain the correct pan and tilt position when the yoke is moved by means other than the controller there must be a way to track its position at all times. The most common tracking method is quadrature encoding.

Quadrature Encoding

Quadrature encoding is a scheme that uses two optical sensors and an encoder wheel to determine position, speed, and direction of rotation of a motor shaft. The encoder wheel is a small aluminum disc, usually about 3 to 4 in. (7.6 to 10.2 cm) in diameter with a series of small optical “windows” called tracks cut into the circumference of the disc that allow light to pass ( Figure 11-16 ).

Figure 11-16 This encoder wheel works with optical sensors to locate the angular position of a stepper motor. It feeds position information back to the microproces- sor to automatically correct the position if it becomes misaligned. This feature is often used with pan and tilt in moving yoke fi xtures. 184 ELECTROMECHANICAL SYSTEMS

The pan and tilt motors each have their own encoder wheel. As the shaft of the motor rotates and turns the encoder wheel, the optical sensors generate a signal that changes state each time a window passes. When the window allows light to pass, the sensor generates a high signal; when the encoder is between windows the light is blocked and the signal goes low. The resulting signal is a square wave with a 50% duty cycle (it’s high 50% of the time and low 50% of the time) that increases in frequency as the speed of rotation increases and decreases in fre- quency as the speed of rotation slows ( Figure 11-17 ).

Increasing speed of rotation Figure 11-17 A quadrature encoder generates a square wave in which the frequency is proportional to the speed of rotation of the shaft.

Optical sensors

A Stepper motor shaft Encoder wheel

B

Optical windows

A B

Change in direction Figure 11-18 The two optical sensors are positioned so that they generate two signals that are 90 degrees apart from each other. When the motor slows down (as indicated by the slowing frequency) and changes direction (as indicated by the dashed line), the signal generated by sensor B starts to lead the signal gener- ated by sensor A. Fans 185

The two sensors are positioned so that they’re 90 degrees out of phase with each other with respect to the position of the windows ( Figure 11-18 ). This causes one sensor to generate a signal that’s 90 degrees ahead of the other; when the fi rst sensor goes high the second will go high 90 degrees later in the cycle. The encoder logic can determine which direction the shaft is rotating by which sensor signal is leading and which is lagging. It can determine the position of the shaft based on the number of pulses generated from the reference point (home p o s i t i o n ) .

Absolute Encoding

Quadrature encoding requires the use of a reference point to accurately keep its rotary position. An absolute encoder requires no reference point or home position. It’s similar to a quadrature encoder except that an absolute encoder wheel has multiple tracks and multiple sensors. As the encoder wheel turns it generates a unique code that corresponds to a particular angular position. The encoder wheel uses a particular pattern called a Gray code (named after its inventor, Frank Gray), which allows only one track to change its value at a time to minimize errors ( F i g u r e 1 1 - 1 9 ) .

Fixture manufacturers use different terminology for focus correction, including position encoding and automatic feedback, but they’re functionally the same.

Fans

Cooling fans are another type of electromechanical device used in automated lighting. Because of the intense heat generated by the lamp and power supply, air circulation is critical to the reliable operation of automated luminaires. If a fan fails and the lamp stays on, there’s a strong possibility that the fi xture will over- heat and some components will be destroyed.

Cooling systems are becoming increasingly important in automated lighting for a few reasons: the ratio of power consumption to fi xture size is increasing in automated lighting, automated lighting is increasingly fi nding applications in noise critical environments like theatre and houses of worship, and cooling in the newer short arc technology lamps is very critical (they can’t even operate in open air without forced air cooling). As manufacturers attempt to package high- powered automated lighting in ever shrinking housings, heat management becomes a mission-critical issue. At the same time, the demand for silent fi xtures is driving the development of solutions with lower levels of audible noise. For this reason, many automated luminaires have DMX-controllable variable fan speed. 186 ELECTROMECHANICAL SYSTEMS

D B C A

A 0000000011111111

B 0000 000011111111

C 00 1111 0000 1111 00

0D 1100 11 00 11 00 11 0

Figure 11-19 An absolute encoder requires no home position or reference point. It uses multiple tracks in a Gray code pattern to generate a unique combination of signals for each angular position of the shaft. Notice that only one track changes value at a time.

However, those fans also have a temperature control that overrides the user control to prevent overheating. Another approach to silencing fans is to use a noise absorbing baffl e.

The critical areas in an automated light that demand rigid temperature control are along the optical path and the near the electronic components. Consequently, fans are typically located in the head of moving yoke fi xtures as well as in the Fans 187

Figure 11-20 Left to right: Axial fan, radial fan, and squirrel cage fan.

base where most of the sensitive electronics are located. In addition to the proper selection of fans based on air fl ow, size, power consumption, and noise ratings, the automated lighting engineer must be concerned with routing the air fl ow across the protected components and preventing, to the extent possible, light leakage.

Fan Types Two types of fans are used in automated lighting including axial fans and radial fans (Figure 11-20). The most common fans in automated lighting applications are axial fans, sometimes referred to as muffi n fans.

Fan Cleaning and Maintenance Because a fan circulates air through a luminaire, it’s usually one of the central gathering spots for dust and fi lth. To maintain good air fl ow in the fi xture it’s important to clean the fans regularly. Compressed air in a can is a convenient tool to blow out all the dust and fi lth from the fan and fi xture. However, it’s important to prevent the fan from spinning from the force of the compressed air because it will generate back electromotive force (EMF; or voltage) and the resulting current fl owing through the windings could overload and destroy the fan. Simply place your fi nger on a blade of the fan while blowing it out with compressed air. This page intentionally left blank CHAPTER 12 Mechanical Systems

A designer is an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist. —Buckminster Fuller, philosopher, inventor, and architect

The science and engineering of automated lighting systems has matured to the point where reliability, in general, has greatly improved and the mean time between failures is surprisingly high. It wasn’t always the case. Automated light- ing used to be one part engineering and three parts re-engineering.

Part of the reason for this improvement is the natural evolution and development of products, and part of it’s the application of better materials, such as the intro- duction of high-tech plastics and manufacturing techniques like surface-mount technology. With smaller, more lightweight fi xtures, the demands on the mechan- ical systems aren’t as great, but as manufacturers increasingly push the envelope of small size versus high output, the operating temperatures of luminaires is going up, placing greater importance on heat management. At the same time, the demand for more and more light output is driving the production of larger fi x- tures; even if they’re more effi cient, high wattage fi xtures operate in a harsh environment that demands careful engineering with a greater importance on materials and construction techniques. Also, the rigors of touring places great demands on the physical structure and strength of automated lighting.

If you have ever focused a PAR can or optimized the lamp in a Leko, then you know that a 575 or 1000 W fi xture can generate a tremendous amount of heat. Lamp-operating temperatures can reach close to 350°C (662°F) or more, depending on the wattage. For a luminaire to operate reliably over its expected life, a variety

189 190 MECHANICAL SYSTEMS of materials including glass, optical coatings, metal and metal fi nishes, adhesives, lubricants, plastics, and rubber compounds have to be able to withstand or be protected from immense heat. The components in the optical path—the refl ector, IR glass, gobos, dichroic fi lters, and lenses—are perhaps most susceptible to heat damage. Even if the luminaire is designed with proper heat management, an improperly optimized lamp or a damaged IR fi lter could overload the heat-bearing capacity of those materials in the optical path. If a luminaire isn’t well-designed with respect to heat management, then the electronic components, which are designed to operate within specifi c temperature parameters, could be at risk of premature failure. Improperly managed heat can damage any or all of these components.

Perhaps more important, the components, particularly those in the optical path, need to be assembled to endure the constant cycle of expansion and contraction as they heat and cool. If the rates of expansion and contraction differ signifi cantly in two adjoining parts, they could compress or expand beyond their capacity to withstand the pressure and cause mechanical damage. For these reasons, the mechanical systems in today’s automated lighting are highly developed and well-engineered.

Heat management is one of the major considerations in the design of automated lighting, but it’s not the only one. Careful attention must be paid to protect against excessive shock and vibration, mechanical noise, electromagnetic radiation, and especially to the dangers of electrical shock and fi re hazards. In addition, it’s desirable, although not always necessary, to build lightweight luminaires that are small and easy to handle. This is particularly true when they’re used in tempo- rary portable applications, but it’s less important in permanent installations. When fi xtures are temporarily set up and transported on a regular basis, the size and weight can dramatically infl uence the truck pack (the amount of space required to transport the lighting rig and thus the number of trucks and person- nel and cost of transportation), the cost of fuel, and the ease and speed of load-in and load-out.

Materials

The choice of materials used in the fabrication and construction of automated lighting is a major infl uence on the durability, size, weight, aesthetic quality, and cost of the fi nal product. There’s a wide range of options for almost every aspect of construction and the methods and techniques are getting more sophisticated and refi ned. Compared with the sheet metal construction of the early automated luminaires, today’s fi xtures are much more advanced. Some of the more common materials and fabrication techniques are discussed in the following sections. Materials 191

Aluminum Aluminum is used in the fabrication of the internal housing and many other parts of an automated light. It’s preferred over steel because it’s one-third the weight yet it has good strength and hardness, and is relatively easy to work. It’s also corrosion-resistant, has very good thermal conductivity, and electromagnetic interference (EMI) shielding properties. It takes fi nishes well and is recyclable. Aluminum is a commodity and its price fl uctuates depending on the supply and demand. At roughly $1 to 1.50 per pound, it’s relatively expensive compared to steel, yet its advantages more than outweigh the costs. Aluminum is used in everything from housings to standoffs to gobos to refl ectors to mechanical parts such as gears and lens tubes.

Pure aluminum is rarely used in the construction of automated lighting with the sole exception of spun aluminum refl ectors. Aluminum refl ectors are elec- tropolished by immersing them in an electrolyte bath and connecting them to the positive terminal of a DC power supply. The negative terminal attracts microscopic particles of aluminum from the refl ector and results in a highly polished aluminum surface. It’s the opposite of the process of electroplating. In the electropolishing process, the more pure the aluminum, the better the fi nish.

Aluminum parts in automated luminaires are alloyed with other elements to improve specifi c material properties. Copper, magnesium, manganese, zinc, silicon, iron, chromium, and nickel are common aluminum alloys. For example, 6061-T6 and 6082-T6 are alloys that are used in North America and Europe, respectively, to fabricate truss and components. 6061-T6 contains 95.8–98.6% aluminum, 0.04–0.35% chromium, 0.15–0.4% copper, no more than 0.7% iron, 0.8–1.2% magnesium, no more than 0.15% manganese, 0.4–0.8% silicon, no more than 0.15% titanium, and no more than 0.25% zinc. This alloy combines the strength, workability (ease of welding), and corrosion resistance that make it ideal for certain applications. Aluminum extrusions and casting used in auto- mated luminaires typically have higher aluminum content but the alloys vary.

Aluminum can be rolled into sheets, extruded, or cast. Sheet aluminum can be cut, bent, punched, and drilled to form and fabricate parts such as gobo wheels and shutters. Computer Numeric Control (CNC) machines are often employed to fabricate hundreds or thousands of parts in a single day. CNC machines are com- puter driven using software models designed by engineers. This allows for preci- sion, speed, accuracy, and repeatability in the manufacturing process.

Aluminum extrusions are used for a variety of purposes in the structure of automated lighting. These extrusions are created by heating aluminum billets until they’re malleable, then they’re forced through a die to extrude the desired 192 MECHANICAL SYSTEMS profi le. The profi le can then be cut to size, drilled, and tapped. Extruded alumi- num housings used to be very popular and were used mainly with moving mirror fi xtures such as Cyberlights, Roboscans, Intellabeams, the Clay Paky scans, and more. The popularity of modern plastics has long since overtaken that of aluminum as far as fi xture housings go, although aluminum extrusions and aluminum sheet metal are still used extensively in the underlying structure of moving head fi xtures and for many of the parts such as color, gobo, and effects wheels.

Die cast aluminum parts are less common for large parts such as housings, but they’re becoming more common for small precision parts. Aluminum parts are die cast by injecting high-pressure molten aluminum into a steel mold (called a “tool”). It’s then cooled, solidifi ed, and extracted. Casting aluminum is cost- effective in high volumes and can achieve tight tolerances (high dimensional accuracy).

Stainless Steel Stainless steel is an iron alloy with a minimum of 12% chromium, which helps prevent corrosion and oxidation. It’s used primarily where high temperatures limit the use of aluminum such as with stainless steel gobos and in highly cor- rosive atmospheres such as on board ships and in resorts that are close to salt water. Stainless steel is relatively expensive compared to aluminum and steel, but its superior heat handling and corrosion-resistance properties make it ideally suited for certain applications. There are several grades of stainless steel but the two used in automated lighting are austenitic and ferritic grades. One of the most common of the austenitic grades of stainless steel is 18-8, which has 18% chromium and 8% nickel. 18-8 stainless steel is non-magnetic and the nickel component improves the corrosion resistance, especially at high temperatures. Ferritic stain- less contains iron, which improves its strength at high temperatures. Both types are used for gobos where more detail and higher resolution is required than can be found with aluminum gobos. They’re made by an etching process which affords relatively fi ne detail.

Plastics A plastic is a chain of molecules called a polymer. Polymers are made by linking molecules of carbon, hydrogen, and sometimes other elements in a polymeriza- tion process. Plastics have become increasingly popular for use in automated lighting since the popularity of moving heads has overtaken that of moving mirrors. There are several reasons for this. Plastics are very lightweight and when they’re reinforced with fi llers such as aluminum powder, graphite, nylon, or Materials 193

fi berglass, they can exhibit much improved resistance to heat and chemicals, electrical insulation, and strength. They’re also easier to stylize to add aesthetic appeal, which has become increasingly important in the marketplace. Also, plastic housings and parts are much cheaper to produce in large quantities, but in small quantities the cost of the tooling is relatively high and often prohibitive.

Acrylonitrile butadiene styrene (ABS) is a polymer used in the manufacturing of automated luminaire housings. It’s often mixed with fl ame retardants and UV inhibitors to protect against fi re hazards and UV damage.

Ceramics Engineers are producing new ceramic materials that have many advantages over more conventional materials. Ceramics are inorganic, non-metallic materials that can have a crystal, or partially crystalline, structure and are formed through the application of heat.

Metal-coated ceramics can be used to manufacture high-strength, low-weight parts ( Figure 12-1 ). Standard coatings include aluminum, magnesium, and nickel. Ceramic-coated magnesium parts are 40–50% lighter than aluminum.

Figure 12-1 The Martin MAC III has ceramic-coated magnesium gobo and color wheels that are much lighter in weight than conventional aluminum wheels. 194 MECHANICAL SYSTEMS

Glass Glass is silica (sand) fused by heat with lime and an alkali like soda or potash. The alkalis help lower the melting point making it easier to fuse, and the lime is a stabilizer. Additives are sometimes used to infl uence the properties of the fi nal product. Boron, for example, increases the thermal and electrical resistance while barium increases the refractive index.

There are several types of glass, but a few of them are used in automated lighting more often than others. Borosilicate glass, better known under the trade name Pyrex, is used as a substrate for dichroic fi lters and glass gobos. A type of boro- silicate glass called barium borosilicate glass made by Corning (7059 glass), and Borofl oat® made by Schott, are used by several manufacturers for this purpose.

They’re made mostly of silica (SiO 2, 70–80%) and boric oxide (B 2O 3, 7–13%), plus small amounts of alkalis and aluminum oxide. The lower alkali content gives it good chemical durability and thermal shock resistance. It also has a low coeffi - cient of expansion, which means that it doesn’t expand and contract a great deal when it heats up and cools down. This property is very important because it prevents the optical thin-fi lm coatings from separating from the substrate due to excessive expansion and contraction.

Fused Quartz

Pure SiO2 glass, also known as fused quartz or fused silica, is manufactured by gasifying silicon and oxidating it to make silicon dioxide, then fusing the silicon dioxide dust to make glass. It has a remarkably low coeffi cient of thermal expan- sion and it’s transparent to UV and near IR wavelengths. For these reasons it’s used to make glass envelopes for halogen lamps and arc tubes for discharge lamps.

Optical glass Optical glass, which is used to make lenses and critical optical elements, is manu- factured under very carefully controlled circumstances to accurately reproduce certain characteristics useful in the design of optical systems. Consequently, it can be very expensive. Optical glass is classifi ed according to its index of refrac- tion, coeffi cient of dispersion, coeffi cient of optical transmission, purity, hardness, and more. There are certain additives such as calcium fl uorite, phosphate, zinc, barium, lanthanum, and antimony that can be introduced in the manufacturing process to shape the characteristics of the fi nal product. The two principle types of optical glass are crown glass and fl int glass, but there are many variations of each. Additives are used in their construction to tailor the product to the application. Fasteners 195

Metal Finishes

Once the parts for an automated luminaire are fabricated they’re often fi nished to provide additional protection, aesthetic value, and to control light refl ections. One of the most common metal fi nishes is powder coating, a process of applying a resin-based paint durable enough to withstand the rigors of touring, resist wear, and provide electrical insulation. The powder coating process takes place in a paint booth where electrically charged powder coating material is sprayed on the parts to be painted, which are electrically grounded. The electrostatic attraction between the coating material and the metal ensures uniform coverage and it holds the powder to the part until it’s cured with heat. If the uncured powder is blem- ished for any reason, it can be blown off with compressed air and reapplied. Powder coating is an effi cient process because most of the powder overspray can be reclaimed and used again.

Fasteners

The fasteners used in the manufacturing of automated lights play dual important roles of securing the integrity of the joined material and allowing for easy access for serviceability. There are many types of fasteners including bolts, screws, rivets, welding, adhesives, and more. Most of the joints in automated lighting compo- nents are fastened with threaded fasteners.

A bolt is distinguished from a screw by the standard thread with a parallel shaft ( Figure 12-2 ). It fi ts into a non-tapered nut, threaded hole, or a nut insert. A screw, on the other hand, always cuts its own thread on the fi rst insertion and that thread

Figure 12-2 Hex cap bolt (left) and hex cap screw (right). 196 MECHANICAL SYSTEMS

Button Round Truss Flat Oval head head head head head

Fillister Binding Hex Pan head head head head

Slotted Phillips Posidriv Torx or Frearson

Hex Robertson Tri-wing Torq-set

Figure 12-3 Various screw and bolt head shapes and drive types. is non-standard and tapered. Consequently, a housing made of sheet metal shouldn’t be fastened with screws.

There are a variety of bolts and screws as shown in Figure 12-3 . Some of the most common in our industry include socket head screws, hex bolts, and square head cup point set screws for c-clamps and sheet metal screws. Many of the fasteners used for components that require regular access, such as lamp access doors, use captive fasteners to prevent the hardware from getting lost or falling into the fi xture. A variety of fasteners are illustrated in Figure 12-3.

Thread Standards

The American standard for fastener threads is currently ANSI B1.1-2003/ASME B1. 1-2003: Unifi ed Inch Screw Threads, UN and UNR Thread Form. Fasteners manufac- tured to conform to this standard are known as “unifi ed threads.” The standard covering metric threads is ANSI B1.13M-2001: Metric Screw Threads-M Profi le. Fasteners manufactured to conform to this standard are known as M-series. Thread Standards 197

In the design of mechanical systems, inch series bolt and screw threads are designated by whether it’s an internal thread or an external thread, their nominal size or diameter, pitch (number of threads per inch), thread series (either course or fi ne), and thread class (tolerance). A ½-20UNC-2A is a typical inch series thread designation showing the nominal size, pitch, thread series, and class.

For metric series threads, the designation is different. 4g6g(22) M6x1 is a typical metric series thread designation showing nominal diameter, pitch (mm), and tolerance classifi cation (lowercase ϭ external thread).

In addition to thread designations, fasteners are rated according to their tensile strength, which is extremely important for load-bearing structures like trussing and c-clamps. The grade of steel used in the fabrication of fasteners determines the tensile strength (see Table 12-1 ).

Table 12-1 S . A . E . B o l t S t r e n g t h s . Minimum Minimum Minimum SAE Proof Tensile Yield Grade Strength Strength Strength Head Number Size (kpsi) (kpsi) (kpsi) Material Marking

1 1 1 ⁄4–1 ⁄2 33 60 36 Low or medium carbon

1 3 2 ⁄4– ⁄4 55 74 57 Low or

7 1 33 60 36 medium ⁄8 –1 ⁄2 carbon

1 1 4 ⁄4–1 ⁄2 65 115 100 Medium carbon, cold drawn

1 5 ⁄4–1 85 120 92 Medium

1 1 74 105 81 carbon, 1 ⁄8 –1 ⁄2 Q&T

(continued) 198 MECHANICAL SYSTEMS

Table 12-1 S.A.E. Bolt Strengths (continued). Minimum Minimum Minimum SAE Proof Tensile Yield Grade Strength Strength Strength Head Number Size (kpsi) (kpsi) (kpsi) Material Marking 5.2 85 120 92 Low-carbon martensite, Q&T

1 1 7 ⁄4–1 ⁄2 105 133 115 Medium- carbon alloy, Q&T

1 1 8 ⁄4–1 ⁄2 120 150 130 Medium- carbon alloy, Q&T

8.2 120 150 130 Low-carbon martensite, Q&T

ASTM Bolt Strengths Minimum Minimum Minimum Proof Tensile Yield ASTM Strength Strength Strength Head Grade Size (kpsi) (kpsi) (kpsi) Material Marking

1 1 A307 ⁄4–1 ⁄2 33 60 36 Low carbon

1 A325, ⁄2 –1 85 120 92 Medium

type 1 1 1 74 105 81 carbon, 1 ⁄8 –1 ⁄2 Q&T A325 Thread Standards 199

ASTM Bolt Strengths (continued) Minimum Minimum Minimum Proof Tensile Yield ASTM Strength Strength Strength Head Grade Size (kpsi) (kpsi) (kpsi) Material Marking

1 A325, ⁄2 –1 85 120 92 Low-carbon 1 1 type 2 1 ⁄8 –1 ⁄2 74 105 81 martensite, Q&T A325

1 A325, ⁄2 –1 85 120 92 Weathering 1 1 type 3 1 ⁄8 –1 ⁄2 74 105 81 steel, Q&T A325

A354, Alloy steel, grade BC Q&T BC

1 A354, ⁄4–4 120 150 130 Alloy steel, grade BD Q&T

1 A449 ⁄4–1 85 120 92 Medium

1 1 74 105 81 carbon, 1 ⁄8 –1 ⁄2 55 90 58 Q&T 3 1 ⁄4–3

1 1 A490, ⁄2 –1 ⁄2 120 150 130 Alloy steel, type 1 Q&T A490

A490, Weathering type 3 steel, Q&T A490

(continued) 200 MECHANICAL SYSTEMS

Metric Bolt Strengths Minimum Minimum Minimum Proof Tensile Yield Property Strength, Strength, Strength, Head Class Size MPa MPa MPa Material Marking 4.6 M5–M36 225 400 240 Low or medium carbon 4.6

4.8 M1.6–M16 310 420 340 Low or medium carbon 4.8

5.8 M5–M24 380 520 420 Low or medium carbon 5.8

8.8 M16–M36 600 830 660 Medium carbon, Q&T 8.8

9.8 M1.6–M16 650 900 720 Medium carbon, Q&T 9.8

10.9 M5–M36 830 1040 940 Low- carbon martensite, 10.9 Q&T

12.9 M1.6–M36 970 1220 1100 Alloy, Q&T

12.9 Gears 201

It’s important to use the proper sized tool and driver to remove and replace fas- teners or they can be damaged. Also, remember the mnemonic for removing and replacing mechanical fasteners: “lefty loosey, righty tighty.”

Preventing Vibrational Loosening

The main advantage of using a mechanical fastener over a permanent bond is that it allows for easy access for service and maintenance. The disadvantage is that it can also become unfastened unintentionally due to vibrational loosen- ing. In automated luminaires there’s abundant opportunity for such vibra- tional loosening whether it’s due to rough handling from stagehands or from bouncing around in the back of a tractor–trailer rig traversing the outback of Australia. Extreme temperature changes can also contribute to the loosening of fasteners. When a lighting rig spends the night in the back of a truck in the dead of winter in Toronto and is installed fi rst thing in the morning, the internal temperature of a luminaire will go from freezing to extremely hot in a very short period of time. The cycle of contraction and expansion is very hard on fastened joints.

Fortunately, there are a number of options for securing fasteners to help prevent vibrational loosening. The American Standards Subcommittee B18:20 identifi ed three categories of locking fasteners: free spinning, friction locking, and chemical locking. Free spinning fasteners have a row of ramped teeth under the head that allow the bolt to rotate in the tightening direction, but not in the loosening direc- tion. Friction locking fasteners, such as Nyloc nuts, have nylon inserts that prevent vibrational loosening. Chemical locking solutions, such as Loctite, are adhesives that bond the threads of the male and female parts. It’s believed that conventional spring-lock washers aren’t effective and may actually promote vibrational loosen- ing rather than prevent it.

Gears

A gear is a means of transferring energy in the form of angular motion from one gear to another, changing the speed of rotation and the torque through mechanical advantage in the process. In automated luminaires, gears are sometimes used to trade speed for greater torque, greater accuracy, or to translate the rotary motion of a motor into linear motion to reposition focus and zoom lenses.

In a gear train with a large gear and a small gear, the large gear is called a wheel and the small gear is a pinion. The ratio of the number of gear teeth in 202 MECHANICAL SYSTEMS

Figure 12-4 A s p u r g e a r i s fl at and its teeth are in the same plane as the rest of the gear. Left: Profi le of a spur gear. Right: A spur gear mounted on a stepper m o t o r s h a f t .

the two gears is the gear ratio. For example, if the driving gear has 64 teeth and the driven gear has 32, then the gear ratio is 2:1. The fi rst number in a gear ratio is the gear to which power is applied. The inverse of the gear ratio indi- cates how the speed and torque is transferred. In a 2:1 gear ratio, for example, the second gear rotates twice as fast as the fi rst gear but it has half the torque.

There are several different types of gears and the most common is a spur gear (Figure 12-4). A spur gear is fl at and its teeth are in the same plane as the rest of the gear. All spur gears in a gear train have to be in the same plane to function and all the gear axles have to be parallel to each other.

A rack and pinion is a type of gear train that has a spur gear that mates to a linear gear. It converts rotary motion to linear motion. The spur gear is called a pinion and the linear gear is the rack. This is one of two methods used to adjust focus and zoom lenses in an automated luminaire. The other method uses a worm gear, which is a type of helical gear with one tooth in the form of a screw thread ( Figure 12-5 ). It has a large gear ratio, which helps move the greater distances required by the lenses. Belts 203

Figure 12-5 A worm gear shown in a Fresnel focus mechanism.

Gears in automated luminaires can be made of aluminum, stainless steel, brass, or plastic. Brass gears wear well because of their hardness, but are relatively heavy and more expensive than gears made of other materials. Plastic gears can be injection-molded with unfi lled or fi berglass-reinforced polymers. They’re lightweight, relatively inexpensive in large quantities, quiet, and relatively dura- ble. Plastic gears used to be reserved for low-torque applications because they weren’t strong enough for more heavy duty applications. But improved materials and molding processes are changing the way plastic gears are used. They can help reduce the weight of automated luminaires, reduce friction and noise, and reduce costs. Aluminum alloys are also used to make lightweight, relatively inexpensive gears.

Belts

A belt drive is functionally similar to a gear drive in that it transfers motion and changes the rate of rotation and the torque. The ratio of the speed reduction and torque amplifi cation are both equal to the ratio of the radii of the prime mover 204 MECHANICAL SYSTEMS

Figure 12-6 A toothed belt is functionally similar to a spur gear.

and the load, assuming no slipping. Toothless belts rely strictly on friction to prevent slipping but belts with teeth are functionally similar to a spur gear ( Figure 12-6 ). Such belts are known as synchronous belts and are typically made with polyurethane and reinforced with fi b e r . SECTION 4 Optical Systems This page intentionally left blank CHAPTER 13 Lamp Technology

The electric light has caused me the greatest amount of study and has required the most elaborate experiments. —Thomas A. Edison

Some of the biggest advances in automated lighting technology have been in the area of optical systems. Computer-aided design of refl ectors, lithographic tech- niques, and optical thin-fi lm coatings have helped to improve effi ciency, color saturation, and the clarity of image projection. But perhaps the biggest advances, and the area with the most potential for advances, are in the area of light source technology. Years of advances have led to the development of light sources with greater effi ciency, longer average life, and better color rendering. New technolo- gies like LEDs and plasma lamps are taking a bigger role in entertainment light- ing because of the need for effi cient, environmentally friendly lighting.

Nikola Tesla knew at the turn of the twentieth century that incandescent lamps were terribly ineffi cient and he experimented extensively with high-frequency, high-voltage ballasts, and phosphorescent lamps. But he never produced a com- mercially viable high-effi ciency lamp. Because of the availability of cheap electric- ity, effi ciency wasn’t a high priority until relatively recently; thus the incandescent lamp gained widespread use throughout the world. Even with today’s technology the incandescent lamp is still in use, particularly in the theatre because the quality of light it produces is still unmatched. It creates a continuous spectrum with a warm color temperature and it dims smoothly and organically with a slight bit of thermal momentum. Engineers are still trying to emulate the quality of light produced by the incandescent lamp while tapping into the effi ciency of the dis- charge lamp and the long life of LEDs. Let’s explore some of these technologies.

207 208 LAMP TECHNOLOGY

Incandescent Lamps

Since the commercialization of automated lighting, the majority of automated luminaires have used arc lamps. But now there are more to choose from including the Vari-Lite VL 1000 Tungsten ERS, the VL 500™, the Martin MAC TW 1, the Robe ColorWash 750 AT Tungsten, the Clay Paky Alpha Wash Halo 1200, the Coemar iWash Halo, and the ETC Source Four Revolution.

There are several reasons to use automated lighting with an incandescent lamp source over ones with a discharge source. The color temperature, spectral distri- bution, and color rendering of an incandescent lamp is diffi cult to match with discharge lamps. Automated lighting with incandescent sources will more closely match the quality of light from conventional lighting. And incandescent lamps can be dimmed electronically, which is much smoother and appealing to the human eye than a mechanically dimmed discharge lamp. They’re also generally less expensive to replace than discharge lamps and they draw no power when 100% dimmed (save for the ineffi ciency of the dimmer). Lastly, incandescent lamps are easier to cool so there are more convection-cooled automated lights with incandescent sources, and without the fan noise they’re better suited for applica- tions that demand silence, like the theatre.

The drawbacks are that they’re less effi cient than some other lamp technologies, they change color temperature as they dim, and they can lose lamp life due to physical shock, vibration (e.g., bass notes), and overvoltage. An incandescent lamp produces less than 20 lumens per watt (lm/W) while other light sources can produce 100 lm/W or more.

Incandescence

When an object is so hot that it begins to glow or emit light, it’s said to be incan- descing. Consequently, an incandescent lamp is any lamp that emits light by the process of incandescence. An incandescent lamp has a fi lament—a fi ne wire made of tungsten or an alloy of tungsten—through which a current is passed (Figure 13-1). Due to the resistance in the fi lament, the current causes it to heat to the point of incandescence.

Most stage and studio lamps are made with a quartz (fused silica) envelope. Quartz can withstand the very high temperatures (softening point 1600°C) associ- ated with higher powered lamps, it transmits visible light very well while block- ing some UV, and it’s very hard. Because of the extremely high operating temperature on the surface of a quartz envelope, precautions should be taken against touching it with bare hands, not only because it’s a burn hazard, but also because the oil from your hands will deposit on the envelope and could cause the Halogen Lamps 209

Gas fill- retards evaporation of filament, typically argon, krypton or Envelope- xenon quartz (fused silica) glass Filaments- tungsten wire coils Support wires- Lead-in wires- molybdenum typically made wires support of nickel or filaments nickel-plated wire Potting cement- seals envelope in base Base- ceramic or ceramic in metal

Figure 13-1 Incandescent lamp, fi lament, and quartz envelope. lamp to explode when it reaches operating temperature. Oil also forms a seed point for the quartz to devitrify or lose its crystalline structure and become opaque. Always wear gloves or use a tissue when handling a quartz lamp. If you inadvertently touch the lamp with your bare hands, wipe it with alcohol to remove the oil and clean the surface.

Gas Fill

When a metal, like tungsten, is heated in the presence of oxygen it oxidizes and decomposes. To extend the life of the fi lament, incandescent lamps are either sealed in a vacuum or fi lled with an inert gas like argon, krypton, or xenon. These fi ll gasses don’t react with metals and therefore don’t promote oxidation or dete- rioration. The Philips HPL (ETC Source Four lamp), for example, has a krypton gas fi ll.

Halogen Lamps

Even with a gas fi ll, the extreme temperature of the fi lament causes it to slowly evaporate over time. When enough of the fi lament evaporates, it becomes so thin that it eventually breaks, leading to the normal end of life. By adding a halogen 210 LAMP TECHNOLOGY

to the fi ll, the lamp life is extended and it can operate at higher temperatures that produce a higher color temperature.

A halogen is an element that easily forms a salt compound by combining it with other elements. Halogens, like bromine or iodine, become a gas at the operating temperature of the lamp. They extend the life of a halogen lamp by a process known as the halogen cycle. As the fi lament incandesces, the intense heat boils off molecules of tungsten and the tungsten vapor circulates in the envelope by convection. In a non-halogen lamp, the tungsten molecules are deposited on the inner wall of the envelope after condensing on the relatively cooler surface, even- tually creating a dark fi lm that contributes to lumen depreciation (over time less light is emitted from the lamp). This is the process of blackening. In a halogen lamp, the evaporated tungsten molecules combine with oxygen and halogen to form tungsten oxyhalide molecules. As the tungsten oxyhalide molecules circu- late in the envelope, the heat from the fi lament breaks them down as they near the fi lament. The tungsten is then re-deposited on the fi lament and the oxygen and halogen molecules are free to start the process all over again ( Figure 13-2 ).

The halogen cycle isn’t a perfect process because of the non-uniform distribution of tungsten during the re-deposition process. In the end, a weak spot in the

12 34 5

Figure 13-2 The halogen cycle extends the life of a halogen lamp. (1) Tungsten is boiled off the fi lament and becomes vapor. (2) Halogen gas combines with tung- sten vapor to form a salt compound. (3) Convection currents circulate the com- pound until it comes in contact with the fi lament. (4) The heat of the fi lament breaks down the compound and the tungsten is re-deposited on the fi lament. (5) The halogen molecule becomes free to renew the cycle. Discharge Lamp Construction 211

fi lament causes it to break bringing the lamp life to an end. Also, the cycle only works when the lamp is operated at its rated voltage; when it’s dimmed, the halogen cycle ceases to work, leading to lamp blackening. Therefore, it’s a good idea to run halogen lamps at full for about fi ve minutes at the end of a show in order to “scrub” the envelopes.

The more highly reactive the halide additive, the more effective the cycle. The more reactive halogens produce a stronger bond with the tungsten and oxygen. It takes a higher temperature to detach them; therefore, the tungsten is only depos- ited on the hottest part of the fi lament, which also happens to be the thinnest part of the fi lament. The downside is that the more reactive halogens also attack the quartz envelope and fi lament, so there must be a compromise. Fluorine and chlo- rine are the most reactive halogens but they’re too corrosive for the envelope and fi lament. Bromine is the most common additive in halogen lamps, followed by iodine. Even with these less reactive additives, they still attack the fi lament near the pinch where it’s relatively cool, an effect called the “beaver attack.” Other ele- ments are typically combined with halogen to form a salt additive. For example, dysprosium bromide is often used as an additive in halogen lamps because the dysprosium adds spectral lines to enhance the quality of the light.

The halogen cycle also allows the lamp to be operated at higher temperatures because the fi lament is constantly being rebuilt. The higher operating temperature translates to a brighter and whiter light output. Halogen lamps are normally enclosed in a small quartz capsule enabling them to be very compact.

Discharge Lamps

Discharge lamps are far more common in automated lighting than incandescent lamps, primarily because they’re more effi cient and therefore produce more light for each watt. They have a smaller point of radiation so it’s easier to more effec- tively collect the light discharge lamps produce. Unlike an incandescent lamp, a discharge lamp has no fi lament. Instead, it has a pair of electrodes that sustain an arc in the gap between them. The arc emits visible light similar to the way the arc of a welder produces a brilliant light.

Discharge Lamp Construction

The parts of a discharge lamp are shown in Figure 13-3. The electrodes are made of tungsten and enclosed in a hermetically sealed quartz envelope. The envelope is fi lled with a cocktail of gas, metal, and salts. The gas aids in starting the arc by becoming a conducting medium for the current. When high voltage is applied to 212 LAMP TECHNOLOGY

Outer envelope (filled with nitrogen gas)

Moly foil (molybdenum)

Gas fill Pinch seal

Electrodes

Inner envelope

Neck

Potting cement

Ceramic base

Figure 13-3 A typical single-ended discharge lamp. the electrodes, the gas ionizes and creates a path of low impedance across the gap, causing the arc to jump the electrodes. Once the arcing process begins, the heat from the discharge vaporizes the metals and they become the primary source of illumination. The salts enhance the quality of the light produced by the lamp by adding lines of emission. Each metal and salt component provides a series of emission lines at various wavelengths that contribute to the spectral distribution. In a Medium Source Rare-Earth (MSR) lamp, for example, dysprosium iodide emits many spectral lines helping to improve the color rendering of the lamp. Cesium iodide is also added to help widen the arc and secondarily to add more spectral lines. Mercury bromide helps keep the salts from attacking the bulb wall and the tungsten electrodes.

Some very high-pressure lamps, such as the UHP lamp, have no salt additives with the exception of mercury bromide. The extremely high pressure inside the Starting a Discharge Lamp 213 envelope causes the mercury to emit more spectral lines, producing acceptable white light. This technology was developed by Philips in the 1990s and so far they only have lamps up to 250 W.

Electrodes in a discharge lamp are electrically connected to a foil made of molyb- denum doped with yttrium to inhibit corrosion. The molybdenum foil, or moly foil, is a good conductor and its coeffi cient of expansion closely matches that of the quartz envelope. This makes it suitable for conducting current through the quartz with a minimum amount of stress between the foil and the quartz. If it were to expand and contract at a different rate than the quartz it would separate from the quartz and cause the seal to leak and the lamp to fail. As it is, the pinch seal is the weakest link in a lamp. One of the biggest problems is that the quartz doesn’t “wet” molybdenum, so it’s diffi cult to seal at the edge of the foil. For that reason, the edges of the foil are tapered to make them as thin as possible. Even with the tightest seal, the foil tends to oxidize with use. As the oxidation grows and creeps along the foil (it’s sometimes visible as a darkening of the foil but it requires very close inspection) it causes expansion and can crack the quartz. The problem is addressed by plating the molybdenum with materials such as chrome to help prevent oxidation. This process is what Philips calls “P3” technology. A similar process from Osram is marketed as “XS” technology.

MSR type lamps usually have an outer envelope with a nitrogen gas fi ll. This outer envelope acts as an insulator to keep the operating temperature stable. HMI type lamps usually don’t have an outer jacket.

Starting a Discharge Lamp

A cold discharge lamp exhibits high impedance across the electrodes. Certain conditions must exist for the arcing process to begin. First of all, the electrodes must be close enough and the voltage must be high enough for the arc to jump the gap. If the electrodes are too far apart the arc can’t get started. By the same token, if the voltage isn’t high enough it can’t initiate the arc.

The lamp design determines the electrode spacing or the length of the arc gap compared to the length of the arc tube. Medium arc lamps can have an arc gap of about 3 to 10 mm while a short arc, or a compact arc, lamp can have a gap from 0.3 to 2.5 mm. The starting voltage is also a function of lamp design but it’s typi- cally tens of thousands of volts. A lamp circuit in a fi xture is designed to meet the criteria for the starting voltage for a particular lamp with a lamp starter, or ignitor, that generates the required voltage according to the lamp specifi cations.

The pressure and temperature in the lamp also affects the ability of the lamp to initiate an arc. Starting with a cold lamp, it takes several thousand volts to start 214 LAMP TECHNOLOGY a discharge lamp. The ignitor in a discharge lamp circuit is designed to provide the initial high starting voltage. When the ignitor receives the signal to start the lamp, it places high voltage across the electrodes for a short period of time. The high voltage ionizes the gas in the capsule, causing the impedance across the gap to drop. If the conditions are right (short enough gap, high enough voltage, low enough temperature), then an arc will jump across the electrodes, close the circuit, and current will begin to fl ow. If the arc fails to connect, then the ignitor will continue to output a high-voltage pulse until it successfully starts the arc or until the fi xture shuts down the ignitor. When the ignitor is trying to start the lamp, an audible zapping sound can be heard. After the current starts fl owing the ignitor drops out of the circuit and the voltage normalizes at approximately 70 to 90 V.

When the lamp strikes and the current begins to fl ow, the lamp begins heating up. It takes approximately fi ve minutes, depending on the lamp size, to reach its full operating temperature.

The Effects of Lamp Strikes

The ignition of a discharge lamp is a violent event. The extremely high voltage causes the atmosphere inside the capsule to break down and become conductive, facilitating the flow of current to start. When the arc jumps the gap and makes contact with the electrode, it impacts the electrode so hard that microscopic bits of the electrode are blown off. The arc pits the elec- trodes and wears them down. Eventually, repeated lamp strikes cause the electrodes to erode causing the gap to grow until it’s too large for the arc to jump. At that point the lamp reaches a normal end of life. It has been estimated that each lamp strike consumes approximately three hours of lamp life.

Hot Restrike Lamps

Once the operating temperature has been reached, the increased temperature makes it much more diffi cult to start the arcing process. If a discharge lamp has been operating for at least several minutes and goes out, it has to cool for about fi ve minutes before it can be started again unless it’s designated as a “hot restrike” (HR) lamp and the lamp circuitry is designed to support HR lamps. An HR lamp circuit is designed to apply much higher voltage, approximately ten times the normal starting voltage, to strike the lamp. An HR lamp is designed with a much bigger base and electrodes to prevent arcing across the pins and to withstand the higher starting voltage. LEDs 215

Testing Discharge Lamps

It’s virtually impossible to tell by looking at a discharge lamp whether or not it’s a good lamp. Because there’s no fi lament, you can’t test it for continuity like an incandescent lamp, nor does the presence of dark matter on the inner envelope indicate a lamp failure (Figure 13-4). Unless there’s an obvious malfunction such as a broken envelope or a fallen electrode, the only way to know if a discharge lamp works is to test it in a known good lamp circuit.

Figure 13-4 When a discharge lamp is turned off and allowed to cool, the metals and salts condense on the wall of the inner envelope and create a cloudy appear- ance. This isn’t an indicator of whether the lamp is good or bad.

LEDs

An LED is a particular type of diode designed to emit visible light when voltage is applied in the proper orientation. It’s a semiconductor chip, half of which is doped with “P-type” impurities that have positive charge carriers and half of 216 LAMP TECHNOLOGY

12

Current flow

Electrons Holes

p-type material n-type material

Figure 13-5 In an LED, when an electron from the N-type material recombines with a hole from the P-type material, energy is released in the form of light. The symbol for an LED is shown at the bottom.

which is doped with “N-type” impurities that create a net negative charge. The positive charges come from atoms that are missing an electron; therefore they’re often referred to as “holes.” The interface between the P- and N-type material creates a junction. When voltage is applied across the junction in one direction it will conduct current, but when it’s applied in the other direction it won’t. As the diode conducts current, electrons fl ow from one side of the junction to the other. In the process, the electrons from the N side of the junction recombine with holes on the P side of the junction and in the process they release energy in the form of light (Figure 13-5). The color of the light depends on materials used in t h e c h i p .

LEDs are solid-state devices with no fi lament or electrodes ( Figure 13-6 ). The light they produce comes from the conversion of electrical energy to light energy that happens on the atomic level. Therefore, they’re maintenance-free devices; they can’t be repaired, only replaced. The good news from the user’s standpoint is that they have an average rated life of about 50,000 to 100,000 hours. They do gradually lose light output so the useable life span depends on the application. The bad news for technicians is that they can’t be repaired. Plasma Lamps 217

Epoxy lens

Wire bond

Anvil Reflector

Post

Cathode

Anode

Figure 13-6 A t y p i c a l L E D .

Unlike conventional light sources, LEDs are typically controlled by a constant current DC power source. They’re very sensitive to fl uctuations in voltage, which cause exponential changes in current; therefore they require a much more stable power source than an incandescent or discharge lamp.

LEDs are typically dimmed by using a high-frequency, pulse-width modulated supply. The width of the pulse determines the perceived intensity of the source; a very narrow pulse width appears dim and a wide pulse width appears bright. This can be a problem when lighting for video, particularly when the pulse width is very narrow, because the interaction between the frequency of the modulation and the frame rate of the video camera can cause fl ickering. A high-frequency power supply is less susceptible to fl icker.

Plasma Lamps

In 2000, a company called Luxim Corporation was formed and started manu- facturing an electrodeless solid-state plasma lamp called LiFi. It uses a radio frequency (RF) power amplifi er to excite the gas in a tic-tac-sized bulb. The bulb is made of quartz and fi lled with inert gas, metal halides, and a small amount of mercury. It’s partially embedded in a ceramic disc attached to a 218 LAMP TECHNOLOGY

Figure 13-7 The LiFi puck showing the emitter, ceramic disc, and heat sink.

fi nned heat sink. The package with the bulb, ceramic disc (puck), and heat sink is called the “emitter,” and acts as a resonant cavity for the RF energy and the source for the light emitting plasma (Figure 13-7). The driver is a separate component comprised of the power amplifi er and logic. The driver amplifi es high voltage, high-frequency energy, and the wave guide focuses it on the emitter. The radiated energy ionizes the gas and creates a plasma ball. The hot plasma vaporizes the metal halides and the plasma radiates energy in the form o f w h i t e l i g h t .

The 266 W LiFi lamp outputs about 17,800 lumens or about 67 lm/W, which compares favorably with the luminous effi cacy of LEDs, fl uorescent lamps, compact fl uorescents (CFLs), and some discharge lamps. Because the emitter is so small it has a high collection effi ciency translating to high luminaire effi ciency. Plus, the emitter has an average life of about 10,000 hours and a color rendering index (CRI) of 94.

A couple of entertainment lighting manufacturers have built luminaires around the LiFi including Robe and SeaChanger (Figure 13-8). Robe makes a moving yoke fi xture called the Robin 3 Plasma Spot and SeaChanger makes an ellipsoidal refl ector spotlight called the Nemo, both of which use the LiFi light source. The technology is scalable and higher wattage versions of the lamp will soon be a v a i l a b l e . Plasma Lamps 219

(A)

(B) Figure 13-8 E x a m p l e s o f t w o fi xtures that use the LiFi plasma lamp. (A) Robe Robin 3 Plasma Spot and (B) SeaChanger Nemo

When the emitter has reached its end of life the entire puck can be replaced in a manner similar to replacing a lamp. The replacement cost of the puck is compa- rable to that of a discharge lamp. The driver is expected to have a mean time between failures of about 60,000 hours. 220 LAMP TECHNOLOGY

Color Temperature

Any discussion of lamps would be incomplete without mention of color tempera- ture. Color temperature is a measure of how white a light source looks and whether it tends more toward reddish-white or bluish-white. It’s a function of the spectral power distribution of light, or the balance between the wavelengths across the ends of the visible light spectrum.

Natural visible light is made up of a continuous spectrum of wavelengths from 400 to 700 nm ( Figure 13-9 ). In terms of the color spectrum, it contains every color in the rainbow from red to ultraviolet.

In 1665, Sir Isaac Newton proved that sunlight is made up of a continuous spectrum of color when he used a prism to break it up and then recombine the colors into white light with a second prism ( Figure 13-10 ).

This is one of the keys to understanding color temperature. Color temperature is a measure of the balance between the red and blue components of a given light source. Light with a higher color temperature contains more blue light, whereas light with a lower color temperature contains more red light.

Consider that you’re a blacksmith with an iron in the fi re. When you fi rst put it in, the iron is cold and black. The hot fi re begins to heat up the iron and as it heats it starts to glow. As the temperature of the iron increases, it goes through a range of colors. When the iron fi rst starts glowing it looks red. Then, as it heats up more it turns orange, then yellow, and when it gets really hot it looks white. If it were to get any hotter it would melt the iron. The reason there’s a dominant color at a certain temperature is because the intensity of the wavelengths, or colors, varies across the spectrum. At fi rst, most of the heat energy radiates in the

400 nm 700 nm Figure 13-9 The visible spectrum. Natural visible light ranges from ultraviolet (about 400 nm wavelength) to red (about 700 nm wavelength). Color Temperature 221

Figure 13-10 In 1665, Sir Isaac Newton’s Experimentum Crucis proved that sun- light is made up of a continuous spectrum of color by breaking into its component colors and recombining them with a pair of prisms. A shaft of light from a hole in a window shutter passes through a glass prism, causing it to break into its component colors. The spectrum is then focused by a convex lens and passes through a second prism, which reconstitutes the white light. The light is then diffracted through a third prism, again splitting it into its components and pro- jected onto a white screen.

3000

4000

5000 Relative energy

7000 Temperature (Kelvins) 10,000

400 nm 700 nm Figure 13-11 Spectral power distribution for 3000, 4000, 5000, 7000, and 10,000 K sources. lower part of the spectrum, causing it to emit more red wavelengths. As it gets hotter, the energy shifts up the spectrum, causing it to emit a little less from the red end of the spectrum and a little more from the blue end of the spectrum. The result is that the light goes from red, to orange, to yellow, and fi nally to white. If the iron could withstand higher temperatures, it would eventually start to look more blue ( Figure 13-11 ). 222 LAMP TECHNOLOGY

Figure 13-12 A stage and studio incandescent lamp exhibits a color temperature o f a b o u t 3 2 0 0 K .

Because there’s a correlation between the color of the light emitted by incandes- cence and the temperature, in Kelvin, of the incandescing object, it’s referred to as a color temperature. The Kelvin scale is also known as absolute temperature because 0 K is the coldest possible temperature. By analyzing the color temperature of light emitted from a star, scientists can determine its surface temperature.

Tungsten is used for the fi lament of incandescent lamps because it has a rela- tively high melting point of about 3672 K (3399° C) compared with other metals such as nickel (1725 K) and steel (1644 K). Most stage and studio incandescent lamps have a color temperature of about 3200 K, which is about the maximum operating temperature for the reliable long-term operation of a fi lament lamp ( F i g u r e 1 3 - 1 2 ) .

Luminous Effi cacy

The amount of visible light a source produces in lumens compared to the electrical power it uses in watts is called the luminous effi cacy. It’s a measure of how effi - ciently a light source converts electrical energy to visible light energy. Some types Luminous Effi cacy 223 of lights are better at converting energy than others. In general, incandescent lamps are very ineffi cient while LEDs, fl uorescents, and plasma lamps are more effi cient. Engineers are constantly working to increase effi cacy in lamps and to develop new high-effi cacy technology.

Stage and studio incandescent lamps have a luminous effi cacy of about 20 to 30 lm/W. Of the energy radiated by an incandescent lamp, only about 10% is visible light. The other 90% is heat radiation or IR energy. This is a major consideration in the design of installed lighting systems because it affects the heating, ventila- tion, and air conditioning (HVAC) system.

The maximum possible effi cacy is 683 lm/W for bright conditions and monochro- matic green light. Using this value as a reference, we can compare the effi cacy of common light sources used in stage and studio applications to calculate the effi - ciency as shown in Table 13-1 .

Of course, the luminous effi cacy of a lamp is only one element of the overall effi ciency of a luminaire. How effective a luminaire is able to collect the available

Table 13-1 E f fi cacy of common light sources used in stage and studio applications. Lamp Type Model Effi cacy (lm/W) Effi ciency (%) Incandescent Ushio 1000W PAR64 VNSP 11 1.6 Incandescent Ushio 1000W PAR64 WFL 19 2.8 Incandescent Philips HPL 750/115/SL 29.2 4.3 Incandescent Philips HPL 575/115/SL 28.7 4.2 Incandescent Philips HPL 575/230/SL 25.9 3.8 Discharge Philips MSR 575/2 85.2 12.5 Discharge Philips MSR 700 short arc 64.3 9.4 Discharge Philips MSR 1200 short arc Gold 79.2 11.6 LED Philips Luxeon Rebel Cool-White 75.6 11.1 LED Philips Luxeon Rebel Warm-White 46.2 6.8 LED Philips Luxeon Rebel Green 75.6 11.1 LED Philips Luxeon Rebel Cyan 54.6 8 LED Philips Luxeon Rebel Blue 24.4 3.6 LED Philips Luxeon Rebel Red 33.7 4.9 LED Philips Luxeon Rebel Red-Orange 39.7 5.8 LED Philips Luxeon Rebel Amber 25.8 3.8 Plasma Luxim LiFi ENT-31-02 66.9 9.8 224 LAMP TECHNOLOGY

light and redirect it out the front of the fi xture is the other factor. Generally a smaller source allows for greater overall effi ciency.

Spectral Power Distribution

The spectral distribution of a lamp indicates how much energy is present in each part of the spectrum. Natural sunlight and incandescent lamps have a continuous spectrum. Discharge lamps have a very discontinuous spectrum with a series of emission lines at different wavelengths ( Figure 13-13 ). They contain additives that contribute to the spectrum and fi ll in missing colors.

Because of the discontinuity of the spectrum, discharge lamps have a unique spectral quality that is unlike that of natural light. The additives aid in shaping the spectral distribution and infl uence the color temperature and color rendering by enhancing certain colors in the spectrum to simulate the spectral distribution of natural light. Even though the spectral distribution has these peaks and valleys, the human eye perceives the light as white light with a continuous spectrum (Figure 13-14). For that reason, we can correlate it to an equivalent color tempera- ture. This is then called the correlated color temperature (CCT).

The discharge lamps used in automated lighting have a CCT of about 5600 K or higher. Some are as high as 7800 K, which automated lighting manufacturers tend to favor because a higher CCT appears brighter to the eye. Discharge lamps tend to emphasize the blue end of the spectrum because they’re more effi cient at higher

Figure 13-13 The spectral power distribution of a discharge lamp isn’t continuous unlike an incandescent lamp. Instead, it exhibits peaks and troughs at various wavelengths. Color Rendering Index 225

6000K

Figure 13-14 The human eye perceives the spectral power distribution of a dis- charge lamp, within certain limits, as white light with a color temperature that correlates to that of a continuous spectrum light source. This allows us to measure it as a CCT. This is true as long as the CCT isn’t too far away from the natural spectral distribution of incandescent light (or the black body line).

color temperatures. Consequently, most automated fi xtures are very good at ren- dering colors in the high end of the spectrum like ultraviolet and deep blue, but they aren’t very good at rendering colors in the low end such as deep red.

Color Rendering Index

Even though a lamp with a discontinuous spectrum can be “correlated” to a color temperature, the way it renders colors could be very different than a lamp of similar color temperature with a continuous spectrum. If a lamp is defi cient in certain wavelengths, then any object illuminated by that source will appear to be defi cient in those colors too. Therefore, it’s important to consider how well a light source renders colors.

The standard for measuring color rendering is to compare eight standard pastel colors illuminated by the light source in question to the same colors illuminated by an incandescent lamp or daylight, depending on the color tem- perature in question. The results are rated on a scale from 0 to 100 and that number is called the CRI. The color temperature of the light source should match that of the reference source for the CRI to be measured correctly. For color temperatures between 2000 and 5000 K an incandescent source is used, and for color temperatures above 5000 K daylight is used as the reference source. Table 13-2 shows the CRI of several light sources used in stage and studio applications. 226 LAMP TECHNOLOGY

Table 13-2 The CRI of several light sources commonly used in stage and studio applications. Lamp Type Model CRI Incandescent Ushio 1000W PAR64 100 Incandescent Philips HPL 100 Discharge Philips MSD 150/2 65 Discharge Philips MSD 250 77 Discharge Philips MSD 250/2 65 Discharge Philips MSR 400 92 Discharge Philips MSD 575 75 Discharge Philips MSR 575/2 80 Discharge Philips MSR 700 short arc 80 Discharge Philips MSR Gold 700 FastFit 75 Discharge Philips MSR Gold 700/2 FastFit 80 Discharge Philips MSD 700 75 Discharge Philips MSR 1200/2 85 Discharge Philips MSR Gold 1200 FastFit 75 Discharge Philips MSR Gold 1200/2 FastFit 80 Discharge Philips MSR Gold 1200 SA FastFit 80 LED Philips Luxeon Rebel Cool-White 70 LED Philips Luxeon Rebel Neutral-White 70 LED Philips Luxeon Rebel Warm-White 85 Plasma Luxim LiFi ENT-31-02 94

Many LED luminaires combine several colors of LEDs in a single fi xture or they use multi-color LED chips to create color washes. By setting the red, green, and blue LEDs to full they can produce something approximating white light with poor CRI. Some of these fi xtures have an additional amber LED component to help vary the CCT between cool and warm. This also helps fi ll in the spectrum and raise the CRI. Still, other fi xtures have more colors of LEDs to better approximate the quality of light of an incandescent source. The ETC Selador range of LED fi xtures uses seven colors of LEDs and they render skin tones much better than three-color LED fi xtures.

Dimming

Conventional phase-control dimmers, which are the most common type of dimmers in stage and studio applications, control dimming levels by varying the duty cycle of a sine wave in proportion to the dimming level. This is accomplished by turning Dimming 227

1169.7 V

0V Input

2169.7 V

1169.7 V

0V Load

2169.7 V

0 45 180 225 360 Degrees

5 VDC 0 VDC Control

Off On Off On Off Figure 13-15 By switching on the voltage to a lamp during the sine wave, the root mean square (RMS) voltage to the lamp can be varied, thus dimming the lamp accordingly.

on the voltage at precisely the right time during each half cycle of the waveform (Figure 13-15). The switching component of a theatrical dimmer is usually either a TRIAC or a silicon controlled rectifi er (SCR). These are electronic components that can switch current on or off by means of a low voltage control signal.

Phase-control dimming has the effect of lowering the RMS value of the voltage and dimming the lamp. It works well with incandescent lamps but not with dis- charge lamps, because it would douse the arc when the voltage is turned off. Nor does it work with LEDs because they require constant voltage, so they’re dimmed by varying the current, or by pulsing the current and varying its duty cycle. 228 LAMP TECHNOLOGY

Discharge lamps are typically dimmed with a mechanical dimmer, which has the added benefi t of maintaining a constant color temperature as it dims, unlike a phase-control dimmer.

Lumen Maintenance

As a discharge lamp or incandescent lamp is operated, the quartz envelope goes through repeated cycles of heating and cooling and the molecules begin to lose their crystalline structure. Over time the lamp loses some of its transparency and becomes more opaque. This process is called devitrifi cation, which is the reverse process of vitrifi cation—fusing silicon into glass. As the quartz envelope devitrifi es, it blocks more of the light and prevents it from escaping from the envelope, contributing to the depreciation of the lumen output. How well a lamp maintains its lumen output is referred to as lumen maintenance.

If a lamp has a fi lament or electrodes, some of the tungsten from the electrodes evaporates and condenses on the inner wall of the envelope, causing blackening. This also contributes to the loss of light output. In addition to losing light output, an aging discharge lamp also loses color temperature. An HMI lamp loses approx- imately 1 to 1.5 K per hour of operation whereas an MSR lamp loses approximately 0.5 to 1 K per hour of operation. Thus, if an HMI lamp starts out with a color temperature of 6000 K, then after 750 hours of use it will be between 5250 and 4875 K. If an MSR starts out with a color temperature of 6800 K, then after 750 hours it will be between 6425 and 6050 K. Most shows with more than a couple of auto- mated lights exhibit several different color temperatures across the rig. When all the lights are in white is when it’s most obvious.

Bulb blackening and devitrifi cation isn’t to be confused with the cloudy appear- ance that some discharge lamps exhibit when they’re turned off and the salts and metals condense on the inner envelope. The gray and black, ash-looking coating will evaporate when the lamp is turned and heated to its normal operating temperature.

Lamp Life Ratings

When a lamp manufacturer provides specs on a lamp, a specifi cation on the “average rated life” in hours is included. To the end user who might have paid a couple of hundred dollars for a single lamp, it might offer some sense of secu- rity. But the meaning of “average rated life” is often misinterpreted. To rate the average life of a lamp, a manufacturer takes a sample batch—it might be 100 lamps—operated under very controlled conditions. The rated voltage, the ambient temperature, and the number of lamp strikes are all maintained very Lamp Hazards 229 accurately. When exactly half of the sample batch reaches their end of life, the manufacturer calls that the average rated life. It may be that some of the lamps die after only 100 hours, a few more after a few hundred hours or several hundred hours, and lamp #50 may not die until after 1000 hours, but they will still be rated at an average life of 1000 hours. It’s common for one lamp in a batch of 16 fi xtures to fail after only a couple of hundred hours even though it’s rated for 750 hours. By the same token, it’s also common for several of those 16 lamps to continue operating well beyond 750 hours. The output will suffer due to lumen depreciation and color temperature depreciation, but in some applications it isn’t critical.

Lamp Hazards

Several years ago a technician was working on an automated fi xture in a shop. He had to make an adjustment inside the fi xture and then test it out to see if the adjustment was correct. Each time he opened the fi xture to adjust it the safety interlock switch on the access panel would kill the power to the lamp for safety reasons. To test the results he would have to wait fi ve minutes for the lamp to cool and restart. After a few unsuccessful attempts at adjusting the lamp properly he became impatient and decided to bypass the safety interlock switch. So he wedged the panel in the housing so it allowed access to the inside of the fi xture, but the safety switch stayed closed. He spent a few more minutes adjusting the fi xture until he got it just right, then he went about his business. Later that night when he tried to go to bed his eyes started burning. He described the feeling as if the insides of his eyelids were sand- paper and every time he blinked he was in excruciating pain. He went to the emergency room where they told him the light had burned his retinas. They gave him liquid drops to numb his eyes. The culprit? UV radiation from the MSR lamp.

Discharge lamps emit a large amount of UV, which is harmful to the eyes and skin. The light coming out of the fi xture is fi ltered through a series of lenses and UV/IR fi lters so that it isn’t as harmful as the unfi ltered light emitted from the bare lamp. In fact, compliance labs test these fi xtures to ensure their safety. But precautions should be taken to avoid direct exposure to the lamp. If you insist on working around an operating discharge lamp, wear welder’s goggles or similar protection.

Even if you protect your eyes against the harmful effects of UV radiation, dis- charge lamps also pose a minor explosion hazard. With the exception of xenon lamps, most discharge lamps are under very little pressure at room temperature. But when the lamp is operating the intense heat builds enormous pressure inside the arc capsule. Should the vessel rupture it could explode, sending shards of 230 LAMP TECHNOLOGY

glass fl ying. Lamp explosions are rare, and the lamp housings of automated lights are built to contain such explosions, but anyone working around them should be aware of the hazard.

Discharge lamps used in automated lighting also contain small amounts of mercury. An MSR lamp contains 0.05 mg/m3 of mercury, the total of which is less than the amount of mercury found in a mercury thermometer (about 0.7 g). Nev- ertheless, it still poses a threat to the environment and to people if it’s disposed of improperly or in the event that it should break. Mercury is a heavy metal and isn’t water soluble. If it gets into a landfi ll it could leach into the water table and get into the drinking supply, or it could be incinerated and get into the atmos- phere. It poses a threat to humans either way.

According to the Material Safety Data Sheet (MSDS) on the Philips Lighting Web site, “small numbers” of MSR lamps “placed in ordinary trash may not apprecia- bly affect the method of lamp disposal.” However, it’s highly recommended that spent discharge lamps are disposed of through a recycling program. More infor- mation about recycling discharge lamps, including where to recycle, can be found on the Web sites of the International Association of Lighting Management Com- panies (www.nalmco.org ) and the Association of Lighting and Mercury Recyclers (www.almr.org ).

Should you happen to break a discharge lamp and spill the contents, there are some precautions you should take. The following information is reprinted from the U.S. Environmental Protection Agency Web site (http://www.epa.gov/ mercury/spills/index.htm).

What never to do about a mercury spill:

■ Never sweep the area with a broom. Sweeping breaks the mercury into smaller droplets, further contaminating the room and the broom.

■ Never use an ordinary household vacuum cleaner to clean up mercury. Vacuuming vaporizes the mercury and increases the concentration of mercury in the air that can result in poisoning.

■ Never pour mercury down the sink drain. It may stay in the plumbing.

■ Never wash mercury-contaminated clothes in the washing machine. Mercury can contaminate the washing machine.

■ Never walk around if your shoes or socks may be contaminated with mercury. That will spread the mercury droplets all over the house.

■ Never use household cleaning products to clean the spill, particularly prod- ucts that contain ammonia or chlorine. These chemicals will react violently with mercury, releasing a toxic gas. Lamp Hazards 231

How do I clean up a small mercury spill?

■ Before beginning the clean up, change into old clothes and shoes that can be thrown away if they get contaminated with mercury.

■ If you’re wearing gold jewelry, either remove the jewelry or wear good pro- tective gloves. If the liquid mercury contacts the gold jewelry, the mercury bonds permanently to the gold and ruins it. Wearing gloves is a good idea to prevent mercury from lodging under the fi ngernails while cleaning.

■ Increase ventilation in the room with outside air and close the room off from the rest of the house. If available, use fans for at least one hour to help ven- tilate the room.

■ Pick up the mercury with an eyedropper or scoop up beads with a piece of heavy paper (e.g., playing cards, index cards).

■ Wide sticky tape such as duct tape can also be used to pick up any glass particles and mercury beads.

■ Powdered sulfur (which can be purchased at garden supply stores) can be used to bind any remaining mercury. When the sulfur combines with mercury the sulfur turns from the usual yellow color to brown. Continue to use sulfur until there’s no longer a color change. Keep in mind that sulfur can be irritating to the skin, nose, throat, and eyes. Sulfur may also stain fabrics.

■ Place the mercury, contaminated instruments (eyedropper/heavy paper), and any broken glass in a plastic zipper bag. Place this zipper bag in a second zipper bag and then in a third zipper bag (triple bag), tightly sealing each bag with tape. Place the bags in a wide-mouth, sealable plastic container.

■ Throw away everything that may have been exposed to the mercury includ- ing towels, bedding, and clothes if they were contaminated.

■ Call your local health department for the nearest approved mercury disposal location. If disposal at such a location isn’t possible, dispose of the plastic container according to state and local requirements.

■ If weather permits, leave windows open for approximately two days to make sure the area is completely ventilated.

■ Wash hands very well with soap and water afterwards. Shower well if you think any mercury touched other parts of your body. This page intentionally left blank CHAPTER 14 The Optical Path

Of the original phenomena, light is the most enthralling. —Leonardo da Vinci

All luminaires are not created equal. Even those using the same lamp source can produce varying results in terms of effi ciency and light output. The optical path, and everything in it, determines the amount of light a fi xture collects from the lamp source and effectively uses. That includes the lamp, refl ector, fi lters, patterns, effects, mirrors, lenses, and the exit glass (if any).

The starting point in the design of most automated luminaires is the placement of the lamp, refl ector, and lenses. The selection of a lamp source is often a matter of choosing from what’s available from lamp manufacturers, although some auto- mated lighting manufacturers like to use propriety lamps to control the sales of replacement lamps. This can be as simple as renaming an existing lamp or modi- fying the base of an existing lamp to make it exclusive to their socket. It’s the rare occasion, such as in the case of the HPL (Source Four) lamp, when a major lamp redesign comes from anyone outside of the lamp manufacturers, although it’s common for lighting manufacturers to develop and advance lamp technology in collaboration with lamp manufacturers. But most often, a lamp is chosen and the luminaire and optical design is built around the lamp.

In addition to the lamp, the refl ector geometry and construction have a tremen- dous infl uence on several characteristics of the luminaire including the intensity, effi ciency, uniformity of the beam, and the quality of the image projection in the case of a profi le fi xture. The choice refl ector in an optical design is a trade-off between effi ciency, uniformity, imaging properties, cost, size, and weight. All of

233 234 THE OPTICAL PATH

these considerations infl uence the choice of refl ector geometry and construction, and some of these decisions are based on whether the luminaire is a profi le spot or a wash fi xture.

Specular Refl ection

Light is electromagnetic radiation that behaves as both a particle and a wave. Scientists refer to this as particle-wave duality. The wavelength of visible light is measured in nanometers or 10−9 m (0.000000001 m). This is such a small unit of measure compared to the size of real-world optical components like refl ectors and lenses that, for the purposes of analyzing optical systems, we can think of light as a ray rather than a wave. It’s easier to use a ray, which can be represented by drawing a straight line from the source in the direction of travel, and use ray tracing to understand optics.

All refl ectors, regardless of their geometry, present a specular or mirror-like surface, which refl ects light uniformly. When light strikes a specular surface, it’s refl ected at an angle equal to the angle of incidence (the angle at which it strikes the surface of the refl ector relative to the normal or perpendicular to the surface – s e e F i g u r e 1 4 - 1 ) .

This principle is important because it dictates the path of the light from the source to the refl ector and back through the optical path. The other important determin- ing factor is the geometry or the shape of the refl ector.

Normal to reflection surface

A B

Specular surface

Figure 14-1 When light strikes a specular surface such as a polished refl ector, it’s refl ected at the same angle at which it strikes relative to the normal or perpen- dicular to the surface. Refl ector Geometry 235

Refl ector Geometry

There are at least three refl ector geometries used in the lighting industry: para- bolic spherical, and elliptical. Each has unique characteristics, advantages, and disadvantages.

The Parabolic Refl ector A parabola is a mathematic function describing the square of a number. If you plot the x- and y-axis of the equation y ϭ x 2 , then the result would be a parabola. The geometry of a parabolic refl ector is like a parabola revolved about its center, o r a p a r a b o l o i d ( F i g u r e 1 4 - 2 ) .

If the light was an ideal point source and located at the focus of a parabolic refl ec- tor, all of the light collected by the refl ector would be redirected in parallel rays away from the refl e c t o r ( F i g u r e 1 4 - 3 ) .

Although parabolic aluminized refl ector (PAR) cans are very common in enter- tainment lighting, parabolic refl ectors in automated lighting are rare. Because the parallel rays produce a very large diameter beam, it’s costly to build a

y

y 5 ax2

x

Figure 14-2 A parabola is described by the equation y ϭ x 2. A parabolic refl ector has the profi le of a paraboloid of revolution. 236 THE OPTICAL PATH

Figure 14-3 When the light source is at the focus of a parabolic refl ector, the refl ected light is emitted in parallel rays. dichroic color changing system for lights with a parabolic refl ector. The Vari-Lite VL500 is an example of such an automated luminaire. Also, because the rays are parallel, there’s no focal point where a pattern can be imaged for projection. Syncrolite ( www.syncrolite.com ), Skytrackers ( www.skytracker.com ), and other searchlight manufacturers use parabolic refl ectors and gel scrollers for changing colors.

The Elliptical Refl ector An ellipse is a mathematic function described by the following equation:

2 y2 1 x a 2 b 2 If you plot a graph of x versus y on a Cartesian plane, you will get an ellipse ( F i g u r e 1 4 - 4 ) .

The degree to which an ellipse deviates from a perfect circle is called the eccen- tricity and is a function of a and b. The larger one is with respect to the other, the more eccentricity in the ellipse. The geometry of an elliptical refl ector is like half of an ellipse revolved about its vertex, or an ellipsoid (Figure 14-5).

If the light was an ideal point source located at the focal point of the elliptical refl ector, then all of the light collected by the refl ector would be redirected and converged at the focal point of the optical path (Figure 14-6). Refl ector Geometry 237

Y

b a X F1 F2

F1, F2 - foci

Figure 14-4 An ellipse described by the previous equation has two foci and eccen- tricity defi ned by the quantities a and b .

Figure 14-5 By revolving half of an ellipse about its center, the geometry of an elliptical refl ector is formed. 238 THE OPTICAL PATH

Figure 14-6 When a light source is located at one focal point of an elliptical refl ec- tor, all of the light collected by the refl ector is redirected and converged at the other focal point on the optical path.

Optical engineers who are more concerned with focal distances often use the fol- lowing relationships to help design an elliptical refl ector: ( 1 e ) r f ( 1 e cos ) w h e r e r the distance from the focus to the refl ected surface, f the distance from the focal point to the center of the refl ector surface, e eccentricity, and the angle between the axis of the refl ector and the direction of the light ray.

Ellipsoidal refl ectors are common in automated lighting, mostly single-ended medium source arc lamps such as the Philips MSR and MSD lamps. They’re characterized by relatively high effi ciency compared to spherical refl ectors because they capture a higher percentage of incident light in a useful manner. At the same time, elliptical refl ectors tend to produce a peaked beam profi le with a hot spot in the center resulting in a fall off of intensity on the edge of the beam. Also, because the light source isn’t an ideal point source, the projection image is slightly de-focused at the edges when the center is in focus. It’s diffi cult to image a pattern that’s sharp both in the center and on the edges of the projection.

The perception of brightness of a luminaire is as much a psychological phenom- enon as a physical one. When there’s a relative hot spot in the center of a beam, there’s less contrast between the edge of the beam and the surrounding dark- ness, creating the perception of less intense light. By contrast, a more uniform beam looks brighter because the edge contrast is higher. For that reason—in a Refl ector Geometry 239 side-by-side comparison between a luminaire with an elliptical refl ector and one with a spherical refl ector—all other things equal, the more uniform beam, which is almost always the one with the spherical refl ector, will appear to be brighter. The only sure way to determine the absolute brightness is with an illumination meter. There are many other factors, such as color temperature and angle of incidence, that infl uence your perception of brightness.

The Spherical Refl ector The geometry of a spherical refl ector is like a quarter of a circle revolved around its vertex. It’s similar to a quarter or half of a spheroid. If the light was an ideal point source located at the center of the spheroid, then all of the light collected by the refl ector will pass back through the light source ( Figure 14-7 ). If, instead, the light source is located at a distance halfway between the center of the sphere and the refl ector, then the light near the axis will be refl ected as a collimated beam with parallel rays. The light that’s further away from the axis produces a spherical aberration causing the refl ected light to diverge from the parallel.

In profi le fi xtures with spherical refl ectors, condenser lenses are almost always used (Figure 14-8). A condenser lens condenses the parallel rays of light and converges them at a focal point. They’re often used with double-ended lamps.

Reflector

Lamp

Figure 14-7 If light from an ideal point source is located at the center of a spherical refl ector, the refl ected light will pass back through the light source. 240 THE OPTICAL PATH

Reflector Condenser lens Lamp

Figure 14-8 A condenser lens is often used in conjunction with a spherical refl ector. It serves to condense the rays of light converging them at a focal point.

Several Italian manufacturers of automated luminaires like Clay Paky and SGM employ spherical refl ectors and condenser lenses in their automated lighting products. They’re characteristically uniform in the beam profi le and tend to produce projected images with very good center-to-edge focus. They also give the appearance of a very bright beam because of the beam uniformity. They’re gener- ally less effi cient than fi xtures with elliptical refl ector systems because the small size of the spherical refl ector doesn’t collect as much light fl ux from the source.

Refl ector Materials

Both the refl ector geometry and the refl ector material have a big impact on the effi ciency of the optical system. Aluminum and glass are the primary types of refl ector materials used in automated fi xtures.

Aluminum refl ectors are relatively inexpensive and lightweight. They’re found in moderately expensive and less expensive models, and they were used almost exclusively in early automated lighting fi xtures (except fi xtures like the VL1, which used an HTI with an integral dichroic refl ector). An aluminum refl ector is made on a lathe by metal spinning. A disc of aluminum cut to the required diam- eter is placed on a lathe. A mandrel is also placed on the lathe, which is the same contour as the inside of the refl ector. It’s used to shape the aluminum as the lathe is spun. A follower applies pressure to the aluminum disc and forms it over the mandrel. Infrared Filters 241

Once a refl ector is formed, it’s usually electropolished to make it more specular. Electropolishing is the opposite of the process of electroplating. To electropolish a refl ector, the refl ector is connected to the positive terminal of a DC power supply and placed in a temperature controlled bath of electrolyte. The negative terminal of the power supply is connected to a cathode (the refl ector acts as the anode) and placed in the bath. When the voltage is raised it creates a current and, in the process, microscopic particles of aluminum are removed from the refl ector creat- ing a highly polished surface. The quality of the refl ector and the polished surface varies according to the time and effort spent on the manufacturing processes.

Glass refl ectors are generally made of borosilicate glass with a dichroic coating. They can be relatively expensive, depending on the volume of production and the economies of scale. They’re heavier than aluminum refl ectors and are most often found in higher-end automated luminaires. There are some less expensive auto- mated luminaires on the market with dichroic glass refl ectors, mostly of the spherical variety, because they’re smaller than an elliptical refl ector and therefore cheaper to produce in glass.

A dichroic thin-fi lm optical coating provides an excellent, although still imperfect, refl ective surface. It’s much more effi cient than an aluminum surface, maintains more optical integrity, and produces a better projection image. It also allows much of the infrared energy, or heat, of the incident light to pass through the refl ector and out of the back of the luminaire. For that reason, many luminaires with dichroic glass refl ectors have a large heat sink on the back of the fi xture that can get very hot.

Infrared Filters

Heat is one of the primary causes of failure in electrical, electronic, and electro- mechanical systems and is of prime consideration in the design of automated lighting. The extreme temperatures generated by the light source have to be managed to strike a balance between producing the maximum light output and totally destroying the luminaire, or elements of it, in the process.

Infrared (IR) light is pure heat energy. An IR fi lter is most often the fi rst element in the optical train used as line of defense against heat in an automated luminaire acting as a barrier between the lamp source and the electronic, mechanical, and electromechanical systems in the fi xture.

An IR fi lter is a specialized optical thin-fi lm fi lter through which visible light passes relatively unimpeded while the longer IR wavelengths are rejected. It’s sometimes referred to as a hot mirror because it refl ects heat and passes “cold” 242 THE OPTICAL PATH visible light. IR energy ranges from about 700 nm to 1 mm, so the ideal IR fi lter is a low-pass fi lter with a cutoff at around 700 nm.

Mechanical Dimming

Automated luminaires with gas discharge lamps are incapable of complete electronic dimming because the arc would extinguish if the voltage across the electrodes falls low enough. Some automated fi xtures are equipped with special power supplies able to dim the lamp 40% to pulse (strobe electronically), save energy, reduce heat, and extend lamp life.

Most automated lights are equipped with a mechanical dimmer that can dim between 0 and 100%. Most often, a mechanical dimmer comprises one or two aluminum dimming fl ags progressively moved into the optical path, blocking a larger and larger portion of the light as they dim. The design of the dimmer varies from manufacturer to manufacturer and from model to model, but the leading edge of the dimmer fl ag normally has some sort of serration or pattern to make the dimming curve smoother and more effective. For example, a High End Systems Showgun has two dimmer fl ags with serrated edges that converge in the center of the beam to decrease the intensity of the light ( Figure 14-9 ). Other designs vary from a curved surface that approximates an iris as the two fl ags meet in the center, to a gradient density wheel that rotates into the optical path to eventually block the light entirely.

Figure 14-9 The mechanical dimmer in a Showgun uses two dimmer fl ags with ser- rated edges to vary the amount of light passing through the optical path. The edges of the dimmer fl ags don’t image in the beam because they’re out of the focal plane. (Photo courtesy of Barco/High End Systems) Optical Thin-Film Filters 243

Some of the latest models of automated lighting have a glass mechanical dimmer made of aluminum-coated borosilicate glass. By etching a gradient pattern in the aluminum-coated glass, a smooth dimming curve is easier to achieve because of the high resolution capabilities of the lithographic (etching) process.

To create a smooth dimming effect, the dimmer must not be in or near the focal plane of the optical path. Otherwise, the edges of the dimmer will image in the fi eld and won’t maintain the shape of the beam.

Mechanical dimming has one distinct advantage over electronic dimming; it maintains a consistent color temperature over the range of dimming. Electronic dimming of incandescent lamps warms up the light source as it dims. Dimming discharge lamps usually increases the color temperature because some salts (those that emit more red) cease emission as the temperature drops. However, mechani- cal dimming often doesn’t produce the ideal dimming curve. The limited size of most automated luminaires results in a relatively short gradient ranging from full to complete blackout. As a result, the last few steps of a mechanical dimmer can produce a noticeable difference between steps. Even more disconcerting is the non-uniformity that some mechanical dimming systems exhibit, especially in the last few steps before black. The quality of mechanical dimming systems ranges from extremely poor to acceptable, and there are a few that are excellent.

Optical Thin-Film Filters

One of the most important enabling technologies in an automated luminaire is the optical thin-fi lm fi lter. It’s a multi-layer coating of microscopically thin dielec- tric material deposited on a glass substrate designed to change its optical proper- ties. There are many types of optical thin-fi lm fi lters including hot mirrors, cold mirrors, dichroic fi lters, and metallic mirrors.

The manufacturing process starts with the selection of substrate material. Many dichroic fi lter manufacturers use 1.1 mm (0.043 in.) to 1.75 mm (0.069 in.) thick borosilicate glass. Trade names such as Schott Borofl oat® and Corning Eagle2000 glass are used for dichroic fi lter substrates. They can withstand very high temperatures and have a low coeffi cient of thermal expansion, both of which are important characteristics in this application. The refractive index is also impor- tant, as we will soon see.

The glass is normally manufactured in large sheets to be cut to size before it’s coated. The scribe and break method and the water jet cutting method are two common methods of commercially cutting glass. With the scribe and break method, a carbide steel-cutting head is used to score the glass allowing it to be 244 THE OPTICAL PATH

broken along the score. A precision score and break machine produces a clean fi nish with no additional processing required. Otherwise the edge may have to be polished or fi nished. With the water jet cutting method, a fi ne jet of highly pressurized water mixed with a fi ne abrasive grit is sprayed through a nozzle to cut the glass as the nozzle moves over the material. Water jet cutters produce a smooth edge and require no fi nishing. Both a water jet cutter and a precision score and break machine produce very little waste because the cuts are computer con- trolled and very precise; however, a water jet cutter can cut very intricate shapes and curves, such as concave cuts, which are diffi cult to cut on scribe and break machines. A scribing machine can cut at speeds of up to 10 to 15 in./sec (25.4 to 38.1 cm/sec), while a water jet cutter is about ten times slower.

Several fi lters can be cut from a single substrate after it’s coated. The size of the substrate varies according to the capacity of the coating equipment, but it can range from about 17 to 30 in., although such large substrates are rare. In prepara- tion for the coating process, the glass is cleaned in a clean room environment to remove any oil, residue, or dust from the glass manufacturing and cutting processes. Foreign matter on the surface of the glass during the coating process can cause defects including pin holes and adhesion problems.

The Deposition Process

Once the glass is cut and cleaned it’s loaded into a vacuum chamber to be coated in a process known as deposition. Three methods of depositing a thin-fi lm coating include physical vapor deposition (PVD), chemical vapor deposition (CVD), and sputtering. Each process takes place in a vacuum chamber. At the top of the vacuum chamber is a “planetary” that holds multiple glass substrates. The plan- etary spins each substrate and rotates them all, much like the planets spin on their axes and rotate around the center of the solar system, to coat them uniformly. At the bottom of the chamber is a pair of crucibles that hold the raw materials used to coat the glass. In a typical coating process, one of the crucibles has silicon dioxide crystals, which have a relatively low index of refraction, and the other has titanium dioxide pellets, which have a very high index of refraction. Before the deposition process begins, the chamber is “pumped down” to a near perfect vacuum.

In the PVD process, the thin-fi lm coating is applied by vaporizing the target

materials (SiO2 and TiO2 ), where they diffuse onto the surface of the relatively cooler substrates. The target materials are vaporized by bombarding them with an electron beam one at a time. The beam slowly scans the material imparting enough energy to melt it and eventually evaporate it. As the material evaporates, it diffuses throughout the chamber and condenses on the surface of the glass (and everything else in the chamber). While a fi ne layer of the material builds up on Thin-Film Interference 245 the substrate, a laser beam is refl ected off the revolving glass to measure the thickness as determined by the index of refraction. At a predetermined thick- ness, the fi rst crucible is closed and rotated out of the path of the electron beam while the other is opened and brought into the path of the beam. The second material is then evaporated and deposited on top of the fi rst layer until the second layer is the proper thickness. Layers are deposited in alternating order in the proper thicknesses until a prescribed fi lter is completed.

The CVD process is similar except that instead of bombarding the target materials with an electron beam, they react chemically and decompose onto the substrates. In the sputtering process, the target materials are bombarded by ions, which cause them to vaporize. When the gas molecules of the target material collide with the substrates, they condense back into a solid.

The number of layers and the thickness of each layer vary according to the speci- fi cations of the fi lter. It can be as few as 7 layers, as in a yellow fi lter, or as many as 40 or more layers, as in an indigo fi lter.

Thin-Film Interference

Dichroic fi lters work on the principle of interference; some wavelengths pass through the fi lter unimpeded, some cancel each other out, and others are refl ected away from the fi lter. At the beginning of this chapter we learned that the law of refl ection dictates that when light is refl ected, the angle of refl ection is equal to the angle of incidence. Snell’s law dictates what happens to light as it passes from one medium to another. If the two media have a different index of refraction, then a portion of the light is refl ected and a portion is refracted. The portion of the light refracted bends in a predictable direction. If it passes from a medium with a lower index of refraction to a medium with a higher index of refraction, then it bends toward the normal to the surface of the medium (Figure 14-10). The angle between the direction of travel and the normal to the surface of the medium is called the angle of refraction.

When light strikes the surface of a dichroic fi lter at a 90 degree angle, a sequence of events takes place:

1. A portion of the incident light is refl ected and a portion passes into the fi rst layer of the coating. The portion that passes keeps traveling in the same direc- tion (the angle of refraction is 0 because it strikes the medium at a 90 degree angle). 2. When the light encounters the next interface, the interface between the fi rst and second layers, a portion of that light is refl ected and a portion is passed 246 THE OPTICAL PATH

Normal to boundary

a Air

b Glass

Figure 14-10 Snell’s law dictates the angle of the refraction of light when it passes between two media with different indices of refraction. When light passes between a medium with a lower index of refraction to a medium with a higher index of refraction (For example, from air to glass), then the ray bends toward the normal to the surface boundary. The degree to which it bends depends on the exact wavelength of the light.

on to the second layer. The refl ected light is directed 180 degrees away from the incident light. 3. T h e r e fl ected light travels in the opposite direction through the fi rst layer again where it encounters the interface between the fi rst layer and the air. Again a portion is refl ected and a portion is passed along to the air. Due to the thick- ness of the fi rst layer, which is about a quarter of a wavelength of a given color of light, the refl ected light is now traveling alongside the fi rst refl ection except it’s half a wavelength out of phase. You may think of this as two waves of equal amplitude traveling in the same direction, but the second was launched so that the peak of the second wave coincides with the trough of the fi rst wave. The result is that the two cancel each other out (Figure 14-11). This is precisely what happens between the two refl ections caused by the fi rst layer of the dichroic fi lter. 4. The same process takes place in the second layer and each subsequent layer a f t e r t h a t .

By manufacturing a dichroic fi lter with very precise tolerances of each layer, it can be “tuned” to cancel certain wavelengths and pass others, resulting in a fi lter that produces the desired color ( Figure 14-12 ). Thin-Film Interference 247

Figure 14-11 The sum of two waves of equal amplitude and frequency but 180 degrees out of phase with each other is 0.

Peak Trough

Figure 14-12 The interface between different media in a thin-fi lm coating causes a portion of the incident light to refl ect and a portion to refract. The primary refl ection is in phase with the incident light while the secondary refl ections are designed to be completely out of phase with the primary refl ection at the desired wavelength, thus canceling them out. Multi-layered fi lters produce multiple sec- ondary refl ections, each of which contribute to phase cancellation. The surviving wavelengths produce the desired color. 248 THE OPTICAL PATH

Filter Types

There are at least four types of optical thin-fi lm coatings: low-pass, high-pass, bandpass, and notch fi l t e r s ( F i g u r e 1 4 - 1 3 ) .

The pass region for each type of fi lter is defi ned by its cutoff point or the wave- length at which the fi lter passes 50% of the peak light energy. The slope of the cutoff determines the level of contamination from bordering colors and infl uences the saturation of the fi lter.

Optical thin-fi lm fi lters make automated lighting, as we know it, possible. Without the high-temperature glass substrates it would be diffi cult, if not impossible, to manage the heat and alter the characteristics of the beam to produce color change and pattern projection. A gel fi lter could never withstand the heat produced by a typical automated luminaire lamp source without the protection of an IR fi lter. It couldn’t exist in the housing of an automated luminaire for any length of time to make it useable in automated lighting. Transmission % Transmission % Transmission

Wavelength in nanometers Wavelength in nanometers (A) (B) Transmission % Transmission % Transmission

Wavelength in nanometers Wavelength in nanometers (C) (D) Figure 14-13 (A) High-pass fi lter, (B) low-pass fi lter, (C) bandpass fi lter, and (D) notch fi lter. Filter Types 249

The ETC Source Four Revolution and the Syncrolite large format luminaires are two examples of modern automated fi xtures that use gel scrollers to change colors. The Revolution was designed with a gel scroller because the fi xture is intended to be used primarily in the theatre, where designers are more critical of color and demand more subtle color change. But optical thin-fi lm coatings have many unique characteristics that make them the overwhelming choice for automated lighting. Some of these characteristics are illustrated in Figure 14-14 , including:

■ E f fi ciency—An optical thin-fi lm fi lter can reach effi ciencies of 90% or better in the pass band. The effi ciency of a gel greatly depends on the color, but it can range from 25 to about 90%. There’s little question that a luminaire with an optical thin-fi lm fi lter is far more effi cient than one with a gel.

■ Color Saturation—An optical thin-fi lm fi lter is highly selective with a sharp cutoff between the pass band and the rejection band. A gel, on the other hand, is much less selective and allows much of the bordering color to “con- taminate” the purity of color. This, however, isn’t always the desired effect as some applications call for less pure color and more pastel color.

420 500 580 660

90

80

70

60

50

40

Percent transmission 30

20

10

0 380 460 540 620 700 Wavelength in nanometers Legend - Medium blue gel filter Medium blue dichroic filter Figure 14-14 A dichroic fi lter is more effi cient, produces more saturated color, and lasts much longer than a gel fi lter. 250 THE OPTICAL PATH

■ Color Stability—An optical thin-fi lm fi lter degrades very little over time even with excessive use. A show will look pretty much the same after years of operation when thin-fi lm fi lters are used. A gel will fade with use and darker c o l o r s w i l l f a d e m o r e q u i c k l y t h a n l i g h t e r c o l o r s .

For these reasons, optical thin-fi lm coatings play a major role in automated light- ing not only for hot mirrors, glass gobos, anti-refl ective coatings, and metallic mirrors, but also as color media.

Color Selection

A dichroic fi lter is an optical thin-fi lm fi lter that separates the incident light into two or more colors. When the light strikes a dichroic fi lter, one color is transmitted through the fi lter and a different color is refl ected away from the fi lter. The wave- lengths of the transmitted light vary according to the angle of incidence, as do the refl ected wavelengths; the greater the angle of incidence, the greater the color shift from normal.

Vari-Lite patented the use of pivoting dichroic fi lters in automated lighting in 1983, precluding any other manufacturers from using pivoting dichroic fi lters, but not from using them normal to the optical path. Consequently, almost all of the early automated lighting systems, aside from the Vari-Lite fi xtures, used a dichroic color wheel for color selection.

DichroFilm

DichroFilm is the trade name of a fl exible dichroic fi lter manufactured by Rosco. It’s similar to a standard dichroic fi lter except the substrate is a 5 mm thick poly- ester fi lm instead of glass. It can fl ex enough to be used in a color scroller like the Syncrolite OmniColor-D thin fi lm dichroic color system.

Color Wheels

A color wheel is one method of changing color in an automated luminaire (Figure 14-15). It can be made of stamped aluminum, stainless steel, or carbon steel with a number of apertures along its perimeter, all but one of which has a dichroic fi lter fastened to it. The open aperture is for no color. Color selection is accomplished by rotating the color wheel until the dichroic fi lter with the desired color is in the optical path. Some color wheels have a spring-loaded fastener that allows each fi lter to be removed and replaced whereas others are fastened Color Wheels 251

Figure 14-15 A dichroic color wheel is a common color selection system in auto- mated lighting.

permanently with silicone. The size of the apertures depends on the luminaire optics and the size of the beam. The smaller the aperture size for a given amount of light, the higher the energy density, and the greater the heat load placed on the optical elements. If the energy density is too great, then the optical components, including the dichroic fi lters, are at risk of failure.

The location of the color wheel in the optical path is critical. It should be located away from the focal plane so that the imperfections in the dichroic fi lters don’t image in the beam. If the color wheel is too close to the focal plane, or if the focus mechanism has a range that reaches the plane of the color wheel, then every pinhole, scratch, and abrasion shows up in the projected image.

A color wheel is a simple and effective way to provide remote color selection. The aluminum wheel is easy to design and fabricate and the code to control it is easy to write. The downside is that color selection is limited to the number of apertures in the color wheel and there’s a stark transition between colors. When the color changes from a color on one side of the wheel to the other, it has to pass through every intermediate color in between, producing a sort of color strobe. Some color wheel designs have evolved into trapezoidal-shaped fi lters to minimize the dark space between fi lters and maximize the useable fi lter area. The ability to project split colors using adjacent colors is available with this type of fi lter. 252 THE OPTICAL PATH

Color Combining

One of the limitations of using a color wheel for color selection is that the number of colors is limited to the number apertures in the color wheel. Most automated fi xtures with a color wheel have between 8 and 12 available colors, including white. Some automated luminaires have a second color wheel to extend the range of available colors ( Figure 14-16 ). The secondary color wheel modifi es the result- ing color by effectively narrowing the bandwidth of the fi rst color selection by overlapping the two fi lters.

The colors on a secondary color wheel have to be carefully selected to maximize the variation of colors on the primary color wheel. The fi lters on the secondary color wheel are often wideband color correction fi lters that double as color cor- rection in addition to color modifying fi lters (Figure 14-17). If the overlapping fi lters don’t alter the resulting bandwidth then there’s no change in color. On the

Figure 14-16 By adding a secondary color wheel with carefully chosen colors, the number of available colors in an automated fi xture can be multiplied.

Figure 14-17 The intersection of the bandwidths of the primary and secondary fi lters determines the results of combining color fi lters. Color Combining 253 other hand, if the two overlapping fi lters have no bandwidth intersection, then almost no light or color is produced, often resulting in a dim UV effect. If the colors on the secondary color wheel are carefully chosen, the number of available colors in a luminaire can be multiplied. For example, a fi xture with 8 colors on the primary wheel, including white, and 4 colors plus white on the secondary wheel will produce 40 colors (not all of which are guaranteed to be discernible), provided the 4 secondary colors are carefully chosen. But even with an extended range of colors, combining color wheels still results in a limited range of color selection and there’s a hard transition between colors.

Subtractive Color Mixing A good way to extend the range of available colors and to create smooth color transitions is to use CMY color mixing. CMY color mixing is a subtractive method of color mixing using three gradient density fi lters—cyan, magenta, and yellow (Figure 14-18). Each of the three fi lters is made of a glass substrate with a thin-fi lm coating etched or cut into a shape to form a gradient density pattern. The patterns differ from model to model, but the principle is the same. By slowly varying the orientation of a color mixing wheel with a stepper motor, the gradient gradually increases or decreases the density of the color in the optical path. Thus, the satura- tion of the selected color can be varied between zero and full. Adding a second or third fi lter subtracts from the pass band and alters the color. In some automated luminaires, a fourth wheel having a gradient density pattern made of aluminum acts as a dimmer. This is sometimes referred to as a CMYK system, which is the four-color offset printing term for C yan- Magenta- Y ellow-blac K . Like a color wheel, the gradient density CMY color fi lters must be located away from the focal plane or the gradient pattern will image instead of mix.

(A) (B) Figure 14-18 (A) Three gradient density color wheels (cyan, magenta, and yellow) can be used in a CMY color mixing system to produce a wide range of colors. (B) Alternatively, three gradient density color fl ags can be incrementally moved into the optical path to vary the saturation and hue of the light. (Photos courtesy of YL Optics - www.yl-optics.com) 254 THE OPTICAL PATH

By using CMY color mixing, almost any color in the visible range can be rendered. Typically, very deeply saturated primary colors like blue, red, and green are very hard to produce in a CMY color mixing system. For that reason, many automated fi xtures with CMY color mixing also have a supplementary color wheel with satu- rated colors. The advantages of using CMY color mixing include a wide selection of colors and a very smooth transition from color to color.

Additive Color Mixing Although most automated luminaires with discharge lamps use subtractive color mixing, there are many others that don’t have discharge lamps and use LEDs instead. These fi xtures mix color using additive color mixing, where color is synthesized by combining red, green, and blue LEDs. Instead of starting with white light and taking out wavelengths to create a new color, the additive color mixing process starts with black and adds wavelengths to create a new color. By outputting red, green, and blue light at full output, white light can be approxi- mated. However, the narrow band of the LEDs leaves gaps in the spectrum, resulting in a low color rendering index (CRI). Some LED luminaire manufactur- ers address this issue by adding more LEDs of different colors to fi ll in the spec- trum. The most common arrangement is to add amber LEDs to warm up the white light.

In addition to the color rendering issue, RGB LED color mixing fi xtures with discrete LEDs also produce a multi-colored shadow because each source has a slightly different projection angle. There are, however, tri-color surface-mount LEDs (SMDs) that reduce or eliminate this problem.

Gobos

Gobos aren’t unique to automated lighting; they have been around for decades. But what’s unique in automated lighting is the ability to change gobos remotely. A gobo is simply a pattern inserted in the focal plane of a luminaire to project an image. There has been much conjecture about the origin of the term “gobo.” It has been theorized that it’s a contraction of “goes before optics” or “goes between optics.”

Automated lighting fi xtures have used gobo wheels to facilitate gobo change almost since their inception. But if digital light projection continues to evolve and drop in price, digital lighting may one day become more affordable and commonplace, possibly relegating gobo hardware to lower end, entry-level automated lighting. Until then, the gobo wheel will continue to be the dominant method of gobo change. Gobos 255

Metal Gobos There are at least three varieties of gobos including aluminum, stainless steel, and glass. The simplest, least expensive way to manufacture gobos is to etch an alu- minum gobo wheel with several gobos in it, each of which corresponds to an aperture with a diameter of the appropriate size for the optics of the luminaire. This type of gobo wheel typically has anywhere from 5 to 12 gobos or more.

Although an etched metal gobo wheel is relatively inexpensive to produce, it does have some disadvantages. These gobos are fi xed (non-rotating) and non- replaceable, and the resolution is very limited due to the limited strength of the aluminum alloy. There’s no means for suspending an “island” in an etched metal gobo; therefore patterns like a “tunnel” must have “bridges” to support the center island ( Figure 14-19 ). As a result, gobos in an etched wheel are generally very basic designs in which every piece must be connected to the whole of the wheel. They’re also inherently black and white projections, although some color can be added by gluing bits of dichroic glass to them or they can be combined with color media to produce one color and black projections.

Stainless steel gobos have some of the same characteristics as aluminum gobos along with some advantages. Because of the thin gauge metal used to make stain- less steel gobos, they’re always used in conjunction with an aluminum or steel gobo wheel to hold them in place or, in the case of a rotating gobo wheel, a carrier

Figure 14-19 An etched metal gobo, typically fabricated from aluminum, is the simplest and least expensive way to manufacture gobo wheels. 256 THE OPTICAL PATH

that holds individual gobos. They’re individually replaceable, allowing the designer an opportunity to introduce some level of customization in a lighting design; they don’t have to look like every other automated light of the same model. Also, stainless steel has a greater tensile strength than aluminum, which means that stainless steel gobos can have fi ner supports and higher resolution. Thus, they can have more detail such as leaves and vines. There is, however, a trade-off between the level of detail and the life of the gobo. The more detail and the fi ner the cuts, the quicker a gobo will warp and burn. In short run shows it’s less of an issue, but in permanent installations it’s a prime consideration. Stainless steel gobos suffer from the same lack of color as stamped gobos except that it’s diffi cult to glue dichroics to them because of the limited surface area; in a stamped gobo wheel it doesn’t matter if the dichroic fi lters and glue don’t fi t within the aperture, but in an interchangeable gobo it does.

Glass Gobos Glass gobos offer the most advantages in terms of resolution and color, although they can be relatively expensive, depending on the number of colors in the gobo. There are several different types of glass gobos including black and white, gray- scale, single color, multi-color/multi-layer, and multi-color/single-layer.

A glass gobo is manufactured by masking and etching away part of the dichroic coating on a dichroic fi lter so that the remaining material creates an image ( Figure 14-20 ). The image fi rst has to be digitized using a graphics software program, and then output to fi lm so it can be projected onto the dichroic fi lter.

Figure 14-20 A single-color glass gobo is made by masking and etching a pattern onto a dichroic fi lter. Laser Ablation 257

UV light is used to project the image and catalyze a chemical called photoresist, which is applied to the dichroic fi lter before the fi lm exposure. Once it’s exposed, the photoresist is bathed in a solution to set it, and then the unexposed photoresist is rinsed away with water. The dichroic fi lter with the catalyzed photoresist is then baked to improve its adhesion to the thin-fi lm coating and to harden it. The last step is to bathe the fi lter in etching chemicals to etch away the thin-fi lm coating that isn’t protected by the photoresist.

The fi nal product is a glass gobo with a dichroic coating in the pattern of the original image. Depending on the particular process, the fi lm can be a photo posi- tive, in which case it passes the light used to catalyze the photoresist, or it can be a photo negative, in which case it blocks the exposing light.

If the process is started using an ordinary single-color dichroic fi lter, then the fi nal product will be a single color glass gobo. Some multi-colored glass gobos are made by stacking two or three single-color glass gobos in the proper align- ment and banding them together. This method is obviously more labor intensive and costly than a single-color glass gobo and, depending on the image, some of the details may not focus well because of the separation of the image planes, which are equal to the thickness of the glass.

There’s at least one method of manufacturing full-color glass gobos on a single substrate using four-color separations. This method involves coating and etching each of the four color separations individually. After the fi rst color is coated and etched, the glass is returned to the vacuum chamber and the second color is deposited on the gobo, and then etched. This process is repeated until all four colors have been deposited and etched. Four-color separations involve the colors cyan, magenta, yellow, and black. For black colors, aluminum is used in the depo- sition process, which blocks light and produces the black.

Black and white glass gobos are manufactured using the same process except they’re etched on aluminum- or chrome-coated substrates. If they’re etched with gradient density dots they can produce grayscale shades of light and dark.

The etching process is very precise and capable of producing very fi ne resolution. Some commercial gobo manufacturers boast resolution of up to 20,000 dpi, but the fi nal product is dependent upon the quality and resolution of the original artwork and digitizing equipment and processes.

Laser Ablation

Dichroic gobos can also be made by removing the dichroic thin-fi lm layer with an irradiating laser beam. The ablation process is relatively quick and inexpensive once the capital investment has been made in the laser equipment. This technique 258 THE OPTICAL PATH

used to produce relatively low resolution images, but the process has been improved and now very high resolution images can be made.

Installation Orientation

Glass gobos are generally very durable and heat-resistant, but they aren’t inde- structible. Like dichroic fi lters, they must be used properly to keep them intact. Most manufacturers advise putting the glass gobo in with the coated side away from the light source to more evenly heat the glass, rather than only heating the portions through which the light passes. Uneven heating produces a differential in heat that can lead to stress cracks. You should always read and follow the instructions from the manufacturer of the particular glass gobo you’re using.

It’s not easy to detect which side is the coated side, but you can tell by holding a pointed object such as the tip of a screwdriver or a pencil up to the glass to see if the refl ected image touches the object. If there is no separation and they appear to touch, then that’s the coated side ( Figure 14-21 ).

Separated by thickness of glass

Uncoated side

No separation

Coated side Figure 14-21 To determine which side of a dichroic fi lter or glass gobo is the coated side, touch one of the surfaces with a pointed object. If the refl ected image touches the object then that’s the coated side. Lenses 259

Front Surface Mirrors

Front surface mirrors are designed with the refl ective coating on the front surface of the glass substrate, as opposed to a second surface mirror where the back of the substrate is coated. The advantage of front surface mirrors is that they prevent secondary refl ections caused by the interface between the air and the glass sub- strate because the light never reaches the glass, which makes them more effi cient. Surface mirrors are typically coated with aluminum and over coated with silicon dioxide to help protect the relatively soft aluminum coating. The over coating also helps improve the durability of the glass and seals the aluminum, making it easier to clean. The effi ciency of an over coated front surface mirror is close to 90%.

Anti-Refl ective Coatings

Some higher quality lenses and optical glass have an anti-refl ective (AR) coating to help improve the effi ciency of the light transferred through the coated material as well as the imaging quality. AR coatings are made with the same vacuum deposition process used for making any other optical thin-fi lm coating, except the coating is made of multiple layers of magnesium fl uoride. The index of refrac- tion for magnesium fl uoride at 550 μm (nanometers) is 1.38, which is between that of air (~1.0) and crown glass (~1.5 @ 550 μm). When light strikes the interface between the air and the AR coating at a normal to the substrate, it’s partially refl ected away from the glass. When it strikes the interface between the AR coating and the glass substrate, another part is refl ected away from the glass. Because the differences in the indices of refraction between the air and the coating are similar to the difference in the indices of refraction between the coating and the substrate, the refl ections are equally strong. If the thickness of the AR coating is about a quarter of a wavelength of the refl ected light, then the two refl ections are 180 degrees out of phase and the refl ections cancel each other out.

Effects

In addition to color changers and gobos, other effects that may or may not be found in an automated luminaire include textured glass, moiré effects, strobing, “animation,” irising, color correction, prisms, frost, and beam shaping.

Lenses

In automated luminaires, the optical design makes use of lenses to shape and control the size, imaging, and focal length of the optical system. Different types of lenses serve different purposes and their optical characteristics are determined 260 THE OPTICAL PATH

Convex-Convex Plano-Convex Concave-Concave Plano-Concave Convex-Concave Figure 14-22 C o m m o n l e n s p r o fi les. by the type of glass from which they’re made (this determines the index of refrac- tion) and their contour. The choice of lens in a particular application is determined in the design phase as a matter of effi ciency, image quality, and cost.

There are several types of lenses, the most common of which are spherical lenses because their surfaces, both front and back, are formed in the shape of a portion of a sphere. Each of the surfaces is classifi ed according to the contour of their front and back surfaces. If the surface curves outward from the center of the lens, then it’s a convex surface. Conversely, if the surface curves inward toward the center of the lens it’s a concave surface. If the surface of the lens is fl at, it’s a plano surface. The front and back surfaces can have different contours giving rise to at least fi ve varieties of lens as shown in Figure 14-22 .

If the surface is convex, then the focal length is considered positive; if it’s concave, then the focal distance is considered negative. This is important to remember during lens calculations.

If a lens is convex, then a parallel beam of light passing through the lens will converge at the focal point ( Figure 14-23 ). For this reason a convex lens is a con- verging lens.

If a lens is concave, then a parallel beam of light passing through the lens will diverge (Figure 14-24). For this reason a concave lens is a diverging lens.

If the front and back surface aren’t the same type, then the focal length can be calculated using the following equation: 1 ( n 1 ) d ( n 1 ) 1 1 f R1 R 2 n R 1 R 2 where ƒ focal length, n index of refraction of lens material, d the thickness of the lens, Lenses 261

Focal plane Focal length

Plano-Convex lens

Figure 14-23 A lens with a convex surface focuses a collimated beam of light at the focal point of the lens.

Figure 14-24 A lens with a concave surface spreads or diverges a collimated beam of light passing through it.

R 1 is the radius of curvature of the front surface, and

R 2 is the radius of curvature of the back surface.

If d is relatively small compared to R 1 and R2 , then the focal length can be esti- mated as:

1 ( n 1 ) 1 1 f R1 R 2 This approximation works for thin lenses. 262 THE OPTICAL PATH

Once the focal length of a lens has been determined, then the lens power can be determined by the equation:

L e n s p o w e r 1 f

The focal length is positive for converging lenses and negative for diverging lenses. The unit of measure for lens power is an inverse meter ( 1 o r m−1 ) and m e t e r is called a diopter.

Spherical Aberrations

It turns out that a lens with a spherical surface isn’t ideal for projecting an image because it produces a blurry image or aberration. The spherical aberration is caused by the fact that the rays of light away from the center of the lens focus on a slightly different plane than those near the center (Figure 14-25). Aspheric lenses do a better job of producing crisp, sharp images, but they’re harder to manufacture and more costly than spherical lenses.

Chromatic Aberration

Another type of lens aberration is called a chromatic aberration, which is caused by the natural dispersion of the lens material. Because the index of refraction of glass varies with the wavelength, when white light strikes a point on the lens it

Focal Focal plane 1 plane 2

Spherical lens

Figure 14-25 A spherical lens has a slightly different focal plane for rays that are away from the center of the lens, producing a slightly blurry image due to spherical aberration. Chromatic Aberration 263

Blue focal plane

Red focal plane

Focal plane

Figure 14-26 Top: The difference in wavelengths between opposite ends of the spectrum causes white light to disperse with red and blue at the extreme ends of the focus. Bottom: An achromatic doublet (shown with its component lenses—one convex–convex lens made of crown glass and one concave–concave lens made of fl int glass) corrects the chromatic aberration by recombining the red and blue ends of the spectrum at the focal plane. tends to disperse like a prism. The result is that the edge of the image shows a rainbow of colors ranging from red to blue. Chromatic aberration can be corrected to some degree by the use of an achromatic doublet or achromatic lens ( Figure 14-26 ). An achromatic lens is actually two lenses (sometimes three), one convex lens made from crown glass and one concave lens made from fl int glass, bonded together with optically clear cement. The concave lens diverges the various wavelengths in the opposite direction as the convex lens resulting in a more uniform focal plane for all wavelengths. This page intentionally left blank SECTION 5 Networking and Communications This page intentionally left blank CHAPTER 15 The Channel Count Explosion

A fundamental rule in technology says that whatever can be done will be done. —Andy Grove, former president and CEO of Intel Corporation

We in the entertainment production industry are in the midst of profound change, much of it enabled by the rapid advance of technology. The confl uence of ever more powerful computers, broadband networking, LED technology, media servers, and digital light processing have conspired to create a huge increase in the demand for control channels, which, in turn, leads to the demand for more pow- erful computers and more bandwidth. This, in turn, is changing the way we build, use, and service lighting systems.

Cable Management in a 0–10 V World

When automated lighting fi rst gained popularity in the 1980s it was the fi rst salvo in the battle for more control channels. Until then, lighting consoles dealt only with single-channel dimmers. A large system at the time might have been 96, 128, or—yikes!—256 channels of dimming. A single multi-core cable could be run from the console at the front of house backstage to the dimmer rack or to “dimmer beach” and that would take care of all of the control cabling demands. All of the dimmers were typically located in one location and the dimmed circuits were distributed from there.

Then along came multi-parameter lighting instruments and suddenly a single luminaire demanded as many as eight or more control channels to control attributes such as pan, tilt, dimming, strobe, color, gobo, and maybe zoom and/or focus.

267 268 THE CHANNEL COUNT EXPLOSION

8-Pair low-voltage control cable

Figure 15-1 In the early days of automated lighting, some of them were run by 0–10 V control signals and a pair of wires were needed to control each parameter. Bundles of wires had to be run to each lighting instrument.

Now instead of simply running control cables from the console to a single loca- tion, individual cables had to be run to each automated light as well as to the dimmers (Figure 15-1). Since this was in the days of 0–10 V analog control, multiple pairs of control wires had to be run to each instrument—one pair for each control parameter. To make matters worse, the control wires were no longer bundled in a single 48- or 96-wire cable but several 8- or 12-wire cables had to be output from the console to locations scattered throughout the venue. Consoles were by neces- sity arrayed with cable connectors across the back panel and many back panels were fi l l e d t o c a p a c i t y .

It didn’t take long before console manufacturers, even manufacturers of conven- tional consoles, recognized the need for a better way to control lighting systems. In the early-to-mid 1980s several of them developed proprietary multiplexing protocols that allowed them to output many channels through a single pair of wires. By using a time-based division of a single transmission signal, manufactur- ers could sample the voltages of several channels of control in sequence and combine the result as a multiplexed signal (Figure 15-2). Then that signal could be transmitted using a single data line. On the receiving end of the line they would simply sample the voltage at given time intervals and reconstruct the c o n t r o l s i g n a l f o r e a c h c h a n n e l .

Manufacturers succeeded in reducing the need for multiple control cables and connectors and made the management of cables and control systems much easier. Taming the Cable Beast 269

Sample rate

Figure 15-2 A typical multiplex scheme samples the control voltage of several control channels at given intervals. The results are combined in a multiplexed signal and transmitted using a single data line. The receiver then samples the voltage at given intervals and reconstructs each of the individual control s i g n a l s .

What they failed to do, however, is to provide a single standard that allowed interoperability between different manufacturer’s consoles. If you had brand X lights you couldn’t use a brand Y console. Consequently, the front of house was often crowded with many consoles and real estate was at a premium.

Taming the Cable Beast

Then in 1986, a United States Institute for Theatre Technology (USITT) engineer- ing commission led in part by Steve Terry (currently VP of R&D at ETC) ham- mered out a standard protocol for the transmission of digital multiplexed control signals called DMX512. At the time, there was much debate about whether or not the 256 K baud protocol would be fast enough to control large systems of auto- mated lights without a noticeable delay between the time the operator pushed the Go button and the time the last fi xtures in the system reacted. These concerns turned out to be unfounded. Because the protocol was limited to a maximum of 512 control channels on a single data link, the baud rate was suffi cient to refresh the data for each channel about 44 times per second.

Manufacturers unanimously adopted the new DMX512 standard and very soon consoles began to appear on the market that could easily control large systems of lights using a single data control cable ( Figure 15-3 ). Cable management was once again brought under control. The typical lighting system now had a “home run” cable run from the console to the fi rst fi xture, dimmer pack, or data splitter, and 270 THE CHANNEL COUNT EXPLOSION

Figure 15-3 DMX512 helped simplify cable management by allowing a single data line to output up to 512 channels of control data in a daisy-chain fashion. It also provided interoperability among manufacturers.

“daisy-chaining” the data line from there to the next fi xture or dimmer pack, then to the next, and so on.

Given the success of the new protocol, the fl ood of new automated lights on the market, and the demand for bigger and better lighting systems, the average light- ing system grew from a dozen or so automated fi xtures to several dozen. Before long, lighting systems with hundreds of automated fi xtures were being designed and deployed. At the same time, the number of parameters grew as manufacturers fi gured out how to incorporate new effects and improved functions such as rotat- ing gobos, high-resolution pan and tilt, variable frost, color mixing, rotating prisms, framing shutters, and more. As a result, the channel count increased steadily until the 512 channel limit of DMX512 began to be exceeded on a regular basis. Suddenly we were back to managing unwieldy runs of multiple home run cables. A new term in the industry came to defi ne the state of lighting control at the time. A “universe” of DMX512 is a single data link and multiple universes of DMX512 had to be used for large systems in which the number of control chan- nels needed to run it was in excess of 512.

By this time, the Entertainment Services & Technology Association (ESTA) had been established and began developing ANSI accredited technical standards through its Technical Standards Program. Among the many projects it took on was the development of a new control protocol designed to address the channel count explosion and the need for a way of transmitting multiple universes of DMX through a single cable. Little did they realize at the time just how urgent this work would become. The Channel Count Explosion 271

The Channel Count Explosion

In the early 1990s, Shuji Nakamura of the Nichia Corporation invented the fi rst blue LED with enough light output for practical use. By 1997, a company called Color Kinetics (now Philips Color Kinetics) exhibited an LED luminaire designed for use in the entertainment lighting industry at the Lighting Dimensions International (LDI) trade show in Dallas. It had several red, green, and blue LEDs and by varying the intensity of the individual colors, several colors and an approximation of white light could be produced. Although this light wasn’t an automated luminaire, nor was it a display device, it would have several long-term implications in the industry.

Also in 1997, U2 embarked on an ambitious tour with a 150 50 ft. (46 15 m) LED video backdrop. It had 150,000 RGB pixels and U2 was the fi rst of many concert tours to use LED displays in a creative way. Lighting designer Willie Williams set the standard for the visual elements of a touring production. The industry soon followed and visual imagery became as much a part of the show as the rest of the production.

The very next year, Light & Sound Design had a private showing of their Icon M digital luminaire across the street from LDI. The moving yoke fi xture featured a digital mirror device (DMD), the precursor to the digital lighting processor (DLP), that could project 1000 “soft gobos” and animations in black and white. Although the fi xture was never mass produced, it served as proof of concept and put the industry on notice that the production landscape was changing.

The following year, High End Systems launched their Catalyst Orbital Mirror Head, a remote pan and tilt system designed to work with large format projection. But the most successful part of the system was the DMX-controllable media server that fed images and video to the projector. The idea was embraced by the industry and in a few years there were several competing DMX512 media servers on the market.

As LEDs continued to drop in price and increase in brightness, more manufactur- ers began producing LED products both as display devices and color wash lumi- naires. Many lighting consoles added pixel mapping capabilities that allowed the programmer to import a video clip and map the colors to an array of CMY or RGB light sources, whether they were LED fi xtures, automated luminaires, or video display devices. By this time, the idea of the convergence of lighting and video was in full motion and the number of channels needed to control systems with hundreds of modern day automated luminaires, media servers, and LED displays g r e w e x p o n e n t i a l l y ( F i g u r e 1 5 - 4 ) .

Today, the typical lighting control system controls not only lights, but, in many cases it integrates some form of video, pixel mapping, digital light processing, 272 THE CHANNEL COUNT EXPLOSION

(A)

(B) Figure 15-4 The convergence of lighting and video has led to a channel count explosion. (A) In 2007, Genesis embarked on a tour with a massive set that used 15,089 Barco O-Lite LED display panels, 270 control boxes, and over 9 million video pixels. (B) During the opening ceremony of the Games of the XXIX Olym- piad in Beijing, the production used 2,342 automated luminaires, 110 media servers, 37 universes of DMX512, 131 video projectors, and 3 lighting consoles in a network confi guration. The Channel Count Explosion 273 or graphic display. It often uses multiple universes of DMX512 and sometimes there’s more than one control device. To more easily manage these data, more and more manufacturers have turned to Ethernet-based protocols to increase the bandwidth of a single data link. At speeds of 100 Mb, Ethernet can transmit as many as 200 universes of DMX512 with no problem. At speeds of 1000 Mb, or gigabit, Ethernet can transmit as many as 2000 universes of DMX512 with no problem. As a result, many proprietary protocols have emerged in the industry to package DMX512 data and send them over Ethernet systems. The most common of these protocols include ArtNet, ETCNet, Strand ShowNet, and Pathway Connectivity Pathport. They provide a means of converting back and forth between DMX512 systems and Ethernet systems, which allows legacy DMX512 gear to work with the latest in Ethernet network systems ( Figure 15-5 ). Some lighting consoles output one or more of these protocols, which negates the need for using outboard converters on the console end of the network. On the other end of the network, however, the Ethernet data must be converted back to DMX512.

(A)

(B)

(C) (D) Figure 15-5 A sample of DMX-to-Ethernet converters. (A) ELC DMXLan Node 3, (B) ELC DMXLan Node 8, (C) ELC DMXLan Node 1, (D) ETC Net3 1Port Gateway, (E) ETC Net3 2Port Gateway, (F) ETC Net3 4Port Gateway, (G) PRG Nodeplus, (H) Strand N21 Node, and (I) Strand N21 Rack. 274 THE CHANNEL COUNT EXPLOSION

(E) (F) (G)

(H) (I) Figure 15-5 ( Continued)

So the typical medium-to-large lighting network looks much like Figure 15-6. The console outputs either DMX512, some variety of Ethernet-based protocol to trans- port DMX512, or both. This allows hundreds or thousands of universes of DMX512 to be transmitted over a single CAT5 cable and once again brings the issue of cable management under control. On the receiving end of the network, the Ethernet protocol is distributed using switches, routers, or bridges. Once it nears its fi nal destination it’s converted back to DMX512 protocol where it’s distributed to each device in a daisy-chain fashion. This setup provides the best of Ethernet and DMX512 distribution.

State-of-the-Art Protocols

In 1986, the Engineering Commission of the USITT (www.usitt.org ) published the fi rst DMX512 Digital Data Transmission Standard for Dimmers and Controllers. In 1990, it was updated to the DMX512/1990 Digital Data Transmission Standard for Dimmers and Controllers. Very few substantial changes were made in this standard and it remained unchanged until 2004 when a new revision called DMX512-A was adopted. State-of-the-Art Protocols 275

DMX512 DMX512

Ethernet- Ethernet- to-DMX512 to-DMX512 Ethernet- Ethernet- to-DMX512 to-DMX512

DMX512-to-Ethernet converter

Figure 15-6 A typical DMX512-to-Ethernet-to-DMX512 network. Some consoles output Ethernet-based protocols, negating the need to use a DMX512-to-Ethernet converter at the console.

DMX512-A defi nes four different confi gurations of the standard fi ve-pin XLR con- nector and paves the way for the use of bi-directional communication between a controller and the devices on the data link. It used to be that only one of the two pairs of wires in a DMX512 data cable were used, but now the four allowable confi gurations permit the use of two pairs of wires as two individual data links; 276 THE CHANNEL COUNT EXPLOSION one is the primary and the other is the secondary. One of these confi gurations is backward compatible with the original standard and the other three allow devices to talk back to the controller.

While DMX512-A provides for the physical connections, it doesn’t defi ne the “language” for sending messages back to a controller. Another standard called Remote Device Management (RDM; see Chapter 17) was subsequently developed to defi ne a protocol for bi-directional communication using the same ports, cables, and connectors as DMX512-A. When the operator chooses to send an RDM command the DMX512 data are temporarily halted and RDM data are sent. The RDM standard defi nes the method for sending and receiving transmissions to and from RDM-compliant fi xtures or devices on the data line.

Lastly, another standard called Architecture for Control Networks (ACN; see Chapter 18) was developed to better deal with the burgeoning volume of data demanded by the largest entertainment networks while providing other benefi ts along the way. It uses much of the same technology as the Internet and is still capable of much higher speeds of communication with unlimited connectivity. So far, ACN hasn’t radically changed the way lighting systems are networked and controlled, but it has opened new avenues to explore in the future.

A standard for “lightweight” streaming of DMX512 data using ACN was approved in 2009 eliminating similar competing proprietary protocols. In the next few chapters we will take a closer look at these technologies and discuss how they work. CHAPTER 16 DMX512 and DMX512-A

Those parts of the system that you can hit with a hammer (not advised) are called hardware; those program instructions that you can only curse at are called software. —author unknown

When the Engineering Commission of the United States Institute of Theatre (USITT) set out to defi ne the DMX512 protocol, they chose to adopt an existing standard for the hardware used to transmit and receive data. As a result, the DMX512 standard defers to an existing standard from the computer electronics industry dealing with serial data transmission called TIA/EIA-485. It defi nes the electrical characteristics of generators and receivers used in balanced digital multi- point systems including the generator (in a DMX512 system this is the controller), the receiver (light, dimmer, fog machine, etc.), or transceiver (circuit with both a generator and a receiver), and the cable connecting them. It also defi nes important physical limitations and requirements such as the use of termination resistors, the total number of allowable loads (a load is defi ned as a passive generator, receiver, or transceiver), and the characteristic impedance of the interconnecting cable. Copies of TIA/EIA-485 Electrical Characteristics of Generators and Receivers for Use in Balanced Digital Multi-point Systems are available through IHS Global ( http://global.ihs.com ).

The DMX512 Physical Layer

The physical layer of a DMX512 system comprises a differential data line driver, a terminated twisted pair transmission line, and at least one differential receiver ( Figure 16-1 ). A differential line driver is an operational amplifi er (op amp) that takes a control signal input and outputs two signals—the regenerated control 277 278 DMX512 AND DMX512-A

Transmitter Receiver Logic power Isolated logic supply power supply

DMX512 True data Signal Data complement input 0V Common (shield) Figure 16-1 DMX512 transmitter and receiver. A DMX512 transmitter is a differ- ential line driver that takes an input signal and outputs a regenerated control signal (true data) and its mirror image (data complement). A differential receiver takes the true data and data complement and outputs the difference in the voltage between the two input terminals.

EMI

1 2

Figure 16-2 Noise picked up equally by the data line is canceled in the differential line driver. The twisted pair cable picks up EMI equally on both the true data and the data complement. The chart at the bottom shows the true data input (blue) and data complement input (red), both with interference, and the output of the differential transceiver (green).

signal (true data) and its mirror image (data complement). A differential receiver amplifi es the difference in the voltage between the true data and the data comple- ment, which are the two inputs it receives. For example, if the voltage on pin 2 is 5 VDC and the voltage on pin 3 is 5 VDC, then the differential is 10 VDC. The 0 V reference is the ground or pin 1. Data Cable 279

A differential line driver is more immune to noise than a single-ended line driver because any noise picked up on one input is subtracted from the noise on the other input and is canceled at the output ( Figure 16-2 ). Since the standard calls for twisted pair data cable, induced noise such as electromagnetic interference (EMI) and radio frequency interference (RFI) should be picked up equally on both input lines.

Data Cable

A DMX512 transmitter (controller) generates the control signals and feeds them to the line driver and the line driver communicates with the receivers on the data link through copper (cables) or air (wireless). The type of copper cable used is very important for maintaining the integrity of the data. Some cables are made specifi cally for transmitting high-speed digital data.

According to the TIA/EIA485 standard, the interconnecting media should be twisted pair cable with a characteristic impedance of 120 ohms. The character- istic impedance of a cable is the impedance of an infi nitely long length of that particular cable. It’s determined by the physical properties of the cable including the wire gauge, the thickness of the insulating material, and the type of shield- ing it uses. A data distribution network should have a uniform characteristic impedance to minimize signal refl ections that could cause data errors. If a signal encounters a change in impedance along the signal path, some of the electrical energy is refl ected back to the source. The amount of refl ection depends on the difference in the impedance, but in general, the greater the difference, the greater the refl ection. When a data signal is refl ected it interacts with the origi- nal signal and causes phase cancellations. The fi xtures near the center of the data run are often more susceptible to data problems of this sort for two reasons. First, the refl ections near the end of the run are more in phase with the original signal causing less of a differential. As the refl ection travels farther away from the source, it becomes more out of phase, thus presenting a bigger problem. Secondly, by the time the refl ection reaches the opposite end of the data link, it has lost some intensity due to the resistance in the line. To eliminate data refl ec- tions at the end of a data run, a 120 ohm terminator should always be used. A terminator is simply a 120 ohm, ¼ W resistor placed across pins 2 and 3 and across pins 4 and 5 (if a secondary data link is used). It absorbs the electrical energy at the end of the data link and minimizes refl ections (see the section Termination ).

In addition to having a characteristic impedance of 120 ohms, the ideal data cable should be a twisted pair cable with an overall foil shield and braid shield. It should be at least 24 AWG or larger for longer runs to keep the voltage drop across the run as small as possible. 280 DMX512 AND DMX512-A Voltage

Time DMX input signal Voltage

Time DMX output signal Figure 16-3 A high-capacitance cable, like microphone cable, distorts a DMX512 signal by turning a square wave input into a sawtooth wave.

The data cable should also have a low characteristic capacitance. Because it has two conductors in close proximity separated by thin layers of insulation, it can behave just like a capacitor. It’s charged by the voltage from the control signal when it goes high and it tries to hold the charge when the line goes low. As a result, the data cable can distort the waveform, making a square wave input look more like a sawtooth wave (Figure 16-3). By constructing cables with certain geometries using certain types of insulation they can be made low in c a p a c i t a n c e .

Unfortunately, some manufacturers have made it easy to use the wrong cable because they use 3-pin XLR connectors, which are used for audio cable. These are high-capacitance cables and unsuitable for use with high-speed digital signals. Problems with high-capacitance cable may not be apparent in smaller systems, which lead some people to believe that it’s okay to use the cable for DMX512 applications. But high-capacitance cables degrade DMX512 signals and make for an unstable system. It’s good to get in the habit of using low-capacitance cable, because the problem will manifest itself when least expected and when most critical!

There are a number of cable manufacturers who make cable specifi cally for DMX512 and high-speed data applications. Some of the more common types are listed in Table 16-1 . Table 16-1 Commercially Available DMX512 Cable. Gauge Capacitance Type Pairs Impedance () (AWG) Jacket (pf) Shield Temp (°C) Artistic Licence 1 90 22 PVC 20 Inner—Al/Mylar 100% 30 to 75 DataSafe 2 Outer—tinned copper braid 85% Artistic Licence 2 90 22 PVC 20 Inner—Al/Mylar 100% 30 to 75 DataSafe 4 Outer—tinned copper braid 85% TMB ProPlex 1 80 22 Polyurethane 22 Inner—Al/Mylar 100% 40 to PC222P Outer—tinned copper 105 braid 85% TMB ProPlex 2 110 22 Polyurethane 22 Inner—Al/Mylar 100% 40 to PC224P Outer—tinned copper 105 braid 85% Creative Stage 1 100 22 PVC 15 Inner—Al/polyester 80 Lighting DuraFlex 100% 22/2WS-D Outer—tinned copper braid 90% Creative Stage 210022PVC15Inner—Al/polyester 80 Lighting DuraFlex 100% plus drain 22/4WS Outer—tinned copper braid 90% Belden 9841 1 120 24 PVC 12.8 Al. foil-Polyester tape/ 30 to tinned copper braid 80 Belden 9842 2 120 24 PVC 12.8 Al. foil-Polyester tape/ 30 to tinned copper braid 80 281 282 DMX512 AND DMX512-A

Make sure a cable is plenum rated, such as Belden 89841, when it’s installed without conduit in plenum. In the construction industry, a plenum is a ceiling cavity or a raised fl oor cavity and a plenum rating means that it meets certain criteria for fi re resistance and smoke emissions. Most of the portable cables used in the touring industry aren’t plenum rated.

DMX512 Over CAT5

In October 2000, a Task Group of the Entertainment Standards & Technical Asso- ciation (ESTA) Control Protocols Working Group commissioned an independent study of the feasibility of using low cost Category 5 cable instead of EIA485 rated data cable. After collecting and examining the data, they concluded that “in most respects, unshielded twisted pair (UTP) and shielded twisted pair (STP) CAT5 cable can be expected to perform at least as well as EIA485 cable for DMX512 applications” (see http://www.esta.org/tsp/working_groups/CP/DMXoverCat5. htm). That’s good news for designers and installers of permanent installations because the cost of Cat5e cable is considerably less than DMX512 cable. In perma- nent installations, Cat5e cable used for DMX512 applications can be terminated with terminal blocks or standard DMX512 connectors. 8P8C (8-position, 8-connector) connectors, commonly known as RJ45 connectors, can be used in permanent installations if they aren’t accessible by unauthorized personnel, i.e., if they’re internal to the chassis. The pinout is shown in Table 16-2.

Cat5e cable can be used in portable applications if it’s “ruggedized” cable, which has a heavier jacket that can withstand the rigors of temporary applications and

Table 16-2 Pin Assignments for 8P8C (RJ45) Connectors Used with DMX512. Pin (Wire) # Wire Color DMX512 Function 1 White/orange Data 1 2 Orange Data 1 3 White/green Data 2 (optional) 4GreenData 2 (optional) 5Blue Not assigned 6 White/blue Not assigned 7 White/brown Data Link Common (Common Reference) for Data 1 (0 V) 8 Brown Data Link Common (Common Reference) for Data 2 (0 V) drain Table reproduced from American National Standard E1.11—2008: Entertainment Technology USITT DMX512-A: Asynchronous Serial Data Transmission Standard for Controlling Lighting Equipment and Accessories with permission from ESTA. DMX512 Connectors 283 it’s made with more fl exible stranded wire. It should also have ruggedized RJ45 connectors such as Neutrik EtherCon.

DMX512 Connectors

The original DMX512 standard specifi ed the use of 5-pin XLR connectors although only three of the fi ve pins were used at the time; the other two weren’t connected. For that reason, 3-pin XLR connectors worked just fi ne even though they didn’t meet the specifi cations. Several automated lighting manufacturers used 3-pin XLR connectors because they were cheaper than 5-pin connectors and 3-pin XLR cables were more readily available at any music store in the form of microphone cables. But as we’ll soon see, the newest DMX512 standard, DMX512-A, uses pins 2 and 3 for the primary data link and pins 4 and 5 for other uses (Figure 16-4).

Some manufacturers also used proprietary pin outs in the early days of DMX512. Martin used to invert pins two and three relative to the DMX512 standard and Clay Paky used to put voltage on the fourth and fi fth pins in a 5-pin XLR connec- tor for remote power. Both of these practices have been abandoned but there are still some of these legacy fi xtures in the fi eld.

The DMX512 standard also specifi es that female connectors are to be used on the transmitter or console and male connectors on the receiver or load end. You can

Male XLR connector (pin side)

Common (shield) (Optional) 1 5 Data positive universe 2

2 4 3

(Optional) Data negative Data negative universe 1 universe 2

Data positive universe 1 Figure 16-4 DMX512 5-pin XLR pin designations. 284 DMX512 AND DMX512-A easily remember which gender is the output and which is the input if you think in terms of an extension cord, which has the same gender rules. If you plug an extension cord into a wall outlet, then it’s hot. If the output of the extension cord was a male connector, then you would be walking around with a hot male con- nector, which could easily come in contact with you or someone else and it would be a very uncomfortable experience to say the least! Thus, the output is always a female connector, which is much safer. The same applies to DMX512 connectors. If you have ever spent hours pulling DMX512 cable only to fi nd out you ran it the wrong way, then you’ll appreciate the analogy and never forget it.

The pin out of a DMX512 connector is designated as follows:

■ P i n 1 — C o m m o n ( s h i e l d )

■ Pin 2—Data complement (data 1)

■ Pin 3—Data true (data 1)

■ Pi n 4 — O p t i o n a l s e c o n d d a t a l i n k c o m p l e m e n t

■ P i n 5 — O p t i o n a l s e c o n d d a t a l i n k t r u e

Termination

Termination is a very important part of a reliable DMX512 data distribution system. Every data link in a system must be terminated properly to ensure the integrity of the data and prevent them from becoming distorted by signal refl ec- tions. In addition, the data loop-through port in a data splitter that isn’t used should also be terminated. Individual outputs in a data splitter are usually self- terminating when a cable isn’t plugged into them, so they usually don’t require termination.

Terminating a data link is as simple as inserting a data terminator at the end of each run or in the output of each empty data distributor output. The terminator matches the impedance of the cable and looks to the transmitter or controller like an infi nite length of cable. In effect, it absorbs rather than refl ects the energy of the signal as it reaches the end of the line. Without a terminator, the data line is open and looks to the controller like an infi nite impedance, which is something akin to a brick wall in terms of signal fl ow. When a signal encounters infi nite impedance it’s refl ected back down the line toward the transmitter. In the process it mixes with the original signal and causes phase cancellation resulting in data e r r o r s ( F i g u r e 1 6 - 5 ) .

Smaller DMX512 networks with few fi xtures and short runs sometimes function suffi ciently without termination, leading some people to believe that they’re Termination 285

Figure 16-5 S i g n a l r e fl ections cause phase cancellation and lead to data errors. The outgoing signal (top) mixes with the refl ected signal (middle), resulting in corrupted data (bottom).

Male XLR connector (solder side)

5 1

4 2 3

Figure 16-6 A data terminator serves to stabilize a DMX512 system by preventing signal refl ections at each open data port. It’s easy to build a data terminator by soldering a 120 ohm, ¼ W resistor between pins two and three and between pins four and fi ve of a male 5-pin XLR connector. 286 DMX512 AND DMX512-A

unnecessary. But even small systems without termination can be unstable and the slightest change might cause them to function erratically. It’s good practice to always terminate data runs large and small.

Automated lighting can behave erratically on an unterminated data line. Gobo and/or color wheels might stutter or, if it’s a moving mirror fi xture, the mirror might glitch. It can happen to any fi xture in the data link, not necessarily every one and not always the last in the link.

A data terminator can be easily built by soldering a 120 ohm, ¼ W resistor between pins two and three and between pins four and fi ve of a 5-pin XLR connector ( F i g u r e 1 6 - 6 ) .

Building a Data Network

A DMX512 network can be as simple as a single controller and a single fi xture, or it can be very large and complex with multiple data lines, data splitters, control- lers, and more. Regardless of the size of the system, the fundamentals are the same. Each DMX512 load is connected in a daisy-chain fashion with the output from one fi xture connected to the input of the next fi xture, and so on. Up to a total of 32 fi xtures may be connected on a single data link, provided they each comply with the EIA485 specifi cations for a “unit load” describing the character- istics of the receiver, and most automated luminaires and dimmers do comply. There’s also a limit to the maximum length of the total cable run for each data link. An EIA485 compliant data link can operate up to 1 km (3281 ft), but it’s rec- ommended to keep it below 500 m (1640 ft) or less.

The stub of cable inside a fi xture or dimmer used to connect it to the data line is purposely kept as short as possible to make it appear as a lumped load. If the stub length is too long it has the same effect as a “wye” cable or a twofer, both of which will cause instability in the network.

A “wye” cable should never, under any circumstances, be used to split a data signal because it can cause signal refl ections and corrupt the data. If more than 32 loads need to be connected to the system or if the total data run is over 500 m (1640 ft), then the most reliable way to split a data signal is to use a data distribu- tion amplifi er or a data repeater.

A data amplifi er accepts input through an EIA485 receiver and boosts the signal with an EIA485 transmitter. An amplifi er may have a single input and a single output, as in a repeater, or it may have multiple outputs as in a data splitter amplifi er or data distribution amplifi er. Either way, it allows for the continuation of a data link beyond the recommended maximum length by regenerating the signal from the input to the output. The signal can be amplifi ed several times if DMX512-A Data Protocol 287 necessary as long as the amplifi ers are fast enough to reproduce digital signals accurately. If the amplifi ers are too slow they can cause errors across multiple repeaters.

DMX512-A versus DMX512

When DMX512 was updated in 2004, the new standard, DMX512-A, added some features but retained backward compatibility with the previous standards. In addition, some of the language was changed to refl ect the fact that DMX512 had become the standard to control not only dimmers but also other lighting equip- ment and accessories. Much of the protocol remained unchanged but built upon the original.

DMX512-A Data Protocol

The transmission and receipt of DMX512-A data means nothing without a common understanding of the representation of the data. This is the purpose of the data protocol; to defi ne a standard way of representing data and packaging it in a format that can be easily exchanged, interpreted, and understood.

DMX512 is a serial protocol, meaning the data are transmitted as a series of bits rather than as an entire byte (8 bits) in parallel. That’s why it can be transmitted across one pair of wires per universe. It’s also an asynchronous protocol, meaning that the packets of data can be transmitted at any time rather than being clocked by a separate timing signal. For that reason it requires a sequence of signals, called the Reset sequence, to be sent to the receivers to indicate that a new data packet is about to come down the line. Once the Reset sequence is sent, housekeeping is taken care of and the values for each of a maximum of 512 “slots” of 8-bit bytes of data can then be sent in sequential order starting with slot 1. Each of the 512 subsequent slots represents a value, which is mapped to an attribute of a fi xture or device. The data are transmitted at a rate of 250 kbps.

Each set of data updating the slot values is called a packet ( Figure 16-7 ). The slot data are coded in binary and range from 0 to 255 decimal. How the slot values

Reset Mark after Start Slot 1 Slot 2 Slot 3 break code data data data Figure 16-7 A DMX512 packet begins with a Reset sequence, which includes a Break, a MAB, and a Start Code followed by the actual data. Each data frame is transmitted sequentially starting from 1 up to a maximum of 512. The frame consists of a Start Bit, eight Data Bits, and two Stop Bits. All channels are at zero. 288 DMX512 AND DMX512-A are interpreted is up to the receiver. For example, the value 10 (decimal) sent to dimmer 6 could be an intensity value of 4%, or if it was sent to an automated luminaire it could mean “open the shutter.”

Reset Sequence

The Reset sequence transmitted at the beginning of the data packet is comprised of a Break, Mark After Break (MAB), and a Start Code. The Break indicates the start of a new packet and it has to start with a high-to-low data transition and then stay low for at least 92 μs (0.000092 seconds). The Break is followed by a low- to-high signal transition, which is the MAB. The MAB must stay in a high state for at least 12 μs but less than 1 second.

The Start Code is part of the Reset sequence and is used to defi ne the meaning of the data in the rest of the packet. In both the original DMX512 standard and in the 1990 update, the only defi ned Start Code was the Null Start (all zeros) meaning the packet contains dimmer level information. In DMX512-A, several Alternate Start Codes are reserved for special purposes including sending text messages and Remote Device Management (RDM) commands. Other Alternate Start Codes (ASC) can be registered with ESTA for proprietary use by manufacturers.

ASCs

A number of ASCs were set aside to deal with regularly occurring tasks. For example, if a console operator wants information from a particular fi xture, like the status of the menu display, then a message is sent to the fi xture requesting that bit of information. This information will most likely come back in the form of ASCII text, so before the data are sent the console or controller will send the ASC 17 h (17 hexadecimal). That alerts the receiver, in this case the console, that the packet of data about to follow will be ASCII text. Since the text might cover more than one page, the fi rst packet after the ASC 17 h indicates the page number of the text transmission. It can be between 1 and 256 pages in length. The second packet indicates the number of characters to expect for each line of text, and the third packet starts the actual text transmission. Each subsequent packet continues the ASCII text until it reaches the 512th packet or until the packet contains all zeroes, indicating the end of the text message.

Another reserved ASC is a test packet (55 h) that transmits a series of data slots with the same value (55 h) to test the timing of the receiver. The ASC CFh is a Refresh Rate 289

System Information Packet (SIP) that sends “checksum” data to test the integrity of data that have been sent. It essentially adds the value of the bits sent in a previous data packet and compares the sum to the expected value. If they match, then there’s a high probability, although not a certainty, that the data aren’t corrupt. This is very important in certain applications. For example, when upgrading the software in a fi xture, if the software upgrade isn’t completed correctly it could render the fi xture unusable. So checking the integrity of the data before implementing the upgrade is very important. In the past, if a fi xture had fl ash memory, it could be updated by the use of special black boxes or upload boxes that had to be connected to the data line, but the controller had to be taken off-line. The DMX512-A implementation makes it possible for the controller to handle upgrades or to leave it online while another device performs the upgrade.

Proprietary ASCs

Certain ASCs can be registered by a manufacturer as a proprietary ASC that can be used to send custom information over the data link. For example, if a manufacturer builds a fixture with a unique function that no one else has, they might request a proprietary ASC to handle the control of that function. In the case where a manufacturer requires a proprietary ASC, he must first register for a Manufacturer ID. Registration requests for ASCs, Manufacturer IDs, and Enhanced Functionality protocol must be sent to the ANSI E1 Accredited Standards Committee through ESTA and it’s up to the committee whether or not to assign them, depending on the availability of unused and unassigned ASCs.

Data Slot Format

After sending the Reset sequence, the data values for each slot can be sent. They’re formatted in frames of 11 bits—one Start Bit, which is a low bit; 8 slot value data bits (least signifi cant bit to most signifi cant bit); and 2 Stop Bits, which are high bits. Each bit takes 4 μs for a total frame time of 44 μs.

Refresh Rate

The entire packet has to be transmitted in less than 1 second and not less than 1204 μs. New packets of information can be sent a maximum of 44 times per second. It’s because of this refresh rate that DMX512 works as a uni-directional 290 DMX512 AND DMX512-A protocol and doesn’t need to receive confi rmation from a device that each packet was received correctly. If one packet is corrupt or dropped then the data will be refreshed about 23 ms later.

A controller doesn’t have to transmit 512 channels of data; it may transmit as few as 1 or as many as 512 channels. If fewer than 512 channels are needed then only the required channels may be sent as long as the total packet length is 1204 μs.

Enhanced Function Topologies

When the original DMX512 protocol was implemented in 1986, the 4th and 5th wires in a cable with 4 wires plus shield weren’t used. DMX512-A spells out four different topologies, or connection schemes, three of which use pins 4 and 5 as a secondary data link for various purposes. These implementa- tions are known as Enhanced Function Topologies and each one has an EF number. Their uses are described in the following sections and summarized in Table 16-3 .

EF1 This is a data link that transmits half duplex EIA-485 compliant data on the primary data link and doesn’t use the secondary link at all. A half duplex signal can transmit data in only one direction at a time. When one end of the data line is in transmit mode then the other has to be in receive mode and vice versa; it can’t simultaneously transmit and receive data. The direction of data transmission in an EF1 topology is controlled by the ASC.

Table 16-3 Allowable Topologies in DMX512-A. Topology Description EF1 Primary link—half duplex send or receive (↑↓ ) Secondary link—not connected (NC) EF2 Primary link—uni-directional send (↑) Secondary link—uni-directional receive (↓) EF3 Primary link—uni-directional send (↑) Secondary link—half duplex send or receive (↑↓ ) EF4 Primary link—half duplex send or receive (↑↓ ) Secondary link—half duplex send or receive (↑↓ ) Termination 291

EF2 This is a data link that only transmits data on the primary data link and only receives data on the secondary data link. The primary link is a dedicated uni- directional send and the secondary link is a dedicated uni-directional receive line. The combination of send and receive data pairs makes up a full duplex data link.

EF3 This is a data link in which the primary can only transmit uni-directional data but the secondary link can transmit or receive in half duplex mode. The bi-directional data on the secondary link is controlled by the ASC.

EF4 This allows for two half duplex data links, one on the primary data link and the other on the secondary data link. In both cases, the return of data is controlled by the ASC.

Bi-Directional Distribution Amplifi ers/Return Data Combiners

The use of bi-directional data necessitates the use of specialized distribution amplifi ers or data splitters where more than one DMX512 output from a single universe is required. When a data link is used for both transmitting and receiving, the distribution amplifi er must have the ability to control the direction of the fl ow of data. In addition, the data returning from each output has to be combined on a single return data link to the controller in such a way as to prevent data collisions. One protocol that prevents such collisions is part of the RDM (see Chapter 17 ) scheme.

Termination

In addition to using specialized distribution amplifi ers, care must be taken to properly terminate both ends of a bi-directional data line. The terminators are the same as for a uni-directional DMX512 terminator (120 ohms, ¼ W resistor between data negative and data positive). 292 DMX512 AND DMX512-A

Transmitter Receiver Logic power Isolated logic supply power supply

DMX512 Data true signal input Data complement lsolated 0 V 0V Common (shield) Receiver input not grounded Resistance to ground Series resistance (min. allowable resistance (less than 20 ohms) (less than 100 ohms) 22 Mohm) Figure 16-8 The preferred topology is a grounded transmitter and an isolated receiver.

Isolation

Up until DMX512-A became the standard, isolation of the DMX512 ports wasn’t required. The standard said that “suitable optical isolation, transformer isolation, or other means may be employed” but no provisions or guidelines were given. That was changed with DMX512-A. The preferred method is for the transmitter to reference earth ground and for the receiver to be isolated, which provides for a grounded shield but prevents ground loops caused by differences in the ground potential between the transmitter and receiver ( F i g u r e 1 6 - 8 ) . CHAPTER 17 Remote Device Management (RDM)

If you have an apple and I have an apple and we exchange these apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas.— George Bernard Shaw

Part of Vari-Lite’s considerable patent portfolio included a patent on bi-directional communication between a lighting console and a fi xture. When other automated lighting manufacturers started using electrically erasable programmable read- only memory (EEPROM) to store the operating system in a luminaire, they needed bi-directional communication to update the software and confi rm that the data were transmitted correctly before erasing the existing operating system. Other- wise the fi xture would be inoperable if the data were corrupted during the trans- fer and installed anyway. So manufacturers started using “black box” uploaders, which were stand-alone devices made specifi cally for this purpose. They use the same data line as the controller but since they didn’t actually control the lights they didn’t infringe on the Vari-Lite patent.

When the Entertainment Services & Technology Association (ESTA) Controls Protocols Working Group started working on developing a standard that uses bi-directional communication, they were presented with the issue of dealing with the Vari-Lite patent. In the end Vari-Lite agreed to license the patent for a “reasonable fee.” The resulting protocol was Remote Device Management (RDM), which was adopted as an ANSI standard in 2006.

RDM is a protocol used in conjunction with DMX512-A. It can confi gure, monitor, and manage devices on the network. As an extension of DMX512-A, the protocol defi nes the message structure used by controllers and devices to exchange

293 294 REMOTE DEVICE MANAGEMENT (RDM)

information. RDM can “discover” devices on the data link, it can be used to “get” information about a device, and it can “set” certain attributes of a device using RDM commands.

RDM has the potential to change the way we work with automated lighting and other devices. Instead of confi guring all the devices in the shop or on site before fl ying them in a rig, it’s now possible to manage DMX512 address assignments and fi xture personalities from behind a console. It eliminates the need to climb a truss or bring a truss in because the DMX512 addresses weren’t set properly or to change the mode or other attributes of a fi xture.

Unlike DMX512, RDM is a bi-directional protocol with an error checking scheme. In DMX512, new data are sent a maximum of 44 times per second, depending on the number of slots transmitted. If one or two data packets are corrupt, then the data will be refreshed very quickly with few problems. If an RDM packet is corrupt it could alter the meaning of a text message or it could render a fi xture unusable after an unsuccessful software upgrade. Therefore, a checksum is included in each RDM transmission to ensure the integrity of the data. A check- sum is a crude way of validating the data received by a device. It adds the value of each bit in a data packet and compares it to the checksum value. If they correspond, then there’s a high likelihood that the data are valid. It’s a bit like a driver counting the number of passengers at the beginning and end of a trip to verify that they were all safely delivered. If the number at the end of the trip matches the number at the beginning of the trip, it’s a safe bet they’re the same passengers who started the trip.

Also unlike DMX512, RDM is a polled system that only allows feedback from a device if the controller requests information. No device can initiate communica- tion on its own. It can only put a request in a queue, should it need to send infor- mation, and the controller will get the message as needed.

The RDM Physical Layer

RDM uses the same physical layer—the wiring and connectors—as DMX512. If it’s a DMX512-A network, then RDM calls for the use of Enhanced Function 1 (EF1), a half duplex signal on the primary data link (pins 2 and 3) and the second- ary data link isn’t used. RDM data are interspersed with DMX512-A data; it inter- rupts the regular transmission of DMX512-A data by the use of the Alternate Start Code (ASC) for RDM, which is “CC” in hexadecimal. The controller can send DMX512-A data until it needs to send an RDM command, at which time it sends a packet with the RDM Start Code and the rest of the packet. If the controller then expects a response it will wait for one of the responding devices to return an RDM packet. RDM Packet Format 295

RDM Packet Format

Like DMX512, RDM data are sent in a packet with a defi ned structure, but that’s where the similarities end. RDM data have more detail than DMX512 data. Instead of sending slot information sequentially, RDM packets contain a single message usually intended for a single device. This usually pertains to a single attribute within that device. It can either be a command sent from a controller or a response sent back to the controller from a responder. There are basically three types of RDM commands: Get, Set, and Discovery. The Get command is used to retrieve information from a responder, the Set command is used to confi gure attributes of a device, and the Discovery command is used to fi nd the unique identifi er (UID) of each RDM device on the network.

The RDM packet has 11 fi elds, six of which are 8-bits long, two of which are 16-bits long, two of which are 48-bits long, and one of which varies according to the data. The fi e l d s a r e i l l u s t r a t e d i n F i g u r e 1 7 - 1 .

The fi rst fi eld carries the RDM Start Code, which is “CC” in hexadecimal. The second fi eld is the Sub-Start Code, which is reserved for future use. In this version of the RDM standard it’s always a default value.

The third fi eld is the Message Length, and it indicates the total number of 8-bit slots in the packet being transmitted including the Start Code but not the check- sum. RDM packets can vary in length depending on the type of message and the data included. The value of the Message Length is also the slot number of the checksum.

START code Sub-start code 8-bit values Message length

Destination UID (16-bit manufacturer ID: 32-bit device ID)

Source UID (48-bit)

Transaction number (TN) Port ID/Response type 8-bit values Message count Sub-device (16-bit)

Message data block (MDB) - Variable size

Checksum (16-bit)

Figure 17-1 RDM packet format. 296 REMOTE DEVICE MANAGEMENT (RDM)

The next six fi elds contain the Destination UID; the UID of the device for which the message is intended. Since all UIDs are 48-bits long and one slot is 8 bits, the Destination UID takes up six slots.

After the Destination UID comes the Source UID; the UID of the controller from which the message originated. It’s also six slots in length.

When a controller sends out an RDM message it assigns an 8-bit Transaction Number to it and puts it in the fi eld after the Source UID. Each time a new message is sent the Transaction Number is incremented by one. The Transaction Number starts at 0 and when it reaches 255 it rolls over to 0. When a device receives an RDM command, its response contains the same Transaction Number. This helps match the response to the command.

The seventh fi eld can be used in two different ways. If the message was sent by the controller then this fi eld contains the Port ID. This identifi es the port from which the message originated. Every controller has both a Source UID and a Port UID, and together they make up a UID. If the message was sent by a device instead of the controller then the fi eld is used to identify the Response Type to alert the controller about the data type it should expect to receive.

If the responding device has received an RDM message correctly (based on the checksum) and is acting on the message then it will send back an Acknowledge response ( RESPONSE_TYPE_ACK). If the responding device has correctly received a message and is acting on the message but the response won’t fi t in a single response message, then it sends back an Acknowledge Overfl ow response ( RESPONSE_TYPE_ACK_OVERFLOW). An example might be when the controller sends a command to get the supported parameters of a device. The controller will con- tinue to send the same Get command to the same device until it receives the entire response.

If the responding device can’t send the requested information in the required amount of time it will send an Acknowledge Timer response ( RESPONSE_TYPE_ACK_ TIMER ). If the responding device can’t reply with the requested information then it will send back a Negative Acknowledge with a Reason code (RESPONSE_TYPE_ NACK_REASON) that explains why it can’t respond.

The eighth fi eld contains the Message Count, which indicates to the controller how many queued messages from responding devices are waiting to be collected by the controller. Because RDM is a polled system, a device can’t initiate a message. Instead, it puts it in a queue until the controller collects it. When a controller sends a message the Message Count fi eld is always set to 0x00. When a device puts a message in the queue it increments the Message Count, and when it replies to a The RDM Discovery Process 297 message from the controller asking for the queued messages the responder decre- ments the Message Count.

Some devices, like dimmer racks, have several identical modules but only one DMX512 input. The modules within the system are sub-devices and the ninth fi eld contains the value of the sub-device for which the message is intended.

The next four fi elds are the Message Data Block (MDB), which is the main data in the message. The four fi elds within the MDB are described in the following list.

1. The Command Class defi nes the type of command as a Get, Set, or Discovery command and it also defi nes whether it’s a request from the controller or a response from the responder. 2. The Parameter ID is a 16-bit number that identifi es the specifi c function of the command. It can be one of several commands dealing with different areas of the system including: network management (discovering RDM devices or their proxies on the network or testing the integrity of the connection); collecting queued messages; fi nding out which parameters are supported and their descriptions; getting product information; managing DMX512 information including fi xture personality and slot information; defi ning the sensors on the devices; getting status information about lamps, power, and displays; confi gur- ing pan, tilt, and real-time clocks; and control issues such as physically identi- fying and resetting devices. 3. The Parameter Data Length indicates the number of slots used by the following fi eld, which is the Parameter Data. 4. The Parameter Data is a variable length fi eld containing the value of the attri- bute in question as defi ned by the Command Class and Parameter ID.

The last two fi elds combine to form the checksum, which is the sum of all the 8-bit slot values from the Start Code through the Parameter Data. The 16-bit result is split into an 8-bit high byte and an 8-bit low byte and placed into the last two slots, respectively. For example, if the sum of the slots is 08A1 in hexadecimal, then the high byte would be 08 (hex) and the low byte would be A1 (hex).

The RDM Discovery Process

The fi rst task when an RDM-capable controller goes on line is to seek out each RDM-capable device by a methodical process known as discovery. Since the DMX512 address can be the same for more than one fi xture, sending RDM mes- sages by using the DMX512 address could cause problems; if more than one 298 REMOTE DEVICE MANAGEMENT (RDM)

fi xture responds to a command then the data will collide and become meaning- less. Therefore, every RDM-compliant device is required to have a UID stored in the memory of the device. The UID differs from a DMX512 address. A DMX512 address is temporarily assigned in the fi eld and can be changed by the user, whereas the UID is permanently assigned in the factory by the manufacturer and can’t be changed. The UID comprises a 16-bit Manufacturer ID assigned to the manufacturer by ESTA and a 32-bit Device ID assigned by the manufacturer. The complete 48-bit UID is used in the discovery process for the purpose of identify- ing each device on the line.

The discovery starts with a methodical search of UIDs using a binary search tree (Figure 17-2). The controller fi rst sends a “Discovery Unique Branch” message to a subset of the search tree using a targeted range of UIDs. The fi rst targeted range of UIDs is the lower half of the search tree; the second targeted range is the upper half. After the fi rst Discovery Unique Branch message and its Target UID are sent, all the devices on the line whose UID is equal to or greater than the Target UID send a response back to the controller. If there’s more than one responder in that range of UIDs, then there will be data collisions and the data won’t necessarily be valid, but the controller will then know there are responders in that range. It will then store those locations to memory and continue its search.

If only one response is received, then the sum of the binary digits is compared to the checksum received in the response. If they correspond, then the controller

Highest branch 0 thru (248–1)

0 thru (247–1) 247 thru (248–1)

0 thru (246–1) 246 thru (247–1)

0123 248–4 248–3248–2 248–1 Lowest branch Figure 17-2 The RDM discovery process methodically searches every branch of a binary tree, starting from the highest and dropping to the lowest, to fi nd all RDM- capable devices on the data link. RDM Parameter Messages 299 records the UID as a valid responder. The controller then sends it a Mute command to stop it from responding to any more discovery commands. The same branch is subsequently tested again to see if any further responses are received.

If the checksum isn’t valid, then it’s assumed that multiple responders have caused a data collision and invalidated the checksum. Now the controller knows there are multiple responders in the target range requiring a narrower search. The discovery then continues by narrowing the search range to half of the previous range. When the discovery reaches the end of the sequence of UIDs on all adjacent branches, it then drops down to the next lowest branch and continues its search. When it reaches the lowest branch of the search tree, then only two possible UIDs are left. The controller will then mute one of them and wait for a response from the other. After receiving its response, the controller notes its UID and continues until all responders have been discovered.

If there are no responders to the original message, then the controller stops looking in that range of UIDs and moves to the adjacent branch to continue the discovery. This continues until the controller exhausts the entire range of UIDs and completes its search.

RDM Parameter Messages

An RDM parameter message is the part of the RDM packet that contains the command. It can be either a Get command or a Set command; a Get command is a request for information about a parameter and a Set command is used to change the setting of a parameter in a device. Each parameter is uniquely identifi ed and called by its Parameter ID.

RDM messages fall into one of ten categories as outlined in the following paragraphs.

Network Management Messages The Communication Status parameter is used to fi nd out how many errors and what type of errors have occurred on a network, excluding data collision errors occurring during the response period after a Discovery Unique Branch command when data collisions are expected. This error data can be useful for analyzing the integrity of a network. When an operator wants to retrieve error data, a Get Com- munications Status command is sent and the fi xture responds with the informa- tion. Examples of errors that would generate a network management message include a message that ends before the message length fi eld is received, a message length that doesn’t match the data received, or a checksum failure. 300 REMOTE DEVICE MANAGEMENT (RDM)

Status Collection Messages When a device has a problem, it isn’t allowed to interrupt the controller to send information about it. Instead, it puts a message in a queue until the controller asks for it. Status Collection messages include the collection of these queued messages as well as queries about the status of a device or one of its parameters initiated by the controller.

There are fi ve commands related to the collection of status messages: Get Queued Message; Get Status Messages; Get Status ID Description; Clear Status ID; and Get or Set Sub-Device Status Reporting Threshold. When a controller sends a Get Queued Message command, the responder sends back a Get Command Response message with the requested information. If the responding device has more than one message in the queue, the controller will continue to send Get commands until it has collected all of the queued messages one at a time. Each time the responder sends another queued message it decrements the Message Count. An example of a Get Queued Message might be when the DMX512 start address of a device has been changed at its menu display and the fi xture wants to report the new start address to the console.

Get Status Messages are sent in bulk packed into one response with a maximum of 25 status messages. If there are more than 25 status messages to send then the Response Type is an Acknowledge Overfl ow, indicating that all of the status messages wouldn’t fi t in a single response. The controller would then repeat the Get Status Messages command until all of the status messages are received. A Status ID Description is included in the status message. It describes the severity of the message—either an error, warning, or advisory—and helps prioritize them. The specifi cs of the response are defi ned by the Status Message ID including: failed calibration, sensor not found, sensor always on, lamp doused, lamp failed to strike, sensor overtemperature, sensor undertempera- ture, sensor out of range, overvoltage, undervoltage, overcurrent, undercur- rent, phase angle, phase error, amperage, voltage, tripped breaker, wattage, dimmer failure, panic mode, ready, not ready, and low fl uid. Other proprietary or manufacturer specifi c Status Message IDs can be reserved through ESTA. The last two fi elds of the Status Message are two 16-bit Data Values relating to the Status Message ID.

Get Status ID Description allows the operator to request a text description of a particular Status ID to more easily interpret the data. The description can be up to 32 characters in length.

The Clear Status ID clears the status message queue. Set Sub-Device Status Report- ing Threshold restricts the number of reports sent back to the controller from a device based on the Status Type. If a device is generating repeated errors, you can RDM Information Messages 301 set the threshold above the priority of the Status Type for those messages. For example, if the errors are advisory type, then you can choose to accept only error type messages to stop advisory messages.

RDM Information Messages

RDM Information messages help the user determine specifi cally which RDM capabilities the fi xture has and which parameters it has that are supported by RDM. The Get Supported Parameters command returns a single list of all Param- eter IDs from a device. The Get Parameter Description returns a list of all manu- facturer-specifi c Parameter IDs. Once the controller has obtained all of the RDM-supported parameter messages from a device, it can then use Get and Set commands to control those devices.

Product Information Messages Product information messages provide details about a variety of fi xture related information. The Get Device Info command retrieves information about the fi xture RDM protocol version, model ID, product category, software version ID, number of consecutive DMX512 slots (DMX512 “footprint”), DMX512 personality, DMX512 start address, number of sub-devices, and the sensor count. In addition, the Get Product ID command can call up myriad details about the device includ- ing the type of lamp it uses and whether it’s a projector, atmospheric generator, dimmer, scenic drive, data distributor, etc.

DMX512 Setup Messages DMX512 Setup Messages have to do with a number of issues related to a fi xture’s DMX512 confi guration. They include retrieving or setting the DMX512 personal- ity of a fi xture, retrieving a description of a particular personality, retrieving or setting the DMX512 start address, and retrieving information about the number and types of DMX512 slots (or channels) and their descriptions. This feature allows the operator to change some settings from the console that, without RDM, would have to be changed at the fi xture using the menu display.

Sensor Parameter Messages If a device has sensors such as temperature, voltage, current, etc., then the Sensor Parameter Messages allow the controller to exchange information about them. These messages include retrieving descriptions of sensors, Getting or Setting sensor values, and recording sensor values. The recording function might be useful for monitoring changes in sensor values. 302 REMOTE DEVICE MANAGEMENT (RDM)

Power/Lamp Setting Parameter Messages Power and lamp settings can be retrieved and manipulated with the Power/Lamp Setting Parameter group of RDM messages. All of the functions related to the fi xture and lamp operation such as the number of hours the device has been oper- ated, the number of lamp hours, number of lamp strikes, the current lamp status, lamp on/off mode, and the number of power on/off cycles can be retrieved and/ or set using these messages. The lamp mode is used to determine which condi- tions the lamp will turn on.

Display Setting Parameter Messages Some devices have on-board displays that can be manipulated by the user; those manipulations can take place with RDM Display Setting Parameter Messages. For example, the display can be inverted in the event that a device is also inverted, or the display can be dimmed or turned off completely.

Device Confi guration Parameter Messages Certain devices are confi gurable regarding common traits such as pan and tilt. The Device Confi guration Parameter Messages concern such things as inverting pan and/or tilt, swapping pan and/or tilt, and accessing or changing an on-board real-time clock.

Device Control Parameter Messages Various functions that are used with some devices are grouped into the Device Control Parameter Messages. These include a method of identifying a device, resetting a device, fi nding the power state of a device, performing a self-test, describing the self test-functions, and recording and playing back on-board presets. For example, the Get/Set Identify Device command is used to physically identify a device. Any device that receives this command will respond by fl ashing or making an audible sound.

The commands in this chapter are just a sample of some of the functions that RDM enables. For a complete detailed description of the RDM protocol, see American National Standard E1.20-2006 Entertainment Technology RDM Remote Device Management Over DMX512 Networks. This document is available from ESTA ( www.esta.org ). CHAPTER 18 Architecture for Control Networks (ACN)

Without deviation from the norm, progress is not possible. —Frank Zappa

In March 1996, before the fi rst digital luminaires, LED displays, or DMX512- controlled media servers were exhibited at Lighting Dimensions International (LDI), David Bertenshaw of Strand Lighting suggested in a meeting of the Entertainment Services & Technology Association (ESTA) Control Protocols Working Group that they need to undertake the task of creating a standard for getting “data on and off the Ethernet pipe.” He cited the probability of the development of non-standard, proprietary systems that “could have a detrimental effect to the interconnectivity of devices.” Indeed, Strand already had developed ShowNet V1.0, Specifi cation for Transport of Output Data on ShowNet (“DMX Over Ethernet”), which uses UDP (User Datagram Protocol) and IP (Internet Protocol) as an alternative to TCP (Transmission Control Protocol) and IP.

So ESTA began the long process of developing a new standard for the control of entertainment lighting and devices. The standard that emerged, ANSI E1.17-2006, Architecture for Control Networks, was published in 2006.

The ACN Suite of Protocols

ACN isn’t a single protocol like DMX512, but a collection or suite of control protocols and languages that work together to distribute data for the control of entertainment technology over a network. It’s designed as a fl exible system that

303 304 ARCHITECTURE FOR CONTROL NETWORKS (ACN) can adapt to a number of hardware environments as well as to advances in tech- nology. For that reason, the suite is split up according to function and divided into layers, each of which concerns a narrow portion of the entire process.

Because it’s bi-directional, a controller can send data to a fi xture and the fi xture can send information back to the controller. (RDM also communicates bi-directionally; however, it’s limited to relatively simple, non-time-critical responses regarding status and confi guration. See Chapter 17, Remote Device Management). For example, the controller might ask the fi xture for its current address or its current operating temperature and the fi xture can respond by sending the correct data back to the console. ACN uses portions of TCP/IP, and as such, it’s similar to the Internet and to Local Area Networks (LANs). ACN is strictly a software protocol, and doesn’t specify how to build the infrastructure such as the cables, hubs, and connectors needed to physically transmit data. It also doesn’t specify the type of cable or the type of connector to use unlike DMX512. Instead, it relies on existing technology and infrastructure such as Ethernet, Wi-Fi, FireWire, optical fi ber, etc., to carry data where they need to go. ACN takes advantage of existing infrastruc- ture as well as off-the-shelf accessories such as routers, switches, and bridges. It accommodates several controllers functioning on the network at one time, thus allowing several programmers to program a show simultaneously in a multi-user programming environment. Alternatively, ACN will allow the network to be subdivided, allowing, for example, a controller in one hotel ballroom to control the lights in that room while another controller in another ballroom simultane- ously controls the lights in that room. It also accommodates the use of remote focus units or remote consoles that can be plugged into the network at various locations. In general, ACN allows a lighting control network to behave and operate in a manner similar to the Internet. In fact, it’s designed to operate just as effec- tively over an application-specifi c network, such as a network of consoles, as it does over an existing LAN or WAN infrastructure, including the Internet. An operator should be able to work over a network thousands of miles away from the system as effectively (minus the live visuals) as working in the same room as the system.

Unlike DMX512, ACN is a scalable protocol, meaning that a system can be designed for any system, large or small, using any number of addresses or chan- nels up to 4,294,967,295 (32 bits). It’s a “plug and play” system with a utility that monitors the data link and discovers which devices are connected and function- ing in the system. Each device will be monitored, managed, and controlled using a Device Management Protocol (DMP) by “Getting” information from it and “Setting” the values of certain properties within it. Anytime a new device is added, it’s automatically confi gured after the system discovers and recognizes it. If the system hasn’t seen such a device before, its properties may become known to the system by asking the device for its Device Description Language (DDL fi le). Every device must have a DDL fi le and it must provide it to a controller upon request. ACN Elements 305

ACN Elements

At the heart of the ACN architecture are three main elements: DDL DMP, and the Session Data Transport (SDT) Protocol (Figure 18-1).

Device Description Language This is a text language for describing the characteristics of a device, its properties, and how they’re used to control that device. The essential job of DDL is to describe the model of a device representing its functions as a set of variables or properties so that a console will know how to control and monitor it. A DDL description tells the controller what the device does, which variables or properties are involved, and the behavior of those properties. For example, in an automated light that pans 540 degrees, the root property is the automated light (called the “parent” property), and the pan function is one of its “child” properties. The maximum allowable pan value (540) is a child property of the pan function. How the maximum value (540) is to be interpreted is a function of the “behavior” tagged to that property. For example, 540 could be degrees or it could be stepper motor steps. A root property can have several child properties, such as pan, tilt, color, gobo, etc., and each of those properties may have several child properties, and so on. The entire hierar- chy of properties defi nes the device in terms of a written model.

There’s a DDL specifi cation within the ACN protocol that describes the allowable behaviors associated with the device properties. This standard set of behaviors grows as new innovations in technology are developed and introduced.

The device model is written in a subset of eXtensible Markup Language (XML), which is a standard for describing data so it can be understood by both computers

Application - controller, device or monitor

ACN DDL DMP Possible future protocols

TCP/IP SLP SDT (used during discovery)

UDP

IP

Hardware (e.g., Ethernet, WiFi, optical fiber, etc)

Figure 18-1 The structure of the ACN architecture. 306 ARCHITECTURE FOR CONTROL NETWORKS (ACN) and humans. For example, the following information is a portion of DDL describ- ing the pan and tilt properties of an automated luminaire. The fi rst line indicates it’s a DDL document. The second line indicates that the text is defi ning a device. The third line is a comment line to help the operator (not the machine!) understand what comes next. The fourth line assigns a label to the property being described. The fi fth line is the access protocol.

(this is the root property) (this is the access protocol)

The Protocol Interface is a part of DDL that helps map it to various protocols. If the property in question is, say, the intensity of a device, the Protocol Interface gives the controller the proper information to use a particular protocol such as DMX512 or DMP.

DMP Once the controller discovers a device and recognizes its properties through DDL, it can then interact with it. DMP is the portion of the ACN suite used to confi gure, monitor, and control the properties of each of the devices on the network. It pro- vides the address structure to identify those properties and the messaging struc- ture used to manipulate them. It does its job by “getting” and “setting” the values of the properties of the devices.

There are several primary DMP messages and response messages. Some messages of interest include Get_property, Set_property, Subscribe, Unsubscribe, and Event. Get_property and Set_property are the two main messages to which properties of a device are read and written. Subscribe and Unsubscribe are tools for monitor- ing changes to properties of interest to the controller. When a property of a device changes, it generates an event with the new property value to send to those con- trollers who are subscribed to that property.

Some of the response messages include Get_property_reply, Get_property_fail, Set_property_fail, Subscription_Accept, and Subscription_Refuse. When a controller sends a Get_property, the device must respond with either a Get_ property_reply containing the requested value or with a Get_property_fail message. A Set_property_fail message is sent in response to a Set_property_with_ reply request from the controller that couldn’t be carried out along with a reason why it failed. Subscription_Accept and Subscription_Refuse messages must be sent in response to a Subscription_Request from the controller. If a controller is subscribed to a property then it receives all Events generated by that property. ACN Elements 307

All communication in ACN occurs between components. When a Get_property or Set_property message is sent by a controller, it must fi rst specify the component to which the message is targeted, and then it must specify the address of the property within that component. The controller knows about the component through ACN discovery and it knows which properties are available within that component by recognizing the type of device or reading the DDL of a newly encountered device. The format of DMP messages is detailed in ANSI BSR E1.17 Multipurpose Network Protocol Suite—Device Management Protocol and is beyond the scope of this book.

Session Data Transport This is a protocol for sending data between ACN components (controllers, devices, and monitors). Part of its job is to package multiple short messages into a single packet to make more effi cient use of network bandwidth. SDT also provides dynamic and multicast reliability that the TCP/IP transport protocol doesn’t provide. DMP defi nes the format and meaning of data and SDT transports data to where they need to go.

SDT messages must conform to the ACN Package Data Unit (PDU) structure as defi ned in ANSI BSR E1.17 Multipurpose Control Protocol Suite—E1.17 “ACN” Architecture. This structure is used throughout ACN and it simplifi es decoding the protocols. When SDT transports client data to multiple members within a session, each client block is wrapped up and addressed to the intended receiver. The address of the sender of the ACN packet is found at the topmost level within the packet, as is the length of the packet. A packet is made up of a continuous list of PDUs, each of which must follow a specifi c PDU format as defi ned by the ACN architecture document. Packets are sent within a session by a session leader who sends the packet to the members of the session. A group of session membership messages are used to set up and manage the session. They include Join, Join Refuse, Join Accept, Leave, Leaving, Connect, Connect Accept, Connect Refuse, Disconnect, and Disconnecting. There are a number of other types of session messages including Reliable and Unreliable Session Data Wrappers that do the actual work of carrying the transported data, a Session Parameters message that allows the tweaking of various values related to the operation of the session, a NAK message that triggers the resending of missed packets, and request and reply messages for communicating which sessions an ACN compo- nent participates in.

When a message is sent from a leader to a member, it’s said to be traveling downstream; when it goes from a member to a leader it’s traveling upstream. Multiple sessions can operate simultaneously and any component may be a leader, a member, or both. Each session is identified by a Component ID (CID) and a session number. A summary of SDT messages is shown in Table 18-1 . 308

Table 18-1 Session data transport messages. Sent to Sent to Contains Sent to Ad-hoc Destination Destination Sent to Source Channel Data PDU Address in SDT Address in SDT Address in Address in SDT Wrappers Symbol Block Base layer PDU Base layer PDU Wrapper PDU Base layer PDU Reliable Wrapper REL WRAP ¸ ¸ Unreliable UNREL WRAP ¸ ¸ Wrapper Channel Membership Join JOIN ¸ Join Refuse JOIN REFUSE ¸ Join Accept JOIN ACCEPT ¸ Leave LEAVE ¸ 4 Leaving LEAVING ¸ Channel Parameters Channel CHANNEL PARAMS ¸ 4 Parameters Reliability & Sequencing Acknowledge ACK ¸ 4 Negative NAK ¸ 3 ¸ Acknowledge Session Membership Connect CONNECT ¸ Connect Accept CONNECT ACCEPT ¸ 4 Connect Refuse CONNECT REFUSE ¸ 4 Disconnect DISCONNECT ¸ Disconnecting DISCONNECTING ¸ 4 Client Protocols Client Protocol ¸ 2 ¸ PDUs Diagnostic Get Sessions GET SESSIONS ¸ Sessions SESSIONS 1 Sent to source address of packet containing Get Sessions message. 2 Depends on client protocol specifi cation. 3 Sent to channel downstream for NAK suppression. 4 Sent outbound on reciprocal channel, but association fi eld indicates intended inbound channel. 309 310 ARCHITECTURE FOR CONTROL NETWORKS (ACN)

The ACN Transport ACN uses a subset of the TCP/IP suite of protocols for internetworking, or inter- connecting, dissimilar computer systems. The main protocol used by ACN is one of the protocols within TCP/IP called UDP, which is used to send short messages of up to approximately 1500 bytes known as datagrams between components of ACN. (Note that UDP allows for datagrams of up to 32Kbytes; however, packets larger than 1500 bytes become fragmented and lead to performance degradation. For this reason, ACN disallows these large datagrams.) These datagrams aren’t necessarily sent or received in order, nor does UDP provide for any reliability; datagrams can go missing without any notifi cation. But it does provide for a fast and effi cient means of transport with an effi cient use of bandwidth. ACN adds reliable transfer and the ability of the session leader to know which packets have been received by each session member on top of UDP.

Network Media

ACN doesn’t specify any physical layer. Instead, it’s an application program that sits on top of an underlying network technology such as Ethernet (IEEE 802.3™), wireless Ethernet or WiFi (IEEE 802.11™), FireWire™ (IEEE 1394), modem, serial links, and high-speed links used for backbone distribution such as ATM, SONET, and FDDI. Some automated luminaires are hardwired with RJ-45 connectors, which are used with Ethernet, Art-Net, and similar network applications using shielded twisted pair (STP) or unshielded twisted pair (UTP) cable.

In summary, DDL, DMP, and SDT all work together to set up and control devices on an ACN system. Each protocol handles a portion of the job and works inde- pendently so they can be adapted and upgraded without affecting the overall system. These data are sent over the network using UDP to package datagrams and to send them quickly and effi ciently.

The complete ACN suite of protocols is spelled out in 16 documents including:

■ A C N

■ S D T P r o t o c o l

■ D M P

■ D D L

■ EPI 10. Autogeneration of Multicast Address on IPv4 Networks

■ EPI 11.Retrieval of Device Descriptions from DMP Devices on IPv4 Networks Streaming DMX512 Over ACN 311

■ EPI 12. ACN on Homogeneous Ethernet Networks

■ EPI 13. Allocation of Internet Protocol Version 4 Addresses to ACN Hosts

■ EPI 15. ACN Allocation of Multicast Addresses on IPv4 Networks

■ EPI 16. ESTA Registered Names and Identifi ers—Format and Procedure for Registration

■ EPI 17. ACN Root Layer Protocol Operation UDP

■ EPI 18. Operation of SDT on UDP Networks

■ EPI 19. ACN Discover on IP Networks

■ EPI 20. Maximum Transmission Unit (MTU) Size for ACN on IPv4 Networks

■ EPI 22. DLL Base Modules for DMP Devices

■ Text of DMP Standard Behaviors and Behavior Names

A complete dissertation on each of the protocols is beyond the scope of this book. For more information, see the complete documents describing the standard. Elec- tronic and printed copies of ANSI standards are available on the ESTA Foundation Web site (http://www.estafoundation.org/pubs.htm ) or through ANSI at http:// webstore.ansi.org/ansidocstore/dept.asp?dept_id=3004.

Printed copies are available through U.S.I.T.T. ( http://www.usitt.org/bookstore/ go.php?to=ItemList&category=ESTA%20Publications) or through PLASA (http:// www.lsionline.co.uk/books/result.asp?cat=Standards).

Streaming DMX512 Over ACN

In May, 2009, a new lighting control standard was ratifi ed by the ANSI Board of Standards Review called American National Standard E1.31—2009: Enter- tainment Technology Lightweight Streaming Protocol for Transport of DMX512 Using ACN. The standard describes a method of transmitting DMX512-A packets over a TCP/IP network using part of the ACN protocol. It defi nes the data format, data protocol, data addressing, and management of the data network.

The idea is to standardize how DMX512 data are sent over Ethernet networks, thereby creating a standard that’s interoperable between manufacturers. When this standard takes root and spreads, there will no longer be a number of 312 ARCHITECTURE FOR CONTROL NETWORKS (ACN)

proprietary protocols in use requiring proprietary hardware to convert back and forth between DMX512 and Ethernet.

The approach to streaming DMX512 over ACN is similar to that of ACN. It uses a packet wrapper to encapsulate the DMX512 data and transmit them using the ACN packet structure. UDP packets are used to transmit data in small packets to make effi cient use of the bandwidth. SECTION 6 Maintenance and Troubleshooting This page intentionally left blank CHAPTER 19 Tools of the Trade

When the only tool you have is a hammer, it is tempting to treat everything as if it were a nail. —Abraham Maslow, American psychologist

A lighting professional’s choice of tools is as personal as her wardrobe. Some of us dress in style while others are more concerned with comfort. Still, everyone has the same basic pieces of clothing—shoes, socks, shirt, pants, and sometimes even underwear.

The same can be said of hand tools and other tools of the trade. Many of us have the same basic equipment that may or may not include a digital multi-meter (DMM), a set of screwdrivers, adjustable wrenches or spanners, gloves, a portable DMX512 tester, and perhaps some Allen wrenches. But not all DMMs, gloves, and DMX512 testers are created equal. Some, in fact, are more equal than others.

Tools for the Task

Depending on the current task at hand, you might consider carrying various assortments of tools and personal protection equipment (PPE). By having the proper tools and PPE available you’ll be better able to do your job quickly and effectively with a minimum of work stoppages or slow downs.

315 316 TOOLS OF THE TRADE

Load-In When you’re loading in a project, you’re likely to be pushing road cases, lifting heavy pieces of gear, tightening bolts and clamps, and running power and data cables. Some of the tools and PPE you might consider carrying are shown in Figure 19-1 and they include:

■ Gloves to protect your hands from blisters, cuts, scrapes, and pinching, and to focus hot lights. A good pair of fi ngerless gloves with leather palms are great for a variety of tasks and don’t compromise your dexterity, although they offer no protection from electric shock.

■ Adjustable wrench or AJ, as they’re called in the UK, open or boxed wrenches, or a multi-purpose stagehand wrench to adjust the bolts on c-clamps and fi xture yokes.

■ A small fl ashlight to see in dark spaces.

■ A Sharpie marker.

■ A DMX512 tester to troubleshoot data cable.

■ M u l t i - t o o l l i k e a L e a t h e r m a n o r G e r b e r f o r a v a r i e t y o f t a s k s .

Gloves

DMX tester

Adjustable wrench

Multi-tool Sharpie markers Flashlight Earplugs

Figure 19-1 Common tools that might be used during load-in and setup. Tools for the Task 317

Programming Even when you’re behind the console at the front of the house (FOH) there are certain tools and PPE that can come in handy. Some of these are shown in Figure 19-2 and they include:

■ Earplugs or noise canceling headphones to protect your hearing from audio system tuning, sound check, and overzealous audio engineers. Long-term exposure to high decibel audio systems can permanently damage your hearing and daily exposure certainly qualifi es as “long term.” Earplugs are very inexpensive and indispensable for certain jobs.

■ DMX512 portable tester to isolate problems between the console and lighting gear. If you have trouble getting a control signal to a fi xture or set of fi xtures, connecting the data line at FOH to a portable DMX512 tester that can gen- erate a DMX512 signal will isolate the problem very quickly. Some examples of these devices include Pocket Console by Baxter Controls, Inc., the Swisson XMT-120, the Doug Fleenor Design Gizmo, and the Goddard Designs Lil’ DMXter 4 RDM.

■ Spare data cables to quickly replace defective cables.

■ Spare USB cable to interconnect console wings.

■ Spare USB mouse.

Business cards

USB mouse

Spare batteries USB memory stick

DMX tester Noise-cancelling headphones Flashlight Gloves Adjustable wrench

Spare USB cable

Multi-tool Sharpie markers Earplugs Spare DMX cable

Figure 19-2 Useful tools for the programmer. 318 TOOLS OF THE TRADE

■ Sharpie markers for various purposes like marking backup discs.

■ Multi-tool like a Leatherman or Gerber for unforeseen repairs.

■ Thumb drive or CDs for backing up the console.

■ Floppy discs for backing up the console (in older models).

■ M i n i fl ashlight to make cable connections in a dark space.

■ Spare batteries for various purposes.

■ Spare business cards! Never be caught without a business card—they help t o g e t f u t u r e w o r k .

Troubleshooting in the Field For fi eld troubleshooting and repair, a good toolkit is essential to quickly and properly isolate problems and make the necessary repairs. Most professional lighting technicians carry these basic tools as shown in Figure 19-3 :

■ Category IV, true RMS voltmeter to test voltages. A category IV meter is designed to be used with power distribution equipment and a true RMS meter (as opposed to an average reading meter) will give you an accurate

A.

G. M. I. J. D. B.

C. F. K. L. H. E.

Figure 19-3 Common tools for troubleshooting in the fi eld. (A) Class III/IV true RMS multi-meter; (B) multi-bit screwdriver with a variety of tips; (C) C-wrench or adjustable wrench (AJ); (D) anti-static wristband; (E) fl ashlight; (F) Sharpie markers; (G) DMX tester; (H) multi-tool; (I). spare business cards; (J) gloves; (K) diagonal cutters (wire cutters); (L) wire strippers; and (M) soldering iron, lead-free solder, and solder wick. Voltmeter Specifi cations 319

voltage reading regardless of the waveform. An average reading meter will give you inaccurate readings unless the waveform is a perfect sine wave, which is almost never the case in our applications.

■ A variety of screwdrivers including Phillips, slotted, and Torx. Multi-bit screwdrivers like Megapro or Klein have interchangeable bits, saving valu- able toolbox space.

■ Adjustable wrenches or AJs to fi t c-clamps and yoke bolts.

■ Anti-static wristband to ground yourself while replacing socketed IC chips or other sensitive electronic parts.

■ Rigging harness if you need to climb or work at height.

■ A small fl ashlight to see in dark spaces.

■ A Sharpie marker.

■ A DMX512 tester to troubleshoot data cable.

■ Multi-tool like a Leatherman or Gerber for a variety of tasks.

■ G l o v e s t o help insulate yourself from high voltage. A good pair of voltage- rated gloves will help increase your resistance to shock, although you should still be extremely cautious in the event that there might be exposed live conductors. For more information about PPE, see NEC 70E: Standard for Electrical Safety in the Workplace.

■ Diagonal cutters (wire cutters).

■ W i r e s t r i p p e r s .

■ Soldering iron, lead-free solder, and solder wick. Solder wick is braided copper used to remove components by melting the solder and wicking it away. Lead-free solder helps prevent lead from leaching into the environment.

■ Spare business cards! Never be caught without a business card—they help to get future work. There are many other tools that might be used on a job site or in the shop, but which tools should be carried is a matter of preference.

Voltmeter Specifi cations

If you make a living or aspire to make a living working as a lighting tech, then you should have the proper tools for the profession. Voltmeters range in price from tens of dollars to hundreds of dollars and unless you understand the differences between them you can’t make an informed decision about how much 320 TOOLS OF THE TRADE money to spend and which features they should have. The following features are important for safety reasons and to take accurate voltage measurements.

Voltmeter Category Ratings Voltmeters are rated in IEC 61010-1 2nd Edition and UL 61010-1 based on their ability to withstand a voltage spike or surge across a given resistance. The ratings fall into four categories, illustrated in Figure 19-4 :

Category I: Meters designed for work with electronic equipment and low voltage circuits. Category II: Meters designed for work on receptacles and utilization circuits. Category III: Meters designed for work on distribution level circuits such as distribution panels and motor control centers. Category IV: Meters designed for generator and transmission circuits.

Service entrance Meter

Service entrance Meter Outbuilding

Underground service

Service entrance Transformer Meter Outbuilding

Underground service Cat I Cat II Cat III Cat IV

Figure 19-4 The categories of voltmeters and where they’re allowed to be used. Voltmeter Specifi cations 321

If you’re responsible for working with portable power distribution then a Cat IV voltage meter will allow you to measure voltages upstream of the feeder trans- f o r m e r m o r e s a f e l y .

True RMS Meters A voltmeter is either an average reading meter or a true RMS meter. An average reading voltmeter takes accurate measurements only if the waveform is a true sine wave. In our industry we seldom deal with a pure, undistorted sine wave. Many components like dimmers and switched-mode power supplies distort the waveform and cause average reading voltmeters to give inaccurate readings. Only a true RMS voltmeter can give you accurate results regardless of the waveform by using a processor to calculate the RMS voltage using a fi xed sampling rate ( Figure 19-5 ). True RMS voltmeters cost more than average reading voltmeters, but they’re well worth the extra expense.

Figure 19-5 One example of a category IV (under 300 V), true RMS voltmeter. 322 TOOLS OF THE TRADE

V-Rated Tools

V-rated tools have insulated grips to help mitigate the severity of electric shock in the event that it comes in contact with a live conductor. Insulated tools that comply with ASTM F1505-07 Standard Specifi cation for Insulated and Insulat- ing Hand Tools or IEC 60900 Live Working–Hand Tools for Use Up to 1000 V AC and 1500 V DC are identifi ed by the international symbol for a 1000 V rating ( F i g u r e 1 9 - 6 ) .

Figure 19-6 V-rated tools carry the international symbol for a 1000 V rating. CHAPTER 20 Preventive Maintenance and Troubleshooting

Inanimate objects can be classifi ed scientifi cally into three major categories; those that don’t work, those that break down and those that get lost.— Russell Baker, Pulitzer Prize-winning newspaper columnist

When automated lighting was in its infancy, two things were certain; they were sure to impress and they were sure to break down. The MARC 350 lamp, origi- nally designed for 16 mm movie projectors, was a popular lamp source for auto- mated lighting in the early 1980s because it had an integral dichroic refl ector, a high color temperature, and a relatively small arc, which made it easier to collect the light. But it also required the use of an electronic switching power supply, which, at the time, proved to be relatively unreliable in automated lights. The MARC 350 lamp also suffers from a short lamp life and the color temperature varies quite a bit over the life of the lamp. Later some automated lighting manu- facturers began using HTI lamps and magnetic ballast power supplies, which have fewer components and are much more reliable for this application. But the lamp life of the HTI lamp is also relatively low and, because they require consid- erable cooling, the fans tend to be large and noisy.

When the original Clay Paky Golden Scan was introduced in the late 1980s, it was one of the fi rst, if not the fi rst, automated luminaire to use an HMI lamp, and it was a vast improvement over the existing lamp technology of the day. HMI lamps have been used as a daylight source in the fi lm industry for a long time ( Figure 20-1 ). These lamps are used in automated lighting primarily in their double-ended form with spherical refl ectors and condenser lenses. They’re

323 324 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

Figure 20-1 GE Showbiz CSR Staybright HMI replacement lamp. (C o u r t e s y o f G E L i g h t i n g . )

typically extremely reliable, have a relatively long life (1000 hours or better), and are easier to cool because the pinch seals are farther from the arc.

Shortly after the introduction of the Golden Scan, Philips introduced the MSR lamp, which was an evolution of the Philips Tin Halide (SN) lamp. By adding dysprosium instead of tin the color consistency was vastly improved and the MSR lamp was born. These lamps found their way into the Coemar product line as well as High End Systems Intellabeam fi xtures. MSRs are packaged in single- ended envelopes1 that facilitate the use of elliptical refl ectors and much more effi cient optics. In the beginning, they were more diffi cult to manufacture because they were compact and the chemistry was new, so the early lamps weren’t as reli- able as today’s version.

Today, automated luminaires either have discharge lamps, LEDs, incandescent lamps, or plasma lamps. The type of lamp used infl uences the amount of maintenance due to the amount of heat produced and the life of the source. LEDs might be virtually maintenance free since it is thought, though not yet proven, that they have a useful life of about 50,000 to 100,000 hours (Figure 20-2). When automated LED luminaires do fail (or more likely depreciate in lumen output due to irregularities in the crystal structure, mechanical stresses, thermal stress, and epoxy degradation, all of which are exacerbated by heat) they’re just as likely to be replaced as repaired because of the relatively high cost of repair as compared to the cost of replacement.

P l a s m a l a m p t e c h n o l o g y i s u n p r o v e n a t t h i s t i m e s o t h e r e i s n o fi eld experience to indicate how maintenance intensive they will be. However, Luxim, the manu- facturer of the LiFi lamp, claims an average lamp life of 10,000 hours and 60,000 hours mean time between failures of the driver. When the lamp fails the entire emitter, which includes the lamp, ceramic disc, and heat sink, is replaced.

1 Philips literature refers to MSR lamps as single-ended lamps, but technically they have a double-ended arc tube inside a single-ended outer envelope. Preventive Maintenance and Troubleshooting 325

(A) (B)

(C) (D)

(E) (F)

Figure 20-2 A u t o m a t e d L E D fi xtures: (A) Barco/High End Systems Showpix, (B) Coemar iWash LED, (C) Elation/GLP Impression, (D) Martin MAC 301, (E) Martin MAC 401, and (F) Vari-Lite VLX. 326 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

Automated luminaires with incandescent lamps are relatively easy to troubleshoot and maintain, usually requiring no more than a continuity tester to check a lamp and sometimes not even that is required when an obvious failure has occurred. Fixtures with discharge lamps and magnetic ballast power supplies are also rela- tively easy to troubleshoot because they have few components (lamp, socket, ignitor, ballast, and fuse) and the components are very large and easy to replace. Even those with switched-mode power supplies (SMPS) can be easy to troubleshoot to the board level; however, troubleshooting to the component level is much more challenging.

Caution Attempting to repair without a complete understanding of the power supply can be dangerous because they have large capacitors that can hold a high voltage for long periods of time after being turned off.

Lamp and power supply circuits are the hardest working systems in an automated luminaire. They carry the most current, produce most of the heat, and are among the most common sources of failure.

But there are numerous other opportunities for trouble to fi nd its way into an automated lighting system. Sometimes motors fail from repetitive high-speed operation and sometimes ribbon cables connecting the motors, which fl ex back and forth and twist round and round hundreds of thousands of times, break. Other times motor drive chips, which carry the current to drive the motors, burn up, connectors carrying current to the power supply and lamp melt, or a software glitch in memory locks up the fi xture. At times something as simple as a mechani- cal fastener failure, or something as perplexing as the contamination of the quartz in the lamp envelope during the manufacturing process, conspire to cause problems. And there are many times when a malfunction is purely a mystery.

Still, our enthusiasm for automated lighting has never dampened. We simply factor in the failure rate and compensate by carrying spare parts and spare fi x- tures. Some production companies send a certain number of spare fi xtures for a given number of working fi xtures; for example, if a show has 48 fi xtures there might be four spares for a total of 52 fi xtures. Distributors carry huge inventories of spare parts and road technicians jockey for truck space to carry portable “hos- pitals” loaded with spare parts.

The good news is that the reliability of automated lighting fi xtures has improved tremendously over the past 20 years. It used to be common to fi nd failure rates as high as 10% in the fi rst year of operation and sometimes as high as 100%. Now the failure rate of most fi xtures is much lower, perhaps as low as 1 or 2%. Reli- ability is largely model-dependent and to some extent, manufacturer dependent, but overall the technology is far more proven and reliable than it used to be. Common Sources of Problems: Heat, Gravity, Age 327

Still, considering the huge numbers of automated lighting in the fi eld, failures are inevitable. The older a fi xture is, the more likely it needs maintenance and/or repair.

Common Sources of Problems: Heat, Gravity, Age

Heat is one of the main enemies of electronics and automated lighting. Every bit of power consumed by a luminaire is eventually converted to heat, and the man- agement of heat in a fi xture is the key to its longevity and proper operation. Many failures in electronic components can be attributed to excessive heat, which is a natural by-product of the friction produced by resistance to the fl ow of electrical current. In the real world, every current-carrying device has some element of resistance, however large or small. As the temperature of a conductor increases, so does its resistance. The amount of heat produced is proportional to the resis- tance and the square of the current.

p o w e r l o s s ( h e a t ) I 2 R

where I current in amps and R resistance in ohms.

The amount of energy lost to heat is known as the I2 R loss.

Electronic components like motor driver chips and microprocessors are designed to operate within certain temperature parameters including the ambient operat- ing temperature. When the operating temperature exceeds the specifi ed operating range of the component then it’s subject to failure.

There are a number of reasons that a luminaire might exceed the normal internal operating temperature, but the most common is the restriction of airfl ow. Most automated luminaires are cooled by forced air ventilation using one or more fans with an intake, exhaust, and routed airfl ow path. Should any one of these airfl ow passages become obstructed, then the internal temperature will rise and cause the thermal protection to turn off the fi xture or cause the fi xture to fail altogether. The most common cause of airfl ow obstruction is the collection of dust and debris. To prevent this problem schedule regular maintenance that includes cleaning the fi xture internally with compressed air.

Caution When using compressed air to remove dust and debris from a fan, it’s very important to hold the fan blades stationary while blasting the air (Figure 20-3). If the fan is allowed to rotate freely it can generate a back electromotive force (EMF; voltage) that can damage the internal electronics in most axial fans. 328 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

Figure 20-3 Always hold a fan stationary when using compressed air to blow it free of dust and debris. Allowing the fan to spin freely can damage the fan.

Du s t c a n a l s o c a u s e p r o b l e m s b y b l a n k e t i n g c o m p o n e n t s i n a l u m i n a i r e , particularly where fog and haze are used heavily. The residue of fog and haze tends to attract dust and dirt, causing the internal components of a fi xture to collect a blanket of dust, thus insulating the components from the cooler free air and trapping the heat. The chronic heat buildup can eventually lead to component failure. In addition, dust and dirt that cling to glass also trap heat and produce hot spots that can lead to heat stress and possibly cracking the glass. Keeping optical components clean helps prevent heat-related failures.

In certain locations where the ambient air temperature is high or the air circula- tion is limited, it’s a good idea to consider augmenting the airfl ow as to ensure against overheating. For example, if the lights are installed in a plenum, chances are the airfl ow is limited. By adding a blower or bringing in forced air from outside of the plenum, the ambient air temperature will stay cooler.

Another common cause of heat damage is a poor electrical connection. For example, if a lamp socket loses its spring tension, then the contacts lose some of the surface contact with the lamp post. When that happens, then it tends to arc, which pits the contacts and causes increased resistance between the lamp and the socket. This increase in resistance produces more heat, further deteriorating the socket and causing more arcing and pitting. It’s a destructive cycle that eventually leads to the failure of the lamp socket ( Figure 20-4 ). The same holds true of stage pin connectors, Edison plugs, improperly seated integrated circuit (IC) chips, Molex-type connectors, header connectors, and more. Automated luminaires use a variety of connectors to accommodate the easy disassembly of the fi xture for servicing. When fi xtures are transported, particularly in the case of touring shows, Common Sources of Problems: Heat, Gravity, Age 329

Figure 20-4 This electrical connector melted because a poor connection caused the heat to build and further compromise the electrical connection. connectors can become loose from excessive vibration. If that happens, then the resistance between the cable and the connector increases, which sometimes pro- duces enough heat to melt the connector.

Gravity is also a source of potential problems for automated luminaires, particularly those with heavy components like those found in magnetic ballast power supplies. Often times the fasteners for such heavy components as magnetic ballasts and large transformers tend to loosen over time or from excessive vibration or rugged handling. If they break free inside the fi xture they can physically damage other nearby components and cause hundreds of dollars worth of damage. Make sure all internal components are secured properly by physically inspecting them and checking their fasteners regularly. Use thread-locking compound like Loctite (www.loctiteproducts.com ) or Permatex (www.permatex.com ) on fasteners that are prone to vibrational loosening. Red Loctite 271 is a high temperature compound that works well in the interior of automated luminaires. In some instances where high temperature isn’t a problem, nail polish will suffi ce for small fasteners.

As luminaires age, certain materials naturally break down and cause some components to fail. The most common of these failures include the insulation in transformers and stepper motors. These laminations are varnished and the repeti- tive heating and cooling and the associated thermal expansion and contraction tend to cause them to break down over time. Also, certain components such as 330 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

lamp sockets, fans, belts, spring plungers, power factor (PF) capacitors, etc., have a fi nite life span and need to be replaced periodically. It’s diffi cult to prevent these types of breakdowns and it’s diffi cult to detect them in advance, but you can detect signs of failure such as cracking belts and the telltale black marks of an arcing socket. Routine periodic inspection of these parts is highly recommended, especially as fi xtures age.

Preventive Maintenance

To maintain and maximize the life of an automated luminaire, these steps should be taken:

1. K e e p t h e a i r fl ow circulating by making sure the vents and fans are free of dust and debris. This is particularly important in environments with heavy fog and haze. The mineral oil from haze machines and the tri-ethylene glycol and glycerin from fog machines doesn’t evaporate, so an automated luminaire in a heavy haze or fog environment should be cleaned periodically on the inside to remove the fl uid buildup. In club environments, the combination of fog fl uid and cigarette smoke causes excessive buildup of dust and nicotine, and a heavy cleaning schedule is advisable. Even in cleaner environments, dust tends to build up at the intake of the forced air circulation system, which is normally around the fans. Use compressed air to blow the dust out of the intake vents and fans. Clean the optical components (refl ector, fi lters, lenses, etc.) with a mild detergent. Do not use cleaning solvents because they can damage the thin-fi lm coatings.

2. Use compressed air to remove the dust from all electronic components. Dust can blanket a PC board and act as an insulator, trapping in the heat and eventually leading to the failure of the components on the board. Make certain that any heat sinks and current-carrying components are free of dust and dirt. Remember to protect the fans from spinning freely while using compressed air to blow them out.

3. Visually inspect the infrared (IR) fi lter and confi rm that it’s intact and not broken or missing. The IR fi lter is typically the very fi rst optical element after the lamp and its job is to pass as much visible light as possible while refl ecting the IR (which is pure heat) wavelengths back to the light source. It’s extremely important to the protection of the fi xture from heat.

4. Visually inspect all of the fasteners, particularly those securing heavy com- ponents such as transformers and ballasts, and make sure they’re suffi ciently tight. Rough handling can loosen the fasteners securing these components, and if they break free they can cause signifi cant damage to other components. Use a suitable thread-locking compound on every fastener.

5. Visually inspect the lamp socket for signs of arcing and belts for signs of cracking. Cleaning Automated Lighting Components 331

6. Make sure to pay attention to the manufacturer’s recommendation for the orientation of the fi xture. Some fi xtures can be rigged in any orientation whereas others restrict the fi xture to certain orientations. This is normally because of the type of lamp used in the fi xture, some of which will fail prema- turely if their orientation causes the rising heat to increase the operating temperature beyond the limits of the specifi c a t i o n s .

Cleaning Automated Lighting Components

The best way to ensure the long operating life of an automated luminaire is to keep it clean both inside and out. A can of compressed air or an air compressor, some mild detergent, and a soft lint-free cloth are the best tools for maintaining a clean fi xture ( Figure 20-5 ).

Compressed air can be used to remove large particles of dust and debris, but cleaning the optical elements of an automated luminaire requires the use of a

Figure 20-5 A can of compressed air, mild detergent, and a soft lint-free cloth can be used to clean the inside of an automated luminaire. 332 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

cleaning agent and an abrasion-free applicator. Most optical components, like dichroic fi lters, glass refl ectors, glass gobos, and lenses, have an optical thin-fi lm coating that can be damaged by chemical cleaning solvents with a high pH. To clean them, use isopropyl alcohol or a mild detergent and a soft, lint-free cloth. Avoid abrasive clean- ers that can scratch the coating and cause permanent damage. Some technicians use optical wipes impregnated with thin-fi lm safe cleaning solution in a lint-free wipe, such as a Zeiss wipe. These cleaning aids are designed for camera lenses and modern thin-fi lm coatings found on sunglasses and other consumer optics.

Lubrication

Automated luminaires, by their nature, have many moving parts that may require a lubricant to reduce friction and wear. The question is whether or not these moving parts ever require re-lubrication or if they’re self-lubricating. Most moving parts in automated fi xtures use long-lasting Tefl on®-based or graphite-based grease that, under normal circumstances, requires no re-lubrication during the normal life of the fi xture. Other parts have self-lubricating bushings, gears, and bearings made of nylon or Tefl on® embedded with molybdenum disulfi de or mineral oil that require no maintenance.

Troubleshooting

When a problem with an automated luminaire arises during the load-in for a show, the highest priority is to address the problem as quickly as possible to maximize programming time and put everyone at ease. For that reason, many productions carry spare fi xtures for emergencies. Once a fi xture is swapped out and a spare put in its place, the problem fi xture is addressed.

In the fi eld, it’s common to troubleshoot to the board level as opposed to troubleshooting to the component level on a test bench. This means that instead of isolating problems with individual components on a circuit board, the entire circuit board is replaced with a spare, then the circuit board with the problem is sent back to the shop or to the factory for replacement or repair. Troubleshooting to the component level usually requires a schematic diagram, an oscilloscope, and possibly other more specialized test and repair equipment that an automated lighting technician doesn’t normally carry in the fi eld. Instead, the properly pre- pared automated lighting tech carries a supply of replacement parts in the model and make of automated lighting on the show to address common failures. Manu- facturers of automated lighting normally offer a recommended list of spare parts based on the number of fi xtures in the rig. An example recommended list of spare parts is shown below. Troubleshooting Procedures 333

Sample List of Recommended Spare Parts

■ X - S p o t X t r e m e

■ 80050074 850 W lamp power supply

■ 99070003 Motor power supply

■ 80010155 Three-phase board

■ 80010153 Two-phase board

■ 80010152 CPU board

■ 80060006 Ignitor

■ 99270075 11.5 mm stepper motor

■ 99270076 15.1 mm stepper motor

■ 99270077 33.8 mm stepper motor

■ 99270078 43.5 mm stepper motor

■ 99270079 50.8 mm stepper motor

■ 99270080 62.5 mm stepper motor

■ 90 4 0 2 0 2 4 2 . 5 a S B S M T f u s e

■ 9 0 4 0 3 0 2 7 2 . 5 a S B f u s e

■ 9 0 4 0 2 0 1 6 5 a F A f u s e

■ 80430083 Color mix assembly

■ 8 0 4 3 0 0 7 9 D u a l l i t h o a s s e m b l y

■ 8 0 4 3 0 0 7 8 L i t h o / i r i s a s s e m b l y

Troubleshooting Procedures

Caution Before attempting any diagnostics, troubleshooting, or repair, be sure to disconnect power from the fi xture. Do not under any circumstances access the inside of an automated luminaire with the power connected.

Regardless of the nature of the problem encountered with an automated luminaire, the approach to troubleshooting it follows the same pattern. First, the problem should be isolated in the system between the power, control signal, and the 334 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

luminaire. For example, if the lamp won’t strike, then it should be determined whether or not the fi xture is receiving power and a control signal with a lamp strike command. The easiest way to accomplish this is to use the on-board menu system that is built into most automated luminaires. If the fi xture is easily accessed, then using the menu to strike the lamp will confi rm whether or not there is suf- fi cient power and it removes the controller from the system. The sole exception is that sometimes the menu display on a 208/220 V luminaire will function on 120 V but the lamp won’t strike. In that case, only a voltmeter reading across the power input will determine whether or not the voltage is correct.

If the lamp won’t strike from the menu command, then you’ve isolated the problem to the fi xture. The next step is to isolate the problem in the fi xture. The most obvious next step in this example is to check the lamp. Unfortunately there is no reliable method of testing a discharge lamp except by placing it in a known good lamp circuit; you can’t judge its condition by visual inspection or by checking it for continuity because of the arc gap. So the only solution is to replace the lamp with a new or a known good one and test the fi xture again. If it still won’t strike, then the problem has to be further isolated. The next step is to consider each element of the circuit in order of probability of failure. In a lamp circuit, the ignitor, the socket, and the ballast or power supply board, depending on whether or not the fi xture has a switching power supply, are the only other elements in the lamp circuit besides the fuse. 2 By swapping out these items one by one starting with the ignitor, then the ballast or power supply board, the bad component will eventually be found.

If the problem is something other than the lamp, then the same procedure applies; the problem should be isolated to the fi xture, then inside the fi xture, and fi nally to the bad part. For example, if everything on a luminaire is working except for one function, say, the color wheel, then the fi rst thing to do is to put the fi xture in the self-test mode to see if the problem persists. If it does, then you can be certain it isn’t a control signal or controller syntax problem. The next step is to isolate the problem inside the fi xture. If there’s an error message on the menu, then it can help you diagnose the problem. This usually indicates a problem with the position sensor. It might be a dirty optical sensor or a displaced Hall sensor. If there’s no error indication, then the problem needs to be isolated between the logic board, which generates the control signal, the motor drive chip, or the stepper motor. The quickest and easiest test is to change the motor drive chip. If that doesn’t fi x the problem then the next step might be to change

2 Technically, if there’s a power factor correction capacitor in the fi xture, then it’s part of the lamp circuit. However, if it fails as an open circuit, the fi xture will draw more current but it won’t prevent the lamp from starting. If it fails as a short circuit, then it will trip a breaker or blow a fuse in the fi xture. Common Failures 335 the logic board. If that still doesn’t fi x the problem then it’s likely that the stepper motor is bad.

Troubleshooting to the board level is one part systematic approach and one part intuition. It helps to know the most common failures and their associated parts. The next few sections describe some of the more common problems that might occur with automated luminaires.

Common Failures

In the realm of automated lighting, there are probabilities and then there are certainties. The certainty is that an automated light will eventually experience some type of failure. The probability is that a group of automated luminaires will experience some types of failures more often than others. Generally speak- ing, those components that carry the highest currents and generate the most friction are, under normal circumstances, the most likely to fail. These include the lamp starter, switching power supplies, motor drive chips, and sometimes ballasts and stepper motors. Moving parts like stepper motors and fans are sus- ceptible to failure, more so in older fi xtures. As fi xtures age, some components with a fi nite life span are susceptible to failure including lamp sockets, fans, belts, spring plungers, and PF capacitors. Some of the most common failures are discussed next.

Motor Drive Chips Other than the lamp and the lamp circuit, stepper motors consume the most power in an automated luminaire. Consequently, the components in the motor drive circuit pass high currents and the motor drive chips responsible for output- ting the current to drive the motors are subject to failure. The current generates enough heat in the chips so they’re usually heat-sinked, either on top of the chip or in the form of large copper traces on the board. Still, they tend to fail often enough that some manufacturers use IC sockets to facilitate their easy replace- ment ( Figure 20-6 ), although sockets are becoming less common as more manu- facturers are moving to surface-mount technology (SMT). Also, socketing a motor drive chip sometimes exacerbates the heat problem because poor contacts with increased resistance produce more heat. A visual inspection will sometimes suffi ce to determine if a motor drive chip is blown because when they fail they often explode, smoke, arc, or otherwise show visible signs of catastrophic failure. If a motor stops working, as determined by a self-test routine, one of the fi rst things to suspect is the motor drive chip. If a visual inspection doesn’t reveal any obvious problems, then the easiest fi eld test is to switch the header (cable connec- tor) with a known good motor drive circuit to determine if the good chip will work in the bad circuit and vice versa. 336 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

Figure 20-6 Motor drive chips supply the current to drive stepper motors. Two PBM 3960 digital-to-analog converter (DAC) and PBL 3771 motor driver pairs.

SMPS In the event that a lamp won’t strike in an automated luminaire with an SMPS and the problem can’t be resolved by replacing the lamp or ignitor, then it’s likely there’s a problem with the power supply. Compared to a magnetic ballast power supply, an SMPS is very complicated, has far more components, and component- level troubleshooting and repair is more diffi cult. If you have the luxury of swap- ping out a bad SMPS and sending it to the factory for repair, then consider yourself lucky. If, on the other hand, you enjoy troubleshooting these power supplies to the component level, then start with the power-handling components that switch the current on and off to regulate the voltage and fl ow of energy.

SMPS typically use insulated gate bi-polar transistors (IGBT) or MOSFETs to switch the current. You can perform a rudimentary test on an IGBT or MOSFET using a digital multi-meter that has a diode checker, for example, a Fluke 87. This method tells you whether the component is functional, but it won’t tell you whether or not it’s within spec.

Caution Most SMPS have large capacitors that can hold a charge for prolonged periods of time. Before analyzing a power supply, be certain that the circuit and the capacitors in particular have been properly discharged. Failure to do so can be dangerous. Common Failures 337

A MOSFET has three terminals: a gate, a drain, and a source. For N-type MOSFETs, perform the following checks as illustrated in Figure 20-7:

1. Remove the MOSFET from the circuit. The gate should be isolated from the drain and the source. To check it, put your meter in the Diode Test mode and clip the red lead to the gate (fi rst terminal). Clip the black lead of the meter to the drain (usually the second terminal of the MOSFET). It should read OL, indicating an open circuit. If it reads 0.000 or a very small number, then the MOSFET is bad. 2. Move the black lead to the source (third terminal). It should also read OL. 3. Move the red lead to the source and the black lead to the gate. It should read OL. 4. Move the red lead to the drain and the black lead to the source. It should read OL.

Figure 20-7 A rudimentary test using a digital multi-meter with a diode checker can determine whether or not a MOSFET is functional. 338 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

5. Move the black lead to the drain and the red lead to the source. This puts a forward bias on the junction between the two. It should read between 0.400 and 0.500 V. If it reads lower than about 0.4 V but higher than about 0.3 V, then there’s a possibility that the MOSFET is bad. If it reads lower than 0.3 V, then there’s a very good possibility that it’s bad.

An IGBT is similar to an N-type MOSFET, so it can be tested in a similar manner, although the voltages for the forward-biased case may differ.

Printed Circuits Boards As automated luminaires get more powerful, manufacturing techniques get more sophisticated and the printed circuit boards (PCBs) in them become more complex. Early and lower end models of automated lighting have single-layer PCBs, whereas the newer fi xtures have very complex, high-density multi-layer PCBs. These layers are laminated with glue and can be electronically connected to each other through drilled holes called “vias.” To make the vias conductive, they’re electroplated or loaded with small rivets. Some of these vias, called “blind vias,” are exposed on only one side, while other vias called “buried vias,” are completely unexposed to the outer layers of the laminated PCB. These vias make it very diffi cult to diagnose and repair multi-layer circuit boards.

SMT is replacing through-hole technology in many products. Surface-mount devices (SMD) such as ICs and displays are mounted directly on the surface of a PCB and soldered en masse in conveyor-belted ovens using a refl ow solder tech- nique. SMDs are typically smaller than their through-hole counterparts because the leads are smaller. That makes for a smaller package and smaller fi xtures, but it also makes it more diffi cult to replace parts. The soldering technique for rework- ing and repairing SMDs is the same as with through-hole devices, except that a smaller soldering iron tip is usually necessary. The combination of multi-layer PCBs and SMT make it challenging to diagnose and repair some mother and daughter boards.

Power Factor Correction Capacitors A PF capacitor counters the effects of the inductance in the magnetic ballast to bring the voltage and current in phase with each other (Figure 20-8). When a PF capacitor fails as an open circuit (as opposed to a short circuit), it doesn’t affect the apparent operation of an automated luminaire. It does, however, change the phase relation- ship between the voltage and the current and as a result, the current increases in proportion to the phase difference between the two. In a fi xture that draws about 12 amps, losing the PF capacitor could raise the current to about 18 amps. Common Failures 339

Figure 20-8 A P F c o r r e c t i o n c a p a c i t o r .

Visual inspection of PF capacitors is sometimes suffi cient to detect their working state when they physically destruct, but sometimes there is no physical evidence of failure. A PF capacitor can fail as a short or an open circuit. If it fails as an open circuit without physical damage, then the only clue of its failure is that the fi xture is suddenly drawing signifi cantly more current. In the case that it fails as a short the fi xture will blow a fuse or trip a circuit breaker right away. A continuity checker will immediately tell you if a capacitor is shorting when the leads are placed across the two terminals of the capacitor (be sure the capacitor is dis- charged before doing this or it could severely damage your tester). If it reads as a short, then the capacitor is bad. If it reads as an open circuit right away, then it’s probably bad, but further testing might be necessary. A capacitor checker is the best way to determine if the capacitor is still within tolerance. Some digital multi-meters have a capacitor checker but don’t test capacitors at their full-rated voltage. Multi-meters are a good means of fi nding obvious faults, but they can’t detect subtle problems. The best way to accurately test a capacitor is to substitute a known good one and compare the current draw of the fi xture. 340 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

Ballasts Testing a magnetic ballast in the fi eld is a bit tricky given that most lighting technicians usually carry little test equipment other than a multi-meter. To accu- rately test a ballast (which is an inductor), the inductance and effi ciency (or Q) are typically tested at its operating frequency using an impedance analyzer and an oscilloscope because the values are frequency-dependent. However, a simple DC resistance fi eld test will give you a general idea of the working condition of a ballast.

When a ballast fails it can short circuit, open circuit, or change its value of induc- tance. If a fi xture is dropped and the ballast is jarred or is vibrated excessively, the windings can move, causing a change in value of inductance or causing an audible hum in the ballast. It can also cause a short somewhere in the windings, which may or may not cause complete failure. If an automated fi xture begins to draw more current than it normally does and a malfunction of the PF capacitor has been ruled out, or if the lamp won’t strike and the lamp and ignitor have been ruled out, then changing the ballast with a known good one tells you whether or not the suspect ballast is out of tolerance.

If the windings of a ballast are stressed and broken or burned, the coil will open. If the insulation on the wires breaks down, it will short the windings. If a ballast is suspected of malfunctioning, then a DC resistance check will give a quick indication of an open circuit. After removing the ballast from the circuit, place the leads of an ohmmeter across the terminals of the ballast. If the DC resistance is at or near infi nity, then it’s an open circuit and the ballast should be replaced. The normal DC resistance reading of a common magnetic ballast in automated lighting is very low—in the range of a few ohms to a fraction of an ohm. Thus, it’s very diffi cult to distinguish between a good ballast and one with a dead short using only an ohmmeter.

Transformers A transformer is similar to a ballast except that it has two windings instead of one, unless it’s an autotransformer, in which case it has only one winding. Normally when a transformer fails it’s immediately obvious; either the trans- former will short, in which case the fi xture will blow a fuse or trip a circuit breaker, or it will open, in which case the fi xture won’t power up at all. If the luminaire continually trips a circuit breaker or blows a fuse right away, then the fi rst component to suspect is the lamp circuit or the transformer. By disconnecting the lamp circuit and testing the fi xture again, the problem can be isolated to the lamp circuit or the transformer. If the fuse blows or circuit breaker trips without the lamp circuit, then it’s probably a bad transformer. It can be tested by taking it out of the circuit and metering the primary and secondary windings; they Common Failures 341 should exhibit resistance in the range of a few hundred ohms on the primary winding to a few ohms on the secondary winding. Of course, an ohmmeter works by using a small DC current to test the resistance, which is quite different than the actual working conditions of a transformer. According to Don Pugh of Light Parts, Inc. ( www.lightparts.com ): “If there are pinholes in the enamel insulation of the windings, a high AC voltage will jump right through like a trained circus cat.”

Fasteners With heavy components like ballasts and transformers, the mechanical fasteners sometimes loosen over time, particularly in rental or hire fi xtures. If they break loose they can physically damage other components in the fi xture. Ballasts and transformers should be checked periodically to make sure all the fasteners are secure. The electrical connections should be checked as well, particularly on spade lug terminals and crimp-on connectors.

Sensors Optical sensors are generally reliable, but the photoreceptor does tend to collect dust and dirt between the elements (Figure 20-9A). If they remain dirty for long periods of time problems arise. Magnetic sensors sometimes have problems because of the proximity of the Hall sensor (Figure 20-9B). They have a relatively tight tolerance, but if the long leads on the sensor bend too far away from the magnet, then the magnet can’t be detected. If both the optical and magnetic

(A) Figure 20-9 (A) Optical sensor and (B) magnetic sensor. (Continued) 342 PREVENTIVE MAINTENANCE AND TROUBLESHOOTING

(B) Figure 20-9 ( Continued)

sensors are malfunctioning then the parameter in question, whether it’s a wheel or an effect, won’t be able to fi nd its home position and in most cases the menu display will indicate a sensor error.

Automated lighting has made vast improvements in reliability and serviceability over the last several years. They’re generally remarkably robust and work night after night in surprisingly hostile conditions. They still, however, collect dust, dirt, and fog and haze condensation requiring regular cleaning and maintenance to o p e r a t e a t p e a k p e r f o r m a n c e . SECTION 7 Convergence of Lighting and Video This page intentionally left blank CHAPTER 21 Convergence of Lighting and Video

Once there was a time when the bringing-forth of the true into the beautiful was called technology. And art was simply called techne.— Martin Heidegger, German philosopher

The year 1999 was a watershed in automated lighting. At LDI in November of that year, Light & Sound Design (now part of Production Resource Group; PRG) dis- played the fi rst digital light called the Icon M. It was a moving yoke fi xture that projected “soft gobos”—gobos that could be created with software rather than hardware—and animation created by the use of a Texas Instruments (TI) Digital Micromirror Device™ (DMD) under the control of a microprocessor. It was the fi rst time the idea of marrying automated lighting and video was presented to the industry. Once the Icon M was demonstrated, it was clear where the live event production industry was going in the next few years.

Technically, an early version of the Icon M called the “Medusa” was previewed by a private showing to a select group in the industry at LDI 1998. The fi xture was shown sans yoke to solicit feedback on the color system and the user interface for controlling images. One of the attendees at the sneak preview happened to be a partner in Wynne Willson Gotellier, who later went on to develop the Catalyst orbital mirror head for panning and tilting video images. In the same year, a lighting designer named Gary Westcott designed a system of Sanyo video projec- tors fed by content under the control of a Macintosh computer for a small David Bowie tour. He had wanted to use some prototypes of the Icon M, but the manu- facturer declined for fear they would tip their hand on the project. Little did anyone realize that the Bowie tour was the precursor to the convergence of light- ing and video.

345 346 CONVERGENCE OF LIGHTING AND VIDEO

The Digital Micromirror Device

The Digital Micromirror Device (DMD) is the enabling technology that made the concept of the Icon M possible. The DMD is a semiconductor chip with a rectan- gular array of up to 800,000 tiny micromirrors, each measuring about 16 μm on a side, on a chip less than an inch wide ( Figure 21-1 ). The mirrors are so small that it would take 62,500 of them laid end-to-end to reach a length of one meter. They’re fabricated by a process known as “micromachining,” in which masks are used to selectively etch away portions of a silicon wafer or to add new layers to construct mechanical and electromechanical systems. The process is very similar to the fabrication of integrated circuits. These microelectromechanical systems (MEMS) are a type of nanotechnology.

In a DMD, each of the micromirrors is mounted on a hinge that allows them to pivot ±10 degrees. When light is bounced off the micromirror, it can be refl ected in or out of the optical path of a projector by using an electrostatic charge to turn them “on” or “off.” In that way, each micromirror in the array acts as a single pixel, turning on or off to create an image. In the case of the Icon M, the lamp was a Philips MSR 1200.

The intensity of the light is controlled by varying the duty cycle of the pulse width modulated control signal; the longer the width of the pulse, the longer the pixel stays on, and the higher its perceived intensity. The frequency of the pulse is much faster than the human eye can detect, and the pulses are “averaged” together by the brain so that it appears to be a constant image. Color can be added by using three DMD chips, one with red light, one with green light, and one with blue light. The three primary colors are overlaid to produce a full-color picture ( Figure 21-2 ).

Figure 21-1 A DMD is a rectangular array of up to two million micromirrors, each measuring about 16 μm on a side, on a chip less than an inch wide. The Digital Micromirror Device 347

Alternatively, a color image can be created by using a single DMD chip and a color wheel with red, green, and blue dichroic color (Figure 21-3). The color wheel rotates at a high frequency and light pulses are timed to correspond with the desired color. By pulsing a combination of colors such as red and blue, a third color is perceived by the eye because of the persistence of vision.

3 Chip DLPTM Projection

Light source Optics

Color filtering prism DMDs

TM DLP

Figure 21-2 A pulse width modulated control signal with a variable duty cycle con- trols the intensity of a pixel by turning each mirror on and off repeatedly. The human eye averages the pulses and sees them as a fi xed level of intensity. Three DMDs are used with red, green, and blue light to produce a full-spectrum picture.

1 Chip DLPTM Projection

DLP board Processor

Memory Projection lens

DMD Optics Shaping lens

Color filter Screen Condensing lens Light source

TM DLP

Figure 21-3 A full-color display can also be made using a single DMD chip with a rotating dichroic color wheel. The color wheel spins at a high rate of speed and the control signal pulses are timed to turn the mirrors on and off to correspond with a particular color. 348 CONVERGENCE OF LIGHTING AND VIDEO

In the Icon M, the on-board memory stores 1000 soft gobos and a limited number of animated gobos. The Icon M project eventually ran out of money and the original batch of 16 fi xtures were the fi rst and last to be produced. They were subsequently put in Lighting & Sound Design’s rental inventory and saw action in a few tours, including a Korn tour, but they were never the commercial success they should have been. They did, however, manage to change the face of the industry, launching the fi rst phase of the movement toward the convergence of lighting and video.

Two years later, High End Systems launched the Catalyst, and it was a commercial success. The Catalyst system, in its original version, was an orbital mirror head that mounted on the front of a large video projector ( Figure 21-4 ). A media server running on a Macintosh computer fed a video signal to the remote projector and the orbital mirror head moved the image around the space. The system was con- trolled by a DMX512 console and allowed the operator to call up a still image or an animation, apply certain effects, and position the resulting video image any- where within the range of the mirror head. Later on, the name “Catalyst” migrated over to the media server where it remains today.

The original Catalyst system used projectors with up to 10,000 ANSI lumens that were very big and expensive. At the time, a typical 10 K ANSI lumens projector cost as much as $80,000 or more. The effectiveness of the system couldn’t be denied, but it clearly deviated from the trend of automated lighting toward smaller, lighter, cheaper, and brighter luminaires. Still, the Catalyst system raised quite a few eyebrows and “convergence” was recognized as the “next big thing” in enter- tainment lighting.

Figure 21-4 The High End Systems Catalyst was the fi rst stand-alone DMX- controllable media server and orbital mirror head. Liquid Crystal Display Projectors 349

Catalyst served as proof of concept for digital lighting and several manufacturers took note. Over the next couple of years, several DMX512-controlled media servers showed up on the market and convergence took a giant step forward. The systems approach taken by Catalyst and Icon M was beginning to be dismantled and manufacturers focused on the fi rst step in the process, that of managing and controlling content—the video information—from a DMX512 console. In a span of about fi ve years, up to a dozen DMX512-controllable media servers came on the market, owing much to improvements in Microsoft’s DirectX software and the falling cost of high-end video graphics cards. Both are a direct result of devel- opments in the computer gaming industry.

By offering a discrete component of digital lighting as a separate product, the market was free to look at other options for projection and display. Advances in LED, LCD, and DLP technology signifi cantly increased the number of products with which media servers could be used.

Digital Light Processing and LEDs

Digital Light Processing (DLP) is TI’s patented projection system that uses a DMD engine and a dichroic color wheel to produce full-color video. In 1996, TI began licensing the technology to projector manufacturers and shipping in substantial quantities. DLP projectors began appearing on the market in growing numbers a few years later. Around the same time, LEDs reached a price point and intensity that made them attractive to the entertainment market and they began to prolifer- ate. They were soon incorporated in RGB color wash fi xtures and as RGB pixels for video and quasi-video displays. Before long, a cottage industry sprang up around the design and manufacture of LED displays and fi xtures. LED walls, curtains, modules, and fi xtures began to show up in productions of every type, in part because of U2’s 1997 Popmart tour in which an LED video wall fi rst made its debut in a concert tour. New displays increased the demand for media servers and control software to manage the growing applications for video and quasi-video display.

Liquid Crystal Display Projectors

In the years subsequent to the introduction of the original Catalyst system, several lighting manufacturers introduced another lighting instrument to the video con- vergence toolbox. Rather than reinvent the wheel, so to speak, by building their own projector with a DLP engine, they simply put an LCD video projector in a stylized moving yoke housing. As such, these so-called “digital luminaires” are closely related to the automated luminaires that have been around since the early 1980s; they use the same stepper motors for pan and tilt, the same type of fi xture 350 CONVERGENCE OF LIGHTING AND VIDEO

housings, logic boards, and power supplies, and similar lamps that are common in any other automated fi xture. The main difference is that instead of using wheels to rotate color and patterns in and out of the optical path, they use LCD projectors mounted inside of the head of the fi xture. The lamp source is typically a Philips UHP (originally “ultra high pressure” but subsequently changed to “ultra high performance”) lamp. Some of these fi xtures have an integrated media server.

Some of the digital luminaires available on the market are the Barco DML-1200; High End Systems DL-3; Robe DigitalSpot 3000, 5000, and 7000; and Publitec Beamover ( Figure 21-5 ). Each of these fi xtures houses an LCD projector or a DLP e n g i n e i n a m o v i n g y o k e e n c l o s u r e .

The projectors in the fi xtures range in output from 3000 to 7300 ANSI lumens. An ANSI lumen is the projector standard most often used by manufacturers for mea- suring the light output from a video projector set forth by the American National Standards Institute. It works by dividing the projection into nine equal areas and averaging the luminous fl ux in lumens in each area to derive the standard measure o f b r i g h t n e s s . 1

Perceived Brightness

One of the challenges for digital luminaires is deciphering specifi cations related to brightness and correlating them to our experience with conventional lighting. The industry is used to dealing with illumination in lux and foot-candles, and sometimes with luminance in foot-lamberts or candelas per square meter. Con- ventional fi xture photometric specifi cations are often presented in the form of a chart showing the throw distance and the resulting beam or fi eld diameter and the illumination in lux or foot-candles (Figure 21-6).

Alternatively, a more concise way of expressing the same information is to give the total luminous intensity in center beam candelas from which the illumination in foot-candles (or lux in SI) can be calculated.

I l l u m i n a t i o n c e n t e r b e a m c a n d e l a s ( t h r o w d i s t .) 2 (Illumination is in lux and distance in meters for SI units; illumination is in foot- candles and distance in feet for imperial units.)

1 T h e s p e c i fi cation in which the ANSI lumen is defi ned is no longer supported by ANSI as of 2003; however, it’s still in widespread use in the industry and is commonly referred to in projector specifi cations. The IEC lumen is the current standard for measuring projector brightness and is virtually identical to the ANSI lumen, but is seldom cited. Perceived Brightness 351

(B)

(A)

(D)

(C)

Figure 21-5 (A) Barco/High End Systems DL3, (B) Barco DML-1200, (C) Publitec Beamover, and (D) Robe DigitalSpot 5000DT. 352 CONVERGENCE OF LIGHTING AND VIDEO Footcandles Footcandles 4300 1911 1075 688 478 351 269 212 172

Throw distance feet 51015 20 3025 35 40 45 50

15’

10’

5’

1m

2m

3m

meters 1 2 3 4 5 6 7 8 9 10 Lux 47,778 26,875 17,200 11,944 8776 6719 5309 4300 Lux

Legend Field (max zoom - 338) Beam (max zoom - 178) Field (min zoom - 238) Beam (min zoom - 118) Figure 21-6 A typical photometric chart showing throw distance and the resulting illumination.

Video projectors are specifi ed in terms of ANSI lumens, which is only one factor in the infl uence of the perceived brightness of a video image. Other important factors are contrast ratio, ambient light levels, refl ectivity of the projection surface, and the size of the projected image.

Lamp Technology and Projection

Whether a projector uses LCD or DLP technology, the key to reducing the size, weight, and price of projection engines has been the increasing effi ciency of lamp sources and heat management. In the past, large projectors almost exclusively The UHP Lamp 353 used xenon lamps because they can be made with very short arc gaps. A short arc gap makes it easier to build an effi cient optical system because all of the optical elements—refl ectors, apertures, lenses, etc.—can be smaller. But the requirements for a xenon source are more complex; they have to maintain a certain orientation for the lamp to work properly and are under extremely high pressure, which makes them very dangerous to handle. For those reasons, metal halide lamps became very popular with manufacturers of smaller- to medium-sized projectors, but the halides used in making the lamps forced them to use bigger arc gaps. In lamps, the higher the wattage, the larger the arc gap needs to be. Thus, some of the effi ciency is sacrifi ced for the sake of size, weight, and cost.

The UHP Lamp

In 2001 Philips and Ushio introduced a new lamp technology with a shorter arc that enabled the production of smaller, lighter, and cheaper projectors. The Philips UHP is a mercury discharge lamp with arc gaps as small as 0.8 mm (Figure 21-7 ). The smaller arc gap provides for a more effi cient optical system and more light from the projector. This is accomplished by pressurizing the lamp to more than 200 atmospheres, which changes the spectral distribution, or the colors generated by the lamp. In an ordinary mercury lamp, salt additives produce the red spectral lines to balance the light between the red and blue ends of the spectrum. Without the additives, the light would be very blue with almost no red light at all. By pres- surizing the lamp envelope to an extremely high value, the mercury emits enough red light to produce a fairly balanced color temperature.

Figure 21-7 The UHP lamp improves the spectral emission of the mercury by using high pressure. (Photo courtesy of Philips Lighting.) 354 CONVERGENCE OF LIGHTING AND VIDEO

The UHP is available in a range of wattages up to 300 W. As cooling techniques improve, higher power UHP lamps could become available.

The convergence of lighting and video has changed the live event production landscape as much as the introduction of automated lighting did in the early 1980s. Digital luminaires haven’t yet lived up to their full potential partially because of intellectual property issues. When PRG purchased the assets of Light & Sound Design in 1998, the intellectual property developed as a result of the Icon M came along with it. At the same time, High End Systems was developing their own portfolio of intellectual property related to digital projection. When other manufacturers started exploring the market, they were impeded by potential patent infringement issues. In 2007, PRG and High End Systems came to terms on a cross-licensing arrangement where each could use the other’s intellectual prop- erty related to digital projection. Soon afterwards, Robe came to terms with PRG, which allowed Robe to continue manufacturing and selling their line of Digital- Spot fi xtures in the United States.

As projectors continue to increase in effi ciency and drop in size and price, digital luminaires will continue to benefi t from the advances. At the same time, LEDs and media servers continue to fi nd their way into productions both small and large. SECTION 8 Lighting Design With Automated Luminaires This page intentionally left blank CHAPTER 22 Lighting Design

We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically. I like feeling the power of light and space physically because then you can order it materially. Seeing is a very sensuous act; there’s a sweet deliciousness to feeling yourself see something.— James Turrell, artist known for his use of light in art

Designing with automated lighting is really not much different than designing with conventional fi xtures. The same design goals typically apply, the techniques are very similar if not the same, and the results, if the designer has met the goals of the design, can be similar. The difference is that the capabilities are greater, the possibilities virtually limitless, and the results can be more spectacular. The fl ip side of the coin is that indiscriminate use of automated lighting can be utterly disastrous. Since automated lighting fi rst became commercially available, the same adage about using automated lights or some variation of it has been uttered many times. The way Anne Militello of Vortex Lighting expressed it was: “Just because it can move doesn’t mean that it has to move.” The corollary to that might be that all movement and color change isn’t necessarily good; use them with purpose and discretion.

Design Goals

No one would begin a journey without fi rst knowing where they want to go. The same applies to lighting design. Before beginning a new lighting design project, you should know exactly what your goals and objectives are and how you’re going to achieve them. Before ever putting pen to paper or laying out a plot you should

357 358 LIGHTING DESIGN

Figure 22-1 One of the most important elements of lighting design is visibility. (Bruce Springsteen 2009; Lighting design by Jeff Ravitz.) have a list of priorities. Some of the more common lighting design criteria are outlined in the following sections.

Visibility Visibility is one of the most important goals of a lighting design. If you’re lighting a stage with a band or an actor, then the subject(s) should be illuminated suffi - ciently for the audience to see (Figure 22-1). In some instances facial features and expressions are very important and in other instances the designer may choose not to reveal too much about the subject. Visibility should be quantifi ed in terms of illuminance in lux or foot-candles (fc).

Focusing Attention During the course of a show, it’s natural for people’s attention to drift. By keeping the stage and the subjects on it well-lit and keeping the peripheral areas at lower illuminance levels, more attention will be focused on the subjects (Figure 22-2). Focusing attention is as much a function of lighting contrast, or the difference in illumination levels between the areas of interest and the areas of less importance, as it is a function of overall illuminance levels. If everything in a space is lit to 300 fc, the eye has no focal point and there’s nothing to draw the eye or compel it to stay focused on the subject. If, on the other hand, the subject is lit to 150 fc and the rest of the room is lit to 25 fc, then the eye is more likely to stay focused on the well-lit subject rather than wander around a darker room. Design Goals 359

Figure 22-2 A lighting system can help compel the eye to stay focused on the subject by illuminating it more than its surroundings. (Bruce Springsteen 2009; Lighting design by Jeff Ravitz.)

Lighting for Video Many shows are reinforced with live video, either in the form of image-magnifi cation (I-mag) or “B roll,” which is pre-produced content for playback ( Figure 22-3 ). If the show you’re lighting has video, then the lighting requirements could change dra- matically. The light levels, uniformity, color temperature, and direction of lighting are all subject to critique and debate by the video crew. It’s best to communicate with the video director before beginning the lighting design to fi nd out their requirements and expectations. Find out about their expectations for light levels on the subject and on the set. Modern video cameras are capable of producing good results with lower light levels but higher lighting levels still produce less grain in the picture. One of the biggest issues to deal with when video is involved is the uniformity of light across the stage, particularly if the subject moves around a lot or if there are many subjects spread across the stage. If the light level varies from subject to subject or from one position to the next on stage, the video engineer will have to “ride the iris” or “shade the cameras” to correct the exposure levels every time the camera moves and chances are they won’t be happy about it.

Modeling One of the main objectives of lighting design is to give form and defi nition to the subject by “modeling” it with light. That simply means to accentuate the shape, texture, and form of a subject by lighting it from different angles and carefully 360 LIGHTING DESIGN

Figure 22-3 Video is an important part of many productions. Lighting plays an important role in video acquisition and it changes some of the criteria for lighting design. (Bruce Springsteen 2009; Lighting design by Jeff Ravitz.)

controlling the intensity of the various lights to reveal information about the subject. Lighting an object only from the front tends to make it look fl at and two- dimensional. It does little to give the subject defi nition and depth and bring out the features of the subject.

A video camera tends to accentuate shadows and sometimes they can make them look unnatural. A video camera also has the ability to zoom tightly on the subject and magnify the intensity of shadows. For those reasons, a lighting designer might choose to light a subject more fl atly if video is involved. But if we’re lighting primarily for an audience, then we can model the subject, illumi- nate its distinguishing characteristics, and make it look more natural from a distance.

Creating Depth Lighting can also create depth and give the appearance of space. By control- ling the intensity of the foreground, mid-ground, and background, we can give the stage spatial reference and definition. This prevents objects and people from looking as if they’re on top of each other or right next to each Design Goals 361 other. We can also create depth by using backlight to highlight the form and shape of a subject.

Aesthetics and Mood By using color, patterns, and projections, we can change the aesthetics and infl uence the mood of the audience (Figure 22-4). This is one of the areas where automated lighting excels. It can be bright and cheery, dark and moody, or simply paint a picture with an interesting aesthetic appeal. Although any two people may or may not agree on what’s “aesthetically pleasing,” there are certain guiding principles. For example, the combination of blue and yellow creates a strong con- trast. There are many other principles of colors and color combinations that are very useful as a starting point in lighting and scenic design.

Most lighting design is a combination of some or all of these objectives. The job of the lighting designer is to prioritize the goals of the project and make the best use of the tools to meet those objectives. In the end, the fi nal result is often a compromise between what’s desired and what’s possible given the technology, expertise, creativity, and budget.

Once the design goals are decided, the task of laying out a lighting plot to meet those goals comes next. Any or all of these goals can be met using a three- or four-point lighting system.

Figure 22-4 A major factor in many lighting designs is to create an aesthetically pleasing look. (Chris Tomlin 2009; lighting design by Jon Weir and photo by Shann Swift.) 362 LIGHTING DESIGN

Three-Point Lighting

A three-point lighting system uses three lights to illuminate each “acting area” on a stage. An acting area is a section of the stage, typically 8 to 10 ft2 (2.5 to 3 m 2 ) delineated by the lighting designer for the purpose of breaking down the task of lighting the stage into smaller areas with better control over the illuminance of a subject and the foreground, mid-ground, and background (Figure 22-5).

A lighting plot typically begins with a scale drawing of the stage and/or space in which the production will take place. By marking off a grid on the drawing of the stage, the designer can treat each of the acting areas to be lit as a single e n t i t y .

The three lights that light each acting area include the key light, fi ll light, and back light. The key light is the strongest light of the three and it represents the dominant source of light such as the sun or artifi cial light in a room. In a three- point lighting system the key light is located 45 degrees above the horizon and 45 degrees to the left of the center line (as seen from the stage – Figure 22-6). The purpose of the key light is to provide visibility and to model the subject. The 45 degree angles provide enough shadow to help defi ne the characteristics of the subject such as the nose, chin, and eye sockets.

T h e fi ll light is also located 45 degrees above the horizon and 45 degrees to the right of the center line. Its purpose is to help ameliorate the intensity of the shadows produced by the key light and control the contrast between light and dark. By adjusting the intensity of the fi ll light the depth of the shadows can be controlled and the amount of modeling can be adjusted.

9101112

5 6 7 8

1 234 10’

(A) (B)

Figure 22-5 A grid of acting areas helps to defi ne placement of key, fi ll, and back lights. Three-Point Lighting 363

Figure 22-6 Three-point lighting system: (clockwise from top left) plan view, side elevation, front elevation, and render window.

The back light should be located directly behind the subject or acting area and it can be anywhere from 45 to 60 degrees or more above the horizon. The purpose of the back light is to bring out the shape of the subject and create depth.

If the luminaire/lens combination for each lighting position is carefully chosen and the plot is carefully constructed, then the peak illumination at the center of the beam will correspond with the center of each acting area, and the adjacent beams will overlap at 50% of the center beam intensity.

The point in the beam profi le where the intensity is 50% of the peak is defi ned as the edge of the “beam” ( Figure 22-7 ). The angle of the beam, therefore, is defi ned by the two points in the beam profi le where the intensity is 50% of the peak. The beam angle is often given in the literature provided by the manufacturer or can be found in the specifi cations of the fi xture online.

When two adjacent fi xtures overlap at the edge of the beam, it should result in approximately the same illuminance where the two beams overlap as the center of a single beam because 2 ϫ 50% ϭ 100%. But it requires that the selection of lenses provides the right beam width at the throw distance chosen by the designer and meets the illuminance target of the design. After the key, fi ll, and back lights 364 LIGHTING DESIGN

Beam angle Field angle [

X Y

Figure 22-7 The angle at which the intensity falls off 50% from the center peak intensity is defi ned as the “beam angle” of a fi xture.

are selected and properly placed, the set can be duplicated for every acting area. If the design is carried out properly, then at least three things will be accom- plished: (1) the light level anywhere on the stage will be high enough to create good visibility, (2) the lighting across the entire stage from stage right to stage left and from downstage to upstage will be relatively uniform, and (3) the lighting designer will have complete control over which acting areas can be lit or unlit.

The key lights and fi ll lights should be soft-edge fi xtures like a Fresnel or a PC spot so that when they overlap with the adjacent key and fi ll light, respectively, they will blend well. The profi le of a fi xture is the cross-sectional plot of light intensity. When the profi le is peaked and looks like half of a cosine wave form then the fi xture has a “cosine beam profi le.” Two fi xtures with a cosine beam profi le will produce maximum uniformity when they overlap at the point in the beam profi le where the intensity is 50% of the peak ( Figure 22-8 ). A cosine beam profi le is sometimes referred to as a blending distribution.

It’s important that there should be some means of controlling light spill to keep stray light off of set pieces, walls, the fascia of the stage, video display surfaces, the cyc, and any other surface that shouldn’t be lit by the stage wash. Some automated lights have motorized barn doors or framing shutters that can be used for that purpose.

Toning a Three-Point Lighting System

In a three-point lighting system, the subject is typically lit with a warm/cool color contrast. The key light can be warm or cool light and the fi ll light should be the opposite of the key light. The amount of color depends on the application. For a live audience the color contrast can be stronger, but video and I-mag strong con- trast on opposite sides of a subject’s face can look peculiar. Multi-Point Lighting 365

50%

50% 50% 50% Beam width Beam width

Beam profile 1 Combined Beam profile 2

Figure 22-8 Two cosine distributed beams overlapping at the 50% drop-off. A “cosine distribution” or “mixing distribution” has a peaked beam profi le, which, when overlapped at the 50% drop-off with a like fi xture, produces the most uniform wash between the beams.

Multi-Point Lighting

If a production involves the use of video or fi lm, a three-point lighting system may produce too much contrast between the light and dark areas. In those instances a four-point or a multi-point lighting system, sometimes called a jewel lighting system, may produce better results. In a four-point lighting system, the key light is moved directly in front of the subject and two fi ll lights are placed on either side of the subject. The back light remains in the same position as in the t h r e e - p o i n t l i g h t i n g s y s t e m ( F i g u r e 2 2 - 9 ) .

Because the key light, which is a front light, projects directly onto the subject, it looks fl at to the human eye, making it harder to distinguish features. But to the camera it looks more natural by de-emphasizing the shadows on the face.

In a concert touring system, the key light is typically provided by followspots. Many times there are at least two followspots for each band member, so the light- ing is often a fi ve-point system. If there are no followspots available, then the front light or key light is often provided by Fresnels, PAR cans, or Lekos, since they’re much more affordable compared to automated lighting. The exceptions are when the cost of labor is very high, as in a convention space, or when time is very short, 366 LIGHTING DESIGN

Figure 22-9 Four-point lighting system: (clockwise from top left) plan view, side elevation, front elevation, render window. as in a television event such as an awards show. In those cases, automated lighting is often used for all of the lighting positions. For example, the North American International Auto Show in Detroit runs for over two weeks in a hall where the ceiling is very high. To refocus a light, a rigging crew has to be called and they have to use a manlift, both of which are very expensive. Therefore, the vast major- ity of lighting at the show is automated. Television shows often have very tight production schedules that don’t allow for refocusing lights. Therefore, many pro- ductions use a full rig of automated lighting to save time should the lighting need to be refocused.

Calculating Illuminance

Most manufacturers of automated lighting provide photometric data showing the throw distance, the beam, and fi eld width as well as the illuminance in lux and f o o t - c a n d l e s ( f c ) . 1 By referencing this chart the designer can quickly gauge whether

1 Lux is the SI unit of measurement for illuminance and is defi ned as one lumen per square meter. A foot-candle is the imperial unit of measurement for illuminance and is defi ned as one lumen per square foot. When using lux, the unit of measure for distance is the meter and when using foot-candles, the unit of measure for distance is feet. Calculating Illuminance 367

Throw distance (d) 37.2’ 44.7’ 52.1’ 59.6’ 11.3 m 13.6 m 15.9 m 18.2 m

15.38 10.58 1/10 Peak ½ Peak Field angle Beam angle

1/10 Peak diameter 10’ 12’ 14’ 16’ 3.0 m 3.7 m 4.3 m 4.9 m

fc 272 188 139 106

Lux 2930 2025 1495 1140 Figure 22-10 A photometric chart showing throw distance, beam, and fi eld width as well as illuminance in lux and foot-candles.

or not an instrument will provide the target illuminance and fi eld width at a given throw distance ( Figure 22-10 ).

A chart like this will get you in the ballpark, allowing you to select lighting instruments and rough in the lighting positions, but it doesn’t provide photomet- ric data for every situation. For example, a Martin MAC 2000 Wash fi xture with a medium Fresnel lens and the zoom at median (27 degrees) produces an illumi- nance of 136 fc (1461 lux) at a throw distance of 16 m or 87 fc (935 lux) at 20 m, according to their photometric data provided online. But it provides no informa- tion about the illuminance between 16 and 20 m. You can extrapolate these in-between throw distances if you know the right formulas. Some photometric charts, however, also provide the luminous intensity of a fi xture in candelas (cd), from which you can calculate the center beam illuminance any given throw dis- tance. For example, in the same photometric chart it says the fi xture produces 374,000 cd. To fi nd the illuminance at, say, 18 m, you can use the inverse square law, which says that to fi nd the illuminance you divide the luminous intensity by the square of the throw distance.

I n v e r s e S q u a r e L a w : I l l u m i n a n c e ( l u x o r f c ) L u m i n o u s I n t e n s i t y ( c a n d e l a s ) [ T h r o w D i s t a n c e ( m o r f t ) ]2

I l l u m i n a n c e 3 7 4 , 0 0 0 c d ( 1 8 m )2

I l l u m i n a n c e 1 1 5 4 l u x ( 1 0 7 f c ) 368 LIGHTING DESIGN

You can also fi nd the throw distance to meet your target illuminance if you’re given the luminous intensity. For example, if the fi xture you plan to use for key light produces 250,000 cd and you want a minimum illumination of 1614 lux (150 fc) on stage, then using the inverse square law, you can calculate the maximum throw distance.

I l l u m i n a n c e L u m i n o u s F l u x ( T h r o w D i s t a n c e ) 2

Distance 2 L u m i n o u s F l u x Illuminance

D i s t a n c e S q u a r e R o o t ( L u m i n o u s F l u x I l l u m i n a n c e )

D i s t a n c e √ (250,000 cd/1,614 lux )

D i s t a n c e 1 2 . 4 5 m ( 4 0 . 8 5 f t )

From the throw distance you can calculate the trim height using the formula for a right triangle, which is the Pythagorean Theorem (Figure 22-11).

P y t h a g o r e a n T h e o r e m : a 2 b 2 c2

where a h y p o t e n u s e

T h r o w D i s t a n c e 2 ( S e t b a c k D i s t a n c e )2 ( E l e v a t i o n ) 2

For optimal results we want the key and fi ll lights to be a maximum of 45 degrees above the horizon. A steeper angle will produce harsh shadows under the eye

Hypotenuse Side b

908

Side c Figure 22-11 Right triangle showing sides a, b, and c. The side across from the right angle (a) is called the hypotenuse. Calculating Illuminance 369 sockets, nose, and jowls. For a 45 degree angle of projection, the vertical distance from the subject to the light is the same as the horizontal distance from the subject to the light, as shown in Figure 22.12. We’ll call this distance X.

( T h r o w D i s t a n c e )2 X2 X2 2 X2

( T h r o w D i s t a n c e )2 2 X2

( T h r o w D i s t a n c e ) S q u a r e R o o t ( 2 X 2 )

( T h r o w D i s t a n c e ) X S q u a r e R o o t ( 2 )

X ( T h r o w D i s t a n c e ) S q u a r e R o o t ( 2 )

X (T h r o w D i s t a n c e ) 1 . 4 1 4

X [ 1 2 . 4 5 m ( 4 0 . 8 5 f t ) ] 1 . 4 1 4

X 8 . 8 m ( 2 8 . 9 f t )

Keep in mind that we have to add the height of the stage and the height to the center of the target to fi nd the elevation distance from the fl oor to the light. This is the trim height.

Throw distance Elevation

8 908 45 Trim height Trim

Set back

Figure 22-12 Illustration showing elevation, setback, and trim. For a 45 degree projection, the elevation from the target is equal to the setback. 370 LIGHTING DESIGN

T r i m H e i g h t ( f r o m fl o o r ) E l e v a t i o n ( f r o m c e n t e r o f t a r g e t ) S t a g e H e i g h t H e i g h t t o C e n t e r o f T a r g e t

Trim 8 . 8 m ( 2 8 . 9 ’ ) 1 . 8 m ( 6 ’ ) 1 m ( 3 . 2 8 ’ )

Trim 1 1 . 6 m ( 3 8 ’ )

Once the throw distance has been determined, we can then calculate the beam diameter at the subject given the beam angle in the photometric data. That will show if we have suffi ciently covered the acting area in question.

For example, if the beam angle of a fi xture is 24 degrees, then use the formula for a right triangle to calculate the beam diameter for a given throw distance.

Figure 22.13 shows the beam and fi eld angles of a fi xture. If we draw a line from the fi xture to the subject, that’s our throw distance (in feet or meters). The line also bisects the beam angle and creates a right triangle where the angle closest to the fi xture is half of the beam angle, the opposite angle is half of the beam width (in feet or meters), and the last remaining side of the right triangle is the hypotenuse.

t a n ( b e a m a n g l e 2 ) ( w i d t h o f t h e b e a m 2 ) t h r o w d i s t a n c e

w i d t h o f t h e b e a m t a n t h r o w d i s t a n c e 2

where 1/2 beam angle

Adjacent side 5 Throw distance

Field angle Beam angle ½ Beam width Opposite side

u5½ Beam angle 5

Hypotenuse

Figure 22-13 By drawing a line from the focal point in the fi xture to the subject we can create a right triangle where the near angle is half of the beam angle, the opposite side of the angle is half of the beam width, the adjacent side is the throw distance, and the remaining side is the hypotenuse. Color Temperature and Green/Magenta Balance 371

Then we can divide the width of the stage to be covered by the width of the beam at the given throw distance to fi gure out how many fi xtures we need to uniformly wash the stage.

If the diameter of the fi eld is too narrow then move the lighting position back. But remember that the inverse square law says that the illuminance is propor- tional to the square of the throw distance; a small change in the throw distance results in a larger change in illuminance.

If the diameter of the fi eld is too wide we can choose to leave it or move the light- ing position closer. If the lighting position is left as is, then the fi eld will be wider than planned, which is okay as long as the light doesn’t spill onto areas where it shouldn’t be.

Target Illuminance

To provide enough illuminance on stage for a live audience, the combination of the key light and fi ll light can be anywhere from about 100 fc (1076 lux) or less to about 150 fc (1615 lux) or more, depending on the amount of detail you want to reveal. Ideally the ambient lighting should be as close to a blackout as possible, with the exception of egress lighting and any other lighting required by local code. Low ambient lighting helps to focus attention on the performance and enhances the stage lighting.

If video or fi lm is involved, then the target illuminance is likely to change. It can vary from as little as 80 fc (860 lux) to as much as 300 fc (3228 lux) or more. New cameras are much more sensitive and require less light, but they still produce less grain and greater depth of fi eld with higher light levels. It’s a good idea to design the lighting system for about 125% of the maximum desired illumination to account for lumen maintenance, voltage fl uctuations, fi lters and diffusion, and dirty optics.

Color Temperature and Green/Magenta Balance

Two critical issues to be aware of when using automated lighting for key light, especially with video acquisition, are the variation of color temperature across the fi xtures and the color balance between green and magenta.

Discharge lamps lose color temperature as they’re used. An MSR-type lamp will lose about a half a degree of color temperature per hour of operation and an HMI lamp will lose about one degree of color temperature per hour of operation. After 200 hours of use, an MSR lamp with an initial color temperature of 5600 K will have 372 LIGHTING DESIGN a color temperature of approximately 5500 K and an HMI lamp with an initial color temperature of 5600 K will have a color temperature of approximately 5400 K. Consequently, the more fi xtures there are, the more likely they are to vary in color temperature from fi xture to fi xture. If there are fi ve or more fi xtures, the color tem- perature could vary quite a bit among them. If you’re renting or hiring fi xtures, some rental shops are very good about replacing aging lamps. If you’re doing an important video shoot it’s a good idea to ask for fresh lamps when you’re negotiating rates.

Also, some automated lights exhibit a color balance away from magenta and toward green. It’s particularly problematic with certain lamps and luminaires. Sometimes the light may look white to the naked eye but in reality have more green than magenta energy. Before a video shoot, the video cameras are balanced by illuminating a white card with the key light and focusing the cameras on the card. The engineer looks at the video signals as they’re displayed on a vectorscope, which is an instrument used to visually display the color balance of a video signal (Figure 22-14). It looks somewhat like an oscilloscope, except it has a round display and the signal is represented as a single dot. If the light and the cameras are bal- anced correctly, then the vectorscope will show no bias toward any color, but a b a l a n c e b e t w e e n t h e m a l l .

The color temperature of a lamp is a measure of the balance between blue and red, but it doesn’t take into consideration the balance between green and magenta. A lamp can have a high correlated color temperature and still have a high green content. Sometimes the gas mix, salt additives, refl ector design, infrared fi lter, or

(A) (B)

Figure 22-14 A vectorscope displays the white balance of a light as seen by a video camera. (A) White light with too much green and (B) white light balanced correctly. Finishing the Lighting Plot 373 a combination of any of these elements produces a shift toward green. And as a lamp ages the green spike can grow and worsen the problem. When that happens, skin tones will look sickly and pale, particularly on camera. The video engineer can address the problem by balancing the camera away from green, but then the other sources will shift toward magenta. One way to address the problem is to use a green-absorbing gel fi lter designed to balance between green and magenta, such as a Roscolux Minusgreen or a GamColor Minus Green CineFilter. The latter is available in 1/8 steps from 1/8 to full Minus Green and “Xtra” Minus Green. These fi lters can be taped to the exit lens of the fi xture so it won’t burn or melt due to the heat of the lamp.

Finishing the Lighting Plot

Once the key, fi ll, and back lights are laid into the lighting plot, then the rest of the set can be lit. Unless there are specifi c requirements of the lighting, as in theatrical productions where specials are used to accent the composition or to light special objects, then the designer can be free to add lights to create mood and enhance the aesthetics of the production. Automated lighting excels at color wash and image or beam projection.

Color Wash Soft-edge, color-changing automated lights can be used in two basic ways: to light the surfaces of objects like cycs, set pieces, performers, etc. or to create shafts of aerial beams in the air. To light set pieces the fi xtures are typically placed on balcony rails, a front of house (FOH) truss, a downstage truss, or, in some instances, a side truss. In rock and roll shows where aerial beams are often emphasized, they’re often placed on upstage or mid-stage truss, on truss pods or stands, or on fl oor stands where they can produce upward pointing shafts of light.

Most automated color wash luminaires use dichroic color changers with dis- charge lamps, both of which have some unique characteristics. Dichroic color lends itself to more saturated color than gel fi lters, and the range of colors from a discharge lamp is somewhat limited compared to an incandescent lamp. Techni- cally speaking, an automated light with 8-bit CMY color mixing has 196,608 unique color combinations (256 2 ϫ 3), but the visible differences are limited by the spectral distribution of the lamp and the characteristics of the dichroic color mixing fi lters. If the show is being videotaped or if there’s I-mag, then the cameras and displays introduce another factor in the fi nal rendering of the color. In those instances it’s important for the designer to monitor the video display to see how the rendered scene looks on camera. 374 LIGHTING DESIGN

Image and Beam Projection The complement to color wash is image and beam projection provided by profi le spot fi xtures. In general, spot fi xtures located more toward the downstage posi- tion can be used more effectively for projecting images on upstage set pieces. The longer the throw, the larger the diameter of the projection and the lower the illu- minance on the projection surface. (Remember the inverse square law!) In rock and roll shows, aerial beams are typically a very important part of the design; therefore, many designers place a number of profi le spots in upstage and mid- stage positions as well as on lighting pods, lighting stands, and fl oor stands, and they use an interference medium like fog or haze. Without interference there are no aerial beams to be seen. Also, beams that are projected toward the audience look brighter than those projected away from the audience.

Lighting design is very often a compromise between the designer’s vision and the reality of the budget for a production. Given a large enough budget, having profi le spot fi xtures in a number of different positions provides great fl exibility in build- ing scenes. Spots in FOH positions can paint scenic elements or drops, providing a nice canvas for pattern projection or for creating texture with shape, form, light, and shadow (Figure 22-15). Spots in side positions can help sculpt a subject with hard or soft light, bringing form and defi nition to the subject. Placing spots in the upstage positions allows for aerial beam projection with very interesting cones, tunnels, and other laser-like effects. The same upstage spot fi xtures positioned on the fl oor provide another vantage point from which to create aerial projections.

Figure 22-15 A u t o m a t e d p r o fi le spots can paint backdrops as seen in this Westlake High School production. Finishing the Lighting Plot 375

The more varied and diverse positions you can fi nd, the more interesting scenes you can create.

A fi nal lighting design should cover all the bases for achieving your design goals. It should provide the right amount of illuminance for the project, enough contrast between light and dark to reveal the subject, and enough color, projection, and effects to match the aesthetics of the production. In the fi nal analysis, the success of the lighting design is measured by the response of those who experience it. This page intentionally left blank CHAPTER 23 Lighting Design Software

When Thomas Edison worked late into the night on the electric light, he had to do it by gas lamp or candle. I’m sure it made the work seem that much more urgent. —George Carlin

The increasing size and complexity of automated lighting systems is due in part to the exponential increase in computer hardware and software capabilities. Lighting design software, off-line editors, and computer visualizers help to design, manage, and program large lighting systems with thousands of parameters quickly and effi ciently. We have come to rely heavily on these tools, so much in fact, that the industry would be crippled without them. Not only do they simplify and speed the task of designing and drawing lighting plots, but they also save valuable time and money in pre-production and education.

There’s a wide variety of software tools available to aid in the design, documenta- tion, presentation, and communication process. They generally fall into the catego- ries of computer-aided design (CAD), paperwork management, presentation, pre-visualization, and off-line editing. In many cases, several of these functions are combined in a single software package while others are stand-alone programs.

CAD

The advent of desktop computing has, for all practical purposes, made pencil and paper drafting obsolete. Not only is CAD faster than drawing by hand, but it also allows you to build a 3-D model, something virtually impossible to do on paper. CAD makes design, modifi cations, fi le sharing, printing, and keeping track of revisions much quicker and easier.

377 378 LIGHTING DESIGN SOFTWARE

A CAD program is a software tool that allows you to create scale drawings with the location of each light in the system represented as a 2-D symbol, or in the case of a 3-D drawing, a 3-D symbol ( Figure 23-1 ). In addition to generic CAD software packages like Autodesk AutoCAD, there are several CAD programs specifi c to the entertainment lighting industry with specialized functions such as focus points, photometrics, and paperwork functions including lighting schedules, magic sheets, circuit, dimmer, and channel hookups.

(A)

(B)

Figure 23-1 (A) A CAD lighting software program allows you to create scale draw- ings in 2D or 3D. (B) A 3-D CAD drawing allows you to view and print a lighting plot from any angle. CAD 379

Although each lighting design software program is unique with its own syntax and characteristics, the approach to creating a design is generally the same. The basic steps are

■ Creating the performance space—A project can be drawn from scratch using the CAD tools or it can be started by importing an existing drawing of the performance venue obtained from another source such as an architect or from the venue.

■ D e fi ning classes and layers—Before the stage, set, rigging, and lighting is drawn into the plot, it pays to organize the elements of the design according to classes and/or layers. Most CAD programs allow you to create layers, which are groups of items that can logically be placed together on a virtual sheet for the purpose of overlaying them in the drawing. By turning layers on and off, the drawing can display selected items to make it easier to work with or to emphasize certain aspects of the drawing. For example, you may choose to create individual layers for the building, the stage and set, the truss- ing or counterweight pipes, and the lighting. In addition, you might consider using parent/child layers in which related items are further subdivided according to common characteristics. For example, you may choose to create a child layer for the lighting by making all automated profi le spot fi xtures green and all the automated wash fi xtures red in the drawing. Vectorworks is a CAD program that allows the creation of classes that can be used to group like elements of the design such as spots, wash fi xtures, LEDs, etc.

■ Draw the stage and set in 2-D—Using the CAD tools such as lines, polylines, arcs, circles, and regions, a 2-D plan view can be drawn on top of the drawing of the venue. A polyline is a line that can be made up of straight lines, curved lines, and/or arcs. A region is a closed polyline intended to be a surface such as the surface of a drum riser or keyboard riser.

■ Create a 3-D model using extrude tools—Once you have a 2-D plan view of the stage and set, use the extrude tool to create 3-D objects from a region; for example, extrude a rectangle to create a single step or a riser. From an elevation view you can extrude a right triangle to create a ramp.

■ Add rigging and lighting—Using the library of predefi ned blocks, add truss, pipes, lighting, projection, and other design elements. A block is a drawing that can be inserted into another drawing. It usually has attribute data including photometrics such as luminous intensity, physical data such as weight, and control information such as DMX512 slot footprint. When blocks are inserted into a 3-D drawing, they sometimes have to be moved to the proper elevation so they’re located correctly in 3-D space.

■ Add labels and attributes—Once the lighting plot is laid out, each fi xture should be numbered and the circuit, channel, dimmer (if applicable), DMX512 address, and other attributes can be assigned. 380 LIGHTING DESIGN SOFTWARE

■ Create a layout—When the design is fi nished, it can be plotted using dif- ferent views including a plan view (looking straight down from above), elevation view (looking at the structure from the side, which reveals height and other vertical dimensions), or an isometric view (looking at it from an angle).

■ Add a drawing border—Finish the plot by adding a drawing border with pertinent information in the title block such as the name of the drawing, the date, drawn by, etc ( Figure 23-2 ).

■ Distribute copies—You can then email the fi nished drawing or upload it to a reprographics service to have prints made. If it’s to be printed you may need to either download a print driver on your computer or export it to a print fi l e .

4 3 2 1

D D

C C

B B

Signatures: Date: Title: Notes: All designs, construction and other disclosures 1.All fixtures are to be fitted with set forth herein are the property of Drawn: Big Rock A L6-15 (120V) or L6–20 (208V) connectors marathon Production Design and such Concert Tour A information is imparted to you in confidence. Checked: 2010 In accepting this information you agree not to 2.All fixtures are to be rigged with Issued: Size: Job No. Mega – clamps and safety cables. reproduce it, to manufacture it, disclose it, or 4/1/10 24”318” have it manufactured in whole or in part Drawn By: Scale: 3. All fixtures are to be updated with latest /S without the written permission of richard Cadena. 1 5 RMC 4 ” 1’ 4 3 2 1

Figure 23-2 The title block in a lighting plot provides project-specifi c information such as the name of the project, the date of the drawing, the revision number, lighting designer, and draftsperson. Additional notes are sometimes drawn inside the drawing border. CAD Libraries 381

The syntax and techniques for drawing objects varies quite a bit between different programs but the concepts are very similar.

File Formats

Most CAD drawings are in DWG format, which is the AutoCAD fi le format developed by Autodesk. This has become the de facto standard for architectural drawings. Drawing Exchange Format (DXF), also developed by Autodesk to exchange fi les between competing CAD programs, is another standard. If you’re starting with a DWG or DXF drawing you may have to import the fi le rather than simply open it, depending on the application software you’re using. Vectorworks is a popular CAD program in the lighting industry and its native fi le format is *.MCD. When you import a DWG or DXF fi le into Vectorworks it makes each object a block, which tends to make the fi le size larger. Another very popular lighting design software package is WYSIWYG. Its native fi le format is WYG. LD Assistant is yet another lighting design software package, but it uses an Autodesk AutoCAD engine so its native fi le format is DWG. There are many other lighting design programs including, but not limited to, Capture Sweden, LightConverse, LuxArt Microlux, Martin ShowDesigner, and Stage Research Softplot.

CAD Libraries

Most lighting CAD programs have a library of “blocks”—or pre-drawn 2-D and 3-D symbols—of lighting instruments and peripherals like truss and lighting con- soles that can be inserted into a drawing. Libraries speed the design process by eliminating the need to draw everything from scratch. You can simply fi nd the block you’re looking for in the library and drag and drop it into the drawing area.

If the block for a fi xture you’re looking for isn’t in the library then you’ll have to draw it from scratch or modify an existing block. It’s often easier to modify an exist- ing block than to draw it from scratch since many automated luminaires look similar. By changing some of the characteristics of an existing block, by scaling or shading, you can adapt it for a new fi xture without costing too much time or effort.

Many lighting manufacturers have 2- and 3-D symbols for their lights on their Web site, but to use them in a CAD program requires some manipulation. In most cases you have to import both the 2- and 3-D symbols in a certain format to see them in a plan view and/or isometric view. Sometimes the 3-D symbols are too detailed, causing the CAD program to slow down, particularly when they’re used in large numbers. In those instances it might be better to simplify the block by removing some or most of the detail. 382 LIGHTING DESIGN SOFTWARE

Figure 23-3 Example of data attached to automated lighting block.

Data and Attributes

Lighting blocks CAD programs typically have plenty of data attached to them (Figure 23-3). Examples include luminous fl ux, beam, and fi eld angle; power consumption; the DMX512 slot footprint (number of channels required to operate it); its weight, etc. Some programs attach more specifi c attribute data such as bitmaps of the gobos, representations of the colors, and so on. When the block is dropped into a drawing, the associated data stay with it and can be modifi ed by the designer. When the plot is fi nished the data can be used to compile informa- tion including fi xtures schedules (the number of each type of fi xture used), the total power consumption, the total number of DMX512 channels required to operate the system, the total weight of the lighting, etc.

Lighting Paperwork

One of the most important aspects of lighting design software is that it allows you to communicate important information to third parties like the production company, techs, stage hands, electricians, riggers, and anyone else involved in the project. It helps to manage the huge quantities of information associated with a lighting system.

Lighting paperwork software is sort of a cross between a spreadsheet and a database management application specifi cally for a lighting project. Its job is to keep track of each bit of information associated with each component of the lighting system and display it in a form that can be easily massaged and manipulated according to the needs of each person involved in the project ( Figure 23-4 ). It can help generate shop orders based on the lighting plot, help track inventory during load-in and load-out, and help facilitate setup and focus by providing DMX512 and focus charts. Lighting Paperwork 383

(A)

(B)

Figure 23-4 Lighting paperwork software makes it easier to manage huge quantities of information associated with automated lighting design and pro- gramming. (A) This screen shot of FocusTrack software shows cueing information associated with the moving lights in the show “Hamlet” at the Broadhurst Theatre in New York (directed by Michael Grandage, designed by Christopher Oram, lighting by Neil Austin). (B) “Picture” view in FocusTrack, showing the focus of one light in one preset focus in “Hamlet.” 384 LIGHTING DESIGN SOFTWARE

Some examples of paperwork for specifi c tasks include:

■ Fixture or instrument schedule ( Figure 23-5A )—Typically lists the hanging position, unit number, circuit number, dimmer number, channel number, description, wattage, purpose, accessories, and notes. Option- ally it can include fixture pricing for the purpose of generating price quotes.

■ Panel schedules (Figure 23-5B)—Include information about circuit breaker panels and dimmer panels, typically the circuit number, description of the connected load, wattage, type of load (incandescent, arc lamp, LED, etc.), and the phase assignment (A, B, or C in a three-phase system). Panel schedules are typically only required in permanent installations and are used by the electrical engineer to calculate the load requirements. They can also be used for electrical cost estimates and electrical terminations.

■ Dimmer schedules ( Figure 23-5C )—Typically include the same information as a fi xture schedule but the information is arranged in a different order with the

(A)

Figure 23-5 Sample fi xture schedule (A), and dimmer schedule (B), panel schedule (C). Lighting Paperwork 385

(B)

(C)

Figure 23-5 (Continued) 386 LIGHTING DESIGN SOFTWARE

dimmer number fi rst or second and the circuit number second or fi rst. It’s used by the production electrician to connect dimmers to the proper circuits.

■ Shop order—Includes all components of the lighting system to be rented or hired from a shop. This should be very detailed and complete down to every last item including fi xtures, rigging hardware, cabling, expendables, control equipment, and even small items such as safety cables. In addition, explicit information including contacts, dates and times of load-in and load-out, and special instructions should also be included. It’s better to have too much i n f o r m a t i o n t h a n t o l e a v e o u t a n y p e r t i n e n t i t e m s .

There are several lighting paperwork software packages on the market, some of which are integral to CAD programs and some of which are stand-alone pro- grams. Most keep track of basic information such as instrument types, unit numbers, channel numbers, DMX512 addresses, power consumption, fi xture weights, and accessories. Others add more detailed information including indi- vidual attributes of automated lights. If the software is part of a CAD suite, very often the information is linked to the drawing and any changes made in the drawing space are refl ected in the paperwork. On the other hand, stand-alone programs are usually manually adjusted.

FocusTrack and Lightwright are just two examples of stand-alone lighting paper- work software. There are also integrated programs that include paperwork func- tions such as WYSIWYG, Capture Sweden, LD Assistant, LightConverse, Microlux, Martin ShowDesigner, and Stage Research Softplot.

Rendering

One of the most useful functions of lighting CAD software is to help sell a design. In the preliminary phase of a project, it may be necessary to draw a sample plot and create realistic renderings to convey your concept and win a design job. Alternatively, you might just want to illustrate how the end result will look. Either way, it can be accomplished with rendering software.

Rendering software can be used to create photo-realistic illustrations of the stage, set, and lighting. Many CAD lighting design packages have rendering capabilities, but some lighting designers prefer to use stand-alone rendering software such as 3D Studio VIZ or plug-in packages like ESP Vision. In either case a 3-D virtual model must fi rst be drawn before it can be rendered. Then digital images can be attached to the surfaces in the model to create a realistic-looking virtual set.

Most rendering software has a materials library with bitmaps of various common materials such as aluminum, wood, and carpet. The materials can be applied to Rendering 387

Figure 23-6 Example of a brick wall rendered with tiled digital photo. The square with the blue handles outlined in the upper right defi nes the tile size and the tile is replicated for the entire wall. objects in the CAD model to closely approximate the look of the objects in real life. Because it isn’t always possible to photograph an entire surface material, the digital fi les to be applied to a surface most often have to be tiled to cover the entire surface. Most programs have the ability to adjust the tile size to match the surface as closely as possible. For example, a brick wall should be tiled so that the bricks are approximately to scale instead of being too large or too small (Figure 23-6).

Once the materials have been applied the lighting can be “turned on” in the virtual model to simulate a real-life scene (Figure 23-7). A snapshot of the scene can then be output as a common fi le type such as a JPEG or TIFF fi l e .

The point of view of the camera can be changed to show renderings from different angles. Each rendering can take several minutes to several hours to generate, depending on the size of the rendering, which is measured in pixels. If a rendering is to be displayed on a computer monitor, then it only needs to be about 100 pixels per inch. If it’s to be printed, then it should be a minimum of 300 pixels per inch. An 8” 10” print, for example, should be 2400 pixels ×3000 pixels, which can take close to an hour to generate on a fast computer. For projects requiring inten- sive rendering there are rendering farms, which, for a fee, allow you to share their 388 LIGHTING DESIGN SOFTWARE

Figure 23-7 A photo-realistic rendering closely approximates the end result of a lighting project. Lighting CAD software often contains a materials library from which materials can be applied to the objects in a 3-D model of the lighting rig, stage, props, and anything else in the venue. (Rendering courtesy of Brad Schiller.)

resources over the Internet. They provide specially built high-speed graphics computers designed to make quick work of rendering. By uploading your fi nished 3-D model, you can have them render it and send you the rendered fi le.

Fly-Throughs

In addition to still life renderings, most rendering software allows you to create a movie, called a fl y-through, with a moving point of view that looks as if you’re fl ying through the set. It allows you to view a photo-realistic video representation of your design from various angles.

Visualization

Visualization software allows you to view a virtual 3-D representation of the entire production, including the venue, stage, set, and lighting, in real time. This type of software uses wireframe cones of light, shaded rendering, or photo-realistic ren- dering to represent lighting projections as well as displaying fog, colored beams, and gobo projections. It allows you to program a console in real time, without having any lighting instruments, in the privacy of your studio, home, or offi ce. Visualization 389

Visualization software can be used for pre-visualization or pre-programming a show before ever setting foot on site. There are also pre-visualization studios across the world that provide facilities and equipment to aid in pre-production with visualization tools. They offer high-speed computers, software, and display devices such as projection or plasma screens in the comfort of a studio. Lighting designers can bring their CAD fi les in on a disc and load them into the computer. Once they’re set up they can begin to program their show by watching live visu- alizations on one or more displays. Most users report that they can program very accurately with only minor position palette touching up once they reach the show site. Using pre-visualization can save a production the cost of renting all of the lighting, truss and power distribution, paying for crew, hotels, airfare, and per diem as well as the cost of renting a rehearsal facility. Some visualization software allows you to import live video feeds and render them in your 3-D model in real time. Some software also allows you to program moving truss and moving set pieces.

Visualization software differs from manufacturer to manufacturer, but the process of visualizing a show is similar. It can usually be accomplished in the following manner:

■ Build a 3-D model

■ I n s e r t l i g h t i n g b l o c k s w i t h a t t r i b u t e s

■ C o n fi gure the automated lighting and dimming channel assignments

■ Patch the console to match the channel assignments in the visualization software

■ Connect the lighting console to the computer with the visualization software

■ Program each scene by watching the visualization software and store the cues in the console

■ When the show is completely programmed it can be saved to disc and taken to rehearsals

■ When on site, adjust the focus positions so that the virtual positions match the real-world positions

■ When the show is played back it will match the visualizer software

Many high-end automated lighting consoles are now packaging visualization software with the console, making it easier and more cost effective to prepare for a show. Meanwhile, the falling price of display technology and computers is making it cheaper and easier to set up a pre-visualization studio. Still, high-end graphics cards and high-end microprocessors will always be among the highest 390 LIGHTING DESIGN SOFTWARE

cost, even as “high-end” is constantly being redefi ned. But the software continues to progress and the capabilities are increasing at a rapid rate. Today’s visualizers are far more realistic than when they were fi rst introduced a decade ago, and there’s no reason to believe they won’t continue to improve.

Off-Line Editors

Many automated lighting consoles now offer off-line editors that emulate the display and hardware of the console ( Figure 23-8 ). These editors can be run on a laptop or desktop computer, and they usually use the same operating system software as the console. They allow a programmer to run the software on a com- puter rather than use the console, connect to a visualizer, and program a show without having to access any equipment. When the show is programmed the data can be saved to a thumb drive or other storage medium, and then transferred to the console for playback.

Many off-line editors can be downloaded and used free of charge. In addition to helping pre-program a show, off-line editors are valuable learning aids for anyone who wants to learn to program a console. Although it’s more time-consuming and challenging to use a keyboard instead of faders, encoders, and buttons, some off- line editors and PC-based console programs allow you to connect programming and playback wings, typically via USB interface, to aid in programming. These wings usually have many of the same faders, encoders, and buttons found on the real console.

Figure 23-8 Flying Pig Systems Hog3PC is an example of PC-based lighting control software that can be used with programming and playback wings. SECTION 9 Automated Lighting Programming This page intentionally left blank CHAPTER 24 Automated Lighting Programming

The best programmers are not marginally better than merely good ones. They are an order of magnitude better, measured by whatever standard; conceptual creativity, speed, ingenuity of design, or problem-solving ability. —Randall E. Stross, author

Programming is one of the most important aspects of automated lighting, and in some cases it’s the most overlooked and misunderstood as well. The difference between a well-programmed and a poorly-programmed system makes a tremen- dous difference in the performance of a lighting system. How many times have you seen an automated lighting system in an amusement park or shopping center on automatic pilot repeating the same few steps every couple of minutes? It’s like watching a Ferrari circle the parking lot.

Automated lighting consoles have evolved into highly specialized and effective tools that help the programmer work very quickly and effectively. Every keystroke saved represents a tremendous amount of time saved over the course of an entire programming session. As trivial as a single keystroke may sound, they add up. Today’s automated lighting consoles are designed to be very keystroke effi cient. In most show environments, programming time is limited and a great deal of work must be done in a very short amount of time, much of it even before setting foot on the job site.

The most powerful consoles require a great deal of study and understanding before the programmer can take full advantage of them. Those programmers who are the best prepared, and who can work quickly and accurately, are in the highest demand and command the highest compensation. Take, for example, two

393 394 AUTOMATED LIGHTING PROGRAMMING

programmers who used to work for Cirque du Soleil in Las Vegas. Arnold Serame and Christian Choi used to practice blindfolded on their consoles and had friendly competitions between themselves to see who could program looks faster. The training eventually led them to the top of the programmers call list and both ended up working for world class lighting designers programming major tours. It pays to learn the craft well.

The Programming Approach

There are a number of automated lighting consoles on the market, each of which has unique features, software, and hardware. The syntax and terminology may vary quite a bit from manufacturer to manufacturer and from model to model, but the approach to programming automated lights is generally the same regard- less of the type of console used. The following steps are routinely used in the programming process ( Figure 24-1 ):

1. P a t c h t h e fi xtures—The console needs to know which fi xtures are connected on the network, how many of each fi xture there are, their starting DMX512 address, and the slot footprint (how many DMX512 slots it uses) for each fi xture. Patching the fi xtures confi gures the channel assignments internally in the console so that fi xtures can be selected correctly by the console operator.

Patch Fixture fixtures library

Configure groups & palettes

Create Add cues using timing groups & info palettes

Play back cues

Figure 24-1 Flow diagram for programming an automated lighting console. The Programming Approach 395

2. C o n fi gure fi xture groups—Fixture groups are usually assigned logically according to fi xture type, function, and/or location, making it quicker and easier to select more than one fi xture at a time in order to program them. For example, you may want to create a fi xture group for all of the wash fi xtures, one for all of the spot fi xtures, a different one for all of the upstage wash fi x- tures, one for all of the stage right wash fi xtures, and so on. Anytime you can grab a group of fi xtures instead of having to individually select them, you can save precious time. 3. C o n fi gure fi xture presets or palettes—Instead of hard coding each and every scene in a show, it’s much more effective to create presets or palettes for color, gobos, focus positions, zoom, etc., and use the presets to program attributes in a cue. Not only is using this method quicker and easier but it’s also quicker and easier to edit and change scenes, because you only have to edit the presets and all of the scenes will be updated automatically. So instead of having to set the value of a parameter each time you program a scene, it helps to take the time in the beginning of a project to create presets for each of the parameters in your lights. 4. C r e a t e c u e s — U s i n g t h e fi xture groups or individual fi xtures, select the fi xtures to be programmed and apply presets for intensity, beam, color, and/or focus. Record the look as a cue and include timing information or edit the cues later on to add timing. Depending on the type of show, the cues might be saved or stored as a playback or executor that can be recalled with a fader or button, or it might be stored in a stack to be played back in sequential order. If the show requires the operator to create scenes on the fl y, as in a music festival setting, then each play- back or executor might contain only beam, color, or focus information. By select- ing fi xtures and applying a combination of beam, color, and focus information, then a unique scene can be created. If the show requires the operator to play back scenes in the exact sequence each time, as in a theatrical production or a music show, then each cue would contain all of the beam, color, and focus information when it’s played back in sequence. The timing for each parameter is usually pro- grammed into each scene as well so that it fades in and out properly. 5. Apply effects—If a particular effect is called for, such as a ballyhoo or a chase, then most consoles have an effects generator that can be used to create unique effects. They typically start with a waveform and the operator selects the parameters to be applied to the waveform and adjusts the timing and sequencing. 6. Play back cues—Depending on the show, cues can be played back sequentially or created on the fl y using basic looks and movement that can be combined a n d a l t e r e d .

But before any programming takes place, you should make sure you’re fully pre- pared to begin a new project. 396 AUTOMATED LIGHTING PROGRAMMING

Pre-Show Preparation

Even before showing up at the show site, there’s a certain amount of pre-show preparation. The best programmers gather as much information as possible about the show beforehand so they can make the most of their precious programming time. Programming time is normally expensive and often includes lighting equip- ment rental, facilities rental, and crew labor. By preparing properly you can help manage costs, prevent budget overruns, and ensure the fi nancial success of the project, which can ultimately lead to more programming work in the future.

Before undertaking a new project, speak to the lighting designer or the party responsible and fi nd out as much as you can about what’s expected of you as a programmer as well as the programming. You should know, to the extent pos- sible, the expectations of the lighting as a result of your programming, including the all-important question: “How do you know when you’re fi nished?” Is the success of the programming session measured in time, number of songs, number of cues, or some other measure? If there are any benchmarks you should know what they are.

Once you have a good idea of the parameters of the project, set about gathering all the materials necessary for the project. This includes a light plot that indicates the numbers and types of fi xtures as well as their locations, the DMX512 protocol for each type of automated fi xture, the user manuals for the automated lighting, dimmer packs (if there’s also conventional lighting) and the console, and any music needed for preparation or programming. If you have a laptop, it’s a good idea to load all the fi les associated with the project and the equipment (including user manuals for the console, fi xtures, and dimmers), the latest software upgrades for the console, and the fi xture profi les for every fi xture in the rig (console spe- cifi c), and have them readily accessible. Normally, these include AutoCAD (or some variation thereof) and Adobe Acrobat fi les, so you should have a DWG reader and a PDF reader.

In addition, you should also prepare and/or pack any items necessary to test the system, focus it, and program the console. Those items might include:

■ A portable sound system (MP3, CD player, etc.) to play back recorded mate- rial to time your cues. You should also have a pair of headphones, not only to hear your music when you’re programming, but also to block out external noise. Noise-cancelling headphones are great for programming to a music track while the audio crew is tuning the sound system, which is a very loud and distracting procedure.

■ A laptop computer to reference light plots, user manuals, important phone numbers, and to take notes. Having Internet access is highly recommended, Pre-Show Preparation 397

and many show sites have Wi-Fi set up especially for the crew. You can increase your odds of being connected by outfi tting your laptop with a satel- lite Internet card.

■ T h u m b d r i v e , fl oppy discs, or the appropriate backup medium for your console.

■ If you’re also planning to focus the lights, a good light meter can help, espe- cially if video is involved. When the video crew questions the light level on stage (as they sometimes do), then you can give them reassurance with confi dence by using a light meter.

■ A DMX512 tester often comes in handy, especially if it’s a small lighting crew with a few lighting techs. An ohmmeter or digital multi-meter is a great tool for general troubleshooting, but it isn’t appropriate for troubleshooting DMX512 networks. A continuity tester uses DC to test for continuity and it may indicate that a connection is fine when in fact it doesn’t work properly with high-speed digital signals because of high capacitance or other issues. A DMX512 tester such as the Swisson X-MT-120, Doug Fleenor Designs Gizmo, or Goddard Design Lil’ DMXter or the DMXter4 RDM make excellent troubleshooting tools and program- ming aids.

■ Some DMX512 terminators in case the system wasn’t terminated correctly. You should have both 5- and 3-pin terminators or turnarounds to be pre- pared for any situation.

■ 5- to 3-pin adaptors or turnarounds in case you get to the show site and fi nd that the console hasn’t been set up and it doesn’t mate with the automated lighting control cable. 5-pin is the most common console DMX512 output connector, but 3-pin DMX512 connectors are still used in many automated lighting fi xtures.

■ At least one good DMX512 cable in case there’s a data connection problem. If you ever have a question about the integrity of a DMX512 connection, temporarily bypass the existing cable and use a known good one. A medium- length cable, about 25’, is usually suffi cient if the console can be moved. Otherwise, you should have a 50 or 100’ data cable.

■ A Sharpie to mark cables, notes, etc. You might be surprised how often it comes in handy.

■ Note paper to make programming notes along the way.

■ An adjustable wrench to refocus or move lights. It’s also a good idea to keep it on a lanyard to secure it to your person, especially when you might be working on the truss or in a lift. Hint: A dual 5/8” and 3/8” ratcheted box-end wrench works well for tightening cast iron c-clamps. The 5/8” end fi ts the truss bolt and the 3/8” end fi ts the set screw. 398 AUTOMATED LIGHTING PROGRAMMING

■ A fl ashlight to check settings and connections under counters, in the back of racks, and elsewhere.

■ A good pair of gloves to handle and refocus hot lights.

■ Lastly, before you leave for the job make sure you have a list of important phone numbers including show contacts and tech support contacts. Having a contact to fall back on in case of technical problems or programming support is always a good idea.

It’s also very important to consider the ergonomics of the chair, console, and monitor(s) in the system (Figure 24-2). A programmer often spends hours upon hours behind a console and small issues with ergonomics can develop into major problems. Your chair should provide lumbar support and the monitors should be eye level. The console should be accessible without having to reach too far, and during the programming session, the programming portion of the console (as opposed to the playback portion) should be closest to you while you’re program- ming and vice versa during the show when you’re mostly playing back. The keyboard and mouse should be within arm’s reach, especially if they’re used often. Some programmers go as far as to buy their own chair and include it in the truck pack. If you have ever suffered with back pain then you’ll appreciate the importance of good ergonomics. If you’ve been fortunate enough to avoid such problems, take care to protect yourself from them in the future. As you age, this will become a more serious issue.

Display at arm’s length 15 to 30 degrees below line of sight

Horizontal forearms Straight wrists Straight back

90 Degree knee angle Lumbar support

Feet flat on floor Adjustable chair

Figure 24-2 An ergonomically correct front of house (FOH) is very important for the long-term health of a programmer. Backing Up 399

Pre-Visualization and Off-Line Editing

If you have access to a pre-visualization program like WYSIWYG, ESP, or LD Assistant and an off-line editor or full console, then you can do much of the programming before arriving on the show site, provided you have the plot ( Figure 24-3 ). If you don’t, you can still do a certain amount of prep work beforehand by using an off-line editor. Many consoles have off-line editors that allow you to do certain housekeeping tasks such as patching fi xtures and pro- gramming fi xtures groups and palettes or presets beforehand. An off-line editor is the console software without the associated hardware. It can be installed and operated on a laptop or desktop computer as long as it meets certain minimum hardware requirements. The requirements for most off-line editors are minimal and most computers can handle them with no problems. Off-line editors can be used to create, modify, and save shows on disc.

Backing Up

You can save yourself from considerable agony and distress by adhering to one simple and easy-to-follow rule of programming—back up early and often. Countless hours of programming have been lost because the programmer didn’t

Figure 24-3 An off-line editor used in conjunction with a visualizer allows a show to be programmed virtually without the use of any of the actual gear. The fi nal product will be very accurate although the preset focus position will more than likely have to be adjusted on site. 400 AUTOMATED LIGHTING PROGRAMMING follow this simple rule. Before starting any show, you should be ready to create fi ve or six fi les and label them “(show name) A” through “(show name) F.”

If the console has a USB port you can plug in a small external drive or use a thumb drive. If it uses fl oppy discs then you should have fi ve or six fl oppies and mark them with a Sharpie with the show name and the letters A through F. The fi rst order of business before starting to program should be to create your fi rst backup and label it “(show name) A.” Then place it on the bottom of the stack (if it’s a fl oppy disc). As you progress through the programming session you should pause every ten or fi fteen minutes to back up your work. Each successive backup should be stored on the next letter in the alphabet and it should go to the bottom of the pile. Continue in this manner until all the letters are used. At that point you can recycle the used fl oppies (or fi les) and store new backups over the old, maintain- ing the same order.

The purpose of using this progressive backup system is to retain the ability to revert to old backups in case you make a mistake. There are times when you might overwrite important information without knowing it until you’ve already backed up your show several times. If you only use one backup fi le then the information is lost as soon as you write over it. On the other hand, if you have several backups, then you can revert to an older one to restore the lost information.

The importance of developing good backup habits can’t be overemphasized. If you get in the habit of backing up early and often, it will certainly pay off at some point in your career.

On-Site Preparation

When you show up on the show site, you should make sure that you have drink- ing water and perhaps some snacks to fend off hunger between meals. Nutrition bars make good portable snacks that can occasionally substitute for a full meal.

The fi rst order of business is to ring out the system and check that every compo- nent of the lighting system is working properly. To do that, the console should be patched correctly. If you have prepared the patch ahead of time, this will also serve to check the patch.

To ring out the system, turn on the console, load the show, and look at the patch in the Setup menu to confi rm that it’s patched correctly. Then strike all the lamps and confi rm they’re on by selecting each fi xture one at a time and bringing the intensity to full. If there’s a Highlight feature in the console it will help speed up this process. Check to make sure there’s light coming from the fi xture and that The Linear Fader Model versus the Real World Model 401

Table 24-1 The real world model of lighting control uses parameters with real-world units of measure. Parameter Units Example Intensity Percentage 0–100% Pan Degrees 270°/270° Tilt Degrees 135°/135° Zoom Degrees 824° Color Name Red, green, blue, etc. Gobos Name Sun, moon, stars, etc. Gobo indexing Degrees 0°360° Gobo rotation RPM 015 RPM Iris Percentage 0100% Strobe FPM 012 FPM Time Seconds 0999 seconds

one and only one fi xture comes on at one time. Unless the light plot calls for doubling circuits or DMX512 addresses, then there should be a one-to-one rela- tionship between the control channels and the luminaires. If two lights come on at once, then the electrician patched the dimmers incorrectly, the DMX512 addresses were set incorrectly, or the console was patched incorrectly. Before you raise the issue with the electricians or automated lighting techs, make sure the fault isn’t in the console patching!

The Linear Fader Model versus the Real World Model

In the early days of automated lighting, console design and implementation was heavily channel-oriented. If you wanted to control an attribute such as a focus position or the speed of a rotating gobo, there was a channel for it. It’s a paradigm borne from the analog model of control using a multi-fader console. But after years of experience, programmers and console designers are realizing that a fader that varies linearly from 0 to 255, as in DMX512, or from 0 to 100% may not the best way to control some attributes. It’s fi ne for attributes such as intensity; everybody understands what is meant by 50% intensity. But for other attributes such as color, it makes little sense. After all, what is the meaning of 50% color? The fact is, the linear fader channel model requires human interpretation to decipher what is meant by 50% color. We have to know to which fi xture we’re referring and then we need a roadmap to tell us what color the beam will be if we set the value of color fader to 50%. 402 AUTOMATED LIGHTING PROGRAMMING

In the real-world model of the console, design and implementation is less control channel oriented and more fi xture attribute oriented. The control mechanism tied to a fi xture attribute, either temporarily by the use of soft buttons or permanently by the use of faders, encoders, buttons, etc., is now confi gured and presented in real-world values that require no interpretation, deciphering, or lookup tables. Instead of adjusting a fader until it reaches the DMX512 value of the color we’re looking for, we now select from a list of colors corresponding to the color using a color picker or a graphic representation of the actual color. Instead of assigning a channel to every attribute of a luminaire and then subdividing that control channel to modify its use, the control surface is designed around the tasks to be performed, and the logic in the console is left to decipher the channel assignments.

In the old model, pan and tilt were in percentages; in the new model they’re in degrees. In the old model, zoom was in percentage; in the new model zoom is in degrees of beam or fi eld angle. And so on.

With the advent of Remote Device Management (RDM) and Architecture for Control Networks (ACN), consoles can now discover how many lights and DMX512 devices are plugged into the data network, what type of lights they are, which attributes they have, and the capability of each attribute. The system is virtually “plug and play.” Much of the work setting up palettes can be automated by the console using the bi-directional communication link between the console and the luminaire.

Patching Fixtures

In the early days of lighting consoles, the outputs were hard-wired and had to be physically connected to the dimmers using patch cords and patch bays. Today, the terminology is still used but consoles are new “soft” patched.

If you have a plot of the show ahead of time, you can use it to patch the console using an off-line editor or on the real console. Patching fi xtures ahead of time helps make more effi cient use of programming time on the show site. If you’re using an off-line editor then the chances are good that it has a fi xture library to help make patching the show quicker and easier. If the fi xtures are new and they aren’t in the fi xture library, then you might have to create one from scratch using the fi xture protocol (the function of each channel in an automated luminaire; e.g., channel 1 = pan, channel 2 = tilt, etc.) provided by the manufacturer. The protocol can usually be found on the manufacturer’s Web site and in the user manual.

Patching fi xtures is typically done in a Setup menu where the fi xture library resides. When you go into the Setup menu you can select the types and numbers of fi xtures in your rig and then assign the DMX512 address to each one as shown Patching Fixtures 403 on the light plot. Automated luminaires use several control channels or slots, one (or sometimes two, as in the case of 16-bit parameters such as pan and tilt) for each of its parameters (Figure 24-4). The patch normally includes the starting DMX512 address only and most of the time the console knows how many slots a fi xtures uses and it will skip the correct number of slots before assigning the DMX512 address for the next fi xture. When you patch the next fi xture or group of fi xtures and you accidentally overlap DMX512 addresses, the console will very often reject your patch assignment and give you an error message.

If the console doesn’t have your fi xture in its library and you have to create a fi xture profi le, it’s typically done in the Setup menu. You can usually add a new fi xture or edit an existing one to assign the correct slot to each parameter in the light.

Once the console has been properly patched, you should be able to take control of each fi xture individually. You can test your patch by selecting all the fi xtures one at a time and giving it a command that can be visually confi rmed. For example, bring the intensity to full to confi rm that you have control of the correct fi xture, which confi rms that the fi xture is patched to the console and it’s addressed correctly.

ColorSpot 700E AT - DMX Protocol - version 1.3

Mode/Channel Type of Value Function control 123456 Pan 11112610 - 255 proportional Pan movement by 530° Pan Fine 222227-0 - 255 proportional Fine control of pan movement Tilt 33332820 - 255 proportional Tilt movement by 280° Tilt fine 444429-0 - 255 proportional Fine control of tilt movement Pan/Tilt speed, Pan/Tilt time 0 Max. speed (tracking mode) step P./T. speed - set Speed Mode in menu: Pan/Tilt Mode 55553031 - 255 Speed from max. to min. (vector mode) proportional P./T. time - set Time Mode in menu: Pan/Tilt Mode 1 - 255 Time from 0.1 s to 25.5 s. proportional Power/Special functions 0 - 49 Reserved To activate following functions, stop in DMX value for at least 3 s and shutter must be closed at least 6666314 3 s. (“Shutter, Strobe” channel 34 (27) must be at range: 0-31 DMX). Corresponding menu items are temporarily overriden). 50 - 59 Pan/Tilt speed mode step

Figure 24-4 An automated luminaire uses several DMX512 channels for control of all of its parameters. Mode/Channel Type of Value Function control 123456 60 - 69 Pan/Tilt time mode step 70 - 79 Blackout while pan/tilt moving step 80 - 89 Disabled blackout while pan/tilt moving step 90 - 99 Blackout while colour wheel moving step 100 - 109 Disabled blackout while colour wheel moving step 110 - 119 Blackout while gobo wheel moving step 120 - 129 Disabled blackout while gobo wheel moving step To activate following functions, stop in DMX value for at least 3 s. 130 - 139 Lamp On, reset(total reset except pan/tilt reset) step 6666314 140 - 149 Pan/Tilt reset step 150 - 159 Colour system reset step 160 - 169 Gobo wheels reset step 170 - 179 Dimmer/strobe reset step 180 - 189 Zoom/focus/animation wheel reset step 190 - 199 Iris/prism reset step 200 - 209 Total reset step 210 - 229 Reserved step 230 - 239 Lamp Off 240 - 255 Reserved step Pan/Tilt macro selection 0 - 9 Disabled pan/tilt macro step 10 - 31 Reserved step 32 - 63 Figure of circle (from small to large) proportional 64 - 95 Figure of horizontal eight (from small to large) proportional 77---- 96 - 127 Figure of vertical eight (from small to large) proportional 128 - 159 Figure of rectangle (from small to large) proportional 160 - 191 Figure of triangle (from small to large) proportional 192 - 223 Figure of star (from small to large) proportional 224 - 255 Figure of cross (from small to large) proportional Pan/Tilt macro speed (Set pan/tilt speed (channel 5) at 0) 0 No macro generation step 88---- 1 - 127 Macro generation from fast to slow-forwards proportional 128 - 129 No macro generation step 130 - 255 Macro generation from slow to fast-backwards proportional Colour wheel Continual positioning 0 Open/white proportional 16 Deep red proportional 32 Deep blue proportional 48 Orange proportional 64 Green proportional 80 Light red proportional 9977105 96 Amber proportional 112 UV filter proportional 128 - 129 White proportional Positioning 130 - 137 Deep red step 138 - 145 Deep blue step 146 - 153 Orange step 154 - 163 Green step 164 - 171 Light red step

Figure 24-4 (Continued) Mode/Channel Type of Value Function 123456 control 172 - 181 Amber step 182 - 189 UV filter step 190 - 215 Forwards rainbow effect from fast to slow proportional 216 - 217 No rotation step 9977105 218 - 243 Backwards rainbow effect from slow to fast proportional 244 - 249 Random colour selection by audio control step (Set microphone sensitivity in menu “Personality”) 250 - 255 Auto random colour selection from fast to slow proportional Colour wheel - fine positioning 11 - 8 - 11 - 0 - 255 Fine positioning proportional Cyan 11109846 0 - 255 Cyan (0-white, 255-full cyan) proportional Magenta 121110967 0 - 255 Magenta (0-white, 255-full magenta) proportional Yellow 13 12 11 10 8 8 0 - 255 Yellow (0-white, 255-full yellow) proportional CTO filter 14 13 12 11 - 9 0 - 255 (0-6000K, 255-3200K) proportional CMY colour macros 0 - 7 No function step 8 - 15 Macro 1 step 16 - 23 Macro 2 step 24 - 31 Macro 3 step 32 - 39 Macro 4 step 40 - 47 Macro 5 step 48 - 55 Macro 6 step 56 - 63 Macro 7 step 64 - 71 Macro 8 step 72 - 79 Macro 9 step 80 - 87 Macro 10 step 88 - 95 Macro 11 step 96 - 103 Macro 12 step 104 - 111 Macro 13 step 112 - 119 Macro 14 step 15 14 13 12 16 10 120 - 127 Macro 15 step 128 - 135 Macro 16 step 136 - 143 Macro 17 step 144 - 151 Macro 18 step 152 - 159 Macro 19 step 160 - 167 Macro 20 step 168 - 175 Macro 21 step 176 - 183 Macro 22 step 184 - 191 Macro 23 step 192 - 199 Macro 24 step 200 - 207 Macro 25 step 208 - 215 Macro 26 step 216 - 223 Macro 27 step 224 - 231 Macro 28 step 232 - 239 Macro 29 step 240 - 243 Macro 30 - Random rainbow effect from fast to slow proportional

Figure 24-4 (Continued) Mode/Channel Type of Value Function 123456 control 244 - 249 Random macro selection by audio control step 15 14 13 12 16 10 (Set microphone sensitivity in menu “PErS”) 250 - 255 Auto random macro selection from fast to slow proportional Speed of CMY and CTO filter 16 15 14 13 - 11 0 - 255 Speed from max. to min. proportional Animation wheel 0 - 31 Open step 32 - 47 Horizontal indexed position-set indexing on channel step 18 (17) 48 - 63 Vertical indexed position-set indexing on channel step 18 (17) 64 - 79 Cont.rotation,horizon. position-set speed on channel step 18 (17) 17 16 15 14 17 12 80 - 95 Cont.rotation,vertical. position-set speed on channel step 18 (17) 96 - 111 Horizontal pulse effects-set speed on channel 18 (17) step 112 - 127 Vertical pulse effects-set speed on channel 18 (17) step 128 - 191 Indexed angle position from horizont. to vertic. with step indexing (set indexing on channel 18 (17)) 192 - 255 Indexed angle position from vertic. to horizont. with step rotation (set rotation on channel 18 (17)) Animation wheel rotation and indexing Rotation of animation wheel 0 No rotation step 1 - 127 Forward rotation from fast to slow proportional 128 - 129 No rotation step 18 17 16 15 18 13 130 - 255 Backward rotation from slow to fast proportional Indexing of animation wheel 0 - 255 Indexed angle proportional Speed of pulse offects 0 - 255 From fast to slow proportional Static gobo wheel Continual Positioning In range 0-64 DMX is possible fine gobo positioning - set value on channel 20 0 Open/hole proportional 7 Gobo 1 proportional 13 Gobo 2 proportional 19 Gobo 3 proportional 26 Gobo 4 proportional 32 Gobo 5 proportional 19 18 17 16 15 14 39 Gobo 6 proportional 45 Gobo 7 proportional 51 Gobo 8 proportional 58 Gobo 9 proportional 64 Open/hole proportional Positioning 65 - 69 Gobo 1 step 70 - 74 Gobo 2 step 75 - 79 Gobo 3 step 80 - 84 Gobo 4 step 85 - 89 Gobo 5 step

Figure 24-4 (Continued) Mode/Channel Type of Value Function 123456 control 90 - 94 Gobo 6 step 95 - 99 Gobo 7 step 100 - 104 Gobo 8 step 105 - 109 Gobo 9 step Shaking gobos from slow to fast 110 - 119 Gobo 1 proportional 120 - 129 Gobo 2 proportional 130 - 139 Gobo 3 proportional 140 - 149 Gobo 4 proportional 150 - 159 Gobo 5 proportional 160 - 169 Gobo 6 proportional 19 18 17 16 15 14 170 - 179 Gobo 7 proportional 180 - 189 Gobo 8 proportional 190 - 199 Gobo 9 proportional 200 - 201 Open/hole 202 - 221 Forwards gobo wheel rotation from fast to slow proportional 222 - 223 No rotation 224 - 243 Backwards gobo wheel rotation from slow proportional to fast 244 - 249 Random gobo selection by audio control step (Set microphone sensitivity in menu “Personality”) 250 - 255 Auto random gobo selection from fast to slow proportional Fine static gobo wheel 20-18--- 0 - 255 Fine positioning proportional Rotating gobo wheel Index - set indexing on channel 22 (20) 0 - 3 Open/hole step 4 - 7 Gobo 1 step 8 - 11 Gobo 2 step 12 - 15 Gobo 3 step 16 - 19 Gobo 4 step 20 - 23 Gobo 5 step 24 - 27 Gobo 6 step 28 - 31 Gobo 7 step Rotation - set rotation on channel 22(20) 32 - 35 Gobo 1 step 36 - 39 Gobo 2 step 21 19 19 17 12 15 40 - 43 Gobo 3 step 42 - 47 Gobo 4 step 48 - 51 Gobo 5 step 52 - 55 Gobo 6 step 56 - 59 Gobo 7 step Shaking gobo from slow to fast Index - set indexing on channel 22 (20) 60 - 69 Gobo 1 proportional 70 - 79 Gobo 2 proportional 80 - 89 Gobo 3 proportional 90 - 99 Gobo 4 proportional 100 - 109 Gobo 5 proportional 110 - 119 Gobo 6 proportional 120 - 129 Gobo 7 proportional

Figure 24-4 (Continued) Mode/Channel Type of Value Function 123456 control Shaking gobo from slow to fast Rotation - set rotation on channel 22 (20) 130 - 139 Gobo 1 proportional 140 - 149 Gobo 2 proportional 150 - 159 Gobo 3 proportional 160 - 169 Gobo 4 proportional 170 - 179 Gobo 5 proportional 180 - 189 Gobo 6 proportional 21 19 19 17 12 15 190 - 199 Gobo 7 proportional 200 - 201 Open/hole step 202 - 221 Forwards gobo wheel rotation from fast to slow proportional 222 - 223 No rotation step 224 - 243 Backwards gobo wheel rotation from slow to fast proportional 244 - 249 Random gobo selection by audio control (Set step microphone sensitivity in menu “Personality”) 250 - 255 Auto random gobo selection from fast to slow proportional Rot. gobo indexing and rotation Gobo indexing - set position on channel 21 (19) 0 - 255 Gobo indexing proportional Gobo rotation - set position on channel 21 (19) 22 20 20 18 13 16 0 No rotation step 1 - 127 Forwards gobo rotation from fast to slow proportional 128 - 129 No rotation step 130 - 255 Backwards gobo rotation from slow to fast proportional Gobo fi ne indexing 23 - 21 - 14 - 0 - 255 Fine indexing proportional Prism 0 - 19 Open position (hole) step 20 - 127 3-facet rotating prism step 128 - 255 Prism/gobo macros 128 - 135 Macro 1 step 136 - 143 Macro 2 step 144 - 151 Macro 3 step 152 - 159 Macro 4 step 160 - 167 Macro 5 step 168 - 175 Macro 6 step 24 21 22 19 19 17 176 - 183 Macro 7 step 184 - 191 Macro 8 step 192 - 199 Macro 9 step 200 - 207 Macro 10 step 208 - 215 Macro 11 step 216 - 223 Macro 12 step 224 - 231 Macro 13 step 232 - 239 Macro 14 step 240 - 247 Macro 15 step 248 - 255 Macro 16 step Prism rotation 0 No rotation step 25 22 23 20 - 18 1 - 127 Forwards rotation from fast to slow proportional proportional 128 - 129 No rotation step 130 - 255 Backwards rotation from slow to fast proportional Frost 26 23 24 21 - 19 0 Open step 1 - 179 Frost from 0% to 100% proportional

Figure 24-4 (Continued) Mode/Channel Type of Value Function 123456 control 180 - 189 100% frost step 190 - 211 Pulse closing from slow to fast proportional 26 23 24 21 - 19 212 - 233 Pulse opening from fast to slow proportional 234 - 255 Ramping from fast to slow proportional Frost fi ne 27-25--- 0 - 255 Smooth frosting proportional Iris 0 Open step 1 - 179 From max.diameter to min.diameter proportional 180 - 191 Closed step Pulse effects with Iris blackout: 28 24 26 22 20 20 192 - 219 Pulse opening from slow to fast proportional 220 - 247 Pulse closing from fast to slow proportional 248 - 249 Random pulse opening (fast) step 250 - 251 Random pulse opening (slow) step 252 - 253 Random pulse closing (fast) step 254 - 255 Random pulse closing (slow) step Iris fi ne 29 - 27 - 21 - 0 - 255 Iris fi ne proportional Zoom 30 25 28 23 24 21 0 - 255 Zoom from max. to min.beam angle proportional Zoom fi ne 31 - 29 - 25 - 0 - 255 Zoom fi ne proportional Focus 32 26 30 24 22 22 0 - 255 Continuous adjustment from far to near proportional Focus fi ne 33-31-23- 0 - 255 Focus fi ne proportional Shutter, strobe 0 - 31 Shutter closed, Lamp power reduced to 350 W step (after 10 s*) 32 - 63 Shutter open, Full lamp power step 64 - 95 Strobe-effect from slow to fast (max.12 fl ashes/s) proportional 96 - 127 Shutter open, Lamp power reduced to 350 W step 34 27 32 25 1 23 128 - 143 Opening pulse in sequences from slow to fast proportional 144 - 159 Closing pulse in sequences from fast to slow proportional 160 - 191 Shutter open, Electronic strobing “ZAP” from proportional slow to fast (from 7 to 33 fl ashes/s) 192 - 223 Random strobe-effect from slow to fast proportional 224 - 255 Shutter open, Full lamp power step Dimmer intensity 35 28 33 26 2 24 0 - 255 Dimmer intensity from 0% to 100% (In range of proportional 0-8 DMX, lamp power reduced to 350 W) Fine dimmer intensity 36 - 34 - 3 - 0 - 255 Dimmer intensity fi ne proportional ----5- No function ----7- No function ----9- No function * 10s=default time delay, this value can be changed by “Lamp Low Power Delay” menu. Figure 24-4 (Continued) 410 AUTOMATED LIGHTING PROGRAMMING

Figure 24-5 The highlight button on a console identifi es one fi xture in a group by bringing it to full intensity. The next fi xture in the group can be highlighted by the press of a single button, saving time during focus.

Highlight

To make this quicker and easier, many automated lighting consoles have a Highlight feature, which allows you to select a group of fi xtures and bring them to full intensity one at a time with the press of a single button ( Figure 24-5 ). That saves time by negating the need to select each fi xture individually, bring it to full intensity, clear it, and move to the next fi xture. The Highlight feature makes it very easy to select all the lights in the rig and step through them one at a time to check if they’re all working properly and they’re patched and addressed correctly.

Preparing Fixture Groups

One of the ways a programmer can save time is to organize groups of fi xtures and record them in the console as a fi xture group. Without fi xture groups you have to remember how the fi xtures are arranged in a rig and their respective DMX512 addresses or unit numbers to select them. For example, if there are eight auto- mated lights on the upstage electric and you want to change their color, you would have to select each one individually or select them as a range of fi xtures before you could change their color. In either case you would have to remember the unit numbers of each of those eight fi xtures or on some consoles you would have to remember their starting DMX512 addresses. In a Wholehog console, the syntax would be:

1. Press the Group button until it toggles to the automated lighting fi xture type in question 2. Type “1 THRU 8” and then the Enter key Preparing Palettes or Presets 411

Selecting the fi xtures individually with the above syntax requires at least six button presses. If you take the time to record the eight automated lights on the upstage electric as a fi xture group ahead of time, then the same task can be accom- plished with one button press. The syntax for recording a fi xture group involves selecting the desired fi xtures individually and recording them to a Group button.

Taking the time to organize the plot in logical fi xture groups and then actually recording them takes extra time on the front end of a production, but it saves much more time in the long run. It’s also imperative for “busking” or live play- back. (See the section on Busking.)

Preparing Palettes or Presets

A painter uses a palette to pre-mix pigments before applying them to a canvas. An automated lighting programmer uses a palette the same way, except the palette is memory in software and it can be used to pre-mix colors, beams, and more.

A palette or preset is a user-programmable memory location that stores the value of a parameter (or parameters) of a fi xture for later use (Figure 24-6). It’s similar to a lookup table for a parameter recorded in a cue. When a cue is recorded with a palette, it references a specifi c location in the lookup table and uses that value

Figure 24-6 Palettes are similar to a lookup table used by a cue to obtain a value for a parameter. If the lookup table is updated, then each cue is automatically updated as well. 412 AUTOMATED LIGHTING PROGRAMMING for the parameter. The advantage of using a preset as opposed to hard coding each and every cue is that, after a parameter is recorded in a preset, it can be called up quickly and easily with the press of one button. That speeds programming every time the same value needs to be called up and recorded. For example, if you select all the CMY color wash fi xtures and create a color with 78% cyan, 43% magenta, and 0% yellow, you can then record that color to the color palette and label it, say, Moon Blue. Then you can duplicate that color again at any time by selecting any of those CMY color wash fi xtures and pressing the color palette button labeled Moon Blue.

Another major advantage of using palettes is that if a universal change in a param- eter is required, then the change can be made in the palette rather than in every instance of it in every cue. It can be a huge time-saver. For example, if you later decide that you don’t like the Moon Blue and you want to change it to Congo Blue, then you can simply call up the wash fi xtures, create a new color with 100% cyan, 85% magenta, and 0% yellow, then record that color over the Moon Blue color in the color palette and change the label to read Congo Blue. Then every cue that references that color will automatically be updated.

Preset Focus Positions

Another common example has to do with the position palette. All of the positions on the stage are usually recorded as a position preset. If there’s a podium on stage, for example, then it’s usually one of the positions recorded in a palette. Without the use of position palettes, every single cue using the podium position would require the programmer to select a fi xture, take control of pan and tilt, and change their values until they focus on the podium. Depending on the skill of the pro- grammer, it can take several seconds or a few minutes to position the beam accu- rately. On the other hand, if the position is recorded as a preset focus position the fi rst time, then it can be repeated with the press of one button. If the stage position of the podium is changed, then the palette can be updated and each cue that refers to that palette will automatically be updated as well.

Palettes can be used for almost any parameter in an automated light. The termi- nology among various consoles differs; they can be called a preset, palette, or memory, but the function is identical.

Some common preset focus positions include downstage center, one for each band member (if it’s a music show), upstage center, stage left, stage right, a fl y-out posi- tion (all beams focused out in the house and up high), and a fl y-in position (all beams focused down). In addition, you might consider adding some symmetrical and asymmetrical aerial beam focuses to create some interesting beam sculptures using fl oor fi xtures and fl own fi x t u r e s ( F i g u r e 2 4 - 7 ) . Program Blocking 413

Figure 24-7 Aerial beams add texture to a show.

Program Blocking

If you have any collateral material such as a script, recorded or printed music, or a program schedule, then you can prepare in advance by blocking, or diagram- ming, each segment of the show. Your blocking can include diagramming a song to notate the intro, verses, chorus, bridge, and outro, or it could be more high-level blocking such as transitions from speaker to speaker in the case of a corporate 414 AUTOMATED LIGHTING PROGRAMMING event. If a music show is to be programmed, then you should listen to the music as much as possible, memorize every nuance of the songs, and block them for reference during programming. If it’s a script then you should read it over until you’re very familiar with it. Be prepared when you sit down to program.

Tracking

One of the trickiest concepts for new automated lighting programmers to grasp is a tracking console. Unless you pay close attention to the way a tracking console is programmed, then you may not understand why a cue doesn’t execute as it was intended if it’s called out of sequence. That’s because a tracking console only stores changes of attributes in a cue. The state of every unchanged parameter in a cue isn’t recorded. This is a much more effi cient way for the console to store data because it uses less memory and makes the show fi le much smaller and more effi cient.

For example, suppose cue 1.0 is an open spot with no color, cue 2.0 changes the color to blue, and cue 3.0 adds a gobo. Then when the cues are executed in sequen- tial order the spot will change from no color to blue and then to blue with a gobo. However, if the cues are played back out of order from, say, cue 1.0 to 3.0 to 2.0 to 1.0, then the spot will go from no color to no color with a gobo, to blue with a gobo, and then to blue spot with no gobo. That’s completely different from the way the original cues were recorded because only those parameters changed in each cue were recorded while those unchanged tracked through from cue to cue ( Figure 24-8 ).

Tracking is very useful for busking or operating lights on the fl y. It gives you the ability to create a look and then modify one aspect of it to create a new cue without changing the entire cue. You could call up a cue with an upstage wash and then change the color without changing any other parameter. Or you could call up a look with gobos projecting on a cyc and then change the gobos, colors, zoom, focus, or any other parameter you want.

Cue # Intensity Focus Color Gobo Zoom Iris Strobe 1 Full DSC Open Open 50% Open 0 2 – –Blue–– – – 3–––#3–––

Figure 24-8 A tracking console only records those attributes in a cue that have changed since the last cue. All other attributes track through to the next cue. Laying Out the Cues on the Console 415

On the other hand, tracking can cause problems if you expect certain looks to appear at certain times. For example, if you modify a cue by adding strobing and then go to another cue in which you don’t want strobing, the shutter function will track through unless it’s hard coded with an open shutter. It can be very frustrat- ing when you don’t get the results you expect and only by paying close attention can you prevent these things from happening.

The alternative to a tracking console is a preset console, in which each cue records the state of the entire console. Most automated consoles are tracking consoles, or at least they offer the choice of programming in tracking mode or in preset mode. Before you begin programming, you should understand the difference between the two programming philosophies and make sure your console is in the mode you want to use.

Precedence

Conventional consoles typically operate on a Highest Takes Precedence (HTP) basis. That means if two cues are running concurrently and both are sending an intensity level to the same channel, the channel with the highest intensity wins.

Automated lighting consoles, on the other hand, typically operate on a Latest Takes Precedence (LTP) basis. In an LTP console, if two cues are running concur- rently and both are sending a value to the same channel, then the value that was sent last takes precedence. The logic is that in an automated light, the majority of the parameters have no one value that’s more important than any other. For example, blue is no more important than red, and a wide zoom is no more impor- tant than a narrow zoom. Therefore, the last setting takes priority.

Laying Out the Cues on the Console

As you’re contemplating programming a show, think about how you want to arrange the cues on the console. They can be arranged in various ways according to what you think might be the most logical method of playback. This is where a great deal of fl exibility and personal taste factors in. While some automated lighting operators like to have all of the cues arranged in one stack to be played back in order by pressing the Go button, others like to spread the cues across several playback or executor faders so they can be more hands-on with the play- back or executor. You may also choose to stack all of the cues for one song on one playback or executor fader and use one page of playbacks or executors for the entire show (Figure 24-9), while others may choose to put each song on a different page. 416 AUTOMATED LIGHTING PROGRAMMING

Figure 24-9 These playbacks are arranged so that every song has its own playback fader or executor fader.

The program material may lend itself to one method or another. For example, a theatrical production normally takes place in the exact same sequence day after day, week after week, with little or no variation except for timing. A production like this lends itself to a stack with the cues arranged in the order in which they will be played back. On the other hand, a live band might rearrange their set list every night. In that case, a single stack with every cue in the show would be next to worthless. It would make much better sense to arrange them by songs and have the ability to call up a song quickly. The organization of cues for playback is a matter of personal preference and a bit of experimentation will help you fi nd what works best for you.

Programming Cues

You’re ready to begin programming after you’ve prepared properly and set up your building blocks including fi xture groups and presets or palettes. The cre- ation of a cue is as simple as creating a “look” that you want by selecting a fi xture Timing of Cues 417 or group of fi xtures, applying the position, color, gobo, and/or effects, then moving on to the next fi xture or group of fi xtures to repeat the process. Once every fi xture in the cue has been positioned and programmed, then the look can be recorded as a cue. If you know the timing for that cue you can usually record it along with the cue or you can modify the timing later on by editing individual cues.

Timing of Cues

Every cue has timing associated with it. There’s the time it takes for the intensity or the value of a parameter to change from one cue to the next, and there’s the timing associated with the triggering of a cue. Some of the common timing values you’ll encounter in a console include the fade time, delay time, wait time, and the follow-on time (Figure 24-10).

The fade time is the time it takes for a set of parameters to change between cues. Many consoles allow you to assign individual fade times for each parameter in an automated light including intensity, focus, color, etc. They can apply to fade in or fade out times.

Delay timing is the time it takes for a parameter or set of parameters to start changing after a cue is triggered. They’re used to create complex effects where coordinated movement or changes are required.

Cue 1 Cue 1 Cue 2 trigger completes trigger

100% Intensity

0%

Follow-on time Delay-in Fade-in

Wait Delay-out Fade-out

Figure 24-10 Cue timing includes fade time, delay time, wait time, and follow-on time. 418 AUTOMATED LIGHTING PROGRAMMING

Sometimes it’s useful to trigger two timed cues with a single press of a button. In that instance you can use the wait time, which is the time the second cue waits to execute after a button press. The follow-on time is related to the wait time. It’s the amount of time between the end of the fi rst cue and the execution of the s e c o n d c u e .

Mark Cues or Move in Black

A “mark” cue, which is sometimes known as “move in black,” is a special cue used to set up the lights for the next cue before it’s actually executed. By moving the lights into position and setting the parameters and effects to the proper level while the fi xtures are all set to 0% intensity, it prevents the simultaneous fading of position, effects, and intensity when a cue is executed. The idea is to prevent the audience from seeing the colors and gobos changing to the new position when they aren’t supposed to. When the cue is executed all that’s seen is the fading up of the lights without any movement, color, or gobo change.

Blocking Cues

In tracking consoles there are special cues called “blocking cues” that are used to prevent parameters from tracking through to the next cue. These cues simply take a snapshot of the state of the entire lighting system at the time the cue is recorded and stores it in memory. That way, no matter when the cue is called, whether it’s in or out of sequence, it will always look the same. Blocking cues are often used at the beginning of an act in a play or the beginning of a song in a music show. They ensure that nothing is tracked into a certain point in the show.

Because they take more memory, blocking cues should probably be used sparingly and not with every cue in the show. Most automated lighting consoles have a way of recording a blocking cue with a few keystrokes rather than physically setting each and every parameter in the system.

Point Cues

As you’re building a show and recording cues, you may fi nd that you want to go back and insert a cue between two other cues in a stack. One of the fastest and easiest ways to accomplish this is by using a point cue. A point cue is num- bered one or two decimal places after the whole number (Figure 24-11). For example, if you need to insert a cue between cues 1.0 and 2.0, you can record a cue as cue 1.5. Perfecting the Craft 419

Figure 24-11 A cue stack showing point cues (left column).

After you’ve fi nished programming the entire show, you may or may not want to go back and renumber the cues to remove the point cues, making them all whole number cues. Sometimes cleaning up the cue numbers helps by eliminating too many point cues. On the other hand, you might want to purposely use point cues where the number to the left of the point indicates to which act or song they belong.

Busking

Busking means to perform in a public place, usually while soliciting money. It’s more common in England, but the production community, which is heavily infl u- enced by the English, has adapted and altered it to mean the act of improvising playback of lighting cues on the fl y, often to match the tempo and feeling of the music. It’s a common way of operating lights when the program material is unfamiliar, such as during a music festival with many different acts. The key to busking is to set up the console properly so that you can have the maximum amount of fl exibility to change looks very quickly and orderly. Typically when a show is to be improvised, elements of cues are recorded on the playback or execu- tor faders so that they can be mixed together easily and quickly ( Figure 24-12 ).

For example, one playback or executor fader may contain several different focus positions with an open beam in no color. The next playback or execution fader may contain a stack of different colors or color chases. The next one may contain different beam looks so they can be mixed with the focus and colors, and so on. Some programmers can set up enough cue elements to busk for hours and seldom, if ever, repeat looks.

Perfecting the Craft

Automated lighting programming is a craft, and like any craft, it can be honed by study and practice. It’s one part organization and setup, one part syntax, and one part execution. The more time you can spend behind a console, the more 420 AUTOMATED LIGHTING PROGRAMMING

Figure 24-12 Each fader or executor changes one aspect of a group of fi xtures such as color, gobo, or focus. By running several playbacks or executors concurrently, an operator can create a new look on the fl y.

familiar you’ll become with programming techniques, the faster you’ll be able to program and the more in demand as a programmer you’ll be.

There are several resources to help automated lighting programmers to hone their craft. Off-line editors can be downloaded free of cost and used to practice pro- gramming. In addition, manufacturers and distributors offer training courses designed to introduce a particular console to beginners or to advance their pro- gramming skills. Some programs are paid training and some are free to the public. It’s in the best interest of console manufacturers to educate users about programming their consoles, so they do all they can to encourage new users. Epilogue: The Future of Automated Lighting Technology This page intentionally left blank Epilogue: Automated Lighting in the Land of OZ

All positive change in the world comes from our ideas of what we believe is possible. —George Bernard Shaw

How much has automated lighting changed in the last several years?

There’s a company in Temecula, California, called Old Skool Lighting that’s a “traveling working museum” of automated lighting. They use working Sum- maHTIs, Vari-Lite VL2s, and VL4s and put them on touring shows including Berlin, Flock of Seagulls, Gene Loves Jezebel, English Beat, and more. We now have “retro” automated lights.

Those lights are bigger, heavier, and not as effi cient compared to today’s automated luminaires, although their function hasn’t changed dramatically. But the trend toward smaller, lighter, cheaper, and brighter fi xtures has slowed. The focus in many productions today has shifted more toward media servers, LEDs, network- ing, and projection. These tools, along with automated lighting, represent what automated lighting represented in the 1980s and 1990s; they hold the promise of higher production values, boundless creative possibilities, and the fulfi llment of our most ambitious projects.

But the best is yet to come.

In October 2006, the stage was set for lighting consoles and fi xtures to communicate with each other to exchange information. That was the month and year that E1.17, Architecture for Control Networks, or ACN, was published. E1.20, Remote Device

423 424 EPILOGUE: AUTOMATED LIGHTING IN THE LAND OF OZ

Management Over DMX512 Networks, or RDM, had already been published earl- ier that year and DMX512-A had been published two years prior. By the time the PLASA trade show rolled around in September 2007, the industry had almost a full year to digest ACN and even more time to digest the other new protocols.

Somewhere, over the rainbow Way up high There’s a land that I heard of Once in a lullaby

I walked into the show fully expecting to fi nd the show fl oor brimming with ACN and RDM products. After all, many manufacturers had been advertising for years that their products were “RDM ready” or “ACN ready.” I, too, was ready.

My anticipation turned to disappointment when I found virtually no such prod- ucts. Aside from some RDM data splitters, I could fi nd no other RDM or ACN products, and certainly no RDM- or ACN-capable automated lights. My hopes were renewed shortly afterwards when I learned that there was to be an RDM Pavilion at LDI the very next month.

When LDI opened its doors I made a beeline for the RDM Pavilion, but where I had been expecting an Emerald City I found something more akin to a pauper’s playground. The RDM Pavilion comprised a single six-foot folding table with a few RDM data splitters and two automated lights. The Pavilion was unattended so I couldn’t ask anyone about the automated lights and there was no literature explaining what RDM functions they might have. So I went straight to the manu- facturer of the fi rst automated light to inquire about its RDM functionality. I was told that the fi xture was “RDM ready” and that it would soon have RDM capabili- ties. (Pay no attention to the man behind the curtain!) Not to be deterred I went to the see the manufacturer of the second automated light that was at the RDM Pavilion. When I inquired I was answered by blank stares; the sales staff knew nothing of RDM much less of the RDM capabilities of the fi xture.

A full year went by before I heard anything more about automated lights with RDM or ACN functionality. When I returned to PLASA in 2008 I had no Oz-like expecta- tions at all. So it was a pleasant surprise when I found four automated lighting manufacturers were producing automated lights with RDM functionality—Barco/ High End Systems, Martin Professional, PR Lighting, and Robe.

Somewhere over the rainbow Skies are blue And the dreams that you dare to dream Really do come true Epilogue: Automated Lighting in the Land of Oz 425

A couple of days later I went to a press conference held by one of the manufacturers. After the presentation the fl oor was opened to questions. I raised my hand and when I was called upon, I rose to my feet to speak.

“I see that you now have an automated light with RDM capabilities,” I said. “Con- gratulations. I think that’s an important step forward. Now,” I continued, “can you tell me when you will have automated lighting with ACN capabilities?”

The presenter gave a quizzical look and politely deferred to another company employee. The other employee stepped up to the podium and said, “Can we get back to you on that?”

The next day I was walking through the exhibition when the same employee came running after me. “I have your answer,” he said excitedly. “ACN isn’t fi nished yet.”

The fact was that it was fi nished almost a year prior, but a lot of mystery still sur- rounded it. Some manufacturers are like the Scarecrow and are still trying to digest its considerable complexity. Others are like the Tin Man and seem uninterested in devoting resources to its implementation, especially in the face of a failing economy.

Of the console manufacturers, only ETC, whose Dan Antonuk is on the ESTA Control Protocols Working Group, had implemented ACN. Part of the problem, it seems, is that it took 11 years to fi nish ACN and many manufacturers developed proprietary means of streaming DMX512 over Ethernet, which is only a fraction of what ACN can do. Artistic Licence has ArtNet, Pathway Connectivity has Pathport, ETC has ETCNet2, Strand has ShowNet, etc. So the industry had the ability to stream DMX512 over Ethernet, which makes cable management much easier and effective. And now we have E1.31, Lightweight Streaming Protocol for Transport of DMX512 Over ACN. The impetus for implementing ACN in full had diminished.

Or had it?

There was a time, not long ago, when the Internet was new. In the early 1990s, we had little idea of what this medium was capable of. We only knew it was powerful. At the time it was little more than a glorifi ed electronic bulletin board. Graphic user interfaces were in their infancy and the Internet was largely text driven. Our expectations were limited by the technology and our shallow knowl- edge of its true capabilities. Had we been able to glimpse the future and see Google Earth, Amazon, ebay, Facebook, or any other modern day application it would be diffi cult to believe or comprehend.

We have similar limited sight with ACN. Like the great and powerful Wizard of Oz, it’s so powerful that we have no idea where it will lead us. But if our fi rst baby steps are in the right direction, it can take us to some wonderful places. 426 EPILOGUE: AUTOMATED LIGHTING IN THE LAND OF OZ

Take, for example, a typical lighting design project. We start by gathering informa- tion about the project including the types of fi xtures we might use and how we might use them. When we begin to design in earnest, we need to have photometric data, CAD blocks, and possibly physical weights and dimensions. We need to know how much current each fi xture draws, what the operating voltage is, and what type of lamp it uses. Then we want to know the cost of the fi xture and all of the associated accessories such as clamps, safety cables, gels, gobos, lenses, etc. When we start programming we’ll need to know the fi xture protocol as well as the various personalities or DMX512 modes it has. If we’re using a visualizer we might also need to have an IES photometric fi le of the fi xture. There’s so much information associated with a single fi xture that’s used along with the fi xture.

What if all of that information was stored on the fi xture?

After all, the manufacturer knows all of this information and more before they even start manufacturing a fi xture. And they already have to store the operating system of the fi xture in memory, along with its Component Identifi er (if it’s ACN compliant). Why not put the onus on manufactures to place this information in an easily accessible central repository? Then we could go to a single source to fi nd it. Better yet, what if it could be automated so that anytime we connected to the network all the consoles, laptops, and other controllers could suck the information into their memory through the network?

This isn’t a Technicolor dream of a trip down the Yellow Brick Road; the technol- ogy exists today. ACN is anywhere from 20 to 4000 times faster than DMX512, so it has much more bandwidth. It also uses Device Description Language (DDL) to allow communication between a device, like a fi xture, and a console. The DDL might incorporate all of the information that we could possibly use in a project, eliminating the need to spend hours gathering this information and manually building fi xture profi les for consoles and lighting design software.

This is but one way that networking will help us to work more effi ciently. Yes, luminaires will continue to be smaller, lighter, cheaper, and brighter, and the industry will continue to fi nd new lamp sources and make the existing lamp sources more effi cient. But the gains in computer power, networking, video pro- cessing, and software will take us places we haven’t even thought of yet. They have the ruby slippers. Now we need only use them. APPENDIX A: IP Ratings

A weatherized fi xture or housing intended to be used in the elements should be IP rated. The International Protection Code, or IP Code, is a rating for “degrees of protection provided by enclosures” as published by the Commission Electrotech- nique Internationale (IEC) in 1989. The international standard describes how well an enclosure protects against the ingress of foreign objects like dust, dirt, and moisture.

An IP rating comprises a two-digit code with optional suffi xes. It’s always preceded by the code letters “IP,” which stands for international protection.

The two-digit numeric indicators are coded as follows.

IP 0 0 A H

| | | | |

| | | | |

Code letters______| | | | |

First number indicator______| | | |

Second number indicator______| | |

Optional additional letter indicator______| |

Optional supplementary letter indicator______|

The fi rst number after the code letters indicates the degree of protection against the ingress of solid objects such as dust, dirt, bird feathers, fi ngers, and hands, etc. It can range from 0 to 6, and it indicates the diameter of the smallest object that can get into the enclosure.

427 428 APPENDIX A: IP RATINGS

0—not protected 1 — 50 mm diameter 2 — 12.5 mm diameter 3 — 2.5 mm diameter 4 — 1.0 mm diameter 5—dust protected 6 — d u s t t i g h t

The second number indicates the degree of protection against the ingress of water. It can range from 0 to 8, and the highest rating is 8. The numbers are interpreted as follows:

0—not protected 1—protection against vertically dripping water 2—protection against dripping water at up to a 15 degree angle from the vertical 3—protection against water spray at up to 60 degree angle from the vertical 4—protection against splashing water from all directions 5—protection against low pressure jetting water from all directions 6—protection against a powerful jet of water from all directions 7—protection against temporary immersion in water less than 1 m deep 8—protection against continuous immersion in water at a specifi ed depth

The fi rst optional letter indicates the degree of protection to personnel and tools. It ranges from A to D, and the letters are interpreted as follows:

A—protection against contact with back of hand B—protection against contact with fi nger C—protection against contact with tool such as a screwdriver D — p r o t e c t i o n a g a i n s t c o n t a c t w i t h w i r e

The supplementary optional letter indicates the degree of protection specifi c to four items as indicated below:

H—protection against high-voltage apparatus M—enclosure was in motion during water testing Appendix A: IP Ratings 429

S—enclosure was stationary during water testing W—protection against weather

For example, if a fi xture has an IP rating of 65, then it’s dust tight and rated for the protection against jetting water. The IP standard also provides for specifi c means of testing enclosures. A dust-tight enclosure, for example, is tested with talcum powder sifted for specifi c dimensions with a specifi c density of powder in the chamber. More information about IP ratings can be found in IEC publica- tion number 60529. The document can be purchased from the IEC Web store at www.iec.ch. This page intentionally left blank APPENDIX B: Useful Formulas

Ohms Law:

V ( V o l t s ) I ( A m p s ) R ( O h m s )

A s 2 m tt W÷R a I ·R p s W

W÷V V·I

2 V÷R

V ÷R PI

V R

I·R V÷I

O

2 s

t W÷I

h

l W÷I

m o

V

s

2 (

V

W·R

V ÷W )

Three-Phase Power:

W a t t s Volts A m p s P o w e r F a c t o r 1 . 7 3 ( f o r t h r e e - p h a s e b a l a n c e d l o a d )

K VA [ V o l t s A m p s P o w e r F a c t o r 1 . 7 3 ] 1000

431 432 APPENDIX B: USEFUL FORMULAS

Trigonometry Formulas

c Hypotenuse a

u

b

The triangle above is a right triangle because one of the angles is a right angle (90º angle). Side c is the hypotenuse because it’s opposite the right angle. The following trigonometric formulas apply to the right triangle above.

Pythagorean Theorem

a 2 b 2 c2

Sines and Cosines

S i n e a c C o s i n e b c T a n g e n t a b

Trigonometry Mnemonic: SOHCAHTOA

S i n e O p p o s i t e / H y p o t e n u s e C o s i n e A d j a c e n t / H y p o t e n u s e T a n g e n t O p p o s i t e / A d j a c e n t To fi nd the beam or fi eld diameter of a luminaire if you know the beam or fi eld angle:

B e a m d i a . 2 t h r o w d i s t a n c e [ i n v e r s e t a n g e n t ( b e a m a n g l e 2 ) ] F i e l d d i a . 2 t h r o w d i s t a n c e [ i n v e r s e t a n g e n t ( fi eld angle 2 ) ] APPENDIX C: Conversion Factors

Power and Energy

1 w a t t 3.41 BTU/hour 1 000 BTU/h 293 W 1 horsepower 2544 BTU/h 1 ton of air conditioning 12,000 BTU/h 1 BTU 1.0545 kJ 1 kWh 3.6 MJ 1 BTU 0.293 071 Wh 1 horsepower (metric) 735.498 75 W 1 horsepower (European electrical) 736 W 1 horsepower (imperial electrical) 746 W 1 ton of air conditioning 12,000 BTU/h 12000/3.414 W 3515 W Temperature

t e m p ( K ) temp (°C) 273.15 t e m p ( ° C ) temp (K) 273.15 t e m p ( ° C ) [temp (°F) 32] 1.8 t e m p ( ° F ) temp (K) 1.8 459.67 t e m p ( ° F ) temp (°C) 1.8 3 2

433 This page intentionally left blank APPENDIX D: DMX512-A Enhanced Functions

DMX512-A supports four different Enhanced Function Topologies, or ways to use the fi v e p i n s o f a 5 - p i n X L R c o n n e c t o r . T h e y i n c l u d e :

Symbol EF# (Optional) Description Comment 1 ← → Half duplex EIA-485-A signals on primary data link; return signals on primary data link controlled by a registered Alternate START Code; no functionality on secondary data link 2 ← Uni-directional DMX512 data on primary data → link (EIA-485-A signals) and return EIA-485-A signals on secondary data link 3 ← Uni-directional DMX512 data on primary data Refer to ← → link (EIA-485-A signals) and half duplex manufacturer’s EIA-485-A signals on secondary data link instructions Refer to manufacturer’s instructions 4 ← → Half duplex EIA-485-A signals on both pairs; ← → return signal on primary data link controlled by a registered Alternate START Code

435 This page intentionally left blank APPENDIX E: DMX512 Connector and Pinout

Male XLR connector (pin side)

Common (Optional) (shield) 1 5 Data positive - Secondary data link

2 4 3

Data negative - (Optional) Primary data link Data negative - Secondary data link

Data positive - Primary data link

The DMX512 standard calls for a female 5-pin XLR connector on the output and a male 5-pin XLR connector on the input of a data cable or controller. The pins should be wired according to the diagram below. Pins 4 and 5 are optional and their use depends on the Enhanced Functions 1–4 in the DMX512-A standard. (See DMX512-A Enhanced Functions.)

437 This page intentionally left blank APPENDIX F: Data Termination

A data terminator is a device that should be used at the end of every DMX512 data run to prevent signal refl ections that could cause degradation and signal errors. Without a terminator, devices may behave erratically and unreliably. The longer the data run and the more devices connected to it, the more critical termi- nation becomes.

How to Build a Data Terminator

Using a male XLR connector (3- or 5-pin, depending on the device to be terminated), solder a 120 ohm ¼ W resistor between pins 2 and 3 (and pins 4 and 5 if using a 5-pin connector). Plug the terminator into the last DMX512 output in the data run.

Male XLR connector (solder side)

5 1

4 2 3

439 This page intentionally left blank Index

A Aluminum Absolute encoding, focus correction, alloys, 191 185, 186 die casting, 192 A/B switch, data distribution system, 62 extrusions, 191 A C , see Alternating current r e fl ectors, 191 A C N , see Architecture for Control trusses, 37–39 Networks American Wire Gauge (AWG), Alternating current (AC) ampacity, 51–52 capacitive reactance versus A m p l i fi ers, data distribution frequency, 107 system, 60 c a p a c i t o r , 1 0 6 – 1 0 8 A n d r e i n o , C h a r l e s , 1 0 g e n e r a t o r s , 9 9 – 1 0 1 Arc lamp, power supplies, i m p e d a n c e , 1 0 8 – 1 1 2 134–138 i n d u c e d c u r r e n t , 9 5 – 9 7 Architecture for Control Networks inductive resistance versus (ACN) frequency, 105 architecture, 305–306 i n d u c t o r s , 1 0 3 – 1 0 5 Device Description Language, p e a k v o l t a g e , 1 0 1 305–306 phase relationships between voltage Device Management Protocol, and current, 108, 109 306–307 power, 107 D M X 5 1 2 s t r e a m i n g , power factor, 109, 117 311–312 power supply, see Power supply historical perspective, 303 root mean square (RMS) voltage, prospects in automated lighting, 101–103 33, 276 s a f e t y , 1 2 2 – 1 2 3 session data transport messages, three-phase power 307–310 c o l o r c o d e s , 1 1 9 – 1 2 1 suite of protocols, 303–304, delta-delta confi guration, 121, 122 310–311 d e l t a - w y e c o n fi guration, 118–120 UDP protocol, 310 g e n e r a t o r , 1 1 8 , 1 1 9 ASC, see DMX512-A t r a n s f o r m e r , 1 1 2 – 1 1 4 A W G , see American Wire Gauge

441 442 INDEX

B Color temperature B a n d p a s s fi lter, 248–250 l a m p s , 2 2 0 – 2 2 2 B e l t , 2 0 3 – 2 0 4 l i g h t i n g d e s i g n , 3 7 1 – 3 7 3 B i n a r y n u m b e r i n g , 1 4 8 – 1 5 0 Color wash, lighting design, 373 Binary offset, 150–151 C o l o r w h e e l , 2 5 0 – 2 5 1 Blocking cues, 418 Computer Blocking, programming, 413–414 b u s , 1 6 3 B o l t s c e n t r a l p r o c e s s i n g u n i t , 1 5 8 – 1 6 0 , o v e r v i e w , 1 9 5 – 1 9 6 163 strength grades, 197 cue execution, 164 t h r e a d s t a n d a r d s , 1 9 6 – 2 0 1 input/output ports, 162–163 vibrational loosening prevention, m e m o r y , 1 6 1 – 1 6 2 201 overview of components, 158 B o r n h o r s t , J i m , 1 7 Computer-aided design (CAD) Branch circuit, power distribution data and attributes, 382 system, 49, 50 fi le formats, 381 B r i g h t m a n , C a n d a c e , 2 4 l i b r a r i e s , 3 8 1 Bus, computer, 163 o v e r v i e w , 3 7 7 – 3 8 1 r e n d e r i n g s o f t w a r e , 3 8 6 – 3 8 8 C t i t l e b l o c k , 3 8 2 C A D , see Computer-aided design Condenser lens, 239, 240 Capacitive reactance, versus frequency, C o n d u c t i v i t y , 7 8 – 7 9 107 C o n n e c t o r s C a p a c i t o r data distribution system, 62–63 o v e r v i e w , 1 0 6 – 1 0 8 D M X 5 1 2 , 2 7 4 – 2 7 6 , 2 8 3 t r o u b l e s h o o t i n g , 3 3 8 – 3 3 9 power distribution system, 52–53 CAT5 cable, DMX512 transmission, Control system 282–283 c o n s o l e s , 6 4 Catalyst, 348 c o n t r o l l e r s Central processing unit (CPU), d e d i c a t e d c o n t r o l l e r s , 6 5 computer, 158–160, 163 P C - b a s e d c o n t r o l l e r s , 6 4 – 6 5 Ceramics, properties, 193 media server, 66–67 C h r o m a t i c a b e r r a t i o n , 2 6 2 – 2 6 3 o v e r v i e w , 3 6 , 6 3 Circuit breaker p l a y b a c k u n i t s , 6 5 magnetic circuit breaker, 144 p r e s e t s t a t i o n , 6 6 power distribution system, 47–49, redundant backup system, 67, 68 142–145 r e m o t e f o c u s u n i t , 6 5 t h e r m a l c i r c u i t b r e a k e r , 1 4 2 , 1 4 3 C o n v e r s i o n f a c t o r s Cleaning, guidelines, 331–332 power and energy, 433 Color mixing temperature, 433 additive color mixing, 254 Converters, data distribution system, subtractive color mixing, 253–254 60–61 Color rendering index (CRI), C o s i n e b e a m p r o fi le, three-point 225–226 lighting, 364, 365 Index 443

C P U , see Central processing unit Digital electronics C R I , see Color rendering index b i n a r y n u m b e r i n g , 1 4 8 – 1 5 0 C u e s , see Programming binary offset, 150–151 C u r r e n t data transmission, 155–156 fl o w d i r e c t i o n , 7 9 – 8 0 e l e c t r o n i c s w i t c h i n g , 1 5 4 o v e r v i e w , 8 0 hexadecimal numbering, 151–153 u n i t s , 8 2 overview, 153 v o l t a g e r e l a t i o n s h i p s , 1 0 8 , 1 0 9 Digital Light Processing (DLP), 349 wire gauge and ampacity, Digital Micromirror Device (DMD), 51–52 3 , 4 , 2 7 1 , 3 4 6 C y k l o p s , 1 5 , 1 6 D i m m e r l a m p s , 2 2 6 – 2 2 8 D m e c h a n i c a l d i m m i n g , 2 4 2 – 2 4 3 Data distribution system power distribution system, 49 A/B switch, 62 D i o d e a m p l i fi e r s , 6 0 forward versus reverse bias, 126 c a b l e s , 5 7, 5 8 f u l l - w a v e r e c t i fi cation, 129 c o n n e c t o r s , 6 2 – 6 3 h a l f - w a v e r e c t i fi cation, 128 c o n t r o l r i s e r d i a g r a m , 5 5 t u n n e l d i o d e , see Metal oxide varistor converters, 60–61 v o l t a g e v e r s u s c u r r e n t , 1 2 7 DMX512-to-Ethernet-to DMX512 Direct current (DC) network, 56, 57, 275 c i r c u i t s c h e m a t i c , 8 1 , 8 2 overview, 36, 54–57 conductivity and resistivity of s p l i t t e r s , 5 8 – 6 0 materials, 78–79 t e r m i n a t o r s , 6 1 – 6 2 c u r r e n t D C , see Direct current fl o w d i r e c t i o n , 7 9 – 8 0 D D L , see Device Description Language o v e r v i e w , 8 0 Delta-delta confi guration, three-phase u n i t s , 8 2 power, 121, 122 e l e c t r o n D e l t a - w y e c o n fi guration, three-phase drift theory, 76–77 power, 118– 120 fl ow, 76 D e s i g n , see Lighting design f r i c t i o n a n d h e a t , 7 7 – 7 8 D e v i c e c o n fi guration parameter r e l a t i v e s i z e , 7 6 messages, Remote Device O h m ’ s l a w , 8 8 Management, 302 r e s i s t a n c e , 8 0 , 8 2 Device control parameter messages, u n i t s , 8 2 Remote Device Management, 302 v o l t a g e , 8 0 , 8 2 Device Description Language (DDL), w a t e r d i s t r i b u t i o n a n a l o g y , 8 0 – 8 1 305–306 Discharge lamp Device Management Protocol (DMP), c o n s t r u c t i o n , 2 1 1 – 2 1 3 306–307 hot restrike lamp, 214 DichroFilm, 250 l a m p s t r i k e e f f e c t s , 2 1 4 D i c h r o i c fi lters, see Optical thin-fi lm s t a r t i n g , 2 1 3 – 2 1 4 fi lters t e s t i n g , 2 1 5 444 INDEX

Disconnect switch, power distribution E system, 42–43 E f fi ciency, optical thin-fi lm fi lters, Display setting parameter messages, 249 Remote Device Management, E l e c t r o n 302 drift theory, 76–77 D i s t r i b u t i o n p a n e l , 4 6 fl ow, 76 D L P, see Digital Light Processing f r i c t i o n a n d h e a t , 7 7 – 7 8 D M D , see Digital Micromirror Device r e l a t i v e s i z e , 7 6 D M P, see Device Management Protocol Electronic switching power supply, DMX-to-Ethernet converters, 273 137–138 DMX 512 Elliptical refl e c t o r , 2 3 6 – 2 3 9 C A T 5 c a b l e , 2 8 2 – 2 8 3 Enhanced Function Topologies, c o n n e c t o r s , 2 7 4 – 2 7 6 , 2 8 3 D M X 5 1 2 - A , 2 9 0 – 2 9 1 d a t a c a b l e , 2 7 9 – 2 8 2 Ergonomics, programmer, 398 data network building, 286–287 p a t c h i n g fi xtures, 402–403 F p h y s i c a l l a y e r , 2 7 7 – 2 7 9 F a n s pins, 435 precautions when cleaning, 327, 328 setup messages, Remote Device stepper motor Management, 301 cleaning and maintenance, 187 s t a n d a r d , 2 6 9 – 2 7 0 , 2 7 7 c o o l i n g , 1 8 5 – 1 8 7 streaming over Architecture for t y p e s , 1 8 7 Control Networks, 311–312 Feeder cable, power distribution t e r m i n a t i o n , 2 8 4 – 2 8 6 s y s t e m , 4 3 – 4 6 D M X 5 1 2 - A Filters, see Infrared fi lter; Optical ASC types thin-fi lm fi lters overview, 288–289 F i s h e r , J u l e s , 1 2 , 1 3 , 1 4 p r o p r i e t a r y f o r m a t s , 2 8 9 fl y-through movie, creation, 388 bidirectional distribution amplifi ers Focal length, lens, 260 and return data combiners, F o c u s T r a c k , 3 8 6 291 F u s e d a t a p r o t o c o l , 2 8 7 – 2 8 8 de-rating versus ambient d a t a s l o t f o r m a t , 2 8 9 temperature, 142 DMX512 comparison, 287 r a t i n g s , 1 3 9 , 1 4 0 Enhanced Function Topologies, time-current characteristics, 141 290–291 Fused quartz, properties, 194 i s o l a t i o n , 2 9 2 refresh rate, 289–290 G reset sequence, 288 G a u g e , see American Wire Gauge termination, 291 G e a r , 2 0 1 – 2 0 3 DMX512-to-Ethernet-to DMX512 G e n e s i s , 1 8 , 2 0 , 2 3 , 2 6 network, 56, 57, 275 Glass, properties, 194 Dual-phase excitation mode, stepper G o b o m o t o r , 1 7 1 , 1 7 3 , 1 7 4 a n t i - r e fl ective coatings, 259 Index 445

dichroic gobos and laser ablation, Incandescent lamp 257–258 advantages and limitations, 208 front surface mirrors, 259 gas fi ll, 209 g l a s s g o b o s , 2 5 6 – 2 5 7 i n c a n d e s c e n c e , 2 0 8 – 2 0 9 i n s t a l l a t i o n o r i e n t a t i o n , 2 5 8 Inductive resistance, versus frequency, m e t a l g o b o s , 2 5 5 – 2 5 6 105 overview, 254–257 I n d u c t o r s , a l t e r n a t i n g c u r r e n t , 1 0 3 – 1 0 5 G o l d e n S c a n , 1 6 7, 3 2 3 I n f r a r e d ( I R ) fi lter, 241–242 Graf, Stefan, 15 Input/output ports, computer, 162–163 G r a n d F u n k R a i l r o a d , 1 5 , 1 6 , 1 7 I n t e l l a b e a m , 2 8 , 2 9 G r a t e f u l D e a d , 2 4 , 2 5 International Protection (IP) Code, G r a y c o d e , 1 8 5 , 1 8 6 ratings, 427 I P C o d e , see International Protection H Code Half-step excitation, stepper motor, I R fi lter, see Infrared fi lter 174, 175 I z e n o u r , G e o r g e , 1 0 , 1 2 Hall Effect sensor, stepper motor, 181–183 K Hall, Edwin Herbert, 181–183 King, Herbert F., 10 Halogen lamp, 209–211 H e a t L d a m a g e , 3 2 8 , 3 2 9 L a m p s production, 327 color rendering index, 225–226 Henry, Joseph, 104 c o l o r t e m p e r a t u r e , 2 2 0 – 2 2 2 Hexadecimal numbering, 151–153 d i m m e r s , 2 2 6 – 2 2 8 H i g h E n d S y s t e m s , 2 8 , 2 7 1 , 3 4 8 discharge lamp Highest takes precedence (HTP), 415 c o n s t r u c t i o n , 2 1 1 – 2 1 3 Highlight feature, 410 h a z a r d s , 2 2 9 – 2 3 1 High-pass fi lter, 248–250 hot restrike lamp, 214 Historical perspective, automated l a m p s t r i k e e f f e c t s , 2 1 4 l i g h t i n g , 9 – 1 5 , 1 7 – 3 1 , 2 6 7 – 2 6 9 s t a r t i n g , 2 1 3 – 2 1 4 Hot restrike lamp, 214 t e s t i n g , 2 1 5 H T P, see Highest takes precedence halogen lamp, 209–211 H y b r i d s t e p p e r m o t o r , 1 6 8 – 1 7 1 incandescent lamp advantages and limitations, 208 I gas fi ll, 209 I c o n M , 3 , 3 4 5 i n c a n d e s c e n c e , 2 0 8 – 2 0 9 I l l u m i n a n c e l i f e r a t i n g s , 2 2 8 – 2 2 9 c a l c u l a t i o n , 3 6 6 – 3 7 1 light-emitting diode (LED) target illuminance, 369 p r i n c i p l e s , 2 1 5 – 2 1 7 I l l u m i n a t i o n lumen maintenance, 228 c a l c u l a t i o n , 3 5 0 l u m i n o u s e f fi c i e n c y , 2 2 2 – 2 2 4 throw distance relationship, 352 p l a s m a l a m p , 2 1 7 – 2 1 9 I m p e d a n c e , 1 0 8 – 1 1 2 s p e c t r a l p o w e r d i s t r i b u t i o n , 2 2 4 – 2 2 5 446 INDEX

Latest takes precedence (LTP), 415 Liquid crystal display (LCD), L C D , see Liquid crystal display projectors, 349–350 L E D , see Light-emitting diode L o a d - i n , t o o l s , 3 1 6 L e n s L o w - p a s s fi lter, 248–250 c h r o m a t i c a b e r r a t i o n , 2 6 2 – 2 6 3 L T P, see Latest takes precedence concave versus convex, 260, 261 Lubrication, guidelines, 332 focal length, 260 Lumen maintenance, lamps, 228 power equation, 262 L u m i n a i r e spherical aberration, 262 b l o c k d i a g r a m , 6 9 t y p e s , 2 5 9 – 2 6 2 communications system, 70–71 Levy, Joseph, 10 e l e c t r i c a l s y s t e m , 6 9 Life ratings, lamps, 228–229 e l e c t r o m e c h a n i c a l s y s t e m , 7 0 L i F i , 2 1 7 – 2 1 9 electronics system, 69–70 Light fi xture, see Luminaire failures, 329 Light-emitting diode (LED) m e c h a n i c a l s y s t e m , 7 0 Digital Light Processing, 349 optical system, 70 life expectancy, 324 overview, 68–69 p r i n c i p l e s , 2 1 5 – 2 1 7 L u m i n o u s e f fi ciency, lamps, prospects in automated lighting, 2 2 2 – 2 2 4 3 2 , 3 3 Lighting design M aesthetics and mood, 361 Magnetic ballast power supply, attention focusing, 358, 359 1 3 4 – 1 3 8 , 3 4 0 c o l o r t e m p e r a t u r e , 3 7 1 – 3 7 3 Magnetic sensor, troubleshooting, color wash, 373 338–339, 341 depth creation, 360–361 M a g n e t i s m illuminance e l e c t r o m a g n e t i c i n d u c t i o n , 9 2 – 9 3 c a l c u l a t i o n , 3 6 6 – 3 7 1 i n d u c i n g c u r r e n t , 9 3 – 9 5 target illuminance, 369 lines of fl ux, 91–92 image and beam projection, Maintenance, preventive, 330–331 374–375 Marc 350 lamp, 323 modeling, 359–360 M a r k c u e , 4 1 8 multi-point lighting, 365–366 Mechanical stop, stepper motor, 179 three-point lighting Media server, control system, 66–67 c o s i n e b e a m p r o fi le, 364, 365 Memory, computer, 161–162 e d g e o f b e a m , 3 6 3 , 3 6 4 Mercury spill, management, 230, 231 grid, 362 Metal fi nishes, 195 o v e r v i e w , 3 6 2 – 3 6 4 Metal oxide varistor (MOV), toning, 364 1 4 5 – 1 4 6 v i d e o , 3 5 9 , 3 6 0 M i c r o s t e p p i n g , 1 7 5 – 1 7 6 visibility, 358 M o r p h e u s , 3 2 L i g h t i n g p a p e r w o r k s o f t w a r e , 3 8 2 – 3 8 6 MOSFET, troubleshooting, 336–338 L i g h t w r i g h t , 3 8 6 M O V, see Metal oxide varistor L i n e a r p o w e r s u p p l y , 1 2 5 , 1 2 9 – 1 3 3 MSR lamp, 324 Index 447

N Plastics, properties, 192–193 Network management messages, Playback unit, control system, 65 Remote Device Management, P o i n t c u e , 4 1 8 – 4 1 9 299 Portable power distribution unit Notch fi lter, 248–250 (PPDU), 46, 47 Power distribution system O American Wire Gauge and O f f - l i n e e d i t o r ampacity, 51–52 p r o g r a m m i n g , 3 9 9 b r a n c h c i r c u i t , 4 9 , 5 0 software, 390 circuit breakers, 47–49 Ohm’s law, 88, 431 c o m p l i a n c e w i t h r e g u l a t i o n s , 5 4 Old Skool Lighting, 423 c o n n e c t o r s , 5 2 – 5 3 Olympics, Opening Ceremony in d i m m e r s , 4 9 China, 7 disconnect switch, 42–43 Optical glass, properties, 194 d i s t r i b u t i o n p a n e l , 4 6 Optical sensors e l e m e n t s , 4 1 , 4 2 s t e p p e r m o t o r , 1 7 9 – 1 8 1 f e e d e r c a b l e , 4 3 – 4 6 t r o u b l e s h o o t i n g , 3 3 8 – 3 3 9 , 3 4 1 o v e r v i e w , 3 6 , 4 1 O p t i c a l t h i n - fi lm fi lters portable power distribution unit, color saturation, 249 4 6 , 4 7 color selection safety and codes, 53–54 additive color mixing, 254 three-phase system European color c o l o r w h e e l , 2 5 0 – 2 5 1 s t a n d a r d s , 4 5 c o m b i n i n g c o l o r s , 2 5 2 – 2 5 4 v o l t a g e d r o p , 5 2 overview, 250 Power factor, 109, 117 subtractive color mixing, Power supply 253–254 arc lamp power supplies, 134–138 color stability, 250 d i o d e deposition process, 244–245 forward versus reverse bias, 126 DichroFilm, 250 f u l l - w a v e r e c t i fi cation, 129 e f fi ciency, 249 h a l f - w a v e r e c t i fi cation, 128 manufacturing process, 243–244 v o l t a g e v e r s u s c u r r e n t , 1 2 7 t h i n - fi lm interference, 245–247 electronic switching power supply, t y p e s , 2 4 8 – 2 5 0 137–138 l i n e a r p o w e r s u p p l y , 1 2 5 , 1 2 9 – 1 3 3 P magnetic ballast power supply, P a l e t t e , p r o g r a m m i n g , 4 1 1 – 4 1 2 1 3 4 – 1 3 8 P a n C a n , 2 3 , 2 5 switched-mode power supply, 125, Parabolic refl e c t o r , 2 3 5 – 2 3 6 132–134 P a r a l l e l c o n n e c t i o n , 8 5 – 8 6 t r o u b l e s h o o t i n g P C B , see Printed circuit board magnetic ballast power supply, Peak voltage, alternating current, 101 340 P i n k F l o y d , 1 4 switched-mode power supply, 125, P l a s m a l a m p , 2 1 7 – 2 1 9 , 3 2 4 336–338 448 INDEX

P o w e r , a l t e r n a t i n g c u r r e n t , 1 0 7 Q Power/lamp setting parameter Quadrature encoding, focus messages, Remote Device c o r r e c t i o n , 1 8 3 – 1 8 5 Management, 302 Q u a r t z , see Fused Quartz P P D U , see Portable power distribution unit R P r e s e t , p r o g r a m m i n g , 4 1 1 – 4 1 2 R D M , see Remote Device Management Preset station, control system, 66 R e c t i fi er, see Diode Printed circuit board (PCB), Redundant backup system, control troubleshooting, 338 system, 67, 68 Product information messages, R e fl ector Remote Device Management, elliptical refl e c t o r , 2 3 6 – 2 3 9 301 materials, 240–241 P r o g r a m m i n g parabolic refl e c t o r , 2 3 5 – 2 3 6 backing up, 399–400 s p e c u l a r r e fl ection, 234 b l o c k i n g , 4 1 3 – 4 1 4 spherical refl e c t o r , 2 3 9 – 2 4 0 control parameter units, 401 Refresh rate, DMX512-A, 289–290 c u e s Remote Device Management (RDM) blocked cues, 418 d i s c o v e r y p r o c e s s , 2 9 7 – 2 9 9 i m p r o v i s e d s h o w s , 4 1 9 , 4 2 0 DMX512 comparison, 294 l a y i n g o u t o n c o n s o l e , 4 1 5 – 4 1 6 p a c k e t f o r m a t , 2 9 5 – 2 9 7 look creation, 416–417 parameter messages m a r k c u e , 4 1 8 d e v i c e c o n fi guration parameter point cue, 418–419 messages, 302 t i m i n g , 4 1 7 – 4 1 8 device control parameter ergonomic considerations, 398 messages, 302 fi xture groups, 410–411 display setting parameter highlight feature, 410 messages, 302 linear fader model versus real world DMX512 setup messages, 301 model, 406–407 network management messages, on-site preparation, 405–406 299 overview, 393 power/lamp setting parameter p a l e t t e s , 4 1 1 – 4 1 2 messages, 302 p a t c h i n g fi xtures, 407–408 product information messages, pre-show preparation, 301 396–398 RDM information messages, pre-visualization and off-line 301–302 editing, 399 sensor parameter messages, 301 precedence, 415 status collection messages, p r e s e t s , 4 1 1 – 4 1 2 300–301 p r o g r a m m i n g p r o c e s s , 3 9 4 – 3 9 5 p h y s i c a l l a y e r , 2 9 4 t o o l s , 3 1 7 – 3 1 8 p r o s p e c t s , 2 9 4 t r a c k i n g , 4 1 4 – 4 1 5 Remote focus unit (RFU), control Pythagorean theorem, 432 system, 65 Index 449

R e s i s t a n c e , 8 0 , 8 2 Snell’s law, 246 R e s i s t i v i t y , 7 8 – 7 9 Snyder, Robert, 10 R e s i s t o r S o f t w a r e , see Computer-aided design; c o l o r c o d e s , 8 3 – 8 4 Lighting paperwork software; parallel connection, 85–86 Off-line editor; Visualization s e r i e s c o n n e c t i o n , 8 4 – 8 5 software series/parallel connection, 86–87 Sohlberg, Edmund, 9 w a t t a g e r a t i n g , 8 4 Spectral power distribution, lamps, Resonance, dampening in stepper 2 2 4 – 2 2 5 motor, 176–177 S p e c u l a r r e fl ection, 234 R F U , see Remote focus unit Spherical aberration, 262 Rigging system Spherical refl e c t o r , 2 3 9 – 2 4 0 allowable load, 38 Splitters, data distribution system, aluminum structures, 37–39 5 8 – 6 0 h a r d w a r e , 4 0 , 4 1 Stainless steel, properties, 192 o v e r v i e w , 3 6 – 3 7 Status collection messages, Remote t h e a t r i c a l r i g g i n g , 3 9 – 4 0 Device Management, 300–301 t r u s s s e c t i o n s , 3 7 Stepper motor RMS voltage, see Root mean square c o n t r o l s y s t e m s , 1 7 7 – 1 7 8 voltage dual-phase excitation mode, 171, Root mean square (RMS) voltage, 173, 174 alternating current, 101–103 focus correction a b s o l u t e e n c o d i n g , 1 8 5 , 1 8 6 S overview, 183 S a f e t y quadrature encoding, discharge lamp, 229–231 1 8 3 – 1 8 5 e l e c t r i c a l , 1 2 2 – 1 2 3 half-step excitation, 174, 175 S c r e w s H a l l E f f e c t s e n s o r s , 1 8 1 – 1 8 3 o v e r v i e w , 1 9 5 – 1 9 6 h y b r i d s t e p p e r m o t o r , 1 6 8 – 1 7 1 t h r e a d s t a n d a r d s , 1 9 6 – 2 0 1 mechanical stop, 179 vibrational loosening prevention, m i c r o s t e p p i n g , 1 7 5 – 1 7 6 201 o p t i c a l s e n s o r s , 1 7 9 – 1 8 1 SDT messages, see Session data o v e r v i e w , 1 6 8 , 1 6 9 transport messages position sensing and encoding, Sensor parameter messages, Remote 178–179 Device Management, 301 r e s o n a n c e d a m p e n i n g , 1 7 6 – 1 7 7 S e r i e s c o n n e c t i o n , 8 4 – 8 5 single-phase excitation mode, 171, Series/parallel connection, 86–87 172, 174 Session data transport (SDT) t r o u b l e s h o o t i n g , 3 3 5 , 3 3 6 messages, Architecture for S u m m a H T I , 2 6 , 2 7 Control Networks, 307–310 Switched-mode power supply, 125, 132, Showco, 17, 18, 23 133–134, 336–338 Single-phase excitation mode, stepper Synchronicity, historical perspective, m o t o r , 1 7 1 , 1 7 2 , 1 7 4 12–15 450 INDEX

T spare parts list, 333 T e l e s c a n M a r k 2 , 2 4 stepper motors, 335, 336 T e r m i n a t i o n t o o l s , 3 1 8 – 3 1 9 data distribution system, 61–62 t r a n s f o r m e r , 3 4 0 – 3 4 1 D M X 5 1 2 , 2 8 4 – 2 8 6 T r u s s , see Rigging system DMX512-A, 291 T u n n e l d i o d e , see Metal oxide varistor terminator construction, 439 Tesla, Nikola, 207 U Threads, standards, 196–201 UDP protocol, Architecture for Three-phase power Control Networks, 310 color codes, 119–121 UHP lamp, 353–354 delta-delta confi guration, 121, 122 d e l t a - w y e c o n fi guration, 118–120 V equations, 431 Variable-Parameter Fixture g e n e r a t o r , 1 1 8 , 1 1 9 Development Corporation, 31, 32 Three-phase system, European color V a r i - L i t e , 1 8 – 2 2 , 2 4 – 2 6 , 3 1 – 3 2 s t a n d a r d s , 4 5 V e c t o r s c o p e , 3 7 2 Three-point lighting Vibrational loosening, prevention, 201 c o s i n e b e a m p r o fi le, 364, 365 V i d e o e d g e o f b e a m , 3 6 3 , 3 6 4 channel count explosion, 271–274 grid, 362 lamp technology and projection, o v e r v i e w , 3 6 2 – 3 6 4 352–353 toning, 364 l i g h t i n g c o n v e r g e n c e , see Digital T r a c k i n g , p r o g r a m m i n g , 4 1 4 – 4 1 5 Light Processing; Digital T r a n s f o r m e r Micromirror Device; Liquid o v e r v i e w , 1 1 2 – 1 1 4 crystal display t r o u b l e s h o o t i n g , 3 4 0 – 3 4 1 l i g h t i n g d e s i g n , 3 5 9 , 3 6 0 Trigonometry, formulas, 432 perceived brightness, 350 T r o u b l e s h o o t i n g Visualization software, 388–390 c a p a c i t o r s , 3 3 8 – 3 3 9 V o l t a g e , 8 0 , 8 2 , 1 0 8 , 1 0 9 common failures, 335–342 Voltage drop, power distribution m a g n e t i c s e n s o r s , 3 3 8 – 3 3 9 , 3 4 1 system, 52 o p t i c a l s e n s o r s , 3 3 8 – 3 3 9 , 3 4 1 Voltmeter power supplies c a t e g o r y r a t i n g s , 3 2 0 – 3 2 1 magnetic ballast power supply, true root mean square voltmeter, 340 321 switched-mode power supply, v o n B a l l m o o s , F r i t z , 1 5 336–338 V-rated tools, 322 printed circuit board, 338 problem sources, 327–330 W p r o c e d u r e s , 3 3 3 – 3 3 5 W i r e g a u g e , see American Wire Gauge reliability of fi xtures, 326 W y n n e - W i l l s o n , P e t e r , 1 4 , 2 3