Backstage Lighting Terminology
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A Guide for Lighting the Stage
A Guide for Lighting the Stage visual environment technologies | etcconnect.com ETC® and ColorSource are either registered trademarks or trademarks of Electronic Theatre Controls, Inc. in the United States and other countries. All other trademarks, both marked and not marked, are the property of their respective owners. This content may be used, copied and freely distributed for educational purposes without written permission from ETC. Introduction The aim of this guide is to help teachers better understand and explain the basic elements of stage lighting. This resource is intended to supplement existing teaching materials, providing additional information and relevant product examples to add colour to lessons and presentations. The content can be applied to a variety of venues, including school halls, drama studios, college and university venues, dance venues, village halls, arts centres, concerts and student television studios. The following chapters cover basic illumination techniques using the ColorSource family of products from ETC and provide a pathway towards more artistic lighting designs. The guide is supported by an optional set of posters, available from ETC (send an email to [email protected] to request a poster set). Founded in 1975, ETC is a global leader in the manufacture of lighting and rigging technology for entertainment and architectural applications. ETC products are found in small and large venues worldwide. All ETC products are made to the same high standards, which is why they are used in so many professional and amateur venues. The ETC ColorSource family of equipment delivers LED lighting on a budget by offering high quality lighting, data distribution and power control in a plug- and-play format. -
Stagehand Course Curriculum
Alaska Center for the Performing Arts Stagehand Training Effective July 1, 2010 1 Table of Contents Grip 3 Lead Audio 4 Audio 6 Audio Boards Operator 7 Lead Carpenter 9 Carpenter 11 Lead Fly person 13 Fly person 15 Lead Rigger 16 Rigger 18 Lead Electrician 19 Electrician 21 Follow Spot operator 23 Light Console Programmer and Operator 24 Lead Prop Person 26 Prop Person 28 Lead Wardrobe 30 Wardrobe 32 Dresser 34 Wig and Makeup Person 36 Alaska Center for the Performing Arts 2 Alaska Center for the Performing Arts Stagecraft Class (Grip) Outline A: Theatrical Terminology 1) Stage Directions 2) Common theatrical descriptions 3) Common theatrical terms B: Safety Course 1) Definition of Safety 2) MSDS sheets description and review 3) Proper lifting techniques C: Instruction of the standard operational methods and chain of responsibility 1) Review the standard operational methods 2) Review chain of responsibility 3) Review the chain of command 4) ACPA storage of equipment D: Basic safe operations of hand and power tools E: Ladder usage 1) How to set up a ladder 2) Ladder safety Stagecraft Class Exam (Grip) Written exam 1) Stage directions 2) Common theatrical terminology 3) Chain of responsibility 4) Chain of command Practical exam 1) Demonstration of proper lifting techniques 2) Demonstration of basic safe operations of hand and power tools 3) Demonstration of proper ladder usage 3 Alaska Center for the Performing Arts Lead Audio Technician Class Outline A: ACPA patching system Atwood, Discovery, and Sydney 1) Knowledge of patch system 2) Training on patch bays and input signal routing schemes for each theater 3) Patch system options and risk 4) Signal to Voth 5) Do’s and Don’ts B: ACPA audio equipment knowledge and mastery 1) Audio system power activation 2) Installation and operation of a mixing consoles 3) Operation of the FOH PA system 4) Operation of the backstage audio monitors 5) Operation of Center auxiliary audio systems a. -
Technical Theatre Class
Technical Theatre Class Instructor: Mrs. Tabitha Peck Classroom: Theatre Email: [email protected] Telephone: 850‐617‐5700 x.2390 website: www.leonperformingarts.org click on “Theatre Tech” Dear Student and Parent: I would like to take this time to welcome you to the 2012‐2013 Technical Theatre class. I am excited about this year, and look forward to working with each of you. As you read over this syllabus with your student; please make note of any questions that you have concerning this information. I hope that when you have completed studying the syllabus, you will have a strong understanding of what will be required from the student, as well as what the student can expect from me. I want to personally invite each parent to take an active role in helping the student, and myself, have a productive and successful experience in class this year. The last page of the syllabus is the individual student contract, which must be returned to me, signed by both the parent, and student. This gives me a written confirmation that both the parent and student have read the syllabus, understand procedures, rules, consequences, and will abide by them. So please read each page of the syllabus carefully before signing the contract. This contract will be kept in the student’s personal information file. Once again let me welcome you to the class, it’s going to be an exciting year! Technical Theatre ‐ 0400410 Syllabus Objective: Students focus on developing the basic tools and procedures for creating elements of technical theatre as listed below. -
John's List of Tech Theater Terms
Department of THEATER & DANCE Office of the TECHNICAL DIRECTOR Tech Theater Terms file last updated: 7.29.2010 (JDE) All information contained in this document is original material copyright © 2005 by John D. Ervin and is intended for the use of my students. Please contact me at [email protected] for permission to use this material in any other way. This is a work-in-progress and will be occasionally appended. Apron – The portion of the stage or playing space that is downstage of the proscenium arch. In traditional proscenium-style theaters, acting on the apron was a big “no-no” because it violated the stage picture being created by the proscenium arch. Thus many older theaters have very shallow aprons. Nowadays though, Directors can’t get enough of having their actors as close to the audience as possible; despite how uncomfortable it makes some audience members. This is all done under the umbrella of ‘intimacy’ and we all know how much artists love that stuff. Sometimes the apron is referred to as the “Forestage”. (See Figure 1 and 2) Arbor – Part of a fly system. A device mounted in one of the wings, which is connected to the lift lines at the opposite end from the batten. Stage weights are stacked on the arbor to balance the load suspended from the batten. In the case of a counterweight fly system, a rope hand line is connected to the top of the arbor, passes sequentially through the head block and tension block, and is terminated to the bottom of the arbor, forming a loop. -
Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry
Journal of Intellectual Property Law Volume 28 Issue 2 Article 3 October 2020 Exit stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry Mark Bailey University of Georgia School of Law Follow this and additional works at: https://digitalcommons.law.uga.edu/jipl Part of the Intellectual Property Law Commons Recommended Citation Mark Bailey, Exit stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry, 28 J. INTELL. PROP. L. 365 (2020). Available at: https://digitalcommons.law.uga.edu/jipl/vol28/iss2/3 This Notes is brought to you for free and open access by Digital Commons @ Georgia Law. It has been accepted for inclusion in Journal of Intellectual Property Law by an authorized editor of Digital Commons @ Georgia Law. Please share how you have benefited from this access For more information, please contact [email protected]. Exit stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry Cover Page Footnote J.D. Candidate, 2022, University of Georgia School of Law. Before coming to law school, I spent ten years working as a lighting designer and technician in the theatre and entertainment industry. My past professional credits include: Light Board Programmer at the Yale Repertory Theatre and Yale School of Drama, Assistant Master Electrician at Point Park University's Conservatory of Performing Arts, and various design credits around the country. I dedicate this note to all the talented theatre professionals I have worked with that have faced down unique challenges the pandemic brought to the industry. -
These Definitions Are Provided Courtesy of Altman Stage Lighting, Inc
LIGHTING TERMS GLOSSARY A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent Light Illumination used to make something stand out. It may be done with intensity and/or color. A luminaire that provides such illumination. Amp an abridged version of Ampere. Amperage (A) The measure of electrical current in amperes. Ampere(A) A unit of measurement for Electrical Current. AMX Abbreviation for Analog Multiplex. Analog Multiplex (AMX) A system that simultaneously transmits more than one analog signal. Analog Signal A continuous communication signal where the amplitude or frequency of the voltage and/or current takes any value within a range of values. ANSI Abbreviation for American National Standards Institute. ANSI Code A three letter system that has been devised to describe lamps of different manufacture but the same application. The letters have no relationship to lamp description, but the same letters always designate the same type of lamp. Some of the application parameters they define are wattage, base type, envelope size, and light center length. Arc The light caused by an electrical discharge between two electrodes in a gas such as xenon, argon, or air. The first usable arc as a practical light source was developed in 1809 by Sir Humphrey Davy. Automated Light A luminaire that is robotic, i.e., certain functions such as panning, tilting, focusing, dimming, beam shaping and coloring, etc., are motorized and remotely operated from a control console. Axial A term used to describe a luminaire whose lamp is mounted on the same axis as its optical system. -
Resume Examples
RÉSUMÉ TEMPLATES The following examples are provided to help you create your first résumé. There are six templates: 1) actor 2) designer/technician 3) stage manager 4) director 5) playwright 6) first-time résumé for someone just out of high school, combined with a general theatre résumé covering multiple areas of experience Length: An actor’s résumé should be a single page in length. When attached to a headshot, it should be trimmed to 8” x 10”. Résumés for other areas do not need to be limited to one page. There are many possible variations in style and format, and each template has a slightly different approach. Look over all of the samples for formatting ideas, even those that do not apply to your specific area of interest. You are also encouraged to contact faculty for advice and feedback on your drafts. Please note, résumés for graduate schools in theatre, professional theatres, and theatre internships are different from your typical business résumés. The sample résumés provided by the Center for Community Engagement and Career Education <http://www.csub.edu/cece/students/who_method.shtml> are useful if you are applying for a position outside of theatre, but their formats should not be used for jobs or graduate school applications within the theatre field. ACTOR TEMPLATE DAVID DRAMA [email protected] Height: 5’ 11” (661) 123-5678 Hair: Brown Tenor Theatre Death of a Salesman Biff Anita DuPratt Bakersfield Community Theatre Lend Me a Tenor Max Zoe Saba CSU Bakersfield Antigone in New York Sasha * Maria-Tania Becerra CSUB Evita Magaldi Mandy Rees CSUB Richard III Hastings Peter Brook Empty Space “Wiley and the Hairy Man” Wiley Kamala Kruszka CSUB and on tour “Unwrapped” (premiere) John Jessica Boles CSUB * Kennedy Center American College Theater Festival Irene Ryan Acting Scholarship nominee Education/Training B.A. -
Optical Coating Capabilities
6/7/2021 Optical Coating Capabilities | Optical Filter Coatings | Andover ISO 9001 AS 9100 ITAR Toll Free (US): +1 (888) 8939992 International: +01 (603) 893 6888 LOGIN CHECKOUT Search CONTROL THE LIGHT, SEE YOUR WORLD Standard & Custom Optical Filters and Coatings Home / Optical Filters & Assemblies | Coating Capabilities | Andover / Optical Coating Capabilities | Optical Filter Coatings | Andover OPTICAL COATING CAPABILITIES What is an Optical Filter Coating? An optical coating is one or more thin layers of material deposited on an optical component such as a lens or mirror, which alters the way in which the optic reflects and transmits light. One type of optical coating is an antireflection coating, which reduces unwanted reflections from surfaces, and is commonly used on spectacle and photographic lenses. Another type is the highreflector coating which can be used to produce mirrors that reflect greater than 99.99% of the light which falls on them. More complex optical coatings exhibit high reflection over some range of wavelengths, and antireflection over another range, allowing the production of dichroic thinfilm optical filters. Technologies Andover has a variety of optical coating technologies at its disposal, providing customers with solutions tailored to their specific applications. Technologies include: Magnetron Sputtering IonAssisted EBeam deposition Resistance Evaporation Hybrid Technologies We can design and manufacture coatings to meet your most demanding requirements. Range of Wavelengths from 193nm to 14 microns, on a wide variety of substrate materials including BK7, filter glass, borosilicate glass, Silicon, Germanium, Sapphire, Fused Silica, Calcium Fluoride, Zinc Selenide, Zinc Sulfide, and more. All Andover chambers are internally custombuilt, computercontrolled, and use the latest deposition techniques. -
Master Electrician
MASTER ELECTRICIAN Position Description Position Title: Circle Theatre Master Electrician Reports To: Technical Director and Lighting Designer Compensation: $500.00 per show stipend - paid at end of run Total Hours: Varies by needs of show Work Dates: Cabaret, July 5-Aug 1; Noises Off! Aug 2-29; Hair, Aug 30 – Sept 26. *Dates include the performance runs, which MEs are not required to attend but will need to be available to come in for repairs if needed during the run of the show. General Purpose Responsible for reading lighting designers plans and implementing the hanging of instruments; work with the Lighting Designer during focus and tech week. Up to 3 positions to fill (or one person for all three shows). 1 load-in/focus/strike period per production, $500 stipend per production. Minimum Job Requirements Education / Experience • Experience with theatrical stage lighting (conventional and LED), and with standard lighting conversion (i.e. desk lamps conversion to stage pin) Experience • Photography, graphic design, communications LIMITATIONS AND DISCLAIMER The above internship description is meant to describe the general nature and level of work being performed; it is not intended to be construed as an exhaustive list of all responsibilities, duties and skills required for the position. All job requirements are subject to possible modification to reasonably accommodate individuals with disabilities. Some requirements may exclude individuals who pose a direct threat or significant risk to the health and safety of themselves or other employees. This job description in no way states or implies that these are the only duties to be performed by the employee occupying this position. -
The Fascination of Flash Photography
The fascination of flash photography. 2016 / 2017 The fascination of flash photography “Paint” with the flash. Every subject has its own particular charm. The creative use of flash opens up numerous photographing possibilities, e.g. reducing the subject contrast, highlighting certain picture areas or getting rid of unwanted shadows. The first-class flash units from Metz offer natural colours and harmonious mood lighting – with every subject. Metz – always first class.. www.metz-mecatech.de picture: Geissler Dominik 2 — 3 Contents | A focus on quality 05 Tradition with a focus on the future 24 Every detail absolutely brilliant Contents 06 Your subject in the best 28 accessories possible light 32 Technical glossary 10 A lot of power for the best light 34 Technical specifications System flash units mecablitz mecablitz mecablitz 12 64 AF-1 digital 14 52 AF-1 digital 16 44 AF-2 digital mecablitz mecablitz mecablitz 18 M400 20 26 AF-2 22 36 AF-5 digital System flash units Specialist flash units mecablitz 18 M400 mecablitz mecablitz 23 24 AF-1 digital 26 15 MS-1 digital-Kit picture on title: Florian Gerlach Metz – always first class. www.metz-mecatech.de Metz mecatech – a focus on quality. The name Metz has been synonymous with professional flash units for decades. Our company’s exceptional reputation has been shaped by numerous technical innovations – such as the use of USB connections which allow flash units within the camera system to be updated for the latest camera model even after purchase. Today, we offer a diverse range of products from Whether light output, convenience of use or reliability, the convenient compact flashes right through to powerful handheld first-class quality of Metz flash units is unquestionable – as flash guns. -
Reflectance in Thin Films
TECHNICAL PAPER Reflectance in Thin Films Abstract Reflectance (R) is the fraction of incident light reflected from a surface and is an intrinsic optical property of thin films. It is essential in determining color, transparency and polarization characteristics of the film. Total internal reflectance is also important in devices such as optical waveguides. Reflectance depends on the energy band structure and associated plasma frequency of charge carriers. As a result, high reflection spectral regions are different for metals, semiconductors and insulators. Basic relations that determine reflectance will be presented and related to refractive index, extinction coefficient, color and transparency of these three classes of thin film materials. Reflectance of thin films also depends on thickness and surface quality. In addition to spectral dependence, the color associated with reflectance can also be described by Tristimulus values and Chromaticity diagrams. Antireflection and high reflection multilayer thin film coatings will also be addressed. Introduction The reflectivity or reflectance (R), of a surface is an intrinsic optical property of a surface. In many optical, electrooptic, telecommunications, solar concentrator and architectural applications, reflectance must either be controlled (reduced or enhanced), or the color of the object changed (e.g., given a “gold” color). For example, heat mirrors are used to reflect infrared wavelengths to reduce heat loss or ingress through windows. Infrared reflectance must be maximized while keeping visible light transmission through the window high. Multilayer low-e and solar control coatings are used to achieve this performance but must be applied to low cost plastic films and glazings. Combined with absorption, reflectance determines color and intensity (or energy) of reflected light. -
Master Professional Portrait Lighting with These 20 Essential Studio Setups
LIGHTING GUIDE Master professional portrait lighting with these 20 essential studio setups REMBRANDT WITH A PORTALITE SOFTBOX REMBRANDT THROUGH AN UMBRELLA REMBRANDT WITH A HONEYCOMB GRID REMBRANDT WITH A SILVER UMBRELLA KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, Stand, one Portalite Softbox one Clip-lock Stand, one 16cm Reflector, one Clip-lock Stand, one 18cm Reflector one Clip-lock Stand, one 16cm Reflector, Position the light high and to the side to one Shoot-through Umbrella with Honeycomb one Silver Umbrella create a triangle on the model’s cheek. The Position the light high and to the side as with Position the light in the same manner as the Position the light in the same manner as the shadow of the nose should point towards the the ‘Rembrandt with a Portalite Softbox’ previous ‘Rembrandt’ techniques; the light previous ‘Rembrandt’ techniques. The light edge of the lips. The Portalite creates a soft setup. The light is slightly less contrasty, through the honeycomb grid is stronger and bouncing from the silver umbrella is more directional effect. because the light is less directional more dramatic. The grid makes it very easy direct and wraps around the features of the and there is always some reflection to direct the light on to the model and away face yet still creates the shadow from the from the studio surroundings. from the background, which becomes dark. nose towards the mouth. REMBRANDT SHORT REMBRANDT BROAD SPLIT SPLIT WITH FILL KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox, one Use the principles of ‘Rembrandt’ lighting Use the principles of ‘Rembrandt’ lighting Position a light to one side of the model in small reflector to create the triangle of light on the face.