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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. -
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. -
Lighting and Electrics
Lighting and Electrics 1 1E See also: First Electric 2 P&G See also: Pin Connector 2-fer See also: Two-fer 2/0 Pronounced 2-aught; single conductor cable with wire size "2/0" on jacket; commonly used for feeder cable 2PG See also: Pin Connector 3-fer See also: Three-fer 4/0 Pronounced 4-aught; single conductor cable with wire size "4/0" on jacket; commonly used for feeder cable A Adapter Electrical accessory that transitions between dissimilar connectors; may be a molded unit, box or cable assembly Amp See also: Amperes Amperes Unit of measure for the quantity of electricity flowing in a conductor Synonym: A, Amp, Current AMX192 Analog Multiplexing protocol for transmitting control information from a console to a dimmer or other controllable device Synonym: AMX, USITT AMX192 eSET: Lighting & Electrics 2 Ante-proscenium See also: Front of House (FOH) Beam Asbestos Skirt Obsolete term See also: Flameproof Apron Automated Fixtures See also: Automated Luminaire Automated Lighting Control Console Lighting console capable of controlling automated luminaires Automated Luminaire Lighting instrument with attributes that are remotely controlled Synonym: Automated Fixture, Automated Light, Computerized Light, Intelligent Light, Motorized Light, Mover, Moving Light, More… Automated Yoke Remotely controlled pan and tilt device Synonym: Yokie B Backlight A lighting source that is behind the talent or subject from the viewers perspective Synonym: Backs, Back Wash, Bx, Hair Light, Rim Light Backs See also: Backlight Balcony Front See also: Balcony Rail -
Theater 900-1500 Seats
THEATRICAL lighting solution Package complete, versatile and cost effective stage lighting Package guide 900-1500 seats 3 Dimming System 3 Lighting Control Console 3 Architectural Control Stations 3 Power Distribution Equipment 3 Lighting Fixtures 3 Accessories INSIDE 1st flap equiPment inFormation This guide is intended to illustrate a lighting system capable of providing basic stage lighting for a large theatrical facility or school auditorium. The equipment shown in this brochure represents just a small fraction of the total Leviton offering. This particular selection and layout represents a balance between professional quality and budget- ary considerations. The package can be ordered as is, or modified as required to suit specific applications. If, after reviewing this information you have further questions please contact your lo- cal Leviton Lighting Control Representative for further assistance in putting together a system that meets the needs for your facility. The following products are used in these packages: Dimmer rack This equipment is used to control the power delivered to your fixtures. The dimmers in the rack can be controlled by either the theatrical control console or house/stage lighting control stations. The professional grade i-Series Dimming Racks offers control of up to (96) 20A circuits using high-density, professional grade dual dimmer modules. control console The control console is used to control the dimmers during production. The Piccolo Scan console offers 4 working modes allowing it to adapt to any situation. The unit func- tions as a quick-to-learn manual two scene or full function preset memory board with automatic playback. Additionally (256) attribute channels are available for operating automated lighting devices. -
Delamping in Most of Our Classroom Light Fixtures, There Are One to Four Individual Fluorescent Lamps
Delamping In most of our classroom light fixtures, there are one to four individual fluorescent lamps. Depending on the types of fixtures, you can remove one of the lamps while keeping the others in. Which one to take out simply depends on which appears best to you. On the newer, skinnier (T-8) lamps, the manufacturer recommends that no more than one lamp be removed from the fixture. Delamping is a simple way to reduce foot-candles of light intensity in an area. In the lighting industry, foot-candles are a common unit of measurement used to calculate adequate lighting levels of workspaces in buildings or outdoor spaces. Of course, you can also remove all the lamps in a fixture if the light is not needed at all. Some overhead light fixtures are also emergency lights that will stay on when the building loses power. The emergency light fixtures should not be deplamped. Delamping should done by qualified staff only. Keep in mind these rules for delamping: Do not compromise health, safety, or security. Do not take lamps out of new fixtures that are still covered under warranty. Do consider the needs of the building occupants. With T-8 systems, do not remove more than one lamp per fixture. Maintain recommended minimum light levels. Refer to the chart on the next page. Where would you delamp a light fixture? Delamping is possible anywhere there is a fluorescent light fixture above an area that is not being used for active reading and writing or in areas where there is more light than needed. -
Table of Contents Ordering Info & Terms
Table of Contents Ordering Info & Terms Pricing Installations & Web ................... 1 Prices shown are current at time of printing. Prices and specifications subject to change Pipe & Drape .............................. 2 without notice. Please call or e-mail for confirmation of prices and specifications. Updated Draperies ............................... 3 product pricing is also posted at our website: www.bmisupply.com. Payment Terms Fabric ............................... 4 - 5 Amex, Visa, MasterCard, Discover accepted, along with cash/check in advance or COD in Tape ............................... 6 select cases. Most government, Federal, college, university and private school purchase orders accepted on open account at the discretion of BMI Supply. Open account terms Hardware ............................... 7 - 11 are Net 30 from invoice date, unless other arrangements are agreed upon by BMI Supply. Rigging ............................... 12 - 17 Payments received Net 31 and later incur a 1.5% service charge initially, and for every thirty Cordage ............................... 18 (30) days thereafter. Any collection and/or legal fees are the responsibility of the purchaser. Ordering Curtain Track .............................. 19 - 21 All orders subject to acceptance by BMI Supply. Orders may be placed via web, phone, Special Effects .......................... 22 - 29 fax, email, or US mail. Whichever is most convenient for you. Tech-cessories .......................... 30 Returns Lighting Accessories ................ 31 - 44 We understand circumstances arise that necessitate a product return. Returns will not be accepted without a return authorization (RA#) number issued by BMI Supply. Request for a Electrics ............................... 45 - 62 RA# must be placed with BMI Supply within 10 days of receipt of order by customer. Returns Parts & Sockets ......................... 63 expire 20 days after issuance of RA#. All returns are subject to a minimum 20% restocking Lamps ............................. -
Roscolux Supergel Roscolux Is the Most Widely Used Color Supergel Is the Most Widely Used Colour Filter Range for Theatre, Film, Television, Filter in the World Today
Table of Contents Color Filters 2 LitePad 7 LED Luminaires 11 Lighting Equipment 15 Gobos & Projections 18 Film, TV & Still Photo Products 21 Fog & Bubble-Making Products 24 Paints, Coatings & Scenic Tools 26 Screens & Staging Material 30 Floors & Flooring Products 37 Color Filters Roscolux Supergel Roscolux is the most widely used color Supergel is the most widely used colour filter range for theatre, film, television, filter in the world today. It is comprised of live entertainment and architectural a range of more than 75 colours and 15 applications. For a detailed list of the colors diffusions. Selected primarily because and diffusers of the range consult the of the excellence and range of colour, Roscolux swatchbook or Rosco website. it is unique in its manufacturing and durability as well. Roscolux Sheets 20” x 24” Roscolux Rolls 24” x 25’ Supergel Sheets 20” x 24” Supergel Rolls 24” x 25’ E-Colour+ Cinegel A comprehensive range of European The AcademyAward® winning range of color and correction filters based on the color and correction filters, Cinegel Cinemoid™ system. For a detailed list of includes diffusers, reflectors and the colors, diffusers and reflection materials Storaro Selection and CalColor filters. consult the E-Colour+ swatchbook or For a detailed list of products, consult the Rosco website. the Cinegel swatchbook or the Rosco website. E-Colour+ Sheets 21” x 24” E-Colour+ Rolls 48” x 25’ Cinegel Sheets 20” x 24” Cinegel Rolls Diffusion Rolls (Most rolls are 48” x 25’) Permacolor Dichroic Glass Filters Rosco Permacolor dichroic glass filters are the perfect choice for designers requiring long-lasting, high-quality filters. -
RENTAL CATALOG Our Rental Department Is Open from 8:30Am to 5:00Pm Monday Through Friday
© 2020 Grand Stage Lighting Where to Pick Up Your Order The Rental Warehouse is based out of the Knox Avenue location. All Rentals must be picked up and returned to the Knox Avenue location, unless other arrangements have been made. Our Grand Avenue location has a limited supply of Rental equipment, but always call to ensure availability. RENTAL CATALOG Our Rental Department is open from 8:30am to 5:00pm Monday through Friday. We are closed all major holidays. This price list is intended as a guide. Call for pricing on longer When picking up a rental, please allow a minimum of a half runs. hour before closing time to process paperwork and load your “3 Day” is the weekend price, with a pickup on Friday and order. Pick-ups or returns on days and times other than those return on Monday. specified on your rental contract must be agreed upon in “Weekly” is the seven-day price. advance. This may result in additional charges. Our Minimum Rental Charge is $25.00 All Rentals are “Will Call” unless other arrangements have All Rentals require a $100 Deposit unless Credit Terms have been made. When picking up equipment, consider what type been established. Staging Decks and Dance Floor require a of vehicle to bring to ensure everything will fit safely. A small $200 Deposit. Deposits are refunded when all gear is returned followspot will fit in just about any car, while larger lighting in good condition. packages will require a van or larger. Let us know what kind of vehicle you will be bringing for pickup, and we can provide If you are renting equipment to replace equipment that is roadcases for ease of transport. -
A Lighting Design Process for a Production of Stephen Schwartz’S Working
A LIGHTING DESIGN PROCESS FOR A PRODUCTION OF STEPHEN SCHWARTZ’S WORKING A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Fine Arts in the Graduate School of The Ohio State University By Matthew Dale McCarren, B.A. The Ohio State University 2008 Masters Examination Committee: Approved By Mary A. Tarantino, M.F.A., Advisor Daniel A.Gray, M.F.A. Advisor Graduate Program in Theatre Maureen Ryan, M.F.A. ABSTRACT Stephen Schwartz’s Working was produced at The Ohio State University Department of Theatre during the spring quarter of 2008. Included in this document is all of the documentation used for the implementation of the lighting design for this production. The need to work forces humans to interact with one another daily and requires us to deal with the added stressors that being in contact with other humans creates. This theme is central to the story of Working and is a major point of emphasis for our production of Working. Chris Roche in his Director’s Concept states, “The construction of Working at first glance seems isolated and solitary, so many different stories – but very little unifying factor. I believe the common thread is the workers themselves. Who do we meet on a daily basis, and how does each of those domino-like moments affect the greater whole of our lives?” In support of the director’s concept, the lighting design for Working aimed to create two separate lighting environments one of reality and the other of fantasy. The challenge was to then connect the separate environments into one seamless world where the line of reality and fantasy are blurred. -
Boll Theatre Specifications
Dayton, Ohio Boll Theatre Technical Specifications For Bookings and Reservations: 937-229-3333 Boll Theatre Manager: Matthew J. Evans 937-229-3834 Email: [email protected] 1 BOLL THEATRE The John F. Kennedy Memorial Union, University of Dayton TECHNICAL INFORMATION SUMMARY: The stage is a proscenium style stage. The floor is flat, ¼" Masonite painted black, and can be fastened into with permission. There are pre-cut traps and floor pockets. The seating is all on the main floor with no balcony. There are two entrances into the theatre; one left and one right. The control booth is located on the 2nd floor. Theatre Capacity: 371 Theatre Capacity: 359 with tech table for audio Stage Width: 57’6” (Side wall to side wall) Stage Depth: 30’ (Proscenium to back wall) 38’ (With stage lift at stage level) Grid Iron Height: Top: 45’11 5/8” Bottom: 44’11 ½” Grid Iron Ceiling: 52’0 ¾” Loading Bridge: Top: 36’ 10 3/8” Bottom: 36’5” Operator’s Bridge: Top: 15’7 13/16” Bottom: 14’3 3/8” Maximum Batten Height: 42’ (depending on arbor size) Proscenium Height: 20’ Proscenium Width: 32’ Stage Lift: 24’ x 8’ (Hydraulic) Depth in Front of Curtain: 3’ (Without stage lift) LIGHTING EQUIPMENT: 1 ETC ION XE 20 Light Control Console 99 ETC Source Four lamp body 575w 32 Source Four lens tube (6x16) 19 degrees 65 Source Four lens tube (6x12) 26 degrees 58 Source Four lens tube (6x9) 36 degrees 10 Source Four lens tube (4.5x6) 50 degrees 10 Source Four Zoom 15-30/25-50 degrees 2 High-End Sola Frame 750 Moving Lights 32 ETC ColorSource Spots – Deep Blue 21 ETC ColorSource -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Entertainment Lighting Control Philosophy by Anne Valentino and Sarah Clausen, ETC Control Product Managers
White Paper Entertainment Lighting Control Philosophy by Anne Valentino and Sarah Clausen, ETC Control Product Managers Introduction Is there a new lighting control console in your future? Will you be buying – or selling – or using - such a console? How do you know which one is right for you – your team – or your customer? Beyond channel counts, DMX outputs, faders, touch screens and buttons described in most console datasheets and product comparison articles, how can you find out if a lighting control console will “feel right”? If you ask friends and colleagues, they may say “buy console x because it is easy to use” or “buy console y because it thinks like you do”. Why is one console perceived to be easier to use than another or to “think like I do”? We hope to clarify some of this by providing you with tools to truly evaluate consoles based on their core philosophies rather than things like channel counts and fader quantities. Let’s get to the bottom of why there are so many different consoles out there and why many of them enjoy a devoted following. When considering operational philosophies, there is no right or wrong; there is only different. The philosophy of a console defines its basic personality. All of the basic phi- losophies in use on lighting desks today are derived from our original task of controlling intensity. These ideas have been modified to extend to moving light and media control, but they all have strong historical precedence. It is worth- while to understand where these ideas come from, as this understanding can help you make a choice about the product that might be right for you.