education guide 2003

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Strand Lighting Education Guide 2003

Page 2 of 20 www.stranduk.co.uk Tel 020 8735 9790 Fax 020 8735 9799

A GUIDE TO LIGHTING IN EDUCATION 3

Types of Light 3

Floods 3

Soft Spots 3

Profile Spots 3

Beamlights 3

CHOOSING LIGHTING POSITIONS 4

Lighting from the front 4

Lighting from the back and side 4

Finding the compromise 5

SPECIALS 6

For the Actor 6

For Special Effects 6

For the Scenery 6

DIVIDING THE STAGE 7

Dividing by Area 7

Area planning for a play 7

Area planning for a musical 7

Colour planning for a play 7

Colour planning for a musical 8

THE DECISION PROCESS 9

Example plan for a play 9

Example plan for In the Round 9Example plan for a musical 9

DECIDING WHICH LIGHTS TO USE 10

THE RIG PLAN 11

LISTS 11

FOCUSING 12

Focussing in comfort 12

What can we adjust? 12

GLOSSARY 17


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Tel 020 8735 9790 Fax 020 8735 9799 www.stranduk.co.uk Page 3 of 20

A GUIDE TO LIGHTING IN EDUCATIONWhatever the scale of a production - amateur or professional - lighting like other design processes is based on a sequence of logical

decisions plus a good measure of creative inspiration.

This brief guide offers a sequence of step-by-step decisions to form the basis of a lighting process for the smaller scale production. It

has been prepared by a lighting designer with experience of working on productions of all types and sizes. Strand hope that it will be

especially helpful to amateur groups, small touring companies and educational theatre.

Types of Light

How do we choose which type to use in each position? As Strands lighting equipment is so robust choice is further complicated, in that in

addition to the range in today's catalogue, many earlier models are still in use. However lighting instruments group into families and it isconvenient to consider our requirements in terms of what each family offers in terms of beam size, beam shape, and beam quality.

Floods

The beam size, shape and quality emitted by a flood is fixed: there are no adjusting knobs. The light is therefore suitable for lighting skies

and cloths. It is not selective enough for lighting actors. Coda units may be single or grouped in 3s or 4s for colour mixing. They have a

reflector that is specially designed to ensure an even wash over a large area from a short throw

Soft Spots

Prism Convex (PC) spots allow control of the beam size, and the beam may be roughly shaped by a rotatable barndoor. The quality is even

and soft-edged, with less light-spill outside the main beam than in the case of a fresnel. In addition to the PCs, Fresnels have a very soft

edge. The beam angle is adjustable and its shape roughly containable by a 4-leaf rotatable barndoor. The extent of the spill outside the

main beam makes them unsuitable for longer throws, particularly from the auditorium.

Profile Spots

Profile spots give precise control of the beam. An iris diaphragm (for round edges) and shutters (for hard edges) can produce shapes in allsizes. For more complex shapes, special masks can be cut. Edge quality can be adjusted from very soft to very hard by moving the lens,

while a metal pattern plate called a gobo can texture the quality of the whole beam. The number in the profile's name indicates the beam

angle.

Whereas standard profile spots have a fixed beam angle, which is narrowed by shuttering, variable beam profiles use a pair of lenses whosedifferential movement gives a wide range of beam angles and edge qualities. The shutters are then only required for shaping. Adjustments

are faster and more efficient use is made of the lamp's output The number in a variable profile's name indicates the range of available

angles.

The SL New Generation Profile Spots now provide increased light output with reduced power consumption. Often referred to as a

coolbeam profile, they do this by using state of the art optical coating on a glass reflector, allowing the optical light to be passed forward,

while the heat and infra red spectrum is allowed out of the rear.

Beamlights

Most lighting instruments produce a conical beam so that the spread widens as the throw increases. Beamlights use a parabolic reflector

(and no lens) to produce a near parallel beam which is more intense than a lens spotlight of the same wattage. This is one of the moreimportant developments of the past decade. The optics are fully contained within the glass envelope of the lamp. Various Lamps providing

angles of a squashed near-parallel beam are available. The intensity produces a depth-enhancing haze in the air, so intense that it is

effective even with deep colours. The basis of most rock lighting today.


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CHOOSING

LIGHTING

POSITIONS

Lighting from the frontConsider the effect of a light starting

as a vertical downlight on an actor thenmoving in a frontal plane until its beam

becomes horizontal and then carries onto light from below. How visible will be

the actor's face, particularly eyes and

teeth? To what extent will face and

body be modelled or flattened? What

area of stage will be selected and what

will be the size and direction of

shadows cast on floor and scenery?

A vertical beam is the most selective

light possible. The lit area of stage,

and the shadow cast upon it, need be no

wider than the widest part of the actor.

However, the actor's eyes will be blackpools and a highlighted nose will shade

the mouth.

If the light comes from a little forward

of the actor, it will start to reach the

eyes and mouth (provided that shekeeps her chin up and is not defeated

by a hat brim!). However, the lit area,

and shadow cast, starts to extend

upstage from the actor - i.e. the light is

slightly less selective.

As the lighting comes increasingly from

the front, the actor's eyes and teethreceive more light. But the area lit

extends further and further upstage,reducing the selectivity and increasingthe likelihood of the actor's shadow

hitting the scenery

As the light becomes more and more

frontal, the actor's features become

flattened (and so also does three-

dimensional scenery). The lit area andthe actor's shadows increase until,

when the light is horizontal, there is a

lit corridor for the entire depth of thestage, and the actor shadows become

actor length.

Light from below projects an actor

shadow that looms above the actor

rising and falling as she moves towards

and away from the light source. Whenthis is the only lighting angle, the

effect on the face is not at all natural.

But a little from below, usually just

reflected light can help to soften the

harshness of light from above.

Lighting from the back

and side

Now consider a light from behind.

Then a light or lights from a series of

side angles (i.e. lights at right anglesto those considered above). Once again

the criteria is visibility, modelling,

selectivity and shadows.

A light source behind the actor does

not illuminate the face, but it helps togive depth to the stage by separating

the action from the scenery through

creating a haze and highlighting headand shoulders. The shadow of the

actor is cast forward, helping theselection of areas. Since the light does

not fall on the face, strong colours can

be used.


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If the light comes from a little to one

side of the actor it will start to reach

the eyes and mouth on that side. The

area lit, and the shadows cast, willextend along the stage floor on the

other side.

Add a second light source from the

other side, and both sides of the face

will receive light. However, there is

now a second shadow and the selected

area of stage floor extends to both

sides of the actor.

As the side lighting comes from an

increasingly lower angle, the shadows

will lengthen to both sides of the actor

and a larger corridor will be selected

across the stage. As the light hits the

face from a lower angle, it will light

more into the eyes and teeth, although

there will still be a tendency towards a

central dark line where the beams meet

down the centre of the face.

As the angle lowers, sidelight has anincreasingly modelling effect on the

actor's face and body. This is

particularly important in dance. When

the light becomes horizontal there will

be a lighting corridor across the whole

stage. By focusing just clear of the

floor, it is possible to lose shadows into

the wings, and the light will only be

apparent when an actor stands in it.

Finding the compromise

We normally seek to light an actor for

maximum visibility and maximum

modelling, with minimum shadow.

Additionally in many productions, we

need to select as tight an area as

possible. Which combination of angles

offers the optimum compromise?

The basic compromise that has long

been the standard approach is a pair of

beams crossing on to the actor (one for

each side of the face) from positions

that are both forward and to the sideof the actor. The suggested angle isoften around 45 degrees in both

directions - i.e. midway between

vertical and horizontal and midway

between front and side. However to

restrict the shadows cast and to give a

better 'join', the lights are often

positioned closer to the vertical and tothe centre.

A backlight added to the basic crossed

pair brings depth to the scene and

generally enhances the 'look' of theactor. The backlight can be used for

strong atmospheric colour if required,while the crossed pair maintain a more

natural tint on the actor's skin tones.

Note: The actor is now It by three

beams with a 120 separation between

them.

The problem with 'crossed pair' lighting

(with or without a backlight) is the

extent of the spread of light on floor

and scenery beyond the area where the

actor's head is lit (remember that headis usually about five feet above the

floor). Although a single beam can be

flat it can also be quite tight.


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Adding a backlight can enhance this

flatness quite considerably - and the

selectivity is still a tightly controlled

upstage/downstage corridor withoutside spillage.

For modelling, sidelights can be added

and, although they will spread the lit

area, they can be at quite steep angles

since they do not need to make a major

contribution to visibility. Note: Four

beams now light the actor with a 90separation between them

.

SPECIALSThe major proportion of a stage lighting rig is focused to form a palette of areas and colours whose various combinations will provide the

desired fluidity of selectivity and atmosphere. However there are certain lights whose function is so 'special' that they cannot make asignificant contribution when mixing the basic palette.

For the Actor

Specials usually consist of spotlights set so tightly that the spaces they light cannot be considered as areas. They are often for momentswhen an actor has to be picked' out (perhaps only head and shoulders) on an otherwise blacked-out stage. They need to be listed in a

priority order for close scrutiny and reduction to essentials.

For Special Effects

There may be a request for equipment to produce clouds, flames, water, lightning, etc. When listing it is always prudent to remember that

such effects can draw attention away from the actor rather than positively support a performance. And if the effect is essential, then the

effect of light reflected from fire or water is often more telling than a pictorial representation of the actual fire or water

For the Scenery

The proportion of the rig focused on the scenery will be very small. With the exception of skies and back or front cloths, scenery normally

gets sufficient general wash from the reflected light bouncing off the stage floor from the lights that have been set for the actors.Indeed, as discussed in the following pages, many of the basic problems of lighting design arise from difficulties in stopping actor light

hitting directly on the scenery Successful lighting of scenery depends on augmenting the diffuse reflected general light by selective

highlighting of chosen scenic elements, or parts of these elements. This can vary from bold gashes to soft emphasis. Again, to be listed

and reduced to essentials after a debate based on priorities and available resources.


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DIVIDING THE STAGE

Dividing by Area

Once decisions have been made about the kind of contribution

that we expect lighting to make to the production that we are

planning - and these contributions have been put into some sort

of order of priority - we need to break down the stage area into

the segments over which we require independent selectivecontrol. The required breakdown may be symmetrical, in which

case the stage plan will be divided into something that resembles

a series of areas of different sizes corresponding to the placing

of the action. Of course it could well be that there is no need

for division into what it is useful to call production areas: all thestage may be in use all the time. In this case a simple division

into centre and sides will allow balancing for maximum

'enhancement' of the look of the scene.

Note: Adjoining areas overlap - both side to side and back to

front. And remember to remember that these are areas wherean actor's head is to be lit - they ore unlikely to be the some asthe light patterns on the floor

Area planning for a play

In this naturalistic play -possibly but not necessarily in a box set

-the areas are determined to a considerable extent by the

positions of furniture and doors. And the lighting is expected

to make some logic in terms of practical light fittings (table

lamps, wall brackets, etc.) and the natural sunshine and moonlight

coming through windows (including those in the audience's

'fourth wall'). In this particular example, we have a play where

it is desirable to focus attention at various times on the sofa,

the armchair, the table (with that essential tool of modern

drama, a telephone) and the doors. These doors aretremendously important in any drama: some of the key

appearances and speeches are made there. But for a longintimate scene on the sofa, it is useful to concentrate on that

sofa and loose peripheral areas like the doors. Consider the

seven areas shown here in terms of possible combinations: thearea palette gives the director a wide range of selectivity of

audience vision - whether a subconscious fluidity (slow cues thatare not obvious) or an area selection obviously linked to the

switching of the practical lamps

Area planning for a musical

Musicals tend to have many scenes and many selective andatmospheric light changes within these scenes. Therefore,

unless there are many - very many - lights available, the

breakdown into areas has to be very general. In this example

the breakdown is symmetrical because, as in so many musical

productions, the settings consist of a symmetrical series of

wings leading to a backcloth, possibly a skycloth. With the

addition of cloths and scenic pieces, the method of staging gives

a flexible masked acting area with the possibility of sufficientopen space for dancing and lots of entrances for a large chorus

to get on and off quickly In most musicals the big moments are

staged in the downstage areas: to help both musical balance and

the 'putting across' of numbers to the audience. For the same

reasons, much of the essential action takes place centre stage.

The most common selective lighting cue is to 'concentrate

centre', usually downstage centre, by 'losing the edges'. Thissuggests a minimum of three areas across the stage - certainly

at the front of the stage, and probably also midstage. However,

it is often quite practical to consider the whole width of the rearof the stage as one area. This provides a seven area

combination that offers an area palette giving the directorconsiderable selectivity with the possibility of progressive

tightening from back to front and from sides to middle.

Colour planning for a play

In a naturalistic play, colour is often used to create a fluid

atmosphere that can shift from warm cheerfulness to cool

sadness. If an area is lit with some lights in warm tones and

some in cools, the dimmers of the control board can be used to

achieve a whole series of options from an extreme of the warm

colour alone, through the neutrality of both together, to the

other extreme of cool colour alone. Which (if any) of the areas

need to have this kind of 'double cover' of colour tones? In this

example, discussion with the director has established that such a

colour palette seems necessary around the central areas and the

desk, whereas the upstage corners and downstage right can

manage on a warm tint only - although perhaps one that is a little

closer to a compromise neutral than the warms in the mixableareas. In such a naturalistic production the actual colour tints

chosen are likely to be quite subtle.


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Colour planning for a musical

The dialogue scenes of a musical require the subtle colour tones

that are appropriate for a naturalistic play However, the musical

numbers, particularly when solo singers can be given isolating

visibility from tightly focused follow spots, usually call for

strongly atmospheric colouring. And many dance sequences,

where the body is relatively more expressive than the face,

respond well to positive use of quite strong colour This example

shows a much used technique where the colour is applied in

rather broader washes than the areas selected for scene

location. The front half of the stage is divided into three areas,

each lit from above in rather saturated colours: a hot and coldrather than a warm and cool. The rear half is treated as one

area, also with a hot and cold from above. From the side comesfurther washes, probably in slightly less saturated hues. These

may divide the stage into bands: in this case an upstage band and

a downstage band, possibly splitting the stage into left and right

but just as likely covering the full width. With relatively neutral

colour from the front, saturated colours from above andintermediate colours from the side, we have a colour palette that

offers considerable scope.


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THE DECISION PROCESSSo how does one decide where to put the spotlights? On many

stages and in many auditoria there is not much choice: but, tomake the best use of the positions available, it is necessary to

start from an ideal and compromise that ideal to fit reality. By

WHERE, we mean where to put the light and where to point it.Traditional advice involves a lot of crossing of light beams -

partly to help model/sculpture the actor by introducing apartially side-light angle and partly because lighting diagonally

across a stage provides a bigger spread of light from each lamp:an important bonus when equipment is in short supply. Crossing

the beams opens out the area lit but can cast excessive shadows

on side wall or masking. And so, with spotlights becoming

increasingly versatile as to beam width, there is every reason to

consider using the traditionally discredited method of lighting

the actor with light coming straight in from the front. Of course

if this is the only light, yes it will be flat. (And if the available

positions are so low that an actor shadow will be thrown on to

the sky, then better to come diagonally - priorities again!) But

with the addition of some backlight (even if it is nearly vertical)

and some sidelight, the front-lit actors will come alive and the

areas/ shadows brought more under control. There need not be

precise side lighting for every area: it can often be quite generalsince it is frequently more important in the big wide areas than

in smaller tighter areas (more important, that is, in priorityterms!).

In the examples shown here, the traditional crossing method has

been used for the play, while the actors in the musical are lit'

flat frontal'. But it could be vice versa. Whichever way, the next

stage in the planning is to establish where the lights go and

where they point.

Example plan for a play

For each area of our play we need two lights. One for each side

of the actors' faces. When an area requires a full colour control

of cool and warm, the number will double to four spots - a

crossed pair in warm and a pair in cool. A spot bar immediately

behind the proscenium arch will give a suitable angle for lighting

the upstage areas, but for the downstage areas a position in the

auditorium is necessary Red and blue have been used to indicatewarm and cool filters in the spots. Green indicates more neutral

washes that have been added from back and sides. Not enough

equipment? Well, do we really need all these areas? And so many

of them with both warm and cool? (Back to priorities?) Or rather

than a pair, we could use a single straight in - but if so, we must

make it really straight in because a single crossing beam does not

do much for the other side of the face!

Example plan for In the Round

For staging in the round, light needs to come from all sides. Andit should be evenly balanced to avoid favouring one segment of

audience to an extent that is not really permissible in a staging

form so democratic as theatre-in-the-round. To avoid hitting

into audience eyes, light has to come from both within the acting

area and from outside it. Angles can be closer to the vertical

than in other forms of staging because the audience is closer to

the actors and thus visibility is 'easier'.

Example plan for a musical

In this musical the actors' visibility light is provided by spots in

a neutral colour hitting straight in. The front areas are coveredfrom the auditorium, the midstage areas from a bar just insidethe proscenium, and the upstage areas from a midstage bar If

the stage is very wide, two or more lamps may be required for

each area as indicated. Strong colour comes from near verticalbacklights and medium colour from the wings (on stands, booms

or ladder-frames to be discussed under 'rigging).

Note: For clarity these plans only include actor lights. The play

would require light outside the window and on the door backings,while the musical is likely to need a colour mix for the backcloth

and possibly specials for elements of scener


10/20



DECIDING WHICH LIGHTS TO

USEDeciding which instrument to use obviously depends to a large

extent on what is available - meaning another exercise in listing

priorities. For 'foh' (front of house) throws of any distance inthe auditorium, profiles are essential, both to avoid undesirable

lighting up of the auditorium from scatter light, and to allow

sufficiently precise control of the beam to prevent spillage on to

the proscenium. However in a small hall there is a lot of merit in

considering fresnels or PCs (well barndoored) at close range

when a lot of spread is possible from a few lamps. For onstage

use, Fresnels and PCs come into their own with fast-to-set softedges - profiles are the most versatile instruments but they

inevitably take longer to focus. For backlight, fresnels andbeamlights are favourite, while floods are to be thought of only

for wide expanses of scenery. (Use for actor light only in

situations of extreme desperation). For theatre-in-the-round,barndoored fresnels give the required smoothness and spread.

Existing installations in most theatres and halls are likely to bebased on fresnels and profiles: anyone buying new equipment

should look seriously at including a goodly proportion of the new

generation PCs giving smooth soft-edge beams without stray

scatter light and at the versatility of the variable beam profiles.

This plan shows instruments being allocated to our play in a very

orthodox way: profiles for the front-of-house and fresnels for

onstage. If a couple of PCs were available, they would be a

useful alternative on the ends of the stage spot bar: this is a

position where any scatter light shows up badly on the side walls

of the set. Whether 500 or 1000W units are required will

depend mainly on length of throw, perhaps with the changeover

around 6 to 8 metres. However, it is important always toremember that the actual level of light intensity is not so

important as the BALANCE.

Fresnels have been allocated everywhere because they have a

good smooth spread (profile edges can be very difficult in small

theatres in the round). Every spot must have a barndoor to

contain spill from the audience eyes. Each become a pair of

spots since this is the only way that it is possible to light fully to

the sides of the acting area.

Too many-spots? Then perhaps just one cover in a neutral shade

(thereby halving the number on the plan) and utilising a couple of

pairs of straight downlighters to add colour toning in warm orcool.

The actor face lights are profiles from the front and fresnels

onstage, with the second bar being less powerful units - face

light is rarely important upstage in a musical. The backlights are

fresnels, although parcans would be nice if available. For the

sidelighting, profiles have been used downstage to contain the

light in a tight corridor across the front - often advisable when

front cloths or running tabs are in use. Midstage sidelighting use

fresnels for a good spread, while the optional upstage sidelight

again uses profiles to keep the light clear of the skycloth.


11/20



THE RIG PLANTHE PLAN is the kernel of any lighting design. It shows, at

minimum:

1. The POSITION of each light.

2. The TYPE of light in each position.

3. Any ACCESSORIES, such as barndoors or gobo, required by

any particular light.

4. The DIMMER that will control each light.

The plan should be drawn to scale (1" to I ' or 1:25). This helpsaccurate indication of light positions. And if scale symbols are

used for these lights, there is a check on space problems: if it

can be drawn on the plan, there will be room for it on the stage.

Any shapes may be used to indicate lights, but plans are more

easily read if the symbol resembles the outline shape of the

light. Either way, the plan should certainly include a key showing

the type of lighting instrument represented by each symbol.

Colour and dimmer are indicated by number: the usual convention

is to write the colour number inside the symbol and the dimmer

number alongside the symbol.

Lights fixed to horizontal bars are easy to show in plan: the bar

can be drawn in the position that it will occupy over the stageand its height indicated by a note (such as + 14') written at the

end of the bar. Lights fixed to vertical bars, or stacked on a

series of brackets, are more difficult to draw - they must be

indicated diagrammatically FOH lights in the auditorium are

usually drawn much closer to the stage than their scaled real

distance which would make the plan inconveniently large. The

easiest method is to work on tracing paper over a ground plan of

the scenery and stage.

A good procedure is:

1. Establish all lighting positions with Xs

2. Convert these Xs to symbols of available (and/or acquirable)

lighting instrument types, drawing them pointing in the

approximate direction of proposed light travel.

3. Write colour numbers inside symbols.

4. Add dimmer numbers alongside symbols.

5. Trace through key features of the set and stage - it is

usually possible to trace through (in spaces clear of lighting

drawing) enough to relate the positions of lights to the

geography of the setting and stage.

This will bring the plan to a point where it can be used to prepare

and rig the equipment. The lighting designer's own copy will grow

many extra markings to indicate precisely where the lights are

to be pointed - markings so detailed that they would only confuseif included on all copies of the plan.

LISTSFrom the plan, lists are prepared of the required number of:

1. Types Of Light

2. Lengths Of Cable

3. Accessories

4. Colour Filters

5. Section Drawings

Will there be borders to mask the lights (and other things)

hanging above the stage? If so, draw a section to check that all

the light beams will be able to reach all desired parts of the

actors and the scenery. Usually (but not always) the heights of

the borders and lighting bars can be adjusted. Only a sectionwill determine what these relative heights should be, and only a

section will determine how effective the masking arrangementswill be for an audience eye in the front row.


12/20



FOCUSINGFocusing is probably the most important part of the whole

lighting operation. Not even the most sophisticated marvel of amicroprocessor control desk can fill in that dark spot where the

lights have not been properly overlapped. Nor can a hard edge

be softened or a disturbing spill on to a border be shuttered off.Focusing involves tricky ladder work so that there is every

incentive to get it right first time - although, inevitably, it willbe necessary to get at the odd spotlight between rehearsals for

a little fine adjustment.

Focussing in comfort

If you stand with your back to the light that you are focusing,

(I) You will avoid being blinded (2) You will be able to see what

the actor's light is doing to the scenery

No clear shadow of

head, therefore

head is not lit.

Clear shadow of

head, therefore

head is lit

If the lighting

designer is shorter

than the actor,make an allowance -

check by raising

hand

What can we adjust?

ON ALL LIGHTS

Left/Right & Up/Down

ON SOFT SPOTS

Bigger/Smaller

with optional Barndoor Rough shaping (& control of

spill)

ON PROFILE SPOTS

Round size by optional Iris

Shaped size by Shutters

Texture by optional Gobo

Beam edge quality by Lens and on Variable Beam Profile

Spots

Size and edge quality by differential movement of two

Lenses

Shape by Shutters

The most difficult types of light are the basic Profile Spots

since there is an interaction between shutters (or iris) and lens

movement. Although adjusting the lens is principally a means of

making the edge of the beam harder or softer, it will also change

the size. Therefore it is usually necessary to adjust shuttersand lens alternately to get the desired combination of size and

edge quality

Most profiles have an adjustment whereby the light can be

adjusted so that it is either smooth across the whole spread of

the beam, or 'peaked' to be brighter in the middle with the

amount of light falling off towards the edge. For most purposes

it is easier to light with an even brightness across the beam andso it is recommended that anyone beginning to work with light

should use an even beam until through experience they discover aneed for a 'peaky' beam.

SOFT SPOT

VARIABLE ANGLE PROFILE SPOT

FIXED ANGLE PROFILE SPOT


13/20


Tel 020 8735 9790 Fax 020 8735 9799 www.stranduk.co.uk Page 13 of 20E+OE

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4,100.00


5,600.00


7,600.00

91713 301 Back up control system 230v 958.00


66013 15inch Colour Monitor 198.00







66129 Wired R120 Remote Control for 300/500 Consoles 1,123.00

66211 Mini UK Alpha Keyboard for 300/500 Consoles 215.00

66300 300 Console fader module complete (no software) 992.00

66301 300 Console TFT display module 1,650.00

66303 300 Console SMPTE/Midi Card 289.00

66304 300 Console VGA/LCD card 237.00

66305 300 Console Ethernet card 237.00

66306 300 Console blank module 211.00

SoftwareCat No Description Price

67313 GeniusPro PC Software P.O.A

67511 GeniusPro 50 Channel Extension Software 716.00

67513 GeniusPro 200 Channel Extension Software 2,863.00

67514 GeniusPro 500 Channel Extension Software P.O.A

67515 CommuniquPro Application Software P.O.A

67521 Server Application Software P.O.A

67523 Tracker Application Software P.O.A

67527 Networker Application Software P.O.A

67530 300 Series Submaster Module Software Upgrade 416.00

67531 Wireless Remote PDA Application Software 980.00

DIGITAL DIMMER RANGE

Digital Act 6 Installation DimmersCat No Description Price

75420 Digital Act 6 Rack Hard Wired version 440.0075421 Digital Act 6 Rack with dual 15A Sockets 475.00

75422 Digital Act 6 Rack with dual Schuko Sockets 470.00

75423 Digital Act 6 Rack with dual 16A CEE17 Sockets 480.00

SD6 Rack Portable DimmersCat No Description Price

75400 SD6 Rack Hard Wired (terminal strip) 413.00

75401 SD6 Rack Single 15A Sockets 450.00

75402 SD6 Rack Single Schuko Sockets 455.00

75403 SD6 Rack Single CEE 17 Sockets 470.00

LD90 Digital Installation Dimmers

Cat No Description Price

74102 LD90 Rack, 24 X 2500w Dimmers Single PoleMCB's

3,325.00

74103 LD90 Rack, 12 X 5000w Dimmers Sing le Pole MCB's 3,819.00


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Page 14 of 20

E&OEwww.stranduk.co.uk Tel 020 8735 9790 Fax 020 8735 9799


76310 Optional RCD for LD90 Power Block 305.00

76311 LD90 Analogue Connectors (2) 28.00

76312 LD90 16mm Cable Termination Kit 96.00

76313 LD90 Three Phase Linking Kit 55.00

76314 LD90 Wall Mounting Bracket 55.00

76102 SWC Hand Held, programming unit 915.00

CONNECTORS AND CABLES

Socket BoxesCat No Description Price

SB04/15A 4 way 15A Socket box, 100mm deep wired toterminals, including back box.

59.70

SB06/15A 6 way by Single 15A Socket box, 100mm deep wiredto terminals, including back box.

81.40

SB12/15A 12 way by Single 15A Socket box, 100mm deepwired to terminals, including back box.

147.60

Patch PanelsCat No Description Price

CP12/15A 12 Way Cord Patch Panel Unit 157.50



Mains Extension CablesCat No Description Price

TRS05/15A 15A Extension cable 5m 14.00






ConnectorsCat No Description Price

3561301 15A 3 pin rubberclad plugtop for TheatricalExtension Cables

3.47

3561206 15A 3 pin rubberclad socket for Theatrical

Luminaires and Extension Cables

5.24

91116 16A CEE17 (BS4343) pin plugtop (for Video Lights) 4.65

91113 16A CEE17 (BS4343) 3 pin cable socket (for VideoLights)

6.40

CONSUMABLES

LampsCat No Description Price

41184 T18 500w 240v GY9.5 base Lamp for use withQuartet, Prelude

12.93

41264 T26 650W 240v GY9.5 base Lamp for use with

Quartet, Prelude

12.93

41294 T29 1200w 240v GX9.5 base Lamp for use with

Cantata

16.50

43784 GKV 600W 240v Lamp for use with SL 15.60

43134 DXX 800W 240v R7s base Lamp for use withRedhead

6.83

43204 P2/20 1000W 240v R7s base Lamp for use withIadi

6.51

43274 P2/27 2000W 240v RX7s base Lamp for use with

Blonde

26.87

43824 CP82 500w 240v GY9.5 base Lamp for use withQuartet, Prelude

9.70

43894 CP89 650W 240v GY9.5 base Lamp for use withBambino 560

16.90

43404 CP40 1000W 240v G22 base Lamp for use withPolaris, Bambino 1000, Studio 1000

13.00

44014 K1 500w 240v R7s base Lamp for use with Coda,Nocturne

5.58

44044 K4 1000W 240v R7s base Lamp for use with Coda,Nocturne

10.00

Filter and GobosCat No Description Price

STP001 Colour Filter Pack of 12 sheets 60.00

STP002 Gobo Starter Pack of 10 gobos for Quartet

Profiles

60.00

STP003 Gobo Starter Pack of 10 gobos for SL Profiles 60.00

RIGGING

Stands and Brackets


81005 Spartan Stand (suitable for Video Lights) 49.95

82030 19mm Spigot to 10mm thread 8.50

82041 Cross Bar with 29mm Spigot and 4 x 10mm holes 40.00

81030 Folding Cast Base Stand (Suitable for TheatreSpots)

94.00

81015 3m Double Extension Stand (Goliath) 226.00

Internally Wired BarsCat No Description Price

IWB0404/15A Internally Wired Bar 4m x 4 way 155.58




IWB0608/15A Internally Wired Bar 6m x 8 way 232.80IWB0610/15A Internally Wired Bar 6m x 10 way 301.91







Mounting AccessoriesCat No Description Price

CFS001 Ceiling Fixing Saddle 3.18

UBC001 Universal Bracket 3.60

M12/300 300mm x 12mm Threaded rod c/w 4 no M12 nuts 1.95

THEATRICAL LUMINAIRE RANGEQuartet 650w Fresnel & Prism ConvexCat No Description Price

11160/15A Quartet F 650w, 240v with f itted 15amp Plugtop 108.00

11170/15A Quartet PC 650w, 240v with fitted 15amp Plugtop 114.00


18040 Barndoor Quartet, 4 Leaf 26.00

18043 Colour Frame, Quartet, 150mm, Card P.O.A

18044 Colour Frame, Quartet, 150mm, Metal 10.00

41264 T26 650W 240v GY9.5 base Lamp for use with

Quartet, Prelude

12.93

82000 Safety Cable, Max Load 16kG 9.00

82010/Z Hook Clamp, 48mm, M10 (Zinc) 2.95Quartet 650w ProfilesCat No Description Price

11180/15A Quartet 15/25 650w, 240v with fitted 15ampPlugtop

202.00

11190/15A Quartet 22/40 650w, 240v with fitted 15ampPlugtop

202.00


18041 Iris Diaphragm, Quartet, 12 Leaf 49.50

18042 Gobo Holder, Quartet, M Size 15.00

18043 Colour Frame, Quartet, 150mm, Card P.O.A

18044 Colour Frame, Quartet, 150mm, Metal 10.00


82010/Z Hook Clamp, 48mm, M10 (Zinc) 2.95


15/20


Tel 020 8735 9790 Fax 020 8735 9799 www.stranduk.co.uk Page 15 of 20E+OE

SL 600w Variable Angle ZoomCat No Description Price

11410/15A SL 15/32 degrees 600w, 240v with fitted 15ampPlugtop

380.00

11420/15A SL 22/50 degrees 600w, 240v with fitted 15ampPlugtop

380.00


18049 SL Iris (24 leaf) 88.0018045 Gobo Holder SL Profiles, B Size 8.00

18114 Colour Frame, for all SL's except SL5 and SL10 10.00

18136 Colour Frame (SL5) 20.00

18137 Colour Frame (SL10) 18.00

43784 GKV 600W 240v Lamp for use with SL 15.60



Cantata 1000/1200w Fresnel & Prism ConvexCat No Description Price

12030/15A Cantata F 1200w, 240v with fitted 15amp Plugtop 209.00

12040/15A Cantata PC 1200w, 240v with fitted 15amp Plugtop 226.00

Accessories


18106 Cantata 4-leaf rotating Barndoor 42.00

18104 Colour Frame, Cantata, 185mm 13.00

41294 T29 1200w 240v GX9.5 base Lamp for use with

Cantata

16.50



Coda 500/1000w Cyclorama FloodlightsCat No Description Price

14010/15A Coda One 500w, 240v with fitted 15amp Plugtop 122.00

14020/15A Coda 1000w, 240v with fitted 15amp Plugtop 160.00

14030 Coda Three 500w, 240v (terminal blocks) 310.00

14040 Coda Four 500w, 240v (terminal blocks) 370.00


18123 Colour Frame, Coda 500w, 215X240mm 21.00


18125 Colour Frame, Outrig, Coda 1000w 103.00

18121 Barndoor, Coda 500w 63.00


44014 K1 500w 240v R7s base Lamp for use with Coda,Nocturne

5.58

44044 K4 1000W 240v R7s base Lamp for use with Coda,Nocturne

10.00

83100 CBL Gland, Coda 3 & 4 Cyc P.O.A



Nocturne 500/1000w Symmetrical FloodlightsCat No Description Price

14100/15A Nocturne 500w, 240v with fitted 15amp Plugtop 122.00

14110/15A Nocturne 1000w, 240v fitted 15amp Plugtop 160.00

Accessories




18125 Colour Frame, Outrig, Coda 1000w 103.00



41264 T26 650W 240v GY9.5 base Lamp for use withQuartet, Prelude

12.93



STUDIO LUMINAIRE RANGE

Bambino 300/500w FresnelCat No Description Price

27620 Bambino 500w Compact Fresnel, Manual (suppliedwith barndoor, colour frame and stirrup)

240.00


28301 Scrim Set No.1 , EU, 110mm (HMI 200w, Bambino500w) 37.00

28081 Cone 30-70mm, Base 110mm, (HMI 200w, Bambino500w) EU

37.00

28040 4 leaf Barndoor, 110mm (HMI 200w, Bambino500w)

34.00

28080 Colour Frame, 110mm, (HMI 200w, Bambino 500w)EU

11.00

43824 CP82 500w 240v GY9.5 base Lamp for use withQuartet, Prelude

9.70

82603 Large Gaffer Grip 16mm Spigot 63.00

Bambino 650w FresnelCat No Description Price

27630 Bambino 650W Compact Fresnel, Manual (supplied

with barndoor, colour frame and stirrup)

260.00


28309 Scrim Set No.9, EU, 170mm (HMI 400w, PAR200w, Bambino 650W)

42.00

28049 Cone 35-100mm, Base 170mm (HMI 400w, PAR200w, Bambino 650W)

48.00

28048 4 leaf Barndoor, 170mm (HMI 400w, PAR 200w,

Bambino 650W)

42.00

28047 Colour Frame, 170mm (HMI 400w, Bambino 650W) 19.00

43894 CP89 650W 240v GY9.5 base Lamp for use withBambino 560

16.90


Bambino 1000w Fresnel


27640 Bambino 1000w Compact Fresnel, Manual (suppliedwith barndoor, colour frame and stirrup)

375.00


28844 Scrim Set EU, 186mm (HMI 575w, Bambino 1000w) 48.00

28849 Colour Frame, 186mm (HMI 575w, Bambino 1000w) 25.00

28846 4 leaf Barndoor, 186mm (HMI 575w, Bambino1000w)

48.00

28840 Cone, Small, Base 186mm (Bambino 1000w) 35.00

43404 CP40 1000W 240v G22 base Lamp for use withPolaris, Bambino 1000, Studio 1000

13.00


82012 Hook Clamp, TV, 48mm, 29mm Skt 30.00

PORTABLE LIGHTING KITSTungsten


27334 Redhead 3 Kit 920.00

27344 Redhead 4 Kit 1,189.00

23024 Double Blonde Kit 1,039.00

Daylight


27521 PAR 200w Kit (includes: head, barndoor, extension

cable, complete with set of lenses and ballast)

2,270.00

27541 PAR 575w Kit (includes: head, barndoor, extension

cable, complete with set of lenses and ballast)

4,090.00

27021 HMI Fresnel 200w Kit ( inc ludes: head, colour

frame, ballast, barndoor, stirrup and extensioncable)

1,875.00

27031 HMI Fresnel 400w Kit (includes: head, colourframe, ballast, barndoor, stirrup and extensioncable)

2,595.00


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Page 16 of 20

E&OEwww.stranduk.co.uk Tel 020 8735 9790 Fax 020 8735 9799

LOCATION LIGHTING RANGE

Iadi Fill & Cyc FloodlightsCat No Description Price

26020 Iadi Fill, 1000w, with 4-metre cable to bare ends,inline switch, supplied with integral wire guard and

barndoor

179.00

26030 Iadi Cyc, 1000w, with 4 metre cable to bare ends,

inline switch, supplied with integral wire guard and

barndoor

202.00


28003 Reflectors Iadi, (4) #N/A

28004 Scrim, Iadi, Full Double 34.00

28005 Scrim, Iadi, Full Single 34.00

28006 Dichroic Filter, Iadi, Daylight #N/A

28007 Diffuser, Iadi, Opal Glass #N/A

28008 Wire Mesh, Iadi, 3mm 30.00

43204 P2/20 1000W 240v R7s base Lamp for use with

Iadi

6.51

Redhead 800/1000w


27157 Redhead 800W, inc. barndoor & safety mesh 200.00

27158 Redhead 1000W, inc. barndoor & safety mesh 240.00


28302 Scrim Set No.2, Redhead, 195mm 49.00

28021 Accessory Holder, Redhead 37.00

28022 Barndoor, Redhead, 4 leaf 37.00

28023 W/guard 3mm, Redhead, 165mm 17.00

28024 Safety Glass, Redhead, 165mm 20.00

28025 Dichroic Filter, Redhead, 165mm 83.00

28352 Scrim Set 5 Piece, Redhead, 195mm 36.00

43134 DXX 800W 240v R7s base Lamp for use withRedhead

6.83

82602 Small Gaffa Grip, with 16mm Spigot 32.00

Blonde 2000wCat No Description Price

21100 Blonde 2000w, inc. barndoor, accessory holder &safety mesh

293.00


28304 Scrim Set No.4, EU, 260mm (HMI 1200w, Bambino2000w, Studio 1000w)

63.00

28050 4 leaf Barndoor, 250mm (HMI 1200w, Bambino2000w, Studio 1000w)

53.00

28051 Wire Guard 3mm, Blonde, 252mm 32.00

28052 Wire Guard 12mm, Blonde, 252mm 17.00

28053 Safety Glass, Blonde, 252mm 42.00

28054 3152/185 Dichroic Filter Mount 156.00

28060 Flightcase, Blonde, 1 Head P.O.A43274 P2/27 2000W 240v RX7s base Lamp for use with

Blonde

26.87



17/20



GLOSSARYBacklight Light coming from behind

scenery or actors to sculpt andseparate them from their

background.

Bar Horizontal metal tube of

scaffolding diameter for hanging

lights (pipe in America)

Barndoor Four-shutter

rotatable device which slides intothe front runners of fresnel and PC

focus spots to shape the beam and

reduce stray scatter light.

Battens Lengths of overhead lightingfloods arranged in 3 or 4 circuits

for colour mixing.

Beam angle Angle of the cone oflight produced by a spotlight.

Beamlight Lensless spotlightwith parabolic reflector giving

intense parallel beam

Board Contraction of switchboard or

dimmerboard. The central control

point for the stage lighting.

Boom Vertical pole, usually of

scaffolding diameter, for mounting

spotlights.

Boom arm Bracket for fixing

spotlights to a boom.

Build An increase in light intensity.

Channel A control circuit, identified by

number, from the 'board' to a light.

Channel access The method (levers,

pushes, keyboard, etc) in a memory

system by which individual channels

are brought under operator control.

Check Decrease in light intensity.

Colour call A listing of all the

colour filters required in eachlighting instrument.

Colour temperature A method

of measuring (in Kelvin units) the

spectral content of 'white' light.

Control Surface Any device such as

lever, push, wheel, rocker, mouse,

pen, cursor, etc, used as an

interface between an operator's

fingers and a processing system

which activates dimmers or motors

controlling lighting instruments.

Cross-fade Lighting changewhere some of the channelsincrease in intensity while other

channels decrease.

Cue The signal that initiates a

change of any kind. Lighting cue is achange involving light intensity

alterations.

Cyclorama Plain cloth extending

around and above the stage to give a

feeling of infinite space. Term is

often rather loosely used for any

blue skycloth, either straight or

with a limited curve at the ends.

Dead (1) The plotted height of a

piece of suspended scenery or bar

of lights. (2) Discarded items of

scenery.

Dichroic Colour filters which work byreflecting unwanted parts of the

spectrum rather than absorbingthem in the manner of traditionalfilters.

Diffuser A filter, often called a frost,

which softens a light beam,

particularly its edge.

Dimmer Device which controls the

amount of electricity passed to a

light and therefore the intensity of

that light's brightness.

Directional diffuser A filter

which not only softens the beam but

spreads it along a chosen axis. Alsoknown as a silk

Director Has the ultimate

responsibility for the interpretation

of the script through control of the

actors and supporting production

team.

Discharge lamps Special high powered

light sources whose use is normally

restricted to follow spots and

projection because of difficulties in

remote dimming by electrical means.

includes C.S.I., C.I.D. and H.M.1lamps.

Downstage The part of the

stage nearest to the audience.

Ellipsoidal Strictly a type of

reflector used in many profile spotsbut extended in North America to

cover all profile spots.

Flood Simple instrument giving fixed

spread of light.

Flys Area above the stage into

which scenery can be lifted out ofsight of the audience.

Focusing Strictly speaking, the

adjustment of lights to give a

clearly defined image; but usually

used to cover the whole process ofadjusting the direction and beam of

spotlights in which the desired

image may be anything but clearlydefined.

FOH All instruments which are

'front of house', i.e. on the audience

side of the proscenium.

Follow spot Spotlight with which an

operator follows actors around the

stage.

Fresnel spot Spotlight with softedges due to fresnel lens which has

a stepped moulding on the front anda textured surface on the back.

Frost A diffuser filter used to

soften a light beam.

FUF Full-up-finish. An increase to

bright light over the last couple ofbars of a musical number.

Gate The optical centre of a profile

spot where the shutters are

positioned and where an iris or gobocan be inserted.

GAUZO Fabric which becomes

transparent or solid under

appropriate lighting conditions.

Gobo A mask placed in the gate of aprofile spotlight for simple outline

projection. Also used, withsoftened focus, to texture the

beam.

Groundrow A low piece of

scenery standing on the stage floor.Also lengths of lighting placed on

the stage floor.

Group A subdivision, temporary or

permanent, of the channels in a

control system.

Hook clamp A clamp for fixing an

instrument to a horizontal bar,usually of scaffolding diameter.

Houselights The decorative

lighting in the auditorium.

Instrument A stage lighting unit,

such as a spotlight or flood. An

American term coming into

increasing international use.

Iris An adjustable circular

diaphragm to alter the gate size in aprofile spot. Also the muscle-

operated diaphragm in the humaneye which adjusts the eye's


18/20



aperture to changing light

intensities.

Kilowatt see wattage

Ladder Framework in the shape of a

ladder for hanging side lighting.

Lamps The light source within an

instrument, but sometimes used asan alternative to the word

instrument.

Lantern A lighting unit designed or

adapted for stage use. A traditional

word now being overtaken by'instrument'.

Linear flood A flood using a long

thin double-ended halogen lamp,

allowing the reflector to bedesigned for an increased beam

spread.

Load The lights controlled by an

individual dimmer and limited by the

rating of that dimmer.

Master A lever or push which

overrides (or 'masters') a completepreset, or group within a preset or

selected memory.

Memory Lighting control systems

where channel intensities for eachcue are filed automatically in an

electronic store.

Multiplexing Passing controlinstructions, particularly to dimmers

or remotely focusable lights, by

sending all information in digital

format along a single pair of

screened wires.

Pan Horizontal (left/right) movement of

an instrument.

Parcan The simple instrument whichholds a par Imp and therefore does

not require any optical system oflenses or reflectors.

Par Imp A sealed beam lamp with thefilament contained within the same

glass envelope as an optical system

producing a near parallel beam.

Patching A sort of central 'telephone

exchange' where channels can be

connected to dimmers and/or

dimmers connected to socket

outlets.

P. C. [Plano convex] lens A lens

with one flat surface and onecurved surface. This 'PC' lens and

the fresnel lens are the alternativesnormally used in stage spotlights.

Pipe endsSpotlights on the ends of

lighting bars, crosslighting to model

dancer's bodies.

Playback The part of a

memory system where memorised

lighting states are recalled to

control the light on stage via master

levers or pushes.

Practical Light fitting which is

not merely decorative but is wired

to light up.

Preset Anything which is positioned in

advance of its being required --such

as props placed on the stage before

the performance. A control system

where each channel has more thanone lever to allow intensity levels to

be set (i.e. preset) in advance of acue.

Profile Spot A spotlight whichprojects the outline (i.e. the profile)

of any chosen shape and with any

desired degree of

hardness/softness.

Profiled Cue Lighting change

where the rates of increasing and

decreasing intensities accelerate or

decelerate during the progress of

the change.

Rating The maximum and minimum

power in kilowatts that can be

controlled by a circuit or dimmerchannel.

Record Plotting a cue state by filing it

in the electronic data storage of a

memory board.

Resistance dimmerAn older mechanical

form of dimmer which reduces the

flow of electricity to a light by

progressively converting the surplus

into heat.

Rigger's control A remote portable

hand-held control unit which allows

channels or groups to be switched

from the stage for focusing when

the control room is unmanned.

Scatter Low intensity light castoutside the main beam of an

instrument.

Scrollers Colour changer where a roll of

filters are taped together and

positioned by a very fast motor

activated by digital signals from a

control system which includes a

memory facility.

Shin Busters Low level lights at

stage floor level, used mainly for

dance.

Sightlines Lines drawn on plan

and section to indicate limits of

audience vision from extreme seats,

including side seats, front and back

rows, and seats in galleries.

Silks Diffusion filters which

stretch the light in a chosen

direction.

Spigot An adapter screwed to the

hanging bolt of an instrument to

enable it to be mounted on a floor

stand.

Spill stray or scatter light outside

the main beam.

SpotlightAn instrument giving control

of the angle of the emerging light

beam and therefore of the size of

area lit.

Strobe Device giving a fast series ofvery short light flashes under which

action appears to be frozen.

Theatre- in-the- Round A form of

staging where the audience totally

encircle the acting area.

Throw Distance between a light and

the actor or object being lit.

Thrust Form of stage which projectsinto the auditorium so that the

audience are seated on at least twosides.

TiltVertical (up/down) movement of an

instrument.

Tungsten lamps Older type of lamps

(the stage types are high wattageversions of standard domestic

lamps) whose tungsten filaments

gradually lose the brightness of

their light output.

Tungsten halogen lamps Newer lamps

(now virtually standard inprofessional theatre) which maintain

their initial brightness of light

output throughout life.

Upstage The part of the stage

furthest from the audience.

UV Ultra violet light (from which

harmful radiation have been filtered

out) used to light specially treated

materials which fluoresce in an

otherwise blackened stage.

Variable bean profile Profile

spotlight using a type of zoom (q.v.)arrangement where the differential

movement of two lens allows widevariations in both beam size and

quality.


19/20



Wattage The power of consumption of a

lamp, or the maximum available

power from a dimmer. A kilowatt is

1,000 watts.

Ways The number of channels in a

control system.

Zoom A differential movement of

two lenses in an optical system. In a

simple zoom, the lenses are moved

independently, but in more complex

forms a single movement alters thesize of the beam while the image

remains in constant focus. Used in

advanced profile spots and scene

projectors.


20/20

Strand Lighting Limited Unit 3 Hammersmith Studios 55a Yeldham Road London SW6 8JFTel: +44 (0)20 8735 9790 Fax +44 (0)20 8735 9799

education guide 2003

Documents