In today's theatre world, lighting control consoles are absolutely essential for any production, big or small. Their primary function is to regulate the color and intensity of the lights by controlling the various dimmers. Today's consoles can also control moving lights, LEDs, hazers, and other special effects devices.
The key when choosing between the various types of consoles is to first determine the type of production. Here are the three most commonly-used consoles and the best way in which to use them:
Preset boards are hands-on and are best when you have just a few simple scene changes. You will need to program each scene manually while the preceding scene is ongoing. These consoles are great for smaller productions and offer the most affordable option.
Memory consoles are appropriate for more complex productions where scene changes can happen quickly and require accuracy. Rather than programming each scene on-the-spot, you can pre-program all of the scenes before the show.
Moving light controllers are similar to memory boards but are designed to operate with moving lights and are necessary for larger productions. Although many of these consoles are easy to program because of pre-set functions, most programming will require more technical expertise.
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intermittently?
Most packs have fans that draw air through the filters. If the filters become clogged, it will trigger the overtemperature sensor, turning the dimmer pack off. After the pack cools down, it should come back on. The best fix is prevention, so keep the filters clean.
Most likely you don't have power to the dimmers. Check the breakers and make sure the indicator lamp is lit.
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Here are some considerations:
Maintenance: The actual cost of equipment exceeds the sticker price because you must also consider the cost of maintenance and upkeep which, depending on the equipment, can be high.
Hybrid: Today, many customers are moving towards a hybrid model in which they own the equipment they use frequently and rent the rest. This allows for maximum flexibility and minimum risk.
Taxes: Remember that lighting equipment is typically depreciated over ten years, and rental charges are 100% deductible expenses.
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Green lighting for any theatre can start in the lobby and the offices. By switching to compact fluorescent light bulbs (CFLs), you can instantly start the process of "going green." At Angstrom Lighting we just changed our offices and hallways to CFLs, essentially switching all our 75 watt incandescent bulbs to 13 watt CFLs. Each lamp costs about $4.95, will last at least 5 years, and translates in an average power savings of over $30 for each lamp over the lamp's lifetime.
On stage the biggest "green" change we'll see happen in the near future is a drastic improvement in LED lights. At this time it's still difficult to get a good white color, and the technology can be prohibitively expensive, but we expect that in 2010 we'll see better lamps that are also better for the environment.
Standard incandescent lighting produces 10% light and 90% heat, which is why it is so inefficient compared to CFLs and LEDs. An energy bill signed into law last December will phase out most types of incandescent light bulbs by the end of the next decade, so get ready now, and begin reaping the benefits!
Plays are often produced in box sets or on open stages, which can feel limiting unless you consider the vast options available to you through lighting techniques.
Here are some quick tips for turning box sets and open stages into works of art:
Create warm and cool washes to cover the entire stage with mood lighting.
Add break up patterns in a couple of ellipsoidal spotlights to alter the look of the set.
Experiment with patterns: cut them up, use pinpricks, slashes or combinations of patterns one on top of the other.
To create an eerie effect, use flood lights as footlights; it will distort the normal to abnormal and make faces unrecognizable.
If you don't have curtains, use blinder lights to create transitions.
Your technical director can make or break the success of your theatre. Even the best performances will be sadly overshadowed if there are no lights on the stage or the sound system fails mid-show.
We find that often the biggest barrier to hiring effective technical support is that the people interviewing them are not very technically-savvy themselves. That's why we recommend diligently checking references and even giving an on-the-spot technical test to determine whether the candidate is the right Technical Director for you.
Call References!
Ask specific questions about the technical aspects of his previous work. Also inquire as to the size of the theatres he has worked in before - make sure there are some operational similarities.
On-the-Spot test
Act as if a show is about to start. Have him figure out how to turn on and off the house lights, get some light on the stage, etc. How he handles these simple acts will demonstrate how well he performs under pressure.
The single most important thing you can do to keep your theatre lighting system from failing is to perform regular maintenance and cleaning.
Many of the problems that lighting systems encounter are due to dust and grime buildup, so it is a good idea to always keep the lighting console protected with a clean cover when not in use.
Once a month, check the dimmer input connectors. You are looking for anomalies and connectors that look black or melted. Replace the individual connectors immediately and check the stage extension cables to ensure there isn't a larger problem.
Twice a year, dust off the dimmers and clean all filters using an air compressor. Once a year, wipe off the lenses and reflectors.
These simple maintenance steps will help keep your gear in tip-top shape.
After working with theatres for over 30 years, Frans Klinkenberg is an expert at maintaining equipment and minimizing down time.
