Lighting for Television

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Strand Lighting
Thepurposeof this bookletis to set out in a straightforward
waythe basicprinciples
behindthe planningof televisionlightingsystems.It is not intendedasa guideto the
finer pointsof lightingwhichotherpublications
alreadycover.
Originallydeveloped
fromfilm lighting,televisionlightinghasnowbecomeanart
form in its ownright.Newideasandpurpose-designed
equipmenthavemade
possiblenewstandardsandeffectsthat meetthe uniquechallenge
andpotentialof
the medium.Nevertheless,
the underlyingprinciplesof goodlightingremainmuch
the sameas ever,andsuccessdependson adherence
to simpleruleswhicharejust
asapplicableto televisionasto film-making,
photography
or painting.
In colourtelevisionproductions,
effectivelightingof sceneryandcostumeis
especiallyimportantif costumeandset designers
areto achievetheiraims.The
concentration
of the eyeontoa smallpictureautomatically
leadsto muchcloser
examination
of detailin a scenethanwouldbethe caseif life-size.
Consider,
for example,a walkin the countryon a sunnyday.Thecolourof the
sceneistakenfor granted,muchof the detailaroundperhapshardlynoticed.Yeta
countryside
sceneviewedon a televisionscreenin a darkenedroomat nightis vivid
with colourandalivewithobviousdetailbecausethe imageis concentrated
intoa
verysmallarea.
Thefact of colourin televisiondoesnot meanthat additionalcoloursmust
inevitablybe employedin lighting,althoughtherearesituationswherethis is
effectiveandnecessary.
Everything
aroundus hasits owncolour.A manin a grey
suitwitha colouredtie againsta neutralbackground
will achieveprominence
when
properlylit.Themostsuccessful
productionscanbethosewhichfaithfullytransmit
to the viewerpicturesof subjectsin their naturalcolours.
Thisbookletwasfirst publishedten yearsago,andhasbeenfully updatedto
reflectthe presentstateof the art in televisionlighting.Sincethefirst edition,lighting
consoleshavebecomemoresophisticated
evenfor the smallstudioinstallation.
Discharge
lightinghasmadean enormousimpacton locationlightingtechniques,
for
bothfilm andelectronicmedia.Outsidebroadcastshavebecomemorecomplexand
a sectionhasbeenaddeddealingwiththis subject.
Becauseof the almostuniversaladoptionof colourtelevisionworldwide,all
referenceto monochrome
hasbeenomitted.Buta sectionon camerashasbeen
introducedto helpthe non-technical
readerappreciatethe needfor the numerous
itemsof mainandancillaryequipmentthat constitute'lightingfor television'.
Part 1: TERMS& DEFINITIONS
Part2: GENERALLIGHTING
2:1 Theory
2:2 Practice
2:3 Thetelevisioncamera
2:4 Outsidebroadcastlighting
3
5
5&6
8
8
Part3: LUMINAIRES
3:1 General
3:2 Specialised
luminaires
3:3 Construction
andhandling
3:4 Cycloramalights
3:5 Profilespots, followspots
3:6 Dischargeluminaires
3:7 Lamps
9
10
10
11
11
12
12
Part4: POWER,DIMMERS& LIGHTING
CONTROL
4:1 Power
4:2 Dimmers
4:3 Lightingconsoles
13
13
14
Part5: GENERALSTUDIODESIGN
5:1 Designconsiderations
5:2 Typesof suspension
15
16
Part6: STUDIOLAYOUTS
18
Part7: EQUIPMENT
23
Part8: TECHNICALINFORMATION
25
PART
1
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ASPECTRATIO
Theratioof the widthto the heightof a TV
screenor viewedimage.
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BACKLIGHT
A luminaireusedto lightthe subjectfrom the
rearto helpseparationfrom backingsandto
increasethe threedimensionaleffect.
BARNDOOR
Moveable shuttersfixedto a luminaire
(usually a spotlight)to controlandshapethe
light beam.
PROFILE
SPOT
PANTOGRAPH
EGG-CRATE
SPOTLIGHT
FRESNEL
LENS
BASELIGHT
Thebasiclevelof flood lightingintensity
requiredto satisfythe mediumused.
CATENARY
A flexiblepowerfeedersuspendedat several
pointsto enablemovementof a lighting
suspensionunit e.g.,pantograph
.
Note: usuallyseenon overheadmobile
cranes.
SCRIM
BARN
DOOR
STAND
CHANNEL
Thecircuitfrom the faderon the consoleto
its associateddimmer.
COLOUR
TEMPERATURE
A methodof specifyingthe colourof a
sourcewhichemitslight in a continuous
spectrum.Expressedin Kelvinunits,the
rangeusedin lightingis from 2600K (white
lightwith a highred content)to 6000K
(whitelightwith a high bluecontent).
N.B. Cannotbe usedwith dischargesources
althoughsometimesusedas a guideto
approximationof colour.
CONE
A tube placedin front of a spotlightto givea
smallerbeamof light.
CROSSBARREL
Usedbetweenbarrelsto allowaccurate
positioningof luminaires
.
C.S.I.
A dischargelampwhichtendstowardsa
tungstensourcefor colourbalance.(4000K
approximately).
3
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SOFTLIGHT
BARREL
A metaltube, usually.i8mm diameter,for
suspendingluminaires(scaffoldtube).
/
FLAG
~\
FILLER
Usedto control shadeareas; usuallya soft
light but canbe controlledhardlight.
FLAG
A sheetof metal or cardmounted a short
distancein front of the luminaireto givea
sharpcut off to the light beam.
FLOODLIGHT
A luminairethat only hasa reflectorto
controlthe beamand hasa wideangle
distribution. (Softlightandcycloramalight).
FOLLOWSPOT
A narrowanglefocusinghardedgespotlight
usedto followmovingartists.
FRESNEL LENS
A convexlensbuilt up in stepsto reduceits
thickness,thusreducing its sizeandweight.
GOBO
CYCLORAMA
A backingmounted in a studioto providea
continuous surfaceand an illusionof infinity.
DIFFUSER
Sheetsof frostedplasticor spunglassfibre
usedto softenthe shadowsproducedbythe
light beam.
DIMMER
A maskplacedin the gateof a profilespot
to shapethe beam.It is a simpleform of
outline projection.
HARDLIGHT
A luminairethat producesstrongshadows
,
normally a spotlight.
HMJ. (C.I.D.)
A dischargelampwhich is daylight colour
balanced(5600K).
KEYLIGHT
An electronicdeviceusedto reducecurrent
flowto a lampandthereforeallowingits light A principal modelling light, usually the
intensityto beadjusted.
fresnel spot.
DROPARM
Usedto hanga luminaire lowerthanthe
normalsuspensio
n systempermits.
EGGCRATES
A deviceconsisting of smallcrossbaffle
platesto restrict thespreadof the light beam
on a softlight.
EXTENSIONBAR
Usedto extend barrels for accurate
positioning of luminaires.
FADER
LUX - (Lumens/m 2)
The unit of measureme
nt of the incident light
arrivingat a surface. (Old systemused foot
candles;lf.c. = 10.76 lux.)
MASTER/GROUP
MASTER
Usuallyrefersto a lighting controlsystem
faderwhich overridesa groupof individual
faders.
PANTOGRAPH
A spring-balancedcross-armed
devicefor
varyingtheheightof luminaires.
PICK-UP-TUBE
Thenamesometimesusedfor cameratube
(genera
lly denotesphoto-sensi
tivedevice).
PRESET(BLIND
MODE)
A facility on lighting control systemsthat
enablesa lighting plot to beset up without
affectingthe lightsalreadyoperative.
PROFILESPOT
A luminaireusedto projectshapesor
patterns.
SATURATEDRIG
A lighting installationwhereluminairesare
usedin largenumbersto avoidthe needfor
physicalmovementthus reducingrigging
timeandmanpower.
SCRIM
A fine mesh usedin front of a spotlight to
attenuatethewhole or part of the light beam.
SOFTLIGHT
A luminaire designedto producevirtually
shadowlesslight;usedto control contrast.
SPOTLIGHT
A luminairewit h a focusingsystemto
concentrate the light beamand givegreater
control.
STAND
A tripod devicewhich allowsvarying fixed
heights of luminairesabove floor level.
TELESCOPE
A device made from retractable tubesthat is
used to suspend luminairesat varying
heights in thestudio.
TUNGSTEN
HALOGEN
Describesa family of lampswith either hard
glassor quartz envelopes,tungsten
filaments and halogen(usually iodine or
bromine)fillings.
VOLTAGEDROP
That lossof volts which occursthrough
energy wastagewhen a current passes
througha cable or electronic device.
A control potentiometer for indirectly setting
thecurrent output of a dimmerand thus
varyingthe light intensity.
4
i) Thereis a minimumquantityof light
requiredthat will enablethe camerato work
Thisis computedfrom the level BASICLIGHTING
Tohelpthe readerit will be usefulto examine successfully.
someof the propertiesof lightandhowlight of illuminationrequiredon the pick-up-tubes Thefollowingdescriptionsapplyto the
to givea good picturewith allowancesbeing
behaves.
lightingof people;however
, it will be readily
madefor the camera's opticalsystem.
Lightingin its mostbasic form consists
appreciatedthat all objectscanbetreated in
ii) Thesceneandaction(day, night, sun,
of sunlightandlightfrom the sky. Mostof
a similarwayandthus anypictureis built up.
dull etc.)
our livesweseefairlywellbalancedlighting
The
Key (A)
iii)Theanglesanddistancesof the lightsto
createdbythe sunandsky. An instanceof
Why
do
we call it the'key'light?Becauseit is
the
subject.
unbalanced
lightingarethe picturesfrom the
Wemustrememberthat the sungives us the principallightandtendsto bethe keyto
'Apollo'moonshotswhereonlythe sun
the wholepicture; it establishesthe mood
almostconstantilluminationirrespectiveof
provideslightandthe picturesareof high
andcharacterof the picture, and generallyis
contrastdueto the absenceof skyor 'fill' light. whereweare. Ourdistanceto the sun
capableof producing acceptableresults
(150,000,000km)is muchgreaterthan
Lightalwaystravelsin straightlines, but
it canbedeviatedby reflection,in mirrors,
relativedistancesbetweenobjectsor people. whenusedon its own- it doesnot however
contributea greatdealto the depthof the
etc.andmoreimportantly,it canbe refracted Withour locallightsourceswe haveto take
picture.Thekeytendsto be usedat a
into accountthe inversesquarelaw, which
whenpassingbetweenair andglass.All
verticalangleof 30° but canbewithinttie
statesthatthe lightfallsoff at a rate
lensesrelyon refractionto focusraysof
rangeof 20° to 45°. Therangeof horizontal
determinedby the reciprocalof the square
light,eitherin a cameraor, morerelevantto
of the distances
, i.e., doublethe distanceand incidencethat givessatisfactoryresultsis
this booklet,in a luminaire
.
within45° eithersideof normal.Whenthe
weget onequarterof the light.
Lightis modifiedby reflectionand, in
A picturecanbeobtainedby illuminating horizontalandverticalanglesof incidence
general,theTVcamerais respondingto that
are bothapproximately
30° then usually
reflectedlight.Thismodificationby reflection all partsof the scenein a uniformmanner,
good resultsare obtained.Typicallightlevels
but the resultsareflat and uninteresting
,
is importantbecauseit givesthe shapeand
are1000-2000 lux.
e.g. a dullovercastday!
textureasweviewthe scene.Wearealso
Backlight (B&C)
verymuchconcernedwiththe colourof the
Onereasonfor the disappointingresult
lightsources.Sunlightandincandescent
is thattelevisionis a two-dimensional
Thebacklightis usedto enhanceseparation
lampsbehavein a similarwaybecausethey
system,unlikehumanvisionwhichgivesus
anddepth;the angleof backlightto the
are blackbodyradiators.Whatis a black
threedimensionalimages
. Thehumaneye
subjectshouldpreferablynot exceed45° in
bodyradiator?Imaginea pieceof black
allowsusto seeshape,form anddepth.For
the verticalplaneandcanbevaried more
television,we haveto createdepthandthis
metalbeingheated:first it glowsdeepred
thanthe key. It is moredifficultto get a good
whenit is radiatingmainlyin the red endof
canonly beachievedby lightingin
backlightanglein the televisionstudiodueto
the spectrum,throughwhiteheatto an
conjunctionwiththe subjectmatter.It is
the factthatthe subjectshaveto be
intenseblueat the far endof the spectrum.
importantto realisethat it is notthe lightthat positionedquitea longwayintothe studio
createsthe picture,but the shadowscreated andthis is generallyimpractical.
Thebalanceof the colourtemperature
bythe light.An objectuniformlylit would
dependsmainlyon the relativeamountsof
Theratioof intensityof backlightto key
redand blue, the colourtemperaturebeing
haveno substanceor shape.Inthe studiowe light is generally1:1 but strongbacklightcan
expressedin Kelvinunits,whichare based
cancreatethe illusionof dayor night,
sometimesbe effectivein creatingmoodand
on Celsiusunits,startingat AbsoluteZeroor
interioror exterior.Oneotheraspectof
drama.Twinbacklightsare usually
-273 Celsius
. Thusthe mediumred of an
lightingis to createatmosphere;having
advantageou
s for subjectswith longhair.
electricfire is around2000K; in otherwords satisfiedthe technicalrequirement
, wecan
Fill
light
(D, E & F)
aboutl737C.
useour lightingto stimulateemotion.Where
Filllightis oftenregardedasa baselight
Sunlight,whichtendsto red,is 4800K;a a brightfeelingis required,low contrast
uponwhichthe modellingis built.Certainly
bluecloudlessskyis aboutlOOOOK
lightingtogetherwithfairlybrightcolours
the camerashaveto havea definitelevelof
maysometimesbe used.Wherea sombre
upwards.Wenormallyseea mixtureof both
lightto workwell,but it is foundthat modern
sunandsky;standardEuropeandaylightis
atmosphereis requiredhighcontrast
around5600K.Thebestwayof underlightingis employed
, creatingdarkshadows camerastoleratehighcontrastscenes
extremelywell, andbaselightdoes not have
standingthe rangeof lightis to thinkof
andpossiblyonlypickingout the main
the importancethat it did in the past.It is
incandescent
lightsof 3200K asa pale
pointsof interest.(OrsonWelles
' film muchbetterto lightthe scene and artists for
pinkishwhiteanddaylightasa palebluish
"CitizenKane",isthe supremeexampleof
effectas individualitems built to a total,
white.We, of course,neverseeit that way
highlydramaticlighting).
ratherthanfloodthe areawithsoft lightand
becauseour braintakescareof the colour
Fromexperience
wecandraw
thenaddmodellingkeys.
difference
. Thetelevisioncameracanbe
conclusions
thatthe sunis a relativelysmall
Filllightalso tends to bethoughtof asa
linedupto acceptincidentlightovera wide
source(inarea)of lightandcreateshard
soft source and, in general, is the most usefu
range, but if linedup for 3200K will reproduce shadows
; on the otherhandthe skyis a
Thisis not necessarily true for all situations
.
daylightof 5600Kasa slightlybluepicture.
largeareaof illuminationandcreatesvery
It is oftenfound thata side hard light givesa
soft shadows,if anyat all.Sunlightat dusk
Somesourcesin usetoday, namelythe
becomesdiffusedby dustin the atmosphere verysatisfactory resultandspill light from
dischargesources, suchasfluorescentand
andthissoftensthe effecta little.At dawnthe keys is oftencarefullycontrolledto do just this.
mercuryor sodiumstreetlights,are not
A pointto be bornein mindis that soft
black bodyradiatorsandemitlight in several atmosphereis freeof dustandthis resultsin
lightis not shadowless
lightandthe position
hardlightof highcontrast.Themood
narrowbands.Althoughstrictlyspeaking
of the soft light is mostimportant.It is used
createdby light is affectedby the colourof
thesedevices cannothavea colour
that light.Directsunlightat mid-dayis yellow generallyto reducethe contrastcreatedby
temperature
, theycan havean equivalent
the keylight.Thesoft light hasa levelof
and in the eveningit becomesred (dueto
which is calledthe correlatedcolour
500 lux.
the scatteringof bluelight by dustin the air). approximately
temperature
. Much research hasbeendone
A soft light usedfrom the front canbe
Theskytendsto let red light passoutwards
to improvethe colour renderingproperties
usedto controlcontrastbut not oftenused
andreflectbluelight backto the earth. A
of dischargesourcesandthe HMIandCID
in television.A soft lightat 45° to the subjec~
subjectlit by sunlightwill appearwarm,
lampsare good examplesof modernlamp
wouldgivea doublekeyeffect. A soft light
whereasif lit from the northsky,it willtend
technology.
from the side, usedwith our 30°/ 30° keyligh
to takeon a cold appearance.
It is evidentthat we requirelightwhen
gives
the bestresultasyou willseefrom our
Aswe will nowfind out in televisionour
workingin the studiobut on what parameters
. Whenallthe lightshavebeen
is the lightingbased?Thereareseveralfactors sunwill be the spotlightandour skywill bea final illustration
builtup (PlotG bottomright)the finalresult
softlight.
whichdictatehowlightingis applied.
canbe verypleasing
.
2:1 THEORY
5
2:2 PRACTICE
LIGHTING
PLOTA :
TheKey
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()
D ~
LIGHTING
PLOTB:
~
Singlebacklight
LIGHTING
PLOTE:
D
<>
Filllight
(Softlight
at45°
to subject)
LIGHTING
PLOTC:
Twin
backlight
()
~
D
D
LIGHTING
PLOTF:
Filllight
(softlight
from side)
LIGHTING
PLOTD:
Filllight
(softlight
fromfront)
is.
()
D ~
()
D
<>
()
D ~
()
D
LIGHTING
PLOTG:
All lights
builtup
6
Havinglit oneperson,it is nowpossiblewith
a littlemodification
, to lighttwo peoplein a
fairlytypicalTVsituation- the two-way
interview
.
Cameras2 and3 givecrossshotsof the
subjectsandcamera1 givesthe wideshot.
Ascanbeseenin PlotH,'A' is Liz's keyand
ac~sas B1Ws
backlight.'B' is Bill'skeyand
Lizs backlight.Thetwo softlightsare used
for fillerandthe backgroundis generally
illuminated.
givessatisfactorycontrolof lightlevel, i.e.,
level'5' = 25%,level10= 100%.It hasalso
In colourstudiooperationsthe incident
beenfoundthatthe+ I - 200K colour
lightinglevelstendto be between1000to
temperaturevariationis acceptablein the
2000 lux. Generally
a figureof 1500lux
maJontyof cases.It mustbe pointedout
incidentis consideredadequatefor most
however,
thatthisvariationwhenappliedto
purposesanddependentuponthe lighting
the humanfacemaybe less; muchdepends
level,it is normalfor cameras to workat
on thetextureandcolourof the skin.This
aboutf2 to.f4. Thegeneralheightfor
means,in practicallightingtermsthatthe
lum1na1res
1s3 to 4 metresfrom the studio
lightingcan bevaried,from its maximumto
floor levelandplottedat 3.5 to 4.5 metres
as lowas 2750K (approximately25% light
horizontal(around4 to 5 metresactual
output), withoutnoticeablecolourpicture
distance).
change;thus enablinga widerangeof
Whensinglepointsuspension
, i.e.,
controlto.allowbalancingbetweenthe light
monopolesor pantographson track,are
sourcesg1v1ng
optimumresultsto the
used,theneachluminaireis independent
for
transmitted
picture.
settingof its position. Forflexibilitywhen
usingbarrelswith.two luminairessuspended . In the exampleshown,it is clearly
to balancefor Liz'sbacklight
theyare nggedwiththeir ownpantographs 1mposs1ble
without
reducing
Bill's key.Toreducethe
so that differential heightscanbeeasily
lightfallingon Lizit is usualto usea scrim
achieved.
Theluminairesaregenerallyusedin the whichis fitted in front of the lowerhalfof the
lens. Thishasthe effectof attenuatingthe
flood modewhichgives the coverage
lowerportionof the lightbeam.Theeffect
required.However
, by varyingthefocus
(spoVflood)the lightoutputis changedand withina luminaire'slightbeamwith respect
to fall-offcanbe likenedto the depthof field
this canbea methodof controllingthe light
of a lens. As wego furtherawayfrom the
beamwithoutthe dimmerandhasthe added
sourcesothe relativeintensitylevelsover
advantageof not changingthe colour
setdistancesbecomelessvariable.When
temperature.
closeto the luminairethe changesof
Dimmers usedin televisionstudios
intensityare rapidanddramatic.A luminaire
normallyhavea squarelawlightoutput
produces
2000 luxat 4m distance
; to go
whichmeansthe squareof the fadersetting
from 4m to 3m changesthe lightlevelfrom
from
?1ves
the percentage
lightoutput,
1.e.,level 6 =36 %. Thetungstenlampsused 2000 luxto 3550 lux, a differenceof
1550 lux for lm distancechange.When
in televisionstudioshavea colour
wego to 5m weget a lightlevelof1280 lux
temperatureof approximately
3200Kat full
whichis a differenceof 720 lux for a lm
voltage.It is normalwhenusingthe
distancechange.
televisionlightingdimmersystemto align
It canthereforebeseenthat it is much
the channelcontrollersto position'7' which
betterto useslightlymorepowerfulwattage
meansthe dimmersupplies currentto
lumina1res
overa reasonable
distanceto
operatethe lampat 49% output,witha
achievea certainlightlevelthanto uselower
colourtemperatureof approximately
poweredluminairescloserto the subject.
2950K. Thereasonsfor thisarethat in
A.lthoughthis lattertechniquecanproduce
normaloperatingconditionsa toleranceof
highlightlevelsthe rateof changeof lightis
plusor minusonestopaboutthe mean
exaggerated
bythe movementsof the subjects.
STUDIOOPERATIONS
H?
B
0
BILL ,
~LIZ
~~
Z)
,_..
CAMERA
3
CAMERA2
CAMERA
1
Bllt:S KEY IS LIZ'SBACKLIGHT
: LIZ'SKEY IS Bllt:S BACKLIGHT
7
LIGHTINGPLOTH
GREEN
TUBE
riggingproblemsandso manufacturers
wereencouraged
to lookfor alternatives
.
Thebreakthrough
camewithCSIandHMI
dischargelampswhichenabledsmaller
luminaires
to be usedwithhighlightoutputs.
Althoughusefulin manysituations
, suchas
(i).thefactthatthesesourcescannotbe
dimmedsuccessfully
sometimeslimitstheir
RED
use.
SHAPING
Outsidebroadcastshavebecome
FILTER
extremelycomplexandlightingdirectors
nowexpectlightsourcesof all types,capable
\~~~
of beingdimmed,togetherwith
sophisticated
lightingconsolesto caterfor
outsidebroadcasts
as in (ii).
In recentyears,dueto the complexityof
lightingrigsandto improvesafetya British
Standard(BS5550) on locationlightingwas
BLUE
introducedwhichcoversboththefilm and
BLUE
I
REFLECTING
SHAPING
televisionindustries
.
DICHROIC
FILTER
Todayour lightsareas smallaspossible,
Lightingfor outsidebroadcasts
fallsintotwo suppliedfrom sophisticated
dimmersand
ZOOMLENS
categories:
distributionsystems,completewithall
i) largescalefloodlightingof sportsevents, knownsafetyfeatures.Theconsolesare
churchinteriors,etc., generallyachieved generallyportablederivativesof studio
by dischargeluminaires
;
types, capableof dealingwithall lighting
ii) lightentertainment
andmusic
situationsupto andincludinglargescale
programmeswherethe lightingis
Thecamerahasto analysethe reflectedlight
productionssuchasthe EurovisionSong
requiredto bethe sameasthe studio.
from a scenewhichis a mixtureof RED,
Contest,etc.
Inthe earlydaysof outsidebroadcast
GREEN
andBLUE,the primarycolours,in
lighting,verysimplerigswereemployed
,
somecombination:
usinga fewluminaireson temporary
MAGENTA
(Purple) RED+BLUE
6kWHMISPOTLIGHT
scaffolding.
Theluminaires
, whichwere
YELLOW
RED+GREEN
powereddirectlyfrom the mainssupply
CYAN(Turquoise) BLUE+GREEN
eithersinglyor sometimesswitchedin
Theabovecombinations
arethe more
groups, weregenerallycumbersome
and
straightforward
onesandobviouslyothers
heavy.Carbonarcswereusedbut created
aremorecomplex.However,
all coloured
surfacescanbe brokendownintothethree
componentparts. Colourdistortioncantake
placewhenthe sceneis illuminatedwitha
sourceof lighteitherdeficientin some
colouror withan excesse.g., fluorescents
havea highgreenspectralcomponent.
At presentno commercially
available
professional
qualitycameratube is capable
of producingthethreeseparatesignals
requiredfor colourtelevision
. It is thusa
fundamentalrequirement
thatthreeseparate
tubesbeemployed.Theuseof threecolour
tubesandthe consequent
splittingof light
that mustoccurmakesthe colourcamera
opticallymorecomplex.
Basicrequirements
of the colour
separationsystem:
i) Lightfallingon thethreetubesmusthave
a commonentrancepupil,i.e., eachtube
facemust'see'exactlythe samescenein
orderto avoidparallaxproblems.
ii) Divisionof lightmustbe effectedwith
minimumloss, thusavoidingeither
excessive
lightinglevelsin the studioor
'noisy'picturesproducedby lowlight
levelson the cameratubesphotosensitivesurfaces
.
Thecamerapickup tubehasa
sensitivitywhichrequiresa certainamount
of lightjust asthefilm in our stillcamera
requiresanamountto satisfyitsASA(ISO)
rating.Belowthis level,noise(underexposurein film)will becomeapparent.
Abovethis level, over-exposurewilloccur.
In bothcaseswecontrolthe amountof light
enteringandhencethe exposure
, withan iris.
Theserequirements
ledto the
development
of specialopticalsystemsfor
colourcameras
. Themostobviousone
beingthe useof zoomlensesto ensurea
singlepathfrom the viewedsceneto the
cameraelectronics
.
Intelevisiontheapertureof the iris in the
studiohasbeengenerallydeterminedby the
depthof fieldcommensurate
with
productionrequirements
. Camerairis
settingsin the rangeof f2 to f4 withtoday's
cameras,requirean incidentscenelightlevel
of 1000to 2000 luxso thatthe camera
's
basicsensitivityis satisfiedandgoodquality,
relativelynoisefreepicturesareproduced.
<=)=>
2:4 OUTSIDE
BROADCAST
LIGHTING
2 :3 THETELEVISION
CAMERA
:ts.
8
3:l GENERAL
As statedin 2:1the spotlightis our 'sun'and
the softlightthe 'sky'.
WHAT IS A SPOTLIGHT?
It is a lightsourcewherethe light beamis
shaped;controlledby a curvedreflector
and/or a lensand maybe dividedintothree
groups:
In bothtypesof spotlightbarndoorswill
be usedto blockthe pathof the lightand
thus confinethe light beamto thoseareas
we requireto lightfor effect.Barndoorsgive
a soft shadow,the characterof whichvaries
betweenspotandflood particularlywith
openspotlights.
Openspotlight
(Flood/ spot adjustment)
Fresnel spotlight
This producesa fairlyhardedgedbeam
whosewidthis controlledby the spot/flood
mechanismwhichoperatesby movingthe
lamp/reflectorcombinationwith respectto
the lens.TheFresnellensis a convexlens
whichhasbeensegmentedandflattenedto
reduceweightand helpwith heatdispersion;
it generallyhasa dimpledrearsurfaceto
breakup lampfilamentimages.
FLOOD
SPOT
5kWSOFTLIGHT
Open spotlight
SOFTLIGHTS
In the openspotlightspot/flood is achieved
by movingeitherthe lampor the reflectorin
relationto the other.The edgeof the light beam
is not so wellcontrolledor definedbut the
luminairehasa higherlightoutput relativeto
the Fresnellenstype.
Althoughin theorysoftlightsshouldbe as
largeas possible,thereareobviouspractical
constraints;therearetwo forms of softlights:
Softlight for filler
This is madeas largein areaas practicable
and reliesupona simpleindirectreflective
systemto scatterlight in a fairly random
manner.
Fresnelspotlight (Flood/spotadjustment)
Floodlights for Cyclorama
lighting
2kWOPENSPOTLIGHT
Profile and Followspots
Thesehaveopticscapableof producing
hardedgedbeamsandgenerallywork by
adjustingtheir lenses.
Profileand Followspot(Adjustment)
Althoughin generaleyelightsareconsidered
a floodlight,verygood resultsareobtained
whenthe opticalsystemis refined.This
enablesluminairessuchasthe 'IRIS'unitto
be usedcloseto the eyeclothyet illuminate
veryevenly.It is alsoimportantthat their
overlapcharacteristics
arewellcontrolled,
particularlyso witha groundrowunit.
ELLIPSOIDAL
REFLECTOR
1,,
!I
III I
I:
~
-,,-1
-u.~· T~'/
GATE
1kWFRESNEL
SPOTLIGHT
9
~
4-COMPARTMENT
CYCLORAMA
TOPLIGHT
3:2 SPECIALISED
LUMINAIRES
DUALPURPOSE
Recentyearshaveseenthe development
of
the dualpurposeluminaire;this deviceis a
combinationof a hardandsoft sourcein one
unitandis availablein dualwattageversions
aswell.Byits verynaturethe dualpurpose
luminaireoffersfar greaterflexibilitythan
conventionalluminairesandsavestime
duringriggingandstudiooperations
.
However,
for the bestresultsthese
1.uminairesshouldbe usedwitha saturated
grid.(Thisis whereat leastoneluminaireis
riggedper suspensionpointoverthe whole
studio).
It hasbeensuggestedthatthe needto
keepthe physicalsizeandweightof these
luminairesto a minimumto enableeasy
handlingandrigging,meansthatthe soft
lightis a compromise;this is not alwaysthe
caseassomemanufacturers
designthese
unitsusinglightweightmetals,pressedto
givegreatstrengthandgivinga similarlight
outputto a conventional
softlight.Because
of its dualfunctionthe luminaireis more
complexthanthe conventionalhardandsoft
sourcesin generaluse, andtogetherwiththe
increasein weightmayposelimitationsin
handlinganddesignof the studio
suspensionsystem.In usewith properly
designedsaturatedgridsthe advantages
can
outweighthe disadvantages.
DUALWATTAGE
Dualfilamentlampsare producedso that
eitherfilamentcanbe usedindependently
or,
by addition,differentpowercombinations
areachieved
, i.e. l .25kWand2.5kW
filamentswhencombinedgive3.75kWand
spreadof lightis 3:1.
Therecanbeadvantages
in riggingby
usingdualwattageluminairesas it allowsthe
sameluminaireto be usedasa standard
throughoutthe studiorig. Alsowhere
marginallightinglevelsare reachedthe
lightingdirectorcaneasilymakethe
necessary
changes
. Onedrawbackof dual
wattageluminairesis thattheir physicalsize
is dictatedbythe ventilationrequirements
of
the highestwattageused.
Thechartshowsthe usablerangeof
lightoutputfor the variouswattage
combinationsin useat the presenttime. It is
assumedthat the dimmerhasbeensetto '7'
so that plusor minusonestop is available
.
Althoughthe opticalsystemof dual
spotstendsto bea compromisefor the two
2.5-5kWDUAL-WATTAGE
LUMINAIRE
filaments,in practicethis hasnot provedto
be noticeable.
Softlightscansometimeshave
differingcharacteristics
dependentupon
switchmodesbut mostmodernluminaires
haveovercomethis problem.
Twopointsin favourof the dual
wattageare
(i) withoneluminairein usemaintenance
sparesare keptto a minimum.
(ii) lightingmodechangescaneasilybe
accommodated
withoutre-riggingwhich-..,.__,,,:::::::::=:::::i
savesvaluablestudiotime.
1000LUX
ONSUBJECT
3:3 CONSTRUCTION
AND HANDLING
Withmodernlightingthe numberof
luminairesin useimposesa considerable
loaduponthe supportingstructure.It is
thereforeessentialto keepthe weightto a
minimum,andthis is alsodesirablewhen
handlingluminaires.It canbeshownthat
maintenance
anddamageincreases
withthe
weightof the luminaire,imposinga strainon
the operatingstaff.Ideally,luminairesshould
bewithinthe handlingcapabilityof oneor
two men.A 5kWspotweighingl 7kg canbe
handledby oneman,but whenthis weightis
exceeded,
two menare required.
Luminaireshavebeensubstantially
reducedin weightin recentyearswithout
affectingdurabilityor performance.
Withthe
increasedrequirementfor lighterluminaires
havecomeassociatedproblems,otherthan
the robustnessof the luminaire,astheir
compactsizedemandsan efficient
ventilationsystemto ensureadequate
convectioncoolingof the lamp.
Toaid riggingandhandlingof luminaires,
poleoperationis usuallyemployedin the
studios.Functionssuchas pan, tilt, spot/flood
and barndooradjustmentscanbe madefrom
the studiofloor witha speciallymade
operatingpoleto avoidusingstepladders
to manuallymaketheseadjustments.
10
3:4 CYCLORAMA
LIGIITS
Whyarecycloramasso important?They
offer,afterthe initialcost,an inexpensiveand
reliablemethodof providinga multiplicityof
backingswhichwouldbe costlyand more
inhibitingwith conventional'flats'.
Fourcompartmentgroundrowunitsare
usuallyplacedlm from the eyespacedat
l.22m centresandfour compartmenttop
unitsare placed3m from the eyespacedat
2.5m centres.Generallythe floor unitswill
use625Wlampsandtop units1250Wlamps.
Tolightfrom the eyebottomin four
coloursapproximately2000Wper metreis
required.A smallstudio,e.g.,100m2 , with eye
on threesides,i.e., 25m of eye,would
require50kW;if onlytwo coloursare used,
thenthefigureof approximately25kWis still
quitesubstantial.
Topeyelightingat the
quoteddistancewill alsorequire2000Wper
metrefor four colours.
Inthe caseof studiosup to 200m2 bottom
eyelightingposesa problemwith regardto
floor space.Tohavea studiowith eyeson
threesideswith unitsplaced1m awayfrom
the clothin a 100m2 studiomeans35%of
floor areais lost.Thislosscangiveproblems
with camerashots(seeillustrationbelow)
Cyclorama
groundrowlights
~ gJ
I
!l.:;..
aertoc<
~o<thwme,a
requiresto moveto its left.
Fo,a
,~:j
~
3:5 PROFILE
AND
FOLLOWSPOTS
TheFresnelspot,althougha focusing
source,producesa beamwith a soft edge.
Whetherby accidentor design,thisfeatureis
essentialto good overalllighting,allowing
onesourceto mergewith another,without
apparentchanges.Thereis alsoa
requirementfor luminaireswith a hard
edgedbeamfor effectspurposes.
Inthe studio,thereareoccasionswhen
certaineffectshaveto be simulatede.g.,
sunlitwindowpatternprojectedon a wall;
eithera full sizedwindowis usedwith a
Fresnelspot,or the profilespotcanbe
employed.The profilespot canbe likenedto
the normalphotographicprojectorwitha
similaropticalsystemfor the projectedhard
edgedimages.In the caseof the window
quotedin the example,a simplecut out
shapeof the windowis made,usuallyfrom
metalfoil, placedin the gate(whichis
too hot for plasticmaterials)and projected
by the correctangleopticsto the surface
wherethe effectis required.Thusa very
good effectcanbe obtainedwithoutthe
needto occupyvaluablestudiospace.One
pointto be bornein mindis that the
projectorhasto havegoodwideangleoptics
at closerangeratherthan narrowangle
opticsat a longerdistance.If not,any
movementhoweverslight,will be magnified.
Thishighlightsoneof the drawbacksof
profilespots.Theymustbe stationaryto be
effective- it is mostdisturbingto see
projectedpatternswandering.
Thewindowcutoutmentionedis
a dramaticuseof the profilespot.It should,
howeverbe obviousto the reader,that any
shapecanbe usedand projectedto give
visualinterestto the televisionpicture.
Althoughfocusedshapeshavebeen
discussed,verygood effectscanbeachieved
by partialdefocusingof the image.
Thefollowspot canbe regardedasthe
'elderbrother'of the profilespot,but in this
casea patternis not projected.Thefollow
spot hasverynarrowangleopticswhich
allowit to be usedoverlongdistancesasthe
followingkeylight on the mainartist.
Boththe profileandfollow-spotsare
usuallysuppliedwith integralframing
shuttersto givestraightedgesto the beam
andan iris to varythe circularsizeof the
beam.Theywill alsoacceptcolourframeson
the front of the opticsto allowthe useof
colouringmaterialor in somecasescolour
correctionfilters.
lm
------------.----
Cyclorama
and it shouldbe bornein mindwhen
planningsmallstudios.Havingmadethis
point, it mustalwaysbe rememberedthat
the lightingdirectorneedsthe artistsat least
1m awayfrom the eye,so that backlightscan
be usedeffectively.
Forthesereasonstop eye
lightingis preferredin studiosup to 200m2 .
Multicoloureyelightingon a grandscale
is moreoftenusedwith largeopenspace
setssuchas light entertainment
and music
productions.Inthis type of productionthe
eyetop lightingoftenpredominates.
With
othertypesof production,suchas drama,
the requirementfor eyelightingis very much
reducedandthe needis usuallyto light
backingsto windowsandthe studio
exteriors.Owingto the increasedcomplexity
of lightingof artistsand setsin dramatype
productionsgroundroweyelightingis used,
thussavingvaluablegrid space.
11
1kWCSI/ CIDFOLLOWSPOT
3:6DISCHARGE
LUMINAIRES
Dischargeluminaireshavebeenaroundfor
manyyearsandin factwereusedin the film
industryforty yearsago. A big stepforward
took placewhenThornintroducedthe CSI
lampwitha correlatedcolourtemperature
around4000K.It wasusedmainlyfor
outsidebroadcastlighting, but its colourwas
a drawbackwhenusedin mixedlight
situationsbecauseit hadto befilteredto
matchdaylight.TheHMIlamp,when
introduced,overcametheseproblemswitha
correlatedcolourtemperatureof 5600Kand
verygoodcolourrenderingproperties.
Dischargesourcesofferlightoutputfour
timesgreaterperwattthantheirtungsten
equivalent.
Usedmainlyfor locationlighting
for outsidebroadcastsandfilm, in the form
of lightweightportableluminairesof high
lightoutput,theyconsumelesspower,
reducingthe sizeof generatorrequired.
Dueto the arc whichproducesthe light
in theselamps,carehasto betakenwiththe
associatedcontrolgearso thatflickereffects
do not occurdueto the synchronisation
of
lampandcamerato the mainswaveform,i.e.
50Hzbeatpattern.
Threemethodsaregenerallyusedto
avoidproblems:
(i) Ensurethatthe lightsourceandthe
cameraare runningin synchronization.
(ii)Supplythe lampfrom an electronic
squarewavegeneratorsothat the light
outputis moreconstant.
(iii)Supplythe lampfrom a highfrequency
supplysothat the beatfrequencies
are
avoided.
Tungstenhalogenlampshavevery
convenientshapesfor their purposes.The
projectorlampoffersa smallsourceof light
to the opticalsystemof a spotlightandthe
linearlampis a verygoodsourcefor a
softlight.
Thedischargelamp, althougha very
goodcompactsourcefor the spotlight,
requirescarefulluminairedesignto produce
the soft shadoweffectassociated
with
conventional
tungstensoftlights.
3:7LAMPS
Twomaintypesof lampsare usedtungstenhalogenand discharge,bothof
whichcanbesub-dividedintovarious
categories
, dependingon use.Thetungsten
lampproduceslightwhenitsfilamentis
heated.It radiatesmuchmoreheatthan
light, howeverit doeshavea continuous
spectrumwith littleultra-violetradiation,but
lotsof infra-red
. Thedischargelamp,
althoughgivinga higherlightoutputis a
discontinuous
sourceandgreatexpertiseis
requiredin the fillingof theselampsso that
their lightoutputgivesgoodcolour
rendition.Energyis releasedin high
proportionsin the ultra-violetportionof the
spectrum.Theluminairemanufacturers
take
specialprecautionsin designto prevent
operatorsandartistsbeingexposedto
this hazard.
robustquartzenvelope.Quartzenvelopes
,
beingthicker,allowa higherinternalworking
pressurewithinthe lampwhichgivesit twice
the lifeof its hardglassequivalent.
To
balancethe economics
, quartzlampsare
alsomoreexpensive
.
MostTVstudiotungstenlampsare
operatedat abouthalflightoutputwhich
increases
the lamplife bya factorof about
ten.Runningthe lampat lowervoltsdoes
not appearto adverselyaffectthe halogen
cycleandhencethe performance.
Typesof lampsin popularuseareshown
below.
DISCHARGE
Dischargelampshavea quartzenvelopeand
nofilamentand relyon anarc struck
betweentwo electrodesto excitethefilling
gas. Thevoltagehasto besufficientlyhigh
so that currentflowwill commencebetween
the electrodes
. Thiscurrenthasto be
controlled, usuallyby a chokeor ballast.
TUNGSTENHALOGEN
Generally
theselampsmustbeallowed
to cooldownbeforetheycanbe re-struck.
Alltungstenfilamentlampsof thistypeare
filledwitha halogen,usuallybromine,which Mostmoderndischargelampsin usefor film
maintainsthe lightoutputandcolourwithin andtelevisionarethe 'hot re-strike
' type.
finelimits, throughoutthe lamp'slife. Lamps Theycanbe re-struckat anytime bythe
areconstructedwith hardglassor a more
applicationof a highvoltageto the
electrodesi.e.about40kV.
TWIN-FILA
MENT LAMPS(TUNGSTEN HALOG
EN)
DISCHARGE
LAMP
S
CSI
CID
LINEARLAMPS (TUNGS
TEN HALOGEN)
HMI DISCHARG
E LAMPS
12
4:l POWER
GENERAL
Forall studiosan allowanceof 650Wper
squaremetremustbe madeto givethe
electricalpowerintakerequirements
for the
basicstudiolighting.
Asstudiosincreasein size, usuallyabove
200m2 area,additionalpowerallowance
mustbe madefor eyeandeffectslighting.
Forexample,a studioof 2502 m requiresa
210kWpowerintakecomprising162kW
normallighting(650W/ m2) togetherwithan
allowanceof 50kWto lighta 50m eyein two
colours.Thistotal powerrequirementgives
a newestimatingfigureof 850W/ m2 which
shouldbe usedin all largestudios.Typical
figuresaregivenwiththe studioillustrations
.
It cannotbeoveremphasised
that with
TVstudiooperationsmuchthoughtshould
begivento the useof the entirelighting
installation.
Thishasextremelyimportant
implicationson the ventilationsystemwhich
is usuallybasedupona two-thirdsutilisation
figure.
Tooperatea tungstenlampat a lower
colourtemperature
, the voltageis reduced.
Inthe caseof a 240V lampgoingfrom
3200Kto 3000Kthis meansa reductionof
approximately
40 volts- the currentalso
reducesbut not by sucha margin.It canbe
seenthat operatingthe lampin this waywill
reducethe total powerused.Inthe caseof
lampsbeingoperatedwiththe dimmer
outputat 'T this reductionmeansa savingof
approximately
onequarterof total power.
Asa guideit is normalto allowone5kW
dimmerper l .5m2 of floor area.Although
thisfigureseemshighin relationto the
estimatingfiguresgivenpreviouslyit has
beencalculatedassuminga total coverageof
the studioallowingfor barrels,eyecircuits,
floor circuits, etc.If a compromiseis made
andextensioncablesare employedfrom
fewerpoweroutletsthenthisfigurecanbe
reducedbut operationallyis not asflexible.
POWEROUTLETS
Thecablesfrom the dimmersto the power
outletsmustbe designedto minimisevolt
drop - this alsoensuresfusesandcircuit
breakerswill operatewithintheir specified
characteristics.
In the studiothe poweroutletsockets
haveto be distributedin an organised
mannerto suitthe typeof suspension
systememployed.Themajorityof outletswill
beat highlevel,eitheron barrelsor in the
workinggrid andwillalsobe distributed
aroundthe gantryandat floor level.
If a permanenteyesystemis installed
thena specialfeedercablesystemwill be
used; the outletsprobablyalwaysbeing
connectedto the samechannelson the
lightingconsole.Withmodernlighting
controlsystemsdedicatedcyclorama
lightingcircuitsare usuallyinstalled.
Therewill bea mixtureof poweroutlets
accordingto the requirementof the studio.
Largeand mediumstudioswill havea
mixtureof lOkWand5kWoutlets. Small
studios,i.e., below150m2 will usuallyhave
13
5kW.ThelOkWoutlets, whichare limitedin
number,will bedistributedin the mainin the
grid,or at gantrylevel,the outletsbeing
positionednearthe pointsof maximum
demand.Extensioncablesarethen
employedto feedthe lOkWluminaire
.
Barrel system
Barrelswill usuallybefittedwithsufficient
socketsfor the typeof studiooperation,and
alsodependentuponthe lengthof barrels
installed,i.e.,a 2m barrelcanaccommodate
two 5kWspots;thereforeat leasttwo
socketsshouldbe provided.It is usefulto
provideoneparallelledtwin socketso that
two lowerwattageluminairescanbe easily
fed from onedimmerchannel.Thisis
particularlyusefulwithlkW profilespotlights
andsetdressingluminaires
, suchasthe lkW
Fresnelspot.
Regulators(AVRs)
wereusedon the lighting
supply.Thesewerecumbersomeandslowin
actionandcouldcausemoreproblemsthan
theycured. Moderndimmersaregenerally.
suppliedwitha closedloop characteristic
for
mainssupplyvariationsandareveryfast
actingso that asfar asthe operatorsare
Pantograph system
awarelittleor no variationsoccurwith
If a pantographpointsuspension
systemis
regardto lightoutputat the normal
usedthenonepowersocketshouldbe
operating
pointsof the dimmers.
providedat the bottomof eachpantograph.
Dimmersaresuppliedas'plug-in' or
Themainpowercableis terminatedto this
'wired-in
' . Plugin dimmers,astheir name
socketor to the top of the pantographwith
suggestsare completedimmersof varying
an independent
feedercabledownthe
powersizesthat plugin to the mainpower
pantograph.
dimmerrack.Inthe eventof failureor
Telescope system
replacement
it is veryeasyto changethe
dimmer.Wired-in dimmersaredesignedso
Herethe distributionis usuallycontained
thatthe mostcriticalpartsarecapableof
abovethe workinggrid with longfeeder
beingreplacedeasilybut the mainpower
cablesusedfrom eachluminaire
. Againthe
installationof parallelledoutletsocketsin the componentsi.e.,thyristorandchoke,are
wiredin,thus the controlcardsare provided
workinggrid is usefulfor twin luminaires
as plug-inunits.
workingon onedimmerchanneloutput.
Dimmersfor majortelevisionstudiosare
usuallyproducedin 5kWandlOkWversions;
lowerwattageversionsareavailablebut
proportionatelydo not offermuchsavingin
All modernlightingcontrolsystemsutilise
cost.Savingscanbe madewhenusing
solidstatedimmingdevices
. Whenthese
dimmerrackswith highpackingdensities
.
switchon to conducttheydo so by allowing Generally
, dimmerracksare designedto
a burstof currentto pass.Thiscurrentis
housefrom twelveto forty dimmers;hence
switchedveryrapidlyin millionthsof a
they requirehighcurrentinputs.Thiscreates
secondand in so doingcreatesinterference the needfor associatedswitchgeartogether
in theform of electromagneticinduction,
withsubstantialfeedercableswhichare
just asthe refrigeratormakesthe radio
usuallyarmoured.Thefusesandcircuit
'click'.In broadcasting
centresthese
breakerswhichfeedthe dimmerrackshave
problemsobviouslymustbe minimisedand to becarefullydesignedto offera high
manufacturers
usuallyincorporatea choke
degreeof electricalprotectionandsafety.
to slowthe risetime of the harmful
waveformsandthuspreventproblems.
Otherwaysof reducinginterference
are:
i) Keepingthe powerfeedercablesandthe
audiocablesseparated.
ii) Useof specialaudiodistributioncables.
If all the abovestepsaretakenthenthe
interferenceis negligibleand notroubleis
experienced.
Usuallya fewvoltsare droppedacross
the dimmerwhenit is conducting.If the
powerdistributioncablesin the studioare
not generousin currentratingthen
additionalvolt drop canoccur.Thetotal of
thesetwo dropsis of the orderof lOVso it
canbeseenthat a boostedinputvoltageto
the dimmerscanbeadvantageous.
Inthe earlierdaysof colourTVit wasfelt
that mainsvariationi!vouldcauseproblems
with regardto lightoutputandhencethe
colourtemperatureof lightsources.Toget
overthe problemAutomaticVoltage
4:2DIMMERS
4:3 LIGHTING
CONSOLES
1
MANUALSYSTEMS
f
MEMORYSYSTEMS
Themostsignificantadvancein recentyears
hasbeenthe development
of control
systemswhichenablethe levelof any
GENEflAL
channelto be memorised
. Themodern
Inthe past, lightingcontrolutilisedlarge,
lightingconsoleusesoneor two channel
handoperatedresistance
dimmerscapable controllers,eachof thesehavingthe ability
of beingmechanically
coupledtogetherso
to controlanychannel.Havingselecteda
that 'on cue' the electrician couldchangea
channelon the controller
, the levelis setand
fewchannelsat a time. Thissystemwas
storedaway.Thechannelcontrolleris now
reasonable
whentimewasallowedfor
freeto setthe stateof the nextselected
changesto the lightingandthe amountof
channel.Theconsolealsohasthe abilityto
changesweresmall.Intelevision,earlier
manipulate
andstoremanygroupsof
lightingcontrolsystemsusedauto
channelinformation
. A modernconsole
transformerdimmersin banksdrivenby an
probablyhasat least100memories
, thusall
electro-mechanical
systemwith lowvoltage channelscanbestoredin eachof these
controlfrom a masterconsolewiththe
memoriesat the selectedlevelrequired.
abilityto memorisethe ON/ Offstateof
Theabilityof the consoleto memorise
eachchannel.
the lightingof eachscenewithinthe studio
Oneof the biggeststepsforwardwasthe meansthatthe lightingdirectorcanselect
introductionof solidstatedimmerswhich
the lightsrequiredfor the scene,balance
allowvoltagecontrolof the dimmerdirect
for optimumeffectandthenstorethe
from a consoleratherthancontrolthrough
informationuntilrequiredagain. If the same
the electro-mechanical
system.Thisresults lightsfrom the precedingsceneareusedhe
in savingsregardingheatdissipationand
cannowsetcompletelyindependent
levels
space.
from thosealreadymemorisedwithoutthe
A lightingconsolemustprovidefor
needto considerthe old information.
The
variousbasicfunctionsandtheseare:
controlsystemdoesit for him.
i) The ability to switcha channelON/ OFFat
any level.
ii) Tobeableto seta channelanywherefrom
'ZERO
' to 'FULL'lightoutput.
iii)Tomix channelswhicharegrouped
together.
iv)Theabilityto overridechannelsby
'Masteror GroupFaders
' andby 'Master
Switches'.
v) Thefacilityfor collectingselectedchannel
informationeithersinglyor in groupsand
storingin 'Memories'
.
In a manualsystemeachchannelis directly
fedfrom a fader,thusa simple60 way
systemuses60 faders. If the systemis two
'Preset'this meansthattwo fadersare
providedperchannelwiththe ability,using
two PresetMasterFaders,to fadebetween
eitheroneof their preselected
states;the
highestof the selectedstatestaking
precedence
whenthetwo Mastersarefully
on.Forexample,ChannelX is setat '7' on
the RedPresetand'5' on the GreenPreset.
Withthe RedMasterup andthe Greendown
channelX is setto '7'; whenthe RedMasteris
downandthe GreenMasteris up thenthe
channelis setat '5'. Whenthe RedMasteris
at FULLraisingthe GreenMasterto FULL
will not changethe stateof channelasthe Red
channelis the highest- the outputwill be '7'.
Thisgivessimpletwin state(or preset)
mixing. Thestateof eachchannelcanbe
easilyseton the lightingconsoleandan
overridingMasterfacilityis available
.
Inthe lesssophisticated
televisionstudio
thistypeof consoleis quitesufficientasthe
variationsin the lightingareminimalandcan
be handledquitereadily.
Manualsystemsrequirea lot of spaceto
accommodate
thefadersandhavethe
drawbackthat variouschannelstatescannot
besetwithoutresettingthefaderlever.
As mustbe realisedby now,these
consolesare, in a sense,miniature
computers
. It is essential
thattheyprovide
rapidaccessandrespondpositivelyto
operationalcommandsat the sametime
being'userfriendly'.Althoughphysical
controlshavebeenreduced,thetotal control
is veryflexibleandmanyoperationscan
easilybe performed
. At a touchof a button
or two,mixes,fades, crossfades,
add-in
fades,takeout fadesandswitchcuesare
readilyaccomplished
. Theonlypossible
limitationnowis in theskillof the operator
utilisingthe systemto itsfull potential.
Consolesare nowavailablefrom about
twenty-fourup to hundredsof channels.
Theycomecompletewithsophisticated
backup andspecialeffectssystemsso thatall the
lightingeffectsfor pop musicshowscanbe
pre-setandreplayedat the touchof a button.
Asthe physicalsizeof theseconsoles
hasbeenreducedso theyhavebeen
adaptedfor useon outsidebroadcasts
.
Thecostsof sophisticated
modern
consolesareveryreasonable
andin real
termsactualcostshavereducedoverthe
years.
5:1 DESIGN
CONSIDERATIONS
It is extremelyimportantto getthe operating
heightswithinthe studiocorrectand
thereforethefollowingsuggestedsystem
givesverygoodresults.It is never
satisfactory
to try to fit equipmentintoa
'box'asanafterthought.
CYCLORAMAHEIGHTS
Cameraviewingaspectratio= 4:3
Assume36° lensusedthisgivesvertical
angleof shot= 27°
Assumelensheightof l .8m
Cycloramaheight= (Lx tan13.5°) + l .8m
Cycloramaheights(m)for studioswith
maximumdimension(m)of:
Studio Cyc. ht. Studio Cyc.ht.
6
3.2
20
6.6
7.1
8
3.7
22
10
4.2
24
7.6
12
4.7
26
8.0
14
5.2
28
8.5
16
5.6
30
9.0
18
6.1
32
9.5
STUDIOHEIGHTS
Studiosareusuallyconstructedwithfloor
dimensionsin the ratiosvaryingfrom 5:4 to
3:2.Generally
the proportionsapproximate
to Length5.5: Width4: Height3.
Forexample
:
Studiodimensions
=30mx24m
Cycloramaheightfor 30m
=9m
Heightallowance
for luminairesand
pantographs
for suspension
system= 2m
Thereforegrid height
= llm
Allowanceabovegridfor
maintenance
= 2.5m
Allowance
for air conditioningandservices
abovegrid maintenance
area
= 2.5m
Totalstudioheight= 11 + 2.5 + 2.5 = 16m
Theexamplequotedisfor a
conventional
studiowitha barrelgrid. The
figuresstill holdfor monopolegridsbut if no
accessis requiredabovethe gridthenthe
total heightcouldbe reduced.
15
SUSPENSION
Wheremonopolesinglepointsuspension
is
used,greatflexibilityis offeredand
luminairescanbe hunganywherein the
studio.Themainrequirements
being
sufficientsuspens
ion unitsandpower
outlets,togetherwithenoughluminairesfor
the largestproductionrequirement.
If the studiois equippedwith
pantographsrunningalongfixedbarrels
whichallowno sidewaysmovement,
then
additionalbarsandsuspension
haveto be
providedas in barrelgrids.
Withbarrelgrids, dueto their inherent
fixednature,additionalbarsarerequiredfor
peripherallightingfor the studiosidesand
alsofor the eyelightingsystem.It is also
importantto providefor the maximum
numberof barrelsandit hasbeenfoundin
practicethat 2.4mbarrelsat l.2m spacings
offerthe bestcoverageallowingfor the size
of dualsourceluminaires
.
Barrelgridsoftenoperateon the
saturatedprincipleto givehighproductivity
in utilisation
.
l
5:2TYPESOF
SUSPENSION
MONOPOLES
Singlepointsuspensionusuallyinvolvesan
overheadlightinggrid whichprovidesa
workingplatformfor the studioelectricians
withthe luminairessuspendedfrom the grid
on a telescopicdevicewhichpermits
variationin heightandfreedomof
movementfor positioningthe luminaireat
the requiredplacein the set.
Theoverheadgrid is an integralpartof
the studioconstructionandis incorporated
in the designof the studiofrom the outset.
Thegrid is dividedintosectionsby
continuousslotsthat runthe lengthof the
studioat intervalsof aroundlm. In some
designsa numberof additionalslotsare
providedrunningacrossthe widthof the
studioto facilitatetransferof telescopes
from onemainslotto another.
Thetelescopesare madeto fit the width
of the slotsandare providedwithwheelsto
enablethe unitto be movedalongthe grid
platformto anypositionin the studio.A
winchis providedon thetop sectionof the
telescopeabovethe grid platform,to enable
the luminaireto be raisedor loweredto the
requiredheight.Thewinchis operatedby
meansof an electricor air poweredhand
tool or by a handoperatedcrank.
Theriggingcrewworkon the grid
platformandmovethe luminairesabovethe
setsto the positionsindicatedbythe lighting
director.Thegrid alsocarriesthe main
electricaldistributionsystem.Loadingof the
luminairesandmaintenance
is undertaken
by movingthe telescopeto the edgeof the
grid whereaccessis obtainedviaa
peripheralgallery.
THEMOTORISED
HOIST
Themotorisedhoistis the mainrivalin
largerstudiosto the overheadsinglepoint
suspensiongrid. It consistsof a lengthof
barrel(48mmscaffold)supportedby wire
ropesconnectedto a motorwinchmounted
in the studioroof.Poweroutletsfor
connectingthe luminairescanbe mounted
intoa frameabovethe barrelandpower
cableshousedin a collapsibletray which
foldsandunfoldsasthe barrelheightis
altered.Thebarrelsare usually2.4m long
andthe luminairesattachedto themby
meansof clampsor on smallwheeled
trolleyswhichgivethe additionalpossibility
of lateralpositioningof the luminaire.
Thehoistsare placedat regularintervals
alongthe lengthandacrossthe widthof the
studioto enableluminairesto befixedat
almostanyrequiredposition.It is usualto rig
two luminaireson eachbarrel.
Asallthe luminairesnormallyremainon
the barrel,de-riggingthe studioat the endof
a productioncansimplyconsistof raisingall
barrelsto maximumheightthrougha single
mastercontrol.
Thissystemgainsmaximumadvantage
whenthe numberof differenttypesof
luminaireare reducedandthe installation
densityof luminairesis increasedcompared
to the requirements
of the singlepoint
suspensionsystem(i.e.,the saturatedgrid).
Th_e
dualsourceluminaireis particularly
.
suitedto thistypeof suspension
Mediumsizedstudioscanbefittedwith
handwinched
hoists,whichare similarin
conceptionto the motorisedhoistbut the
suspensioncablesare divertedthroughroof
mountedpulleysto winchesmountedon the
studiowalleitheroperatedfrom floor level
or from a gantry.
Raisingor loweringof the hoistis
achievedthroughthe useof a handoperated
handleor a powertool similarto that used
withthe singlepointsuspension
telescope
.
ROLLER
PANTOGRAPH
Thissuspensionsystemconsistsof long
pantographssuspendedfrom runsof fixed
barrelacrossthe studiowith no lateral
transferpossible
. No accessis provided
abovethe grid andall operationshaveto be
carriedout at floor level.Generally
economicalto install,it offersa highdegree
of flexibility.Recentsystemsusemotorised
pantographs
for enhancedoperation.
16
TRACKAND BARRELSYSTEM
Smallerstudios,particularlythoseof limited
height,areideallysuitedto thetrackand
barrelsystem.Thiscomprisespairsof tracks
(similarto that usedfor industrialsliding
doors)mounteddirectlyunderthe studio
ceiling.Thenumberof pairsof tracksis
determinedbythe studiowidth. Thebarrelis
fittedwitha rollercarriageat eachendwhich
runsin thetracking,enablingthe barrelto be
movedalongthe lengthof the studio.
Theluminairesare riggedon the barrel
by meanso~ rollertrolleywhichallows
themto movethe lengthof the barrelor on a
pantographwhichgivestheadditionalfacility
of individualheightadjustment.
Powerdistributionis generallyachieved
by mountingsocketson trunkingbetween
the adjacentpairsof tracks. Theluminaires
canremainconnectedto thesesocketswith
thetrailingpowercablessupportedby a
supplementary
catenarysystem.
TRACKAND BARRELSYSTEM
LIGHTRIGSYSTEM
Thissuspension
systemis a variationon the
trackandbarrelgrid, but it is muchmore
flexibleasthetraversingtrackscanbe
adjusteddiagonallyacrossthe primarytrack,
providinga greatercombinationof luminaire
positions,withtheaddedadvantage
that
fewertraversingtracksarerequired.
Moreover,
thetraversingtrackcantravel
throughits supportingcarriagesto provide
an extendedoverhangoutsidethe normal
primarysupports,aswellas extrapositions
for luminairesin inaccessible
places.
LightRigis a flexiblesystem,idealfor
smallstudioswherethe heightis
comparatively
restricted
.
FIXEDBARRELSYSTEM
Thisis the simplestform of installationand
onethat is adequatefor presentation
studios
or smallto mediumsizedstudioswherea
fixedlightinginstallationcanbe used,asfor
examplewhenthe samesetsareusedfor
eachproductionor withverylittlechangein
the scene.
At its simplest,thefixedbarrelsystem
comprisesscaffoldbarrelsmountedacross
thefull widthof the studiojust belowthe
studioceiling.Theluminairesareattachedto
the barrelswithclampsandlittleor no
attemptis madeto providefacilitiesfor
heightvariationor lateralmovement.
LIGHTRIG
ANCil.JLARY
LIGHTING
Althoughgenerallythe studiowill be rigged
withthe necessary
luminaires,
thereare
occasionswhenotherluminaireswill be
used.Certaineffectscanonlybeachievedby
luminairesat studiofloor level, e.g.,fireflicker
,
waterrippling.Aswellas effects,it is often
desirableto usesoftandhardsourcesat floor
level.In particular
, softlightscanbeat their
mosteffectivewhensquareto a subject.
Whenplanningthestudiothis mustbe
takenintoaccountandit istherefore
necessary
to supplyfloor standsto support
the equipment.
Otherthantheselightsat
floor level,thereis the needto rig luminaires
on thetop of sceneryflatswhichwill require
specialclamps.
17
FIXEDBARRELSYST
EM
w
2
50m INTERVIEW
SITUATION:-~~~k=W======~kW
CYCLORAMA
~
-v-
lkW
.
'C]
D~5W~
I
d~
625W
.......................
-~
625W~!:'..._~
Thestudiolayoutsemployedaredesigned
to
l.25kW
showmanyof thesituationsthatarisein
normaltelevisionproduction.
Theyalso
2.5k~
625
showa multiplicityof luminaires
in useandit
is hopedshowsomeof thewaysin which
theymaybeused.
Inthe caseof the 50m2, 100m2, and
d625W
~ 625W
.,.,.
-~kW
150m2 studios,verysimpleplotsaregiven,
usingthe 2kWandlkW Fresnelspotlights,
togetherwithlowerwattagesoftlights.The
~25kW
!kW
firsttwostudiosshowa simpletalks
programme,
the150m2 studioistypicalof a
lkW
magazine
typeprogrammewithinterviews,
a
II
625W
popgroupanda consumertypeitemon
o
l.25kW
=
newcars.
Thelayoutusedinthe 250m2 studio
showsa programme
aboutspaceresearch
witha presenter,
an interviewer,
various
modelsof rocketsand setswhichgivean
100m2 INTERVIEW
SITUATIONS
impression
of the moon. Thisplot is
designed
to showthe useof thedual
wattageFresnelspotin itstwo modes.
(1625W
l.25kW
2.5kW
lj
Inconclusionit maybesaidthatanyof
thesituationsdepictedthroughoutthe plans
maybefoundin anystudioirrespective
of
size.Ofcoursetheywouldbescaleddown,
or possiblyportionsof thelayoutshown.It is
625W
hopedthat bystudyingthe plansthe reader
willgetan insightintothecomplexities
of
lkW-0
modernstudiolightinganda realisation
of
@)
the quantities
andtypesof luninaires
used.
l kW
It shouldbebornein mindthat
) (1625W
straightforward
lightingsituations(i.e. talks
programmes)
requireslightlylesslightper
unitareabecause
of thefixednatureof the
l_J
performerspositions.
Withlightentertainment
thetendencyis
to usea fewperformingpositionswitha
d625W
largenumberof lightsusedfor backingsand
generaleffect.
Inthe caseof drama,thereareusually
1.25kW
manyartistspositionsto becateredfor and
thusthe majorityof the lightingis usedto
d625W
lighttheaction.Withballetonegetsa
mixtureof manypositionsandalsovaried
largescalebackings.
Theheadswhichshowmainperformers
positionsareanamalgamof all positions
thatwillbe usedduringthe programme,
not
~·
125k<7
-{
~625W
necessarily
in sequence,
or combined,
at any
onetime.
Theplotsshowidealised
luminaire
!kW
·~
positions;in practice,of course,some
625W
compromise
will benecessary
because
of
the positionsof thesuspension
system.
~625W
~625W
Thefiguresquotedarefor the minimum
2kWC::,.
requirement,
theymaybevariedto suit
specialised
needs.Depending
uponthe
installation,
droparmsandotherancillary
lkW(}
equipmentmaybeneededbutthis mustbe
CYCLORAMA lkWL._j-~==========::
thesubjectof detailedplanningwiththe
lightingconsultantinvolvedonthe project.
0"w
~-
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~MA-
SUGGESTEDEQUIPMENT
100m2 Minimumpowerrequired:65kW
50m2 Minimumpowerrequired:32.SkW
16 x 2kWFresnelspots
10 x 1kWFresnelspots
6 x l.25/2.5kWSoftlights
4 x 1.25Softlights
4 x 1kWProfilespots
6 x Floorstands
Cyc:16 x 625Wsinglecompartmenttop units
8 x 2kWFresnelspots
10 x lkW Fresnelspots
8 x l.25kWSoftlights
4 x 1kWProfilespots
1 x Floorstand
Cyc:12x 625Wsinglecompartmenttop units.
Lightingcontrolsystemasappropriate
Lightingcontrolsystemasappropriate
18
<'\.
1s0m2
~~=~==~2k=W===.#==============
<?'
(?'
~wO
lkW g
/
f;
{w
A
1kw
-0~ ~ v
SUGGESTEDEQUIPMENT
150m2 Minimumpowerrequired:97.SkW
/i
24 x 2kWFresnelspotsand
10 x 1kWFresnelspots
or: (34 x 1.25/2.SkWDualwattage
Fresnelspots)
10 x 1.25/ 2.SkWSoftlights
6 x 1kWProfilespots
8 x Floorstands
Cyc:24 x 625Wsinglecompartmenttop units
2k
=W~=========
k~~~
/
~
/
~ ,9 ~
1.2skw
V
,,.
,g~
2k'}J
A ;
"(7
R
:
2k~
t::Je::1
2.5kW
(\.,
lk=W~
t::::7
125kW
2kW
o
2kW
2.5kW
Lightingcontrolsystemasappropriate
l.25kWt::]
i
260m2 Minimumpowerrequired:210kW
20 x 5kWFresnelspotsand
10 x 2kWFresnelspots
or: (30 x 2.5/ 5kWDualwattage
Fresnelspots)
10 x lkW Fresnelspots
6 x 1.25/2. SkWSoftlights
6 x 2.5/ 5kWSoftlights
6 x 1kWProfilespots
10 x Floorstands
Cyc: 16 x l.25kW 2-compartment
top units
or: 30 x 625W4-compartment
groundrow
Note: Thisgivescoveragefor a 40m eye.
Lightingcontrolsystemasappropriate
D
2kW
\
lkWG
2kW ~
O
CJ
ij 'i?qg ,,w
2kW
2!1
2.5kW
\
~0
~
CURRENT AFFAIR
S PROGRAMME LITFORA
NUMBEROFDIFFERENT SUBJECTS
lkW
z;::;
A DOCUMENTARYPROGRAMME LITWITHDUAL
WATIAGESPOTLIGHTS
5kW
MOONTERRAI
N
2.5kW
()
-...;:::=========================================jvv,.,,,_=
CYCLORAMA
19
2=
.5k
=W
====~
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2.5kW
~=·5=kW
===============
'"·
CYCLORAMA
2s0m2
- he plotfor the 400m2 studioshowsa
12 x 2.5/5kWSoftlights
SUGGESTEDEQUIPMENT
.xture of straightforwardFresnelspotsat
8 x 1kWProfilespots
12 x Floorstands
:'JkW,5kWand2kW.Theprogrammeis that 400m2 Minimumpowerrequired:340kW
f an orchestrawithguestsingers,someof
Cyc:16 x l.25kW 4-compartment
top units
3 x 1OkWFresnelspots
tlom usethe roadway,surroundedbytrees
or:
(40
x
625W
4-compartment
25 x 5kWFresnelspotsand
depictedin the upperright.In the upperleft
groundrows)
20 x 2kWFresnelspots
of the studioplanwe havea set composed
or: (45 x 2.5/5kWDualwattageFresnelspots)
of small'flats'with a groupof singers
Lightingcontrolsystemasappropriate
12 x lkW Fresnelspots
performing.
A TYPICAL
MUSICAL
PRODUCTION
I
I
I
I
I
\
\
\
5kW
\a
I
ORCHESTRALROSTRA
5kW
IJ
2kW
2 METRE
STAGE
\
C\C\C\C\
I
CYCLORAMA
C\C\C\C\
I
I
:
I
C\C\C\C\
't;/'l"JI.
2kWL-J
;
C\C\dp
0
2kW
5kW
20
750m2
DRAMA
SITUAT
ION WITHSEVEN
SETS
2
Wenowcome, inthe caseof 750m studio
to the most complexplot.This istypical of a
playandshowsthesupermarket
setbeinglit
to simulatefluorescentlighting,thecar
dealer'syardto showa sunnydayandthe
hotel barset istypicalof a nightscene,
whereit will benoticedthe useof lkW
spotlightson thepracticallightingfittings.
Thecountryhouseis lit for daylightandthe
diningroomshowsanother scenein the
samehouseat night.It will benoticedthat
someof the luminairesusedhavetwo
directionallinesemployed.
Thisisto show
theirmulti-purpose
useduringthe
programme
.
HOTELBARSET
SUGGESTEDEQUIPMENT
750m2 Minimumpowerrequired:640kW
6 x lOkWFresnelspots
50 x 5kWFresnelspotsand
30 x 2kWFresnelspots
or: (80 x 2.5/ 5kWDualwattageFresne
l spots)
20 x 1kWFresnelspots
20 2.5/ 5kWSoftlights
12 x 1kWProfilespots
16 x Floorstands
Cyc:30 x l.25kW 4-compartmenttopunits
or: (70 x 625W4-compartment
groundrows)
Lightingcontrolsystemasappropriate
5kW
t: ~
{)'w
@ ~;~ ~,
/
l[J
(-_
~
,s,w
(}
~ LJ~~
;)\
O
2.5kW
~-o~-d
W
COU
NTR
Y HOUSE
25kW
2.5kW
~
V
~
21
25kW
2 5kW
5kW
lkW
-
------
5kW~
'
''
'
'
5kW
0-
2.5kW
~
PHONEBOX(NIGHTSCENE)
/
~
2.5kW
~
5kW
Q
~ ;5k
W
I
5W
t: ~
.,
'
I
I
-
~
5kW
~~
ssv· .--
&¥:t!J--------
D,,w
~
I
BACKING
~
~~<S>~&,
~
~
5kW
SkW
b
~
I
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5kW
CARDEALER'S YARD
22
TUNGSTENHALOGENLUMINAIRES
0
D
0
LII
23
MIZAR 300/500W
spotlight
ThesmallestFresnelspotlight
in the Quartzcolorrange,and
particularlysuitedto lighting
detailandspecialeffects.
POLARIS !kW spotlight
A compactFresnelspotlight
availablein manualor pole
operatedversions.
BAMBINO lkW spotlight
A Fresnelspotlightdesigned
for locationworkingin
situationswherespaceis
restricted.
CASTOR2kW&
l.25/2.5kW spotlight
ThisFresnelspotlightis
suitable for studioand outside
location,utilisingsingleor
twin-filamentlamps.Manualor
poleoperatedversionsavailable.
BAMBINO 2kW spotlight
Designedspecificallyfor
locationuse,this Fresnel
spotlightis availablein
manualor pole-operated
versions.
POLLUX 5kW & 2.5/5kW
spotlight
A singleor dual-wattage
Fresnelspotlight,suitablefor
studioor locationworking.
Manualor pole-operated
versionsavailable.
BAMBINO SkW &
2.5/5kW spotlight
Specificallydesignedfor
outsidelocations,this Fresnel
spotlightutilisessingleor
twin-filamentlamps.Manualor
poleoperatedversionsavailable.
VEGA lOkW spotlight
CompactlightweightFresnel
spotlightavailablein manual
or pole-operated
versions.
GIANO 2.5/SkW dual
source spot/softlight
A dual-purpose
Fresnel
spotlight/softlightoperating
from separatesingle-filament
lamps at the soft end,twin
filamentlampat the Fresnelend.
KAHOUTECK 2.5/5kW
dual source spot/softlight
Thisdual-purposeFresnel
spotlightutilisesa singletwin·
filamentlamp.
SOLO 2K follow spot
Variable-spread
followspot
from Strand,incorporatinga
built-iniris diaphragmand
beamshapingshutters.A 1kW
CSI/ CIDversionis also
available.
CADENZA 19/32 2kW
profile spot
A mediumto wideangle
variablespreadStrand
luminairewith integraliris
diaphragmand beam-shaping
shutters.
ARTURO L25kW
softlight
Designedfor smallstudiosor
as a locationfill light.Manual
or pole-operated
versions
available.
ARTURO 2.5/SkW
softlight
A variablepowersoftlight
producingindirect
illumination.Manualor pole
operatedversionsavailable.
ARTURO 1.25/2.SkW
softlight
A dual powerindirectsoftlight
available in manualor pole·
operatedversions.
IRIS 4 cyclorama top light
Fourcompartmentcyclorama
top light designedfor 4-colour
light mixing.Alsoavailablein
3 compartment(horizontal)
and 2 compartment
(horizontalor vertical)
versions.
MINI IRIS cyclorama
top light
Designedfor TV.presentation
suites,E.N.G.locations,audio
visualandstill studios.
Extremely compactbut using
the samereflectorsystem
developedfor all the Iris
range.
PALLAS 4 cyclorama
groundrow
A four compartmentunit for
4-colourlight mixing.Available
in rigid or hingedversions.
PALLAS 1cyclorama
groundrow
Singlecompartmentversion
of Pallas4.
IRIS 1cyclorama top light
Singlecompartmentversion
idealfor smallstudios.Manual
or poleoperatedversions
available.
Sli
sp
-c
DISCHARGE LUMINAIRES(DAYLIGHT)
=1
ht
Jht
1·
SIRIO 575W HMI
0
SIRIO l.2kW HMI
PORTABLELIGHTING
c (
0
SIRIO 2.5kW HMI
MEGALUX 250W
PINZA 500W clamplight
A compactfill light, this open·
facefloodlight is idealfor use
wherespaceis limited.
Clampsto any convenient
mounting.
spotli ght
spotlight
sp otlight
handlamp
A compact Fresnelspotlight,
.vrthtwicethe light output of a
2 W filteredtungstensource.
Ideal for small locationsand
·rounce"light.
Highintensit y,variablebeam
Fresnelspotlight. Lightoutput
approximatelythat of a 5kW
filteredtungsten source.
A Fresnelspotlightsuitablefor
lightinglargeareasand
balancingstrongsunlight.
Lightoutput equalto lOkWof
filteredtungstenlight.
Comfortablyoperatedwith
one hand, this open-face
floodlightis poweredby 30v
battery.
SIRIO 4kW HMI spotlight
'resnelspotlightdesignedto
:iroduce maximumpunch
ghting for locationuse.Light
put approximate
ly that of a
:.!kWfiltered tungstensource.
SIRIO 6kW HMI spotlight
A Fresnelspotlight with an
output equalto 25kWof
filteredtungstenlight.
Comparablewith the 'Brute'.
SIRIO 12kW HMI
PULSAR 650W floodlight
Variable beam,open-face
floodlight with fibreglass
lamphead. Idealas a fill light
or for lightingset detail.
SHA ULA 575W HMI
ALTAIR !kW CID / l.2kW
HMI spotlight
A compactFresne
l spotlight
with two lampholdersto
accepteithera CIDor HMI
lamp.
ALTAIR 2.5kW CID / HMI
A twin lampholderFresnel
spotlightdesignedto operate
with a CIDor HMIlamp.
BROAD 1.2kW floodlight
A lightweightfloodlight
providinga wideangledeven
fill light.Ideal for concealment
on set.
BLONDE 2kW floodlight
A compacthigh-intensi
ty
variable-beamopen-face
floodlight, ideal for E.N.G
. and
outsidelocations.
ARTURO l.25kW HMI
ARTURO 2.5kW HMI
JUPITER 6 (3.9kW)
softlight
softlight
floodlight
A fill light with virtually
shadowlessdiffusedlighting
with daylight colour
temperature,matchingthe
Siriofocusing Fresnels.
High-intensity light source,
ideally suited to outside
locationworking.
LIGHTING KITS
A wideconfigurationof kits is
available, usingsuitable
standardequipmentfrom the
Quartzcolorrange.
floodlight
ii
A compactopen-face
minaireidealfor lighting
.argeareas.
lt
ARTURO 575W HMI
softlight
A locationfill light providing
virtually shadowlessdiffused
lighting complementing the
Sirio focusing Fresnels
,
matchingdaylightcolour
temperature.
Designedfor locationworking
with diffusedlightingand
matchingdaylightcolour
temperatureof the Sirio
focusingFresnels.
spotlight
Designedfor locationworking,
this Fresnelspotlight1sthe
largestdischargelampdesigned
for televisionand filming
spotlight
REDHEAD BOOWspot/
floodlight
A variablebeam,open-face
luminaire. Threeversions
available:one for stand
mounting, one fitted with a
clamp,and onefor battery/
generatorpowersupplies.
•
QuartzQj[m._SPA
products are manufactured in Italy
24
CHARACTERISTICS
OF TUNGSTENHALOGENLAMPS
z
0
200
1
.........
I
180
LIGHJOUTPUT
160
z.........
~
z::c:
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80
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60
v
/
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40
/
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/
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POWJR
(WADS)
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_i.,..CUR,RENT
t-
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COLi)URTEMPERATURE
L-::::::::
\
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LIGljJOUTPUT
v
/
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COLOU~~ERATU~
Cl::
.,v
I
140
0
,v
I
v
,
\
~
"LIFE
...........
r---......
0
60
70
80
90
100
110
120
130
140
%APPLIED
VOLTAGE
Theabovegraphshowsthe effectof changingthe appliedvoltageto a lamp.The%changewill applyto the
lampmanufacturer's
statedcharacteristics
.
SQUARELAWDIMMING
Thesquareof thefadersettinggivesthe percentage
lightoutpute.g. Faderat '6' equalslightoutput of 36%.
Light
MainsVoltage
Current Power
Colour
%
%
Temp(K)
%
Fader Output%
240 120
100
100
10
100
3200
100
240 120
81
3120
93
224 112
96
89
9
82
64
3040
88
211 106
93
8
72
81
194
97
7
49
2960
88
74
178
85
63
6
36
2860
89
66
158
79
78
52
5
25
2750
73
43
71
4
16
2600
59
142
3
2400
51
122
61
67
34
9
23
2
4
2200
39
94
47
59
11
23
27
46
1
1
55
0
0
0
0
0
0
0
0
Thetableshowsthe valuesfor the operatingparametersof tungstenhalogenlampswhenusedwitha squarelaw
dimmingsystem.It shouldbe notedthatthe idealcolourtemperaturefigureis seldomreachedin practiceand
mostlampswill runabout100-200Klessthroughouttheir range.
25
CIE 1931 (X,Y)-CHROMATICITY
DIAGRAM
520
GREEN
AREA
."
505
=
500
-
-,:::
z
=
=
-CYANAREA
BLACKBODYCURVE
WHITE
AREA
10,000
I
REDAREA
/
/
/
/
BLUEAREA
0
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
CO-EFFICI
ENTOFX
Colourtemperaturecurverelatesto blackbody radiators.
TheHMI, CIDandCSIlampslaycloseto the curvewithin the prescribedlimits.
26
KEYTO SfUDIO LAYOUTS
lkW Profilespotlight
1kWFresnelspotlighton sceneryflat
1kWFresnelspotlighton stand
1kWFresnelspotlight
2kWFresnelspotlight
2.5kWFresnelspotlight
5kWFresnelspotlight
[1
lOkWFresnelspotlight
OD
2.5/ 5kWDual-purpose
spot/softlight
0
0
1.25kWsoftlight
2.5kWsoftlight
0
5kWsoftlight
d
Cycloramalight
LUMINAIRESYMBOLS
0.5
0.6
cJ
[1
C
~ Effectsprojector
Floodlight
Specialfloodlight
a
O
Reflectorspotlight
()
D
D
26
Fresnelspotlight
Softlight
,n
Sealedbeam
lamp
\._µ
Bifocalspotlight
~ Variablespread
~ profilespotlight
Lensspotlight
D
Profilespotlight
Followspot.
~trand
Lighting
RankStrandLimited,POBox51,GreatWestRoad,Brentford,Middlesex
TW89HR, UnitedKingdom.
Tel:015603171Telex:27976
USA-18lll SouthSantaFeAve,POBox9004, RanchoDominguez
, Calif.90224.
Tel: (213)637-7500.Telex:664741
CANADA-6490 ViscountRoad,Mississauga
, Ontario,L4V1H3.
Tel: (416)677-7130.Telex: 06968646
WESTGERMANY
- 3340 Wolfenbuttel
16- Salzdahlum
.
Tel: 053 31/ 7951-53.Telex:95641
HONGKONG-802 HoustonCentre,63 ModyRoad,Tsimshatsui
East,Kowloon
.
Tel:3-685161.
Telex:44953
OFFICES
INPARIS
ANDNEWYORK
DISTRIBUTORS
THROUGHOUT
THEWORLD