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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 3

Part2: GENERALLIGHTING
2:1 Theory 5
2:2 Practice 5&6
2:3 Thetelevisioncamera 8
2:4 Outsidebroadcastlighting 8

Part3: LUMINAIRES
3:1 General 9
3:2 Specialised
luminaires 10
3:3 Constructionandhandling 10
3:4 Cycloramalights 11
3:5 Profilespots, followspots 11
3:6 Dischargeluminaires 12
3:7 Lamps 12

Part4: POWER,DIMMERS& LIGHTING

CONTROL
4:1 Power 13
4:2 Dimmers 13
4:3 Lightingconsoles 14

Part5: GENERALSTUDIODESIGN
5:1 Designconsiderations 15
5:2 Typesof suspension 16

Part6: STUDIOLAYOUTS 18

Part7: EQUIPMENT 23

Part8: TECHNICALINFORMATION 25
 PART

1
U) ASPECTRATIO
z
0
Theratioof the widthto the heightof a TV
screenor viewedimage.
t----t
E-i
t----t BACKLIGHT
~ A luminaireusedto lightthe subjectfrom the
J:l.t rearto helpseparationfrom backingsandto PROFILE
SPOT
µ.l increasethe threedimensionaleffect. /
0 BARNDOOR PANTOGRAPH /
~ SOFTLIGHT
U) Moveable shuttersfixedto a luminaire
(usually a spotlight)to controlandshapethe
:E light beam.
EGG-CRATE
~\
~
BARREL
~ A metaltube, usually.i8mm diameter,for
SPOTLIGHT
suspendingluminaires(scaffoldtube).
FRESNEL
LENS
BASELIGHT
Thebasiclevelof flood lightingintensity SCRIM
requiredto satisfythe mediumused.
BARN
DOOR
CATENARY
A flexiblepowerfeedersuspendedat several
pointsto enablemovementof a lighting
suspensionunit e.g.,pantograph
.
Note: usuallyseenon overheadmobile
cranes. 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.
FLAG
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
 FILLER PICK-UP-TUBE
Usedto control shadeareas; usuallya soft Thenamesometimesusedfor cameratube
light but canbe controlledhardlight. (genera
lly denotesphoto-sensi
tivedevice).

FLAG PRESET(BLIND
A sheetof metal or cardmounted a short MODE)
distancein front of the luminaireto givea
A facility on lighting control systemsthat
sharpcut off to the light beam.
enablesa lighting plot to beset up without
affectingthe lightsalreadyoperative.
FLOODLIGHT
A luminairethat only hasa reflectorto PROFILESPOT
controlthe beamand hasa wideangle
distribution. (Softlightandcycloramalight). A luminaireusedto projectshapesor
patterns.
FOLLOWSPOT SATURATEDRIG
A narrowanglefocusinghardedgespotlight
usedto followmovingartists. A lighting installationwhereluminairesare
usedin largenumbersto avoidthe needfor
physicalmovementthus reducingrigging
FRESNEL LENS timeandmanpower.
A convexlensbuilt up in stepsto reduceits
thickness,thusreducing its sizeandweight. SCRIM
A fine mesh usedin front of a spotlight to
GOBO attenuatethewhole or part of the light beam.
A maskplacedin the gateof a profilespot
to shapethe beam.It is a simpleform of SOFTLIGHT
CYCLORAMA outline projection.
A luminaire designedto producevirtually
A backingmounted in a studioto providea shadowlesslight;usedto control contrast.
continuous surfaceand an illusionof infinity.
HARDLIGHT
A luminairethat producesstrongshadows
, SPOTLIGHT
DIFFUSER normally a spotlight.
A luminairewit h a focusingsystemto
Sheetsof frostedplasticor spunglassfibre HMJ. (C.I.D.) concentrate the light beamand givegreater
usedto softenthe shadowsproducedbythe control.
light beam. A dischargelampwhich is daylight colour
balanced(5600K). STAND
DIMMER
A tripod devicewhich allowsvarying fixed
An electronicdeviceusedto reducecurrent
KEYLIGHT heights of luminairesabove floor level.
flowto a lampandthereforeallowingits light A principal modelling light, usually the
intensityto beadjusted. fresnel spot. TELESCOPE
DROPARM LUX - (Lumens/m 2) A device made from retractable tubesthat is
used to suspend luminairesat varying
Usedto hanga luminaire lowerthanthe The unit of measureme nt of the incident light heights in thestudio.
normalsuspension systempermits. arrivingat a surface. (Old systemused foot
candles;lf.c. = 10.76 lux.) TUNGSTEN
EGGCRATES HALOGEN
A deviceconsisting of smallcrossbaffle
MASTER/GROUP
platesto restrict thespreadof the light beam MASTER Describesa family of lampswith either hard
glassor quartz envelopes,tungsten
on a softlight.
Usuallyrefersto a lighting controlsystem filaments and halogen(usually iodine or
faderwhich overridesa groupof individual bromine)fillings.
EXTENSIONBAR faders.
Usedto extend barrels for accurate VOLTAGEDROP
positioning of luminaires. PANTOGRAPH
That lossof volts which occursthrough
A spring-balancedcross-armed devicefor energy wastagewhen a current passes
FADER varyingtheheightof luminaires. 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
2:1 THEORY requiredthat will enablethe camerato work 2:2 PRACTICE
Tohelpthe readerit will be usefulto examine successfully. Thisis computedfrom the level BASICLIGHTING
someof the propertiesof lightandhowlight of illuminationrequiredon the pick-up-tubes Thefollowingdescriptionsapplyto the
behaves. to givea good picturewith allowancesbeing
lightingof people;however , it will be readily
Lightingin its mostbasic form consists madefor the camera's opticalsystem.
appreciatedthat all objectscanbetreated in
of sunlightandlightfrom the sky. Mostof ii) Thesceneandaction(day, night, sun,
a similarwayandthus anypictureis built up.
our livesweseefairlywellbalancedlighting dull etc.)
createdbythe sunandsky. An instanceof iii)Theanglesanddistancesof the lightsto The Key (A)
unbalanced lightingarethe picturesfrom the the subject. Why do we call it the'key'light?Becauseit is
'Apollo'moonshotswhereonlythe sun Wemustrememberthat the sungives us the principallightandtendsto bethe keyto
provideslightandthe picturesareof high almostconstantilluminationirrespectiveof the wholepicture; it establishesthe mood
contrastdueto the absenceof skyor 'fill' light. whereweare. Ourdistanceto the sun andcharacterof the picture, and generallyis
Lightalwaystravelsin straightlines, but (150,000,000km)is muchgreaterthan capableof producing acceptableresults
it canbedeviatedby reflection,in mirrors, relativedistancesbetweenobjectsor people. whenusedon its own- it doesnot however
etc.andmoreimportantly,it canbe refracted Withour locallightsourceswe haveto take contributea greatdealto the depthof the
whenpassingbetweenair andglass.All into accountthe inversesquarelaw, which picture.Thekeytendsto be usedat a
lensesrelyon refractionto focusraysof statesthatthe lightfallsoff at a rate verticalangleof 30° but canbewithinttie
light,eitherin a cameraor, morerelevantto determinedby the reciprocalof the square rangeof 20° to 45°. Therangeof horizontal
this booklet,in a luminaire . of the distances , i.e., doublethe distanceand incidencethat givessatisfactoryresultsis
Lightis modifiedby reflectionand, in weget onequarterof the light. within45° eithersideof normal.Whenthe
general,theTVcamerais respondingto that A picturecanbeobtainedby illuminating horizontalandverticalanglesof incidence
reflectedlight.Thismodificationby reflection all partsof the scenein a uniformmanner, are bothapproximately 30° then usually
is importantbecauseit givesthe shapeand but the resultsareflat and uninteresting , good resultsare obtained.Typicallightlevels
textureasweviewthe scene.Wearealso e.g. a dullovercastday! are1000-2000 lux.
verymuchconcernedwiththe colourof the Onereasonfor the disappointingresult Backlight (B&C)
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
metalbeingheated:first it glowsdeepred television,we haveto createdepthandthis 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
Thebalanceof the colourtemperature createsthe picture,but the shadowscreated andthis is generallyimpractical.
dependsmainlyon the relativeamountsof bythe light.An objectuniformlylit would 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
aboutl737C. useour lightingto stimulateemotion.Where
Fill light (D, E & F)
Sunlight,whichtendsto red,is 4800K;a a brightfeelingis required,low contrast Filllightis oftenregardedasa baselight
bluecloudlessskyis aboutlOOOOK lightingtogetherwithfairlybrightcolours uponwhichthe modellingis built.Certainly
upwards.Wenormallyseea mixtureof both maysometimesbe used.Wherea sombre the camerashaveto havea definitelevelof
sunandsky;standardEuropeandaylightis atmosphereis requiredhighcontrast lightto workwell,but it is foundthat modern
around5600K.Thebestwayof under- lightingis employed , creatingdarkshadows camerastoleratehighcontrastscenes
standingthe rangeof lightis to thinkof andpossiblyonlypickingout the main extremelywell, andbaselightdoes not have
incandescent lightsof 3200K asa pale pointsof interest.(OrsonWelles ' film - the importancethat it did in the past.It is
pinkishwhiteanddaylightasa palebluish "CitizenKane",isthe supremeexampleof muchbetterto lightthe scene and artists for
white.We, of course,neverseeit that way highlydramaticlighting). effectas individualitems built to a total,
becauseour braintakescareof the colour Fromexperience wecandraw ratherthanfloodthe areawithsoft lightand
difference . Thetelevisioncameracanbe conclusions thatthe sunis a relativelysmall thenaddmodellingkeys.
linedupto acceptincidentlightovera wide source(inarea)of lightandcreateshard Filllightalso tends to bethoughtof asa
range, but if linedup for 3200K will reproduce shadows ; on the otherhandthe skyis a soft source and, in general, is the most usefu
daylightof 5600Kasa slightlybluepicture. largeareaof illuminationandcreatesvery Thisis not necessarily true for all situations .
Somesourcesin usetoday, namelythe soft shadows,if anyat all.Sunlightat dusk It is oftenfound thata side hard light givesa
dischargesources, suchasfluorescentand becomesdiffusedby dustin the atmosphere verysatisfactory resultandspill light from
mercuryor sodiumstreetlights,are not andthissoftensthe effecta little.At dawnthe keys is oftencarefullycontrolledto do just this.
black bodyradiatorsandemitlight in several atmosphereis freeof dustandthis resultsin A pointto be bornein mindis that soft
narrowbands.Althoughstrictlyspeaking hardlightof highcontrast.Themood lightis not shadowless lightandthe position
thesedevices cannothavea colour createdby light is affectedby the colourof of the soft light is mostimportant.It is used
temperature , theycan havean equivalent that light.Directsunlightat mid-dayis yellow generallyto reducethe contrastcreatedby
which is calledthe correlatedcolour and in the eveningit becomesred (dueto the keylight.Thesoft light hasa levelof
temperature . Much research hasbeendone the scatteringof bluelight by dustin the air). approximately 500 lux.
to improvethe colour renderingproperties Theskytendsto let red light passoutwards A soft light usedfrom the front canbe
of dischargesourcesandthe HMIandCID andreflectbluelight backto the earth. A usedto controlcontrastbut not oftenused
lampsare good examplesof modernlamp subjectlit by sunlightwill appearwarm, in television.A soft lightat 45° to the subjec~
technology. whereasif lit from the northsky,it willtend wouldgivea doublekeyeffect. A soft light
It is evidentthat we requirelightwhen to takeon a cold appearance. from the side, usedwith our 30°/ 30° keyligh
workingin the studiobut on what parameters Aswe will nowfind out in televisionour gives the bestresultasyou willseefrom our
is the lightingbased?Thereareseveralfactors sunwill be the spotlightandour skywill bea final illustration . Whenallthe lightshavebeen
whichdictatehowlightingis applied. softlight. builtup (PlotG bottomright)the finalresult
canbe verypleasing .
5
 LIGHTING
PLOTA :
TheKey

()
() LIGHTING
PLOTE:
D ~ D
Filllight
LIGHTING (Softlight
PLOTB:
Singlebacklight
~ <> at45°
to subject)

LIGHTING
PLOTC:
Twin
backlight ()

~ D LIGHTING
PLOTF:
D 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 STUDIOOPERATIONS givessatisfactorycontrolof lightlevel, i.e.,
a littlemodification
, to lighttwo peoplein a level'5' = 25%,level10= 100%.It hasalso
In colourstudiooperationsthe incident
fairlytypicalTVsituation- the two-way beenfoundthatthe+ I - 200K colour
lightinglevelstendto be between1000to
interview . temperaturevariationis acceptablein the
2000 lux. Generally a figureof 1500lux
Cameras2 and3 givecrossshotsof the maJontyof cases.It mustbe pointedout
incidentis consideredadequatefor most
subjectsandcamera1 givesthe wideshot. however, thatthisvariationwhenappliedto
purposesanddependentuponthe lighting
Ascanbeseenin PlotH,'A' is Liz's keyand the humanfacemaybe less; muchdepends
level,it is normalfor cameras to workat
ac~sas B1Ws backlight.'B' is Bill'skeyand aboutf2 to.f4. Thegeneralheightfor on thetextureandcolourof the skin.This
Lizs backlight.Thetwo softlightsare used lum1na1res 1s3 to 4 metresfrom the studio means,in practicallightingtermsthatthe
for fillerandthe backgroundis generally lightingcan bevaried,from its maximumto
floor levelandplottedat 3.5 to 4.5 metres
illuminated. horizontal(around4 to 5 metresactual as lowas 2750K (approximately25% light
distance). output), withoutnoticeablecolourpicture
change;thus enablinga widerangeof
Whensinglepointsuspension , i.e.,
monopolesor pantographson track,are controlto.allowbalancingbetweenthe light
sourcesg1v1ng optimumresultsto the
used,theneachluminaireis independent for
settingof its position. Forflexibilitywhen transmitted picture.
usingbarrelswith.two luminairessuspended . In the exampleshown,it is clearly
theyare nggedwiththeir ownpantographs 1mposs1ble to balancefor Liz'sbacklight
so that differential heightscanbeeasily without reducing Bill's key.Toreducethe
achieved. lightfallingon Lizit is usualto usea scrim
Theluminairesaregenerallyusedin the whichis fitted in front of the lowerhalfof the
flood modewhichgives the coverage lens. Thishasthe effectof attenuatingthe
required.However , by varyingthefocus lowerportionof the lightbeam.Theeffect
(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
advantageof not changingthe colour sourcesothe relativeintensitylevelsover
temperature. setdistancesbecomelessvariable.When
Dimmers usedin televisionstudios closeto the luminairethe changesof
normallyhavea squarelawlightoutput intensityare rapidanddramatic.A luminaire
whichmeansthe squareof the fadersetting produces 2000 luxat 4m distance ; to go
from H? ?1vesthe percentage lightoutput,
from 4m to 3m changesthe lightlevelfrom
1.e.,level 6 =36 %. Thetungstenlampsused 2000 luxto 3550 lux, a differenceof
1550 lux for lm distancechange.When
in televisionstudioshavea colour
temperatureof approximately 3200Kat full wego to 5m weget a lightlevelof1280 lux
voltage.It is normalwhenusingthe whichis a differenceof 720 lux for a lm
televisionlightingdimmersystemto align distancechange.
the channelcontrollersto position'7' which It canthereforebeseenthat it is much
betterto useslightlymorepowerfulwattage
meansthe dimmersupplies currentto
operatethe lampat 49% output,witha lumina1res overa reasonable distanceto
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.

0
BILL , ~LIZ

~~
,_..

CAMERA2
Z)
CAMERA
3

CAMERA
1

Bllt:S KEY IS LIZ'SBACKLIGHT

: LIZ'SKEY IS Bllt:S BACKLIGHT

7 LIGHTINGPLOTH
 GREEN
TUBE

Theserequirements ledto the riggingproblemsandso manufacturers

development of specialopticalsystemsfor wereencouraged to lookfor alternatives .
colourcameras . Themostobviousone Thebreakthrough camewithCSIandHMI
beingthe useof zoomlensesto ensurea dischargelampswhichenabledsmaller
singlepathfrom the viewedsceneto the luminaires to be usedwithhighlightoutputs.
cameraelectronics . Althoughusefulin manysituations , suchas
Intelevisiontheapertureof the iris in the (i).thefactthatthesesourcescannotbe
studiohasbeengenerallydeterminedby the dimmedsuccessfully sometimeslimitstheir
RED depthof fieldcommensurate with use.
SHAPING
FILTER productionrequirements . Camerairis Outsidebroadcastshavebecome
settingsin the rangeof f2 to f4 withtoday's extremelycomplexandlightingdirectors
\~~~ cameras,requirean incidentscenelightlevel nowexpectlightsourcesof all types,capable
of 1000to 2000 luxso thatthe camera 's of beingdimmed,togetherwith
basicsensitivityis satisfiedandgoodquality, sophisticated lightingconsolesto caterfor
relativelynoisefreepicturesareproduced. outsidebroadcasts as in (ii).
In recentyears,dueto the complexityof
2:4 OUTSIDE lightingrigsandto improvesafetya British
Standard(BS5550) on locationlightingwas
BLUE I BLUE BROADCAST introducedwhichcoversboththefilm and
REFLECTING
<=)=>
DICHROIC
SHAPING
FILTER
LIGHTING televisionindustries.
Todayour lightsareas smallaspossible,
ZOOMLENS
Lightingfor outsidebroadcasts fallsintotwo suppliedfrom sophisticated dimmersand
categories: distributionsystems,completewithall
i) largescalefloodlightingof sportsevents, knownsafetyfeatures.Theconsolesare
2 :3 THETELEVISION churchinteriors,etc., generallyachieved generallyportablederivativesof studio
CAMERA by dischargeluminaires
ii) lightentertainment
;
andmusic
types, capableof dealingwithall lighting
situationsupto andincludinglargescale
Thecamerahasto analysethe reflectedlight programmeswherethe lightingis productionssuchasthe EurovisionSong
from a scenewhichis a mixtureof RED, requiredto bethe sameasthe studio. Contest,etc.
GREEN andBLUE,the primarycolours,in Inthe earlydaysof outsidebroadcast
somecombination: lighting,verysimplerigswereemployed ,
MAGENTA (Purple) RED+BLUE usinga fewluminaireson temporary
YELLOW RED+GREEN scaffolding. Theluminaires , whichwere 6kWHMISPOTLIGHT
CYAN(Turquoise) BLUE+GREEN powereddirectlyfrom the mainssupply
Theabovecombinations arethe more eithersinglyor sometimesswitchedin
straightforward onesandobviouslyothers groups, weregenerallycumbersome and
aremorecomplex.However, all coloured heavy.Carbonarcswereusedbut created
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
:ts. 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 cameratubesphoto-
sensitivesurfaces .
Thecamerapickup tubehasa
sensitivitywhichrequiresa certainamount
of lightjust asthefilm in our stillcamera
requiresanamountto satisfyitsASA(ISO)
rating.Belowthis level,noise(under-
exposurein film)will becomeapparent.
Abovethis level, over-exposurewilloccur.
In bothcaseswecontrolthe amountof light
enteringandhencethe exposure , withan iris.
8
 In bothtypesof spotlightbarndoorswill
3:l GENERAL be usedto blockthe pathof the lightand
As statedin 2:1the spotlightis our 'sun'and thus confinethe light beamto thoseareas
the softlightthe 'sky'. we requireto lightfor effect.Barndoorsgive
a soft shadow,the characterof whichvaries
WHAT IS A SPOTLIGHT? betweenspotandflood particularlywith
openspotlights.
It is a lightsourcewherethe light beamis
shaped;controlledby a curvedreflector Openspotlight
and/or a lensand maybe dividedintothree (Flood/ spot adjustment)
groups:
Fresnel spotlight
This producesa fairlyhardedgedbeam
FLOOD SPOT
whosewidthis controlledby the spot/flood
mechanismwhichoperatesby movingthe
lamp/reflectorcombinationwith respectto
the lens.TheFresnellensis a convexlens
whichhasbeensegmentedandflattenedto
reduceweightand helpwith heatdispersion;
it generallyhasa dimpledrearsurfaceto
5kWSOFTLIGHT
breakup lampfilamentimages.
Open spotlight SOFTLIGHTS
In the openspotlightspot/flood is achieved Althoughin theorysoftlightsshouldbe as
by movingeitherthe lampor the reflectorin largeas possible,thereareobviouspractical
relationto the other.The edgeof the light beam constraints;therearetwo forms of softlights:
is not so wellcontrolledor definedbut the
luminairehasa higherlightoutput relativeto Softlight for filler
the Fresnellenstype. This is madeas largein areaas practicable
and reliesupona simpleindirectreflective
Fresnelspotlight (Flood/spotadjustment) systemto scatterlight in a fairly random
manner.

Floodlights for Cyclorama

lighting
2kWOPENSPOTLIGHT Althoughin generaleyelightsareconsidered
a floodlight,verygood resultsareobtained
Profile and Followspots whenthe opticalsystemis refined.This
Thesehaveopticscapableof producing enablesluminairessuchasthe 'IRIS'unitto
hardedgedbeamsandgenerallywork by be usedcloseto the eyeclothyet illuminate
adjustingtheir lenses. veryevenly.It is alsoimportantthat their
overlapcharacteristics arewellcontrolled,
Profileand Followspot(Adjustment) particularlyso witha groundrowunit.
ELLIPSOIDAL
REFLECTOR

1,, III I ~
!I I:
-,,-1
-u.-
~· T~'/
~
GATE

1kWFRESNEL
SPOTLIGHT 4-COMPARTMENT
CYCLORAMA
TOPLIGHT

9
 3:2 SPECIALISED DUALWATTAGE
Dualfilamentlampsare producedso that
LUMINAIRES eitherfilamentcanbe usedindependently or,
by addition,differentpowercombinations
DUALPURPOSE areachieved , i.e. l .25kWand2.5kW
Recentyearshaveseenthe development of filamentswhencombinedgive3.75kWand
the dualpurposeluminaire;this deviceis a spreadof lightis 3:1.
combinationof a hardandsoft sourcein one Therecanbeadvantages in riggingby
unitandis availablein dualwattageversions usingdualwattageluminairesas it allowsthe 2.5-5kWDUAL-WATTAGE
aswell.Byits verynaturethe dualpurpose sameluminaireto be usedasa standard LUMINAIRE
luminaireoffersfar greaterflexibilitythan throughoutthe studiorig. Alsowhere
conventionalluminairesandsavestime marginallightinglevelsare reachedthe
duringriggingandstudiooperations . lightingdirectorcaneasilymakethe filaments,in practicethis hasnot provedto
However, for the bestresultsthese necessary changes . Onedrawbackof dual be noticeable.Softlightscansometimeshave
1.uminairesshouldbe usedwitha saturated wattageluminairesis thattheir physicalsize differingcharacteristicsdependentupon
grid.(Thisis whereat leastoneluminaireis is dictatedbythe ventilationrequirements of switchmodesbut mostmodernluminaires
riggedper suspensionpointoverthe whole the highestwattageused. haveovercomethis problem.
studio). Thechartshowsthe usablerangeof Twopointsin favourof the dual
It hasbeensuggestedthatthe needto lightoutputfor the variouswattage wattageare
keepthe physicalsizeandweightof these combinationsin useat the presenttime. It is (i) withoneluminairein usemaintenance
luminairesto a minimumto enableeasy assumedthat the dimmerhasbeensetto '7' sparesare keptto a minimum.
handlingandrigging,meansthatthe soft so that plusor minusonestop is available . (ii) lightingmodechangescaneasilybe
lightis a compromise;this is not alwaysthe Althoughthe opticalsystemof dual accommodated withoutre-riggingwhich-..,.__,,,:::::::::=:::::i
caseassomemanufacturers designthese spotstendsto bea compromisefor the two savesvaluablestudiotime.
unitsusinglightweightmetals,pressedto
givegreatstrengthandgivinga similarlight
outputto a conventional softlight.Because 1000LUX
of its dualfunctionthe luminaireis more ONSUBJECT
complexthanthe conventionalhardandsoft
sourcesin generaluse, andtogetherwiththe
increasein weightmayposelimitationsin
handlinganddesignof the studio
suspensionsystem.In usewith properly
designedsaturatedgridsthe advantages can
outweighthe disadvantages.

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 3:5 PROFILE
AND
inhibitingwith conventional'flats'.
Fourcompartmentgroundrowunitsare FOLLOWSPOTS
usuallyplacedlm from the eyespacedat
l.22m centresandfour compartmenttop TheFresnelspot,althougha focusing Thewindowcutoutmentionedis
unitsare placed3m from the eyespacedat source,producesa beamwith a soft edge. a dramaticuseof the profilespot.It should,
2.5m centres.Generallythe floor unitswill Whetherby accidentor design,thisfeatureis howeverbe obviousto the reader,that any
use625Wlampsandtop units1250Wlamps. essentialto good overalllighting,allowing shapecanbe usedand projectedto give
Tolightfrom the eyebottomin four onesourceto mergewith another,without visualinterestto the televisionpicture.
coloursapproximately2000Wper metreis apparentchanges.Thereis alsoa Althoughfocusedshapeshavebeen
required.A smallstudio,e.g.,100m2 , with eye requirementfor luminaireswith a hard discussed,verygood effectscanbeachieved
on threesides,i.e., 25m of eye,would edgedbeamfor effectspurposes. by partialdefocusingof the image.
require50kW;if onlytwo coloursare used, Inthe studio,thereareoccasionswhen Thefollowspot canbe regardedasthe
thenthefigureof approximately25kWis still certaineffectshaveto be simulatede.g., 'elderbrother'of the profilespot,but in this
quitesubstantial. Topeyelightingat the sunlitwindowpatternprojectedon a wall; casea patternis not projected.Thefollow
quoteddistancewill alsorequire2000Wper eithera full sizedwindowis usedwith a spot hasverynarrowangleopticswhich
metrefor four colours. Fresnelspot,or the profilespotcanbe allowit to be usedoverlongdistancesasthe
employed.The profilespot canbe likenedto followingkeylight on the mainartist.
Inthe caseof studiosup to 200m2 bottom
eyelightingposesa problemwith regardto the normalphotographicprojectorwitha Boththe profileandfollow-spotsare
floor space.Tohavea studiowith eyeson similaropticalsystemfor the projectedhard usuallysuppliedwith integralframing
threesideswith unitsplaced1m awayfrom edgedimages.In the caseof the window shuttersto givestraightedgesto the beam
the clothin a 100m2 studiomeans35%of quotedin the example,a simplecut out andan iris to varythe circularsizeof the
floor areais lost.Thislosscangiveproblems shapeof the windowis made,usuallyfrom beam.Theywill alsoacceptcolourframeson
with camerashots(seeillustrationbelow) metalfoil, placedin the gate(whichis the front of the opticsto allowthe useof
too hot for plasticmaterials)and projected colouringmaterialor in somecasescolour
by the correctangleopticsto the surface correctionfilters.
wherethe effectis required.Thusa very
Cyclorama
groundrowlights good effectcanbe obtainedwithoutthe
needto occupyvaluablestudiospace.One

~ gJ
pointto be bornein mindis that the
projectorhasto havegoodwideangleoptics
at closerangeratherthan narrowangle

I
!l.:;.. Fo,a aertoc<~o<thwme,a
opticsat a longerdistance.If not,any
movementhoweverslight,will be magnified.

,~:j
~ requiresto moveto its left.
Thishighlightsoneof the drawbacksof
profilespots.Theymustbe stationaryto be
effective- it is mostdisturbingto see
projectedpatternswandering.

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. 1kWCSI/ CIDFOLLOWSPOT

11
 robustquartzenvelope.Quartzenvelopes ,
3:6DISCHARGE 3:7LAMPS beingthicker,allowa higherinternalworking
pressurewithinthe lampwhichgivesit twice
LUMINAIRES Twomaintypesof lampsare used- the lifeof its hardglassequivalent.To
tungstenhalogenand discharge,bothof balancethe economics , quartzlampsare
Dischargeluminaireshavebeenaroundfor whichcanbesub-dividedintovarious alsomoreexpensive .
manyyearsandin factwereusedin the film categories , dependingon use.Thetungsten MostTVstudiotungstenlampsare
industryforty yearsago. A big stepforward lampproduceslightwhenitsfilamentis operatedat abouthalflightoutputwhich
took placewhenThornintroducedthe CSI heated.It radiatesmuchmoreheatthan increases the lamplife bya factorof about
lampwitha correlatedcolourtemperature light, howeverit doeshavea continuous ten.Runningthe lampat lowervoltsdoes
around4000K.It wasusedmainlyfor spectrumwith littleultra-violetradiation,but not appearto adverselyaffectthe halogen
outsidebroadcastlighting, but its colourwas lotsof infra-red. Thedischargelamp, cycleandhencethe performance.
a drawbackwhenusedin mixedlight althoughgivinga higherlightoutputis a Typesof lampsin popularuseareshown
situationsbecauseit hadto befilteredto discontinuous sourceandgreatexpertiseis
matchdaylight.TheHMIlamp,when below.
requiredin the fillingof theselampsso that
introduced,overcametheseproblemswitha their lightoutputgivesgoodcolour DISCHARGE
correlatedcolourtemperatureof 5600Kand rendition.Energyis releasedin high Dischargelampshavea quartzenvelopeand
verygoodcolourrenderingproperties. proportionsin the ultra-violetportionof the nofilamentand relyon anarc struck
Dischargesourcesofferlightoutputfour spectrum.Theluminairemanufacturers takebetweentwo electrodesto excitethefilling
timesgreaterperwattthantheirtungsten specialprecautionsin designto prevent gas. Thevoltagehasto besufficientlyhigh
equivalent. Usedmainlyfor locationlighting operatorsandartistsbeingexposedto so that currentflowwill commencebetween
for outsidebroadcastsandfilm, in the form this hazard. the electrodes. Thiscurrenthasto be
of lightweightportableluminairesof high controlled, usuallyby a chokeor ballast.
lightoutput,theyconsumelesspower, TUNGSTENHALOGEN Generally theselampsmustbeallowed
reducingthe sizeof generatorrequired. Alltungstenfilamentlampsof thistypeare to cooldownbeforetheycanbe re-struck.
Dueto the arc whichproducesthe light filledwitha halogen,usuallybromine,which Mostmoderndischargelampsin usefor film
in theselamps,carehasto betakenwiththe maintainsthe lightoutputandcolourwithin andtelevisionarethe 'hot re-strike ' type.
associatedcontrolgearso thatflickereffects finelimits, throughoutthe lamp'slife. Lamps Theycanbe re-struckat anytime bythe
do not occurdueto the synchronisation of areconstructedwith hardglassor a more applicationof a highvoltageto the
lampandcamerato the mainswaveform,i.e. electrodesi.e.about40kV.
50Hzbeatpattern.
Threemethodsaregenerallyusedto TWIN-FILA
MENT LAMPS(TUNGSTEN HALOG
EN)
avoidproblems:
(i) Ensurethatthe lightsourceandthe
cameraare runningin synchronization.
(ii)Supplythe lampfrom an electronic
DISCHARGE
LAMP
S
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.
CSI CID

LINEARLAMPS (TUNGS
TEN HALOGEN)

HMI DISCHARG
E LAMPS

12
 5kW.ThelOkWoutlets, whichare limitedin
4:l POWER number,will bedistributedin the mainin the
grid,or at gantrylevel,the outletsbeing
GENERAL positionednearthe pointsof maximum
Forall studiosan allowanceof 650Wper demand.Extensioncablesarethen
squaremetremustbe madeto givethe employedto feedthe lOkWluminaire .
electricalpowerintakerequirements for the
basicstudiolighting. Barrel system
Asstudiosincreasein size, usuallyabove Barrelswill usuallybefittedwithsufficient
200m2 area,additionalpowerallowance socketsfor the typeof studiooperation,and
mustbe madefor eyeandeffectslighting. alsodependentuponthe lengthof barrels
Forexample,a studioof 2502 m requiresa installed,i.e.,a 2m barrelcanaccommodate
210kWpowerintakecomprising162kW two 5kWspots;thereforeat leasttwo
normallighting(650W/ m2) togetherwithan socketsshouldbe provided.It is usefulto
allowanceof 50kWto lighta 50m eyein two provideoneparallelledtwin socketso that Regulators(AVRs) wereusedon the lighting
colours.Thistotal powerrequirementgives two lowerwattageluminairescanbe easily supply.Thesewerecumbersomeandslowin
a newestimatingfigureof 850W/ m2 which fed from onedimmerchannel.Thisis actionandcouldcausemoreproblemsthan
shouldbe usedin all largestudios.Typical particularlyusefulwithlkW profilespotlights theycured. Moderndimmersaregenerally.
figuresaregivenwiththe studioillustrations . andsetdressingluminaires , suchasthe lkW suppliedwitha closedloop characteristic for
It cannotbeoveremphasised that with Fresnelspot. mainssupplyvariationsandareveryfast
TVstudiooperationsmuchthoughtshould actingso that asfar asthe operatorsare
begivento the useof the entirelighting
Pantograph system
If a pantographpointsuspension systemis awarelittleor no variationsoccurwith
installation.Thishasextremelyimportant regardto lightoutputat the normal
implicationson the ventilationsystemwhich usedthenonepowersocketshouldbe
providedat the bottomof eachpantograph. operating pointsof the dimmers.
is usuallybasedupona two-thirdsutilisation Dimmersaresuppliedas'plug-in' or
figure. Themainpowercableis terminatedto this
socketor to the top of the pantographwith 'wired-in
' . Plugin dimmers,astheir name
Tooperatea tungstenlampat a lower suggestsare completedimmersof varying
colourtemperature , the voltageis reduced. an independent feedercabledownthe
pantograph. powersizesthat plugin to the mainpower
Inthe caseof a 240V lampgoingfrom dimmerrack.Inthe eventof failureor
3200Kto 3000Kthis meansa reductionof Telescope system replacement it is veryeasyto changethe
approximately 40 volts- the currentalso Herethe distributionis usuallycontained dimmer.Wired-in dimmersaredesignedso
reducesbut not by sucha margin.It canbe abovethe workinggrid with longfeeder thatthe mostcriticalpartsarecapableof
seenthat operatingthe lampin this waywill cablesusedfrom eachluminaire . Againthe beingreplacedeasilybut the mainpower
reducethe total powerused.Inthe caseof installationof parallelledoutletsocketsin the componentsi.e.,thyristorandchoke,are
lampsbeingoperatedwiththe dimmer workinggrid is usefulfor twin luminaires wiredin,thus the controlcardsare provided
outputat 'T this reductionmeansa savingof workingon onedimmerchanneloutput. as plug-inunits.
approximately onequarterof total power. Dimmersfor majortelevisionstudiosare
Asa guideit is normalto allowone5kW usuallyproducedin 5kWandlOkWversions;
dimmerper l .5m2 of floor area.Although 4:2DIMMERS lowerwattageversionsareavailablebut
thisfigureseemshighin relationto the proportionatelydo not offermuchsavingin
estimatingfiguresgivenpreviouslyit has All modernlightingcontrolsystemsutilise cost.Savingscanbe madewhenusing
beencalculatedassuminga total coverageof solidstatedimmingdevices . Whenthese dimmerrackswith highpackingdensities .
the studioallowingfor barrels,eyecircuits, switchon to conducttheydo so by allowing Generally , dimmerracksare designedto
floor circuits, etc.If a compromiseis made a burstof currentto pass.Thiscurrentis housefrom twelveto forty dimmers;hence
andextensioncablesare employedfrom switchedveryrapidlyin millionthsof a they requirehighcurrentinputs.Thiscreates
fewerpoweroutletsthenthisfigurecanbe secondand in so doingcreatesinterference the needfor associatedswitchgeartogether
reducedbut operationallyis not asflexible. in theform of electromagneticinduction, withsubstantialfeedercableswhichare
just asthe refrigeratormakesthe radio usuallyarmoured.Thefusesandcircuit
POWEROUTLETS 'click'.In broadcasting centresthese breakerswhichfeedthe dimmerrackshave
Thecablesfrom the dimmersto the power problemsobviouslymustbe minimisedand to becarefullydesignedto offera high
outletsmustbe designedto minimisevolt manufacturers usuallyincorporatea choke degreeof electricalprotectionandsafety.
drop - this alsoensuresfusesandcircuit to slowthe risetime of the harmful
breakerswill operatewithintheir specified waveformsandthuspreventproblems.
characteristics. Otherwaysof reducinginterference are:
In the studiothe poweroutletsockets i) Keepingthe powerfeedercablesandthe
haveto be distributedin an organised audiocablesseparated.
mannerto suitthe typeof suspension ii) Useof specialaudiodistributioncables.
systememployed.Themajorityof outletswill If all the abovestepsaretakenthenthe
beat highlevel,eitheron barrelsor in the interferenceis negligibleand notroubleis
workinggrid andwillalsobe distributed experienced.
aroundthe gantryandat floor level. Usuallya fewvoltsare droppedacross
If a permanenteyesystemis installed the dimmerwhenit is conducting.If the
thena specialfeedercablesystemwill be powerdistributioncablesin the studioare
used; the outletsprobablyalwaysbeing not generousin currentratingthen
connectedto the samechannelson the additionalvolt drop canoccur.Thetotal of
lightingconsole.Withmodernlighting thesetwo dropsis of the orderof lOVso it
controlsystemsdedicatedcyclorama canbeseenthat a boostedinputvoltageto
lightingcircuitsare usuallyinstalled. the dimmerscanbeadvantageous.
Therewill bea mixtureof poweroutlets Inthe earlierdaysof colourTVit wasfelt
accordingto the requirementof the studio. that mainsvariationi!vouldcauseproblems
Largeand mediumstudioswill havea with regardto lightoutputandhencethe
mixtureof lOkWand5kWoutlets. Small colourtemperatureof lightsources.Toget
studios,i.e., below150m2 will usuallyhave overthe problemAutomaticVoltage
13
 4:3 LIGHTING MEMORYSYSTEMS
Themostsignificantadvancein recentyears
CONSOLES 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 As mustbe realisedby now,these

1 lightingcontrolsystemsusedauto
transformerdimmersin banksdrivenby an
electro-mechanical
channelinformation . A modernconsole
probablyhasat least100memories
systemwith lowvoltage channelscanbestoredin eachof these
, thusall
consolesare, in a sense,miniature
computers . It is essentialthattheyprovide
rapidaccessandrespondpositivelyto
controlfrom a masterconsolewiththe memoriesat the selectedlevelrequired. operationalcommandsat the sametime
abilityto memorisethe ON/ Offstateof Theabilityof the consoleto memorise being'userfriendly'.Althoughphysical
eachchannel. the lightingof eachscenewithinthe studio controlshavebeenreduced,thetotal control
Oneof the biggeststepsforwardwasthe meansthatthe lightingdirectorcanselect is veryflexibleandmanyoperationscan
introductionof solidstatedimmerswhich the lightsrequiredfor the scene,balance easilybe performed . At a touchof a button
allowvoltagecontrolof the dimmerdirect for optimumeffectandthenstorethe or two,mixes,fades, crossfades, add-in
from a consoleratherthancontrolthrough informationuntilrequiredagain. If the same fades,takeout fadesandswitchcuesare
the electro-mechanical system.Thisresults lightsfrom the precedingsceneareusedhe readilyaccomplished . Theonlypossible
in savingsregardingheatdissipationand cannowsetcompletelyindependent levels limitationnowis in theskillof the operator
space. from thosealreadymemorisedwithoutthe utilisingthe systemto itsfull potential.
A lightingconsolemustprovidefor needto considerthe old information. The Consolesare nowavailablefrom about
variousbasicfunctionsandtheseare: controlsystemdoesit for him. twenty-fourup to hundredsof channels.
i) The ability to switcha channelON/ OFFat Theycomecompletewithsophisticated back-
any level. up andspecialeffectssystemsso thatall the
ii) Tobeableto seta channelanywherefrom lightingeffectsfor pop musicshowscanbe
'ZERO ' to 'FULL'lightoutput. pre-setandreplayedat the touchof a button.
iii)Tomix channelswhicharegrouped Asthe physicalsizeof theseconsoles
together. hasbeenreducedso theyhavebeen
iv)Theabilityto overridechannelsby adaptedfor useon outsidebroadcasts .
'Masteror GroupFaders ' andby 'Master Thecostsof sophisticated modern
Switches'. consolesareveryreasonable andin real
v) Thefacilityfor collectingselectedchannel termsactualcostshavereducedoverthe
informationeithersinglyor in groupsand years.
storingin 'Memories' .

MANUALSYSTEMS
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
f 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 lesssophisticatedtelevisionstudio
thistypeof consoleis quitesufficientasthe
variationsin the lightingareminimalandcan
be handledquitereadily.
Manualsystemsrequirea lot of spaceto
accommodate thefadersandhavethe
drawbackthat variouschannelstatescannot
besetwithoutresettingthefaderlever.
 SUSPENSION
5:1 DESIGN Wheremonopolesinglepointsuspension is
CONSIDERATIONS used,greatflexibilityis offeredand
luminairescanbe hunganywherein the
It is extremelyimportantto getthe operating studio.Themainrequirements being
heightswithinthe studiocorrectand sufficientsuspens ion unitsandpower
thereforethefollowingsuggestedsystem outlets,togetherwithenoughluminairesfor
givesverygoodresults.It is never the largestproductionrequirement.
satisfactoryto try to fit equipmentintoa If the studiois equippedwith
'box'asanafterthought. pantographsrunningalongfixedbarrels
CYCLORAMAHEIGHTS 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
Cameraviewingaspectratio= 4:3 of dualsourceluminaires .
Assume36° lensusedthisgivesvertical Barrelgridsoftenoperateon the
angleof shot= 27° saturatedprincipleto givehighproductivity
Assumelensheightof l .8m in utilisation.
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
8 3.7 22 7.1
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
 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 THEMOTORISED
HOIST
in the designof the studiofrom the outset.
Thegrid is dividedintosectionsby Themotorisedhoistis the mainrivalin
continuousslotsthat runthe lengthof the largerstudiosto the overheadsinglepoint
studioat intervalsof aroundlm. In some suspensiongrid. It consistsof a lengthof
designsa numberof additionalslotsare barrel(48mmscaffold)supportedby wire
providedrunningacrossthe widthof the ropesconnectedto a motorwinchmounted
studioto facilitatetransferof telescopes in the studioroof.Poweroutletsfor
from onemainslotto another. connectingthe luminairescanbe mounted
Thetelescopesare madeto fit the width intoa frameabovethe barrelandpower
of the slotsandare providedwithwheelsto cableshousedin a collapsibletray which
enablethe unitto be movedalongthe grid foldsandunfoldsasthe barrelheightis
platformto anypositionin the studio.A altered.Thebarrelsare usually2.4m long
winchis providedon thetop sectionof the andthe luminairesattachedto themby
telescopeabovethe grid platform,to enable meansof clampsor on smallwheeled
the luminaireto be raisedor loweredto the trolleyswhichgivethe additionalpossibility
requiredheight.Thewinchis operatedby of lateralpositioningof the luminaire.
meansof an electricor air poweredhand Thehoistsare placedat regularintervals
tool or by a handoperatedcrank. alongthe lengthandacrossthe widthof the
Theriggingcrewworkon the grid studioto enableluminairesto befixedat
platformandmovethe luminairesabovethe almostanyrequiredposition.It is usualto rig
two luminaireson eachbarrel.

l
setsto the positionsindicatedbythe lighting
director.Thegrid alsocarriesthe main Asallthe luminairesnormallyremainon
electricaldistributionsystem.Loadingof the the barrel,de-riggingthe studioat the endof
luminairesandmaintenance is undertaken a productioncansimplyconsistof raisingall
by movingthe telescopeto the edgeof the barrelsto maximumheightthrougha single
grid whereaccessis obtainedviaa mastercontrol.
peripheralgallery. 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 TRACKAND BARRELSYSTEM
canremainconnectedto thesesocketswith
thetrailingpowercablessupportedby a
supplementary catenarysystem.
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 LIGHTRIG
eachproductionor withverylittlechangein
the scene.
At its simplest,thefixedbarrelsystem
comprisesscaffoldbarrelsmountedacross
thefull widthof the studiojust belowthe
studioceiling.Theluminairesareattachedto
the barrelswithclampsandlittleor no
attemptis madeto providefacilitiesfor
heightvariationor lateralmovement.
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. FIXEDBARRELSYST
EM

17
 w 2
50m INTERVIEW
SITUATION:-~~~k=W======~kW
CYCLORAMA ~ -v- -~
lkW
. 'C] D~5W~ I

Thestudiolayoutsemployedaredesigned
showmanyof thesituationsthatarisein
to
....................... 625W
l.25kW d~
625W~!:'..._~

normaltelevisionproduction.
showa multiplicityof luminaires
is hopedshowsomeof thewaysin which
Theyalso
in useandit 2.5k~ 0"w 625

theymaybeused.
Inthe caseof the 50m2, 100m2, and
150m2 studios,verysimpleplotsaregiven,
~- ~ 625W
D .,.,. -~kW
d625W

usingthe 2kWandlkW Fresnelspotlights,

togetherwithlowerwattagesoftlights.The [1 "iJ ~25kW v ~!kW
firsttwostudiosshowa simpletalks
programme,
magazine
the150m2 studioistypicalof a
typeprogrammewithinterviews,
popgroupanda consumertypeitemon
a
lkW
II 625W
D
newcars. u = =
o l.25kW = =
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. l.25kW (1625W
Inconclusionit maybesaidthatanyof 2.5kW lj
thesituationsdepictedthroughoutthe plans l::J c:;:>
maybefoundin anystudioirrespective of
size.Ofcoursetheywouldbescaleddown,
or possiblyportionsof thelayoutshown.It is
hopedthat bystudyingthe plansthe reader
d
625W

willgetan insightintothecomplexities
modernstudiolightinganda realisation
the quantities andtypesof luninaires
It shouldbebornein mindthat
of
of
used.
l kW
CJ @)
lkW-0

straightforward
programmes)
unitareabecause
requireslightlylesslightper
of thefixednatureof the
0.
lightingsituations(i.e. talks ) (1625W

l_J '"b
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 c;>
lighttheaction.Withballetonegetsa d625W

2b
mixtureof manypositionsandalsovaried
largescalebackings.
Theheadswhichshowmainperformers
positionsareanamalgamof all positions
thatwillbe usedduringthe programme, not ~· 125k<7 -{ ~625W
necessarily in sequence, or combined, at any

~~
onetime.
Theplotsshowidealised luminaire

0 / <>
positions;in practice,of course,some !kW ·~
625W
compromise will benecessary because of
the positionsof thesuspension system. ~625W
~ (1
Thefiguresquotedarefor the minimum
requirement,
specialised
theymaybevariedto suit
needs.Depending uponthe
I / y,,: 2kWC::,.
~625W

installation, droparmsandotherancillary
equipmentmaybeneededbutthis mustbe ~MA- lkW(}
thesubjectof detailedplanningwiththe CYCLORAMA lkWL._j-~==========::
lightingconsultantinvolvedonthe project.

SUGGESTEDEQUIPMENT 100m2 Minimumpowerrequired:65kW

50m2 Minimumpowerrequired:32.SkW 16 x 2kWFresnelspots
8 x 2kWFresnelspots 10 x 1kWFresnelspots
10 x lkW Fresnelspots 6 x l.25/2.5kWSoftlights
8 x l.25kWSoftlights 4 x 1.25Softlights
4 x 1kWProfilespots 4 x 1kWProfilespots
1 x Floorstand 6 x Floorstands
Cyc:12x 625Wsinglecompartmenttop units. Cyc:16 x 625Wsinglecompartmenttop units
Lightingcontrolsystemasappropriate Lightingcontrolsystemasappropriate
18
 1s0m2 <'\.
~~=~==~2k=W===.#============== 2k
=W~========= lk=W~

<?' (?' / lkW g /

~wO f; {w A 1kw ~ /
-0~ ~ v (\.,
SUGGESTEDEQUIPMENT
/i k~~~ 1.2skw
V
~ ,9 ~
,,.
,g~
150m2 Minimumpowerrequired:97.SkW
24 x 2kWFresnelspotsand 2k'}J
10 x 1kWFresnelspots A ;
or: (34 x 1.25/2.SkWDualwattage t::::7
Fresnelspots) "(7 R 2kW 125kW
10 x 1.25/ 2.SkWSoftlights
6 x 1kWProfilespots : 2k~ o
8 x Floorstands
Cyc:24 x 625Wsinglecompartmenttop units t::Je::1 2kW
2.5kW 2.5kW
Lightingcontrolsystemasappropriate

l.25kWt::]

260m2 Minimumpowerrequired:210kW
20 x 5kWFresnelspotsand
10 x 2kWFresnelspots
or: (30 x 2.5/ 5kWDualwattage
i \
D 2kW

2kW ~
lkWG
2.5kW
Fresnelspots)
10 x lkW Fresnelspots 2kW O CJ 2.5kW
6 x 1.25/2. SkWSoftlights
6 x 2.5/ 5kWSoftlights
6 x 1kWProfilespots
ij 'i?qg ,,w
10 x Floorstands
Cyc: 16 x l.25kW 2-compartment top units 2!1
or: 30 x 625W4-compartment groundrow
Note: Thisgivescoveragefor a 40m eye. \ ~0 '"·
Lightingcontrolsystemasappropriate
CURRENT AFFAIR
S PROGRAMME LITFORA ~
NUMBEROFDIFFERENT SUBJECTS lkW CYCLORAMA

A DOCUMENTARYPROGRAMME LITWITHDUAL
WATIAGESPOTLIGHTS
z;::;
5kW 2s0m2
MOONTERRAI
N

2.5kW

()

-...;:::=========================================jvv,.,,,_= 2=
.5k
=W====~ ~=·5=kW
===============
CYCLORAMA 'l.._J' \_-)
19
- he plotfor the 400m2 studioshowsa SUGGESTEDEQUIPMENT 12 x 2.5/5kWSoftlights
.xture of straightforwardFresnelspotsat 8 x 1kWProfilespots
:'JkW,5kWand2kW.Theprogrammeis that 400m2 Minimumpowerrequired:340kW 12 x Floorstands
f an orchestrawithguestsingers,someof Cyc:16 x l.25kW 4-compartment top units
3 x 1OkWFresnelspots
tlom usethe roadway,surroundedbytrees 25 x 5kWFresnelspotsand or: (40 x 625W 4-compartment
depictedin the upperright.In the upperleft 20 x 2kWFresnelspots groundrows)
of the studioplanwe havea set composed
or: (45 x 2.5/5kWDualwattageFresnelspots)
of small'flats'with a groupof singers Lightingcontrolsystemasappropriate
performing. 12 x lkW Fresnelspots

A TYPICAL
MUSICAL
PRODUCTION

I I
I I

I
\
\
\ 5kW

\a I

ORCHESTRALROSTRA 5kW

IJ
2kW

2 METRE
STAGE
\

C\C\C\C\ C\C\C\C\ C\C\C\C\ C\C\dp

CYCLORAMA
I I I : I 't;/'l"JI.
2kWL-J
; 0
5kW
2kW

20
 750m2 DRAMA
SITUAT
ION WITHSEVEN
SETS
2
Wenowcome, inthe caseof 750m studio
HOTELBARSET
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 .

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~~;)\
2.5kW 25kW
(-_
O
COU
NTR
Y HOUSE ~-o~-d
W

2.5kW
25kW

V 2 5kW lkW

~
~ 5kW

21
 ------

5kW~

'
''
'
'
5kW
0-

2.5kW
~

PHONEBOX(NIGHTSCENE)

/
~
2.5kW
~
5kW

Q
~ ;5k W

5W
t: ~
., I I 5kW ~~ ssv· .--
&¥:t!J--------
'
I

~ D,,w ~
- ~
I I ~_JQ

~
~
~~<S>~&,
5kW ~
@;~~
5kW
BACKING
SkW b CARDEALER'S YARD

22
 TUNGSTENHALOGENLUMINAIRES D
0 0

LII
MIZAR 300/500W POLARIS !kW spotlight BAMBINO lkW spotlight CASTOR2kW& BAMBINO 2kW spotlight Sli
spotlight A compactFresnelspotlight A Fresnelspotlightdesigned l.25/2.5kW spotlight Designedspecificallyfor sp
ThesmallestFresnelspotlight availablein manualor pole for locationworkingin ThisFresnelspotlightis locationuse,this Fresnel -c
in the Quartzcolorrange,and operatedversions. situationswherespaceis suitable for studioand outside spotlightis availablein
particularlysuitedto lighting restricted. location,utilisingsingleor manualor pole-operated
detailandspecialeffects. twin-filamentlamps.Manualor versions.
poleoperatedversionsavailable.

POLLUX 5kW & 2.5/5kW BAMBINO SkW & VEGA lOkW spotlight GIANO 2.5/SkW dual KAHOUTECK 2.5/5kW
spotlight 2.5/5kW spotlight CompactlightweightFresnel source spot/softlight dual source spot/softlight
A singleor dual-wattage Specificallydesignedfor spotlightavailablein manual A dual-purpose Fresnel Thisdual-purposeFresnel
Fresnelspotlight,suitablefor outsidelocations,this Fresnel or pole-operatedversions. spotlight/softlightoperating spotlightutilisesa singletwin·
studioor locationworking. spotlightutilisessingleor from separatesingle-filament filamentlamp.
Manualor pole-operated twin-filamentlamps.Manualor lamps at the soft end,twin
versionsavailable. poleoperatedversionsavailable. filamentlampat the Fresnelend.

SOLO 2K follow spot CADENZA 19/32 2kW ARTURO L25kW ARTURO 2.5/SkW ARTURO 1.25/2.SkW
Variable-spread followspot profile spot softlight softlight softlight
from Strand,incorporatinga A mediumto wideangle Designedfor smallstudiosor A variablepowersoftlight A dual powerindirectsoftlight
built-iniris diaphragmand variablespreadStrand as a locationfill light.Manual producingindirect available in manualor pole·
beamshapingshutters.A 1kW luminairewith integraliris or pole-operated versions illumination.Manualor pole operatedversions.
CSI/ CIDversionis also diaphragmand beam-shaping available. operatedversionsavailable.
available. shutters.

IRIS 4 cyclorama top light MINI IRIS cyclorama PALLAS 4 cyclorama PALLAS 1cyclorama IRIS 1cyclorama top light
Fourcompartmentcyclorama top light groundrow groundrow Singlecompartmentversion
top light designedfor 4-colour Designedfor TV.presentation A four compartmentunit for Singlecompartmentversion idealfor smallstudios.Manual
light mixing.Alsoavailablein suites,E.N.G.locations,audio 4-colourlight mixing.Available of Pallas4. or poleoperatedversions
3 compartment(horizontal) visualandstill studios. in rigid or hingedversions. available.
and 2 compartment Extremely compactbut using
(horizontalor vertical) the samereflectorsystem
versions. developedfor all the Iris
range.

23
 DISCHARGE LUMINAIRES(DAYLIGHT) PORTABLELIGHTING
=1 0 0 c (

ht SIRIO 575W HMI SIRIO l.2kW HMI SIRIO 2.5kW HMI MEGALUX 250W PINZA 500W clamplight
spotli ght spotlight sp otlight handlamp A compactfill light, this open·
A compact Fresnelspotlight, Highintensit y,variablebeam A Fresnelspotlightsuitablefor Comfortablyoperatedwith facefloodlight is idealfor use
.vrthtwicethe light output of a Fresnelspotlight. Lightoutput lightinglargeareasand one hand, this open-face wherespaceis limited.
2 W filteredtungstensource. approximatelythat of a 5kW balancingstrongsunlight. floodlightis poweredby 30v Clampsto any convenient
Ideal for small locationsand filteredtungsten source. Lightoutput equalto lOkWof battery. mounting.
·rounce"light. filteredtungstenlight.

SIRIO 4kW HMI spotlight SIRIO 6kW HMI spotlight SIRIO 12kW HMI PULSAR 650W floodlight REDHEAD BOOWspot/
Jht 'resnelspotlightdesignedto A Fresnelspotlight with an spotlight Variable beam,open-face floodlight
:iroduce maximumpunch output equalto 25kWof Designedfor locationworking, floodlight with fibreglass A variablebeam,open-face
1· ghting for locationuse.Light filteredtungstenlight. this Fresnelspotlight1sthe lamphead. Idealas a fill light luminaire. Threeversions
put approximate ly that of a Comparablewith the 'Brute'. or for lightingset detail. available:one for stand
largestdischargelampdesigned mounting, one fitted with a
:.!kWfiltered tungstensource. for televisionand filming clamp,and onefor battery/
generatorpowersupplies.

SHA ULA 575W HMI ALTAIR !kW CID / l.2kW ALTAIR 2.5kW CID / HMI BROAD 1.2kW floodlight BLONDE 2kW floodlight
floodlight HMI spotlight spotlight A lightweightfloodlight A compacthigh-intensi ty
ii A compactopen-face A compactFresne l spotlight A twin lampholderFresnel providinga wideangledeven variable-beamopen-face
minaireidealfor lighting with two lampholdersto spotlightdesignedto operate fill light.Ideal for concealment floodlight, ideal for E.N.G. and
.argeareas. accepteithera CIDor HMI with a CIDor HMIlamp. on set. outsidelocations.
lamp.

lt ARTURO 575W HMI ARTURO l.25kW HMI ARTURO 2.5kW HMI JUPITER 6 (3.9kW) LIGHTING KITS
softlight softlight softlight floodlight A wideconfigurationof kits is
A locationfill light providing Designedfor locationworking A fill light with virtually High-intensity light source, available, usingsuitable
virtually shadowlessdiffused with diffusedlightingand shadowlessdiffusedlighting ideally suited to outside standardequipmentfrom the
lighting complementing the matchingdaylightcolour with daylight colour locationworking. Quartzcolorrange.

•
Sirio focusing Fresnels , temperatureof the Sirio temperature,matchingthe
matchingdaylightcolour focusingFresnels. Siriofocusing Fresnels.
temperature.
QuartzQj[m._SPA
products are manufactured in Italy

24
 CHARACTERISTICS
OF TUNGSTENHALOGENLAMPS
z
0 200
1
......... J

I
0µ....
180

I
LIGHJOUTPUT
I
I
v
z......... 160
I ,v
I .,v
~ 140
v POWJR
(WADS)
/

z::c: ,I v /
v
----
120
i.--

u
µl
w
(.'.)
J ..../ _i.,..CUR,RENT
___,_-,
t- L---

E-i
~
_J
0
~ ~ L-::::::::
COLi)URTEMPERATURE
> 100
0
w
~
COLOU~~ERATU~ ..-.,P,1
Cl:: ~ vv \
I---
--
I --
~ ....CURRENT
/ I
w
:::::,
_J

:3:
I.J...
80
~
/
/

~
v \
0
~
60
P.OW~(Wfu°S)
/
/ \
/ / \
v / \
40

\
/
LIGljJOUTPUT
,

/
v ~
20
"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 percentagelightoutpute.g. Faderat '6' equalslightoutput of 36%.
Light Colour MainsVoltage Current Power
Fader Output% Temp(K) % 240 120 % %
10 100 3200 100 240 120 100 100
9 81 3120 93 224 112 96 89
8 64 3040 88 211 106 93 82
7 49 2960 81 194 97 88 72
6 36 2860 74 178 89 85 63
5 25 2750 66 158 79 78 52
4 16 2600 59 142 71 73 43
3 9 2400 51 122 61 67 34
2 4 2200 39 94 47 59 23
1 1 23 55 27 46 11
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

WHITE I REDAREA
BLACKBODYCURVE 10,000 AREA
/
/
/
/

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 1.25kWsoftlight

0 2.5kWsoftlight

0 5kWsoftlight

d Cycloramalight

LUMINAIRESYMBOLS
0.5 0.6
cJ Floodlight [1 Fresnelspotlight

C Specialfloodlight ~ Effectsprojector
a Reflectorspotlight O Softlight

()
Sealedbeam ,n
lamp \._µ Bifocalspotlight

~ Variablespread
D Lensspotlight ~ profilespotlight

26
D Profilespotlight D 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