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How many Dimmer Channels ?

Sun, 22 June 2008, 07:35 pm
Don Allen28 posts in thread
With the offer of state funding in WA for amateur theatres, the decisions on what to apply for need researching and some professional advice is required to explain the theatre lighting requirements of amateur theatre groups. One ideal "Square One" lighting design, (so called because if you put everything back to "square one" you will be able to provide good lighting for any basic production ) is to: Divide the stage into the nine basic acting areas ie DSL, DSC, DSR, MSL, MSC, MSR, USL, USC, USR. Allocate two key lights to each area (the McAndless method see lighting links, this takes you to 18 lights from the front. at 45 degrees to the centre of each acting area. Allocate a back light to each acting area, directly behind the centre of each acting area, this takes another six channels You now have an ideal lighting design that uses 24 dimmer channels for individual control of each light. In a usual amateur theatre situation, you will have to parallel lights if you have less dimmer channels. You now need to allow three dimmer channels if you have a cyclorama and additional channels for specials, so the ideal number of channels takes you up to 36, which is three dimmer racks, of 12 channels each, with a channels capacity of 2400 watts. Any questions ?

Good to see posting again

Fri, 11 July 2008, 10:15 am
Good to see posting again Russel, what's it like in Banana Land?
In most ameatres when it comes to gel, invariably there is a heap of scraps & off cuts chucked in a cardboard box. Or there are odd pieces floating about every where. I doubt there would too many venues who even dogegorise them into a filling system of sorts. For that matter I wonder if any actually mark the colour code number on the gel in white china graph. I know I used to be able to just look at a colour & assign it number, but not now, so it would be doubly hard for any new at it to do so.
I cut my teeth on the old Cinemiod Gel of yeastier year, although Lee adopted the same colour numbers, only adding a '100' prefix. So the old #17 steel blue became a #117 & so on. It does seem strangle though they never changed the original Cinemiod sheet size, which were originally produced using Bakers tray to set the gelatin into a flat sheet. However the use of colours as David posted will depend upon the lanterns being used, especially in comeatres in a small space. Also the techie who do tend to use preferred colours, which can become a personnel signature after a while & also a colour trap.

 

 

 

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