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Contents
Stage lighting Lobby Lighting Types of lighting system employed Light Fixing details Step lighting Backstage Lighting Bibliography
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
3
Stage Lighting The primary function of lighting in the theatre is to make the stage picture visible, but the way in which the stage is lit will have a major impact on the way the audience perceives the stage picture and therefore the show. The four general fuctions of stage lighting are: • Providing visibility and also keeping parts of the stage in dark, when required. • Part of the Lighting Designer’s job is to make the light look natural for the setting and the props used. • Composition to enhance the possibilities the Scenic Designer has provided and to set the actors in proportion and where and when necessary. • Enhancement of mood is also a part of the other three. Each area can be lit from a combination of: Overheads: Called Fill: From the front, eyes Toplight or Keylight. From and teeth lights. Makes above and in front, angled objects look flat. to about 45°. For the dramatic effect.
Fresnels ARCHITECTURAL DESIGN IV
Sidelight: Used to sculpt the body. Major use in dance or musicals. High sidelight from the use of lighting bars or ladders or booms. Low sidelight often on the floor and called “Shinbusters”.
Backlight: From above and behind. Gives dimension to objects. Can be angled in from the side to provide Motivation or for coloured shadow effects on the stage floor.
Lighting the Actor: Normally aim for two or more luminaires for each area, from the front. Visibility is the primary aim.
Profile spots
Beamlights
Soft spots
Beamlights RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
4
Stage Lighting Types of Light: • Floods: The beam size, shape and quality emitted by a flood is fixed suitable for lighting skies and cloths, not selective enough for lighting actors. They have areflector that is specially designed to ensure an even wash over a large area from a short throw • Soft Spots: Prism Convex (PC) spots allow control of the beam size, and shape. The quality is even and soft-edged, with less light-spill outside the main beam than in the case of a fresnel. • Fresnels: Fresnels have a very softedge. The extent of the spill outside themain beam makes them unsuitable for longer throws, particularly from the auditorium. • Profile Spots: Profile spots give precise control of the beam. Can be used to create complex shapes, using stencils and soft to hard edge quality.
• Beamlights: Beamlights use a parabolic reflector(and no lens) to produce a near parallel beam which is more intense than a lens spotlight of the same wattage. The intensity produces a depth-enhancing haze in the air, so intense that it is effective even with deep colours. The basis of most rock lighting today.
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
5
Stage Lighting Catwalk A catwalk is an elevated platform from which many of the technical functions of a theatre, such as lighting and sound, may be manipulated. • Used to suspend lighting instruments and microphones directed at the stage. • Provide easy access for theater personnel to perform common tasks, as maintainance, position adjustment, or addition/removal of lights. Typically, catwalks are located in positions hidden from audience view or directly above an audience, and are considered “behind-the-scenes”. Stairs or a ladder up to the catwalks is usually located somewhere backstage. In modern theatres, many architects design catwalks into the “look” of the theatre. A catwalk may also be placed upstage of the proscenium as part of the fly system. These may be fixed, or they may be able to be raised and lowered.
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
6
Stage Lighting
Rods to hang light fixtures over the stage
Spot Lights on stage
Catwalk to access the spotlights
Typical Section of of an auditorium showing the light fixtures and catwalk ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
7
Stage Lighting Chemeketa Community College Theater Lancaster, USA
22.0 m 8.75 m
7.1 m
38
o
25
o
47 33
o
o
33
o
33
o
5.5 m
16
o
10.5 m
o
7.85 m
32
5.0 m
3.8 m
Relationship Between Angles and Distances of Light in the Auditorium
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
8
Stage Lighting Fred Kavli Center For The Performing Arts– Auditorium California, USA 22.0 m
33.5m
31.5 m
18.0 m
20.5 m
14.5 m
36 9
o
30 o 50
25
o
o
o
5
o
57 o o o o 50 50 50 50
o
Relationship Between Angles and Distances of Light in the Auditorium
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
9
Lobby Lighting - Track Lighting Track lighting is a method of lighting where light fixtures are attached anywhere on a continuous track device which contains electrical conductors Accent Lighting: Generally , fixtures should be aimed at a 30 degree angle from the vertical to prevent light from shining in anyone’s eyes and to avoid disturbing reflections on the surface of the object. Usually , one fixture is required for each object being accented. Wall washing: Space the fixtures at the same distance apart as the track is from the wall. Wall Grazing: For dramatic shadows on textured surfaces (such as draperies, stone or brick ) mount the tract 6 to 12 inches from the wall, with the fixtured the same distance apart and aimed downward for a grazing effect. Recessed Lighting General Lighting:General services “A” bulbs (in recessed fixtures) provide wide light distribution . “R” and “PAR” bulbs concentrate light. Coverage per fixture is based on providing 15 to 25 foot-candles of light. In rooms with darker colour use higher watt bulbs.
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
10
Types of lighting systems employed House Lights The house lights are the lights that light the auditorium area, i.e. those normally on before and after concerts, and during the interval, but not during the performance itself. House Light Circuits The three independently controlled house light circuits are: • Walkway Downlights • Tungsten Roof Lights • Fluorescents
Working Lights Working lights is the name given to lights that are used for staff to see what they are doing during normal day-to-day routine in the hall. They are different from the performance lighting and house lighting systems in that way they are simpler, lower power systems that are relatively cheap to run and easy to maintain. Most of the time, for activities such as setting up or rehearsing a concert, the working lights should be used,not the performance or main house lights.
A principal criterion for the auditorium is the ability to have dimmable control. This is important mainly for evening activities, when house lights may need to be dimmed up and down for a performance. In House lighting a min horizontal illuminance of 50 lux and vertical illuminance of 30 lux is required when the projection screen is used. If windows are there there should not be any glare. So if windows are there its preferable to put them on the Northen Side and if it exposed to other sides the special measures have to taken.A CCT should be around 3500 K in order to provide a warmer feel to the space.
There are three groups of working lights installed in the hall, each described below: Rear Entrance Working Lights Stage Working (Rehearsal) Lights “Loft” Gallery Working Lights
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
11
Types of lighting systems employed Performance Lighting The performance lighting system is controlled from a console located at the rear of the hall. This controls all of the performance lighting units via the dimmer in the dimmer room (accessed through the ceiling trap door in the corridor near the console).
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
Emergency lighting An emergency lighting installation may be either a central standby source such as a bank of lead acid batteries and control gear/ chargers supplying slave fittings throughout the building, or may be constructed using self-contained emergency fittings which incorporate the lamp, battery, charger and control equipment. Emergency lighting is often referred to as egress lighting. Emergency lights are used in buildings as a safety precaution to power outages/ failures, so that people will be able to find their way out of a building. Exit signs are often used in conjunction with emergency lighting.
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
12
Light fixing details
#12 HANGER WIRE
ARMSTRONG DRYWALL CROSS TEE ARMSTRONG DRYWALL MAIN BEAM
INCANDESCENT FIXTURE OUTRIGGER
HANGER WIRE
ARMSTRONG DRYWALL CROSS TEE
ARMSTRONG DRYWALL MAIN BEAM DRYWALL SCREW GYPSUM BOARD
These drawings show typical conditions in which the Armstrong product depicted is installed. PROJECT NAME: They are not a substitute for an architect's or engineer's plan and do not reflect the unique requirements of local building codes, laws, statutes, ordinances, rules and regulations (Legal Requirements) that may be applicable for a particular installation.
Armstrong does not warrant, and assumes no liability for the accuracy or completeness of
the drawings for a particular installation or their fitness for a particular purpose. The user is advised to consult with a duly licensed architect or engineer in the particular locale of the installation to assure compliance with all Legal Requirements. Armstrong is not licensed to provide professional architecture or engineering design services.
SECTION THRU INCANDESCENT "HI-HAT" LIGHT FIXTURE IN DRYWALL CEILING PATH:
REV:.
DATE: 9/30/04
SCALE:
DESC.:
DRAWN BY: MSS
CHK BY:
DWG. NO.
DW-14-01
DATE:
CEILING SYSTEMS * Phone: 877-ARMSTRONG
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
13
Step Lighting Properties of the lights used in for lighting the sitting and step area: • • • • • • • •
Dim lighting to be used Covered from top so that it won’t create glare for the viewers Warm light to ensure proper visibility of the seats as well as the seat number LEDs are generally used Less power consumption more light Automatically switches off while the production is going on Lights must be controlled from the same section as for the exit and entry lights Cover must be unbreakable material so that if located at the foot, it won’t break on stepping on it
Physical features of the light on seats: • • • • • •
0.2 Foot Candle lighting must be avg light intensity Led spacing 4” or 6” Top tread channel 0.24W low bright LEDs Bottom riser channel 0.36W high bright LEDs STandard colors available for clear visibility: Red, Yellow, Green, Blue, White Average custom length 12’
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
14
Backstage Lighting Aim Some controlled illumination should be provided for backstage operations well shielded so no direct or reflected lighting should be seen by spectators. 15A multi core cables to be used for connection
Types of lights mainly used: • • • •
Gobo Lights
Barn Door Lights
Dim Lights
Gel Lights
MR-16 Lamps
PAR-38 Lights
LED Lights
LED Lights
Dim Lights (Orange Beam) Gobo Lighting (Projection Lighting) Barndoor Lighting (Restricted Bright Lighting, 75W capacity, used in dressing room) Gel Lights- Coloured Sheet of Plastic fixed on the front of the light
In Backstage Corridor
• MR-16 Lamp ( to be put on the walls with a beam spread of 36 degrees, blue colour preferred) • PAR-38 fixtures (240V, 80W Es E27 flood Crompton to be put on the sides of the footer at an angle) • LED Lighting- DOT- it Backstage Blue LED. It is a low cost flexible LED work light. It has a touch sensor to switch its three blue LEDs on and off. Size 7 inch or 17.8cm. Triple A DOT- it Backstage batteries for power. No need of inconvenient cables. Blue LED
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
15
Backstage Lighting Combined Green Room & Dressing Room for Women’s Chorus (20 people). The green room is an actor’s recreatiion and discussion space to which few visitors may be admitted. Lights and mirrors are similar to dressing room. Typical dressing room for 4 people. Overhead lights are necessary for adjusting wigs and costumes and for final inspection of make up. Lights at mirrors are preferably designed to illuminate the actors’ faces evenly, rather than to light the mirrors. Dressing Rooms: The dressing rooms should be completely out of view of the audience. Care should be taken to see that no light shining through a door or window finds its way directly or indirectly to the eyes of the spectator, and that noise in the dressing rooms are not heard out front.
Combined Green Room & Dressing
A shelf-type makeup table of 18 in width and 30 in height should be built around the walls of the dressing rooms with a 2ft 6 inch or 3 ft space for each actor. In front of each actor will be a makeup mirror with a 75- watt light on each side. Benches or chairs 18 in high sufficient for all of the makeup positions, should be provided. Light baffles for doors can be used to avoid these leaks. The doors should be placed in such a way as to be of convenience to the actors wanting to reach the backstage areas, while keeping to a minimum the danger of liht spills.
Typical Dressing Room for four
Typical Stars’ Dressing Room ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
16
Bibliography -Auditorium Lighting Redesign - Thomas R. Proctor High School, NY -Theatre Project Consultants -Acoustic dimensions -www.archinomy.com -www.wikipedia.com -Guide to Concert Hall Lighting - Faculty of Music , University of Cambridge
ARCHITECTURAL DESIGN IV
RASHNI PARICHHA
SASWATA HALDAR
SOURAV DEY
UPASANA PAUL
DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY
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