Lighting Systems Made Easy A Guide to Lighting Installations From corporate environments to houses of worship bring the beauty of the stage to any architectural application “Lighting Systems Made Easy” Page 1
Lighting Systems Made Easy Table of Contents Description Page Copyright Information ........................................................ 3 Preface ................................................................................ 4 Lighting: A Lot Like Sound ................................................ 5 A Few Simple Questions ................................................... 6 Where To Go To Purchase Your System ............ 6 Where Do You Need Lighting ...............................
Copyright Information The contents of our electronic documents are copyrighted material. They are the property of CAE, Inc. and are provided as a service and or for instructional purposes only. Possession does not imply or convey rights to use many information herein, including photos, copy, illustrations, or art work or designs or concepts for any use except to promote products manufactured by CAE, Inc. (Littlite and Leprecon®).
Preface A lot of people ask how lighting works in respect to audio and the answer is fairly simple: In audio you use a mixer to set the levels of your inputs and then send those levels to the amplifier (s). In lighting you have a control console which acts like a mixer and sends output information to the dimmer (s). Amplifiers power speakers. Dimmers power fixtures. Speakers output sound. Fixtures output light.
Lighting A Lot Like Sound “Where a sound mixer controls the amplifier that drives the speaker, the lighting console controls the dimmer that drives the lamp”. Console........Dimmer........Fixture Mixer........Amp........Speaker Console................Automated Lights Mixer................
A Few Simple Questions… Can Make Your Installation Go Smooth Where To Go To Purchase Your System • Call 1-888-4CAELEP for your nearest Leprecon dealer or sales representative. • Insist on quality Leprecon equipment, an effective design and flexibility in system integration. • Consult other churches for recommendations • Consult your area sales representative, architect, lighting designer, or professional contractor • Visit our website www.Leprecon.com for your area sales representative.
10 Points To Lighting Houses of Worship ŒInstruments Should Not Be Obtrusive to the Sanctuary • Hide fixtures behind beams or paint them. • Most sanctuaries are designed as beautiful rooms and we aim to accent their beauty. •Pay Attention To The Angle Of Light • As with all lighting the angle of light should be cast at 30-50 degrees, 45 degrees being ideal. • Back lighting should be cast at 65 degrees.
“To Gel Or Not To Gel • An often asked question…should gel or glass be used to filter the light and give it a “mood” (AKA color temperature)? • If the room has a high peak you may want to use glass because it will last longer. • If fixtures are accessible, or lighting will be called upon to change from week to week, gel would be the filter of choice. ”Schedule Maintenance • Scheduled maintenance should be performed regularly.
Basic Lighting Scenario 3 Point Lighting • Three point lighting is the ideal lighting scenario and includes hitting an object from 3 directions: two from the front and one from the back. Key and Fill Light • The two lights cast from the front are known as Key and Fill light and should be cast at a 45 degree angle. • The objective of Key and Fill Light is to give the object a full, natural look. Back Light • The third light is referred to as Back Light and is usually cast at a 65 degree angle.
Seeing the Light’ If you have a 40' x 30' stage: 1. Divide into 10' x 10' squares 2. Count squares 3.
Power Requirements for Theatrical or Architectural Lighting Installations Rack Size (Channel) Mains 3 Phase Power Requirement Mains Single Phase Power Requirement Max # of 600 Watt Fixtures Max # of 1000 Watt Fixtures 12 Channel x 2400 Watts Each 80 Amps per leg 120 Amps per leg 48 24 24 Channel x 2400 Watts Each 160 Amps per leg 240 Amps per leg 96 48 36 Channel x 2400 Watts Each 240 Amps per leg 360 Amps per leg 144 72 48 Channel x 2400 Watts Each 320 Amps per leg 480 Amps per leg
Lighting Math 1000 Watt Par Bulb = 1000 Watts = 8.3 Amps 120 Volts 600 Watt Raylite Bulb = 600 Watts = 5 Amps 120 Volts For Example: If a customer wants to plug two 1000 watt lamps into a dimmer channel, the channel must be rated for a least 2000 watts or 20 amps. (In most installations, 2400 watts per channel are used with 2 each 1000 watt lamps per circuit or 4 each 575/600 watt lamps per circuit).
3 Types of Installations • Small portable system. • Fixed installation. • Fixed installation which combines Theatrical and Architectural Lighting Small Portable System • • Many Houses of Worship or small theatre groups venture outside of their venue to enlighten or perform. They many want to consider a portable system like the LP-612 memory console combined with LD-360 dimmers.
Fixed Installation • • It is often the case that Architectural lighting already exists in the installation you are working on. If your installation calls for a theatrical style dimming and control, another option would be an LP-1600 Series console combined with a VX Permanent dimmer rack.
Typical Floor Rack Permanent Installation Drawing Multi cable 12 gauge 19 conductor UL Listed Junction Box with Terminal Strip Inside Connector Strip on truss punched for Stage Pins LP-1600 MEMORY CONSOLE “Lighting Systems Made Easy” Page 15
Fixed Installation Which Combines Theatrical and Architectural Lighting • If the entire lighting system needs to be replaced, or you are working on a new building, you may want to consider installing a combination of theatrical and architectural lighting, which would combine a theatrical system with remote architectural panels that are sprinkled throughout the room.
Architectural Control Panels Features Include: • Flexible Modular Design-Output Level LED Indicators • Up to 96 Total Zones-Keyswitch Priority Lockout • Supports 8 Rooms with 12 Presets Each-Programmable Presets 3P, 3F with Lockout and Off Shown Above 6P, 6F with Off Shown Above Preset Panel Stations are available in 1, 3, 6 and 12 buttons with off button. Preset stations are programmable using Litescape fader stations, Litescape wall dimmer scenes or DMX signal control.
Typical Quote for installations which combine Architectural & Theatrical Dimming and Control 48 Channel Architectural & Theatrical Dimming and Control System 4 1 2 1 Litescape Architectural Series LWD-2400 12 Channel Dimmer Litescape Control Panel-6 Preset/6Fader w/Lockout & Master Litescape Control Panel-3 Preset w/Off LP-X24 Memory Console (DMX-512) This system allows 2400 watts per channel @48 channels of dimming and control.
Architectural Control Systems Walk Thru 1F Fader Panel Lighting & Sound Control Room 3F Fader Panel Leprecon Control Console and 6F and Access Control “Lighting Systems Made Easy” Page 19
Leprecon® “Lingo” Cue Stack (Cue List)- The ability to program scenes with individual fade times. The scenes can be played back with a manual crossfader or Go button. Delay Time- The wait time between steps in a cue stack. Hot-Patch- The ability to assign a live circuit to a dimmer channel. Typically done with a patch tail attached to a load connector. Point Cue- The ability to insert a cue within a cue. Great for editing shows after they have been programmed.
Theatrical Vocabulary and Stage Layout Location Terms: House – Audience seating area. Apron – Area that surrounds front of stage. Proscenium – Arch over stage. Plaster Line – Imaginary line under proscenium. Upstage – Back of stage away from audience. Downstage – Front of stage towards audience. Stage Left and Right – Sides of stage from performer’s view. Note: Opposite audience view. On and Off Stage – In sight of audience and out of sight of audience (i.e., behind curtain).
Glossary of Lighting Terms A.C. Alternating Current in which the flow of electricity reverses polarity (+/-, +/-) a number of times a second. Normal U.S. power runs at 60 Hz., or reverses polarity 120 times a second, thereby making 60 complete cycles in this time. AMP The measurement used to describe the amount of electrical current flowing in a wire or circuit. Also the consumption of current by a lighting circuit.
BUMP BUTTONS (a.k.a. MOMENTARY BUTTONS) Push buttons that, when pressed, bring various lighting full on or to a predetermined dimmed level. When the bump buttons are released, the lighting levels revert to those preset before the bump buttons were pressed down. Bump buttons are a very direct way of introducing the human interface to lightshows – just “play” the bump buttons with your fingers. See touch sensitive. BUMP UP Sudden shift in lighting level(s) to a higher intensity.
D.C. Direct Current. Doesn’t change polarity. Much more dangerous than A.C. at the same voltage, as it will tend to grab onto and hold the recipient. A neglected, highly hazardous feature of most laser power supplies. (The laser beam is usually far less dangerous to life than the power supply.) DICHROIC A thin, rare earth coating often applied to a reflector to conduct heat backward and reflect light forward.
FOGGER (a.k.a. HAZER) A machine used to generate volumes of fog within a given environment. Enhances lighting effects. FOG JUICE Liquid supplied for use with foggers. Often perfumed in many scents. FOLLOW SPOT A large and powerful spotlight that has its own operator. The spotlight’s beam follows a person to keep him/her highlighted. FOOTLIGHTS Strips of lights provided at floor level at the front of the stage. Footlights are inclined upward at an angle to illuminate the performers. FRESNEL (Pron.
JOULE An energy/time measurement usually used for strobes. 1 watt at 1 second = 1 Joule. LOAD Power drawn by lighting (see watt and amp) LUMEN A measure of light output. The higher the lumen number, the more light emitted by the lamp. MEMORY The ability for a lighting controller, or console, to remember pre-programmed information. Used to call up operator-programmed presets and scenes. MIDI (acr.: MUSICAL INSTRUMENT DIGITAL INTERFACE) Having been originally developed for the music industry.
PYRO (Abbr. PYRO TECHNICS) Fireworks are often remotely fired by electricity. “Pyro shooting” may require a state-licensed operator. Can be dangerous – use with extreme care and caution. QUARTZ HALOGEN An incandescent lamp that has a quartz envelope and a halogen gas inside it. These lamps usually exhibit a higher color temperature (whiter light) and a longer operating life, as they are more efficient than an ordinary lamp. Halogen lamps must not be touched by the human skin (fingers etc.
SOURCE (LIGHT SOURCE) A point of origin from which light is emitted. Also a device that generates light. A halogen lamp and a laser are both light sources. SPOTLIGHT An intense, narrow-angle light beam, or a commonly used term for a lighting instrument capable of producing such a beam. STRIP LIGHT A strip of lighting often “flown” at an inclined angle above the front of the stage. May also be found arranged in rows above the stage ceiling. STROBE (Abbr.
PHOTOMETRIC DATA CHART Instruments Wattage Image Size at 30’ Par 64 Wide (WFL) 1000W 500W 13’ x 26’ Par 64 Medium (MFL) 1000W 500W 8’ x 16’ Par 64 Narrow (NSP) 1000W 500W 3.5’ x 7’ Par 64 Very Narrow (VNSP) 1000W 500W 3.2’ x 6.5’ Altman 360Q Leko 6” x 9” 1000W 750W & 500W 20’ Altman 360Q Leko 6” x 12” 1000W 750W & 500W 14’ Altman 360Q Leko 6” x 16” 1000W 750W & 500W 10’ Altman 360Q Leko 6” x 22” 1000W 750W & 500W 6’ These are images at 30’.
Current lighting designs have expanded to include a lighting control network design. Although instrument selection colour selection, lamp placement dominate the design process, the lighting control system also requires careful planning. Lighting consoles control dimmers and a wide range of automated devices. Control communication must be standardized if equipment from different manufacturers is expected to operate within a network, controlled by a lighting console.
address. Devices with identical addresses, from the same DMX outlet, will respond identically. To achieve individual responses the devices must have an individual address. Imagine a room filled with 512 people if they are all named “Bob” they would all stand up if you instructed “Bob, please stand up”. If each individual had a distinct name you could instruct each person to perform your commands simply by calling them by each unique name. This analogy applies to DMX addressing of devices along a DMX line.
may only contain the minimum 3 cables required to carry the DMX signal. In this instance you will not get continuity when checking between pins 4 and 5. The DMX specifications currently do not define a function for pins 4 and 5 but some manufacturers use these pins to transmit read back information from a device. If a device at the end of the DMX line functions as desired, this is a good indication the signal is being transmitted correctly.
dimmer outlets in the studio, multiple DMX outlets are distributed conveniently in the studio. The outlets are set up to be DMX output or input because they have both a male and female 5-pin XLR connectors on the same line. The outlets are an either or situation, if it is used for output you cannot plug into the input and transmit DMX along the same line.
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Lighting Fixture Guide Fresnel A luminaire embodying a lamp and a Fresnel lens, with or without a reflector. It has a soft beam edge. By changing the spacing between the lamp and lens you can vary the field and beam angles. Ellipsoidals Ellipsoidals contain a lamp an ellipsoidal reflector, a framing device and a lens system. There are accommodations to hold a pattern (gobo). Par Cans A spotlight like luminaire that uses a PAR lamp. The beams may vary depending upon the type of PAR lamp used.
Scoops A scoop is a deep floodlight with a diffuse, generally an elliptical contoured reflector.
Want To Learn More About Lighting? There are many sources to learn more about lighting, including: Lighting Dimensions New York NY 10011-4612 212-229-2965 FAX 212-229-2084 Entertainment Design 32 West 18th Street New York NY 10011-4612 212-229-2965 FAX 212-229-2084 United States Institute of Theatre Technology 6443 Riding Road Syracuse, NY 13206-1111 315-463-6463 FAX 315-463-6525 EM Bookshelf 6400 Hollis St. #12 Emeryville CA 94608 800-233-9604 International MIDI Association 5316 W.
