By Steven Louis Shelley
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Extra info for A Practical Guide to Stage Lighting, Second Edition
The number of dimmers required for a light plot directly translated into the same number of individual moving handles, which in turn defined the number of light board operators. The amount of control available to a light plot was often determined by labor cost or the amount of backstage space available for the piano boards. A Review The autotransformer dimmer was introduced as alternating current became more available for theatrical use. Although these light boards were comparably more compact and generated less heat, each dimmer was still manually manipulated by a separate handle.
The phrase “double-hung” implies a pair of instruments, both vertically mounted at the same ● 11 height. ” In tight quarters, a typical plotting tactic is to restrict mounting double-hung instruments to only above head height; single-hung units are mounted from the floor to approximately 8′-0″, in order to provide as much passage space as possible for performers or moving props between the sidelight booms and masking legs. Downlight Downlight, or toplight, is generally defined as a system, instrument, or light beam originating directly above a person standing on a stage.
A stage without scenery, however, presents a different challenge. The instrument focused to the far quarter line also splashes light onto the black masking legs. To reduce halation and retain as much light as possible, the barrel is often focused so that the shutter edge is sharp. To reduce the amount of light hitting the legs, the upstage shutter is then cut off of the black masking leg that defines the upstage side of the opening containing the overhead sidelight. Producing a high angle sidelight from an overhead electric often results in the instruments being hung as far offstage as possible at the end of the batten.
A Practical Guide to Stage Lighting, Second Edition by Steven Louis Shelley