3. PARCAN
BEAM ANGLE: 50
• Gel frame and gels
• Adjustable arm
• Light bulb encased
• 15 amp plug
• G clamp
• Safety chain
• The parcan is used for music
gigs, and mainly for aesthetics
and to add depth to general
cover. A parcan can’t be
controlled, so it wouldn’t be used
to focus on something.
4. COMPARE & CONTRAST: PARCAN
• If I wanted to create a chase effect at a music gig I
would use a parcan. This is because parcans are used
for aesthetic purposes and would give depth to general
cover. I would use it over a profile because a profile
would give a defined light, instead of diffused. Profiles
also could be used elsewhere at the gig
instead, creating effects for example with a gobo or an
iris. I would also use a parcan over a birdie because a
birdie’s bulb is halogen (100 watt) which is not as
powerful as a parcan’s 500 watt bulb.
5. PARCAN CHECKLIST
•
All spare lights can be found at the back of the
hall.
•
If hanging from the rig/boom, the light must have
a safety chain. Additional chains are situated at
the back of the hall.
•
If hanging from the rig attach a g clamp.
Additional g clamps are situated at the back of
the hall on the lighting rack.
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
•
Please note, Parcan does not have barn doors.
• Safety chain
• G clamp
• Gel frame
• Gel
6. LED PAR
BEAM ANGLE: 55
•
G clamp
•
Safety chain
•
Dip switches to change it’s colour
•
13 or 15 amp plugs
•
Controlled by a DMX cable
•
Doesn’t get hot
•
An LED par adds depth to general
cover. Used for aesthetic purposes. An
LED par is energy saving, and it’s
colour can be controlled by the desk,
instead of changing gels/ adding more
lights with different gels.
7. COMPARE & CONTRAST: LED PAR
• If I wanted to provide multiple colour, enabling the scene
mood to change, I would use an LED par. This is because
it is connected to the desk with a DMX cable, allowing it’s
colour to be changed from the desk as opposed to
changing gels or adding more lights. I would use a LED
par over a parcan because I would have to change a
parcan’s gel frame or add more lights. I would also use an
LED par over a flood light for the same reason that I
would have to change it’s gels or add more lights. An LED
par is also energy saving and can produce primary
colours.
8. LED PAR CHECKLIST
•
All spare lights can be found at the back of the
hall.
•
If hanging from the rig/boom, the light must have
a safety chain. Additional chains are situated at
the back of the hall.
•
If hanging from the rig attach a g clamp.
Additional g clamps are situated at the back of
the hall on the lighting rack. LED pars can also
be used on the floor using a wooden base, which
can be found on the shelf next to the lighting
rack. The bolts can be found in Julie’s office.
•
In order to change colour, use DIP switches on
the back of the light, or via the desk using DMX
cables.
•
This light uses a 13 or 15 amp plug, plug
adapters can be found in Julie’s office.
• Safety chain
• G clamp
• Wooden base &
bolts
• DMX cable
• Plug adapter
9. PC – PEBBLE CONVEX
(FRESNEL)
• G clamp
BEAM ANGLE: 8 -31
• Safety chain
• Barn doors
• Gel frame and gels
• Adjustable arm
• 15 amp plug
• Adjustable knob to adjust beam angle
• The PC is used for a more defined light. It
gives general cover and could also be
used in the space of a spotlight due to it’s
convex lense which intensifies light. It
has a pebble lense, whereas other
fresnels have ridged lenses.
10. COMPARE & CONTRAST: PC FRESNEL
• If a situation occurred when I need to isolate an actor on
stage, but couldn’t access a profile if, for example, they
were broken, I would use a PC. This is because a PC
has the same pebble convex lense as a spotlight,
allowing a defined, focused circle of light around an
actor. I would use a PC over another fresnel such as a
CCT because a CCT has a ridged glass lense, causing
it’s light to be diffused. It also can’t be focused. I would
also use a PC over a Selecon, because it is also a
diffused light like the CCT, and also cannot be focused.
11. PC CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the
back of the hall.
• Safety chain
• G clamp
•
If hanging from the rig attach a g clamp. Additional
g clamps are situated at the back of the hall on the
lighting rack.
• Gel frame
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
• Gel
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
• Barn doors
•
If you need to isolate the light direction you need
barn doors. These can be found above the lighting
rack at the back of the hall.
12. (FRESNEL)
• G clamp
BEAM ANGLE: 6 -50 chain
• Safety
• Smallest fresnel
• Gel frame and gels
• Barn doors
• 15 amp plug
• Adjustable knob
• Adjustable arm
• Ridged glass lense
• The ridged lense of a CCT gives a
diffused spread of light, so it could be
used to give general cover. It’s barn doors
also allow shapes to be made with the
light.
13. COMPARE & CONTRAST: CCT FRESNEL
• If I needed side lights on a boom for a dance
performance I would use a CCT. This is because it gives
a diffused spread of light due to its ridged lense. Shapes
can also be created using it’s barn doors which could be
used in the performance for aesthetic purposes. I would
use a CCT over a profile because a profile is too defined,
and a light such as a CCT can do the job instead, saving
the profiles for using gobos, iris’ etc. I would also use a
CCT over a pinspot. This is because a pinspot is not
powerful enough.
14. CCT CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the
back of the hall.
•
If hanging from the rig attach a g clamp. Additional
g clamps are situated at the back of the hall on the
lighting rack.
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
•
If you need to isolate the light direction you need
barn doors. These can be found above the lighting
rack at the back of the hall.
• Safety chain
• G clamp
• Gel frame
• Gel
• Barn doors
15. (FRESNEL)
BEAM ANGLE:7 -60
• G clamp
• Safety chain
• Attached barn doors
• 2 adjustable knobs
• Ridged circular lense
• Gel frame and gels
• Newest fresnel
• A selecon has a ridged lense
making it’s light diffused, which is
used for general cover. The barn
doors also allow the light to be
manipulated.
16. COMPARE & CONTRAST: SELECON FRESNEL
• If I wanted to create general cover for a show, I
would use a selecon. This is because it can give
a diffused spread of light. I could also use a CCT
in this situation, but I wouldn’t use a selecon and
a CCT together because the light would become
patchy, which is why only one type of light should
be used in general cover. I would use a selecon
over a parcan because a parcan would only be
used to add depth to general cover.
17. SELECON CHECKLIST
•
All spare lights can be found at the back of the
hall.
• G clamp
•
If hanging from the rig attach a g clamp.
Additional g clamps are situated at the back of
the hall on the lighting rack.
• Gel frame
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
•
If you need to isolate the light direction you need
barn doors. These can be found above the
lighting rack at the back of the hall.
• Gel
• Barn doors
18. (FRESNEL)
•
BEAM ANGLE: 30 •
G clamp
Safety chain
•
Gel frames and gels
•
Barn doors
•
15 amp plug
•
1000 watt (double a single fresnel)
•
Ridged glass lense
•
The 1k’s lense diffuses it’s light for
general cover. It’s barn doors can also
manipulate it’s light to change it’s beam
angle. Used for back light (on less than
50%) to prevent a shadow creating a 3D
effect. For every 2 fresnels for front light =
1 1K back light.
19. COMPARE & CONTRAST: 1K FRESNEL
• If I wanted to create backlight for a musical I
would use a 1K. This is because a 1K is used to
create backlight so there isn’t a shadow and the
actor is defined. I would use a 1K over a birdie
because a birdie isn’t big enough, or powerful
enough due to it’s halogen bulb. I would also use
a 1K over a profile because a profile is too
defined and unnecessary for this job, when it
could be used for gobos, iris’ etc.
20. 1K CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the
back of the hall.
•
If hanging from the rig attach a g clamp. Additional
g clamps are situated at the back of the hall on the
lighting rack.
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
•
If you need to isolate the light direction you need
barn doors. These can be found above the lighting
rack at the back of the hall.
• Safety chain
• G clamp
• Gel frame
• Gel
• Barn doors
21. LIGHT
BEAM ANGLE: 60
• Gel frames and gels
• 15 amp plug
• G clamp
• Can’t be directed or controlled
• 500/600 watt
• Could be used in a combination for
general cover.
• The flood light can only be on or off, but
can have a gradient. The flood light is
mainly used for cyclorama and lighting
the audience. It is used in the rig or on
the floor.
22. COMPARE & CONTRAST: FLOOD LIGHT
• If I wanted to light a cyclorama I would use a
flood light. This is because I could add gels to
a flood light, the hang them from above and
angle them for aesthetic purposes. I would use
a flood light over a profile because a profile is
too defined and it could be used elsewhere due
to it’s ability to hold a gobo/iris etc. I would also
use it over a birdie because a birdie is too
small and it isn’t powerful enough.
23. FLOOD LIGHT CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the
back of the hall.
•
If hanging from the rig attach a g clamp. Additional
g clamps are situated at the back of the hall on the
lighting rack. Floods can also be used on the floor
using a wooden base, which can be found on the shelf
next to the lighting rack. The bolts can be found in
Julie’s office.
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
•
•
•
•
•
Safety chain
G clamp
Gel frame
Gel
Wooden base &
bolts
24. BIRDIE
BEAM ANGLE: 35
• Halogen bulb (100 watt)
• G clamp
• Safety chain
• Gel frames and gels
• Barn doors
• 13 or 15 amp plug
• The Birdie is often used for aesthetic
purposes such as in museum
exhibitions or on a truss. It is also
energy efficient and can be used to
light the audience. It’s light can also be
manipulated by it’s barn doors.
25. COMPARE & CONTRAST: BIRDIE
• If I wanted to light the audience I would use a birdie
because they are small and their bulb is only 100 watt,
which will allow the audience to be lit, whilst not pulling
attention away from the stage. A birdie would only be
used for seating or walk ways in a theatre. I would use a
birdie over a selecon because a selecon would give too
much general cover. I would also use a birdie over a
parcan because parcans are too big, and there would be
too much focus on the audience.
26. BIRDIE CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the
back of the hall.
•
If hanging from the rig attach a g clamp. Additional
g clamps are situated at the back of the hall on the
lighting rack.
•
If using colour you will need a gel. These can be
found in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder
which are hung at the back of the hall above the
lighting rack.
•
If you need to isolate the light direction you need
barn doors. These can be found above the lighting
rack at the back of the hall.
• Safety chain
• G clamp
• Gel frame
• Gel
• Barn doors
27. PINSPOT
BEAM ANGLE: 8 -12
• Safety chain
• G clamp
• 13 or 15 amp plug
• The pinspot is normally used to
light a glitter ball or in museum
exhibitions. It’s bulb can be
changed to achieve colour. You
can’t direct a pinspot’s light and it
has limited usage due to it’s lack
of gel frame and barn doors.
28. COMPARE & CONTRAST: PINSPOT
• If a show wanted to use a glitter ball, I would use a
pinspot.. This is because it is small, and is a direct light.
It is also good for aesthetic purposes. To light a glitter
ball I would have to use 2 or 4 pinspots for it to be
effective. I would use pinspots over a flood light
because a flood light would light too much causing the
glitter ball to have no effect. I would also use a pinspot
over an LED par, because an LED par would also flood
the area, and it would colour it when a glitter ball ideally
needs a white light.
29. PINSPOT CHECKLIST
• All spare lights can be found at the back of
the hall.
• If hanging from the rig/boom, the light must
have a safety chain. Additional chains are
situated at the back of the hall.
• If hanging from the rig attach a g clamp.
Additional g clamps are situated at the back
of the hall on the lighting rack.
• If using colour, you will need to change the
pinspot’s bulb, or attach a plastic coloured
case. These can be found in Julie’s office.
• Barn doors cannot be attached to this light.
• Safety chain
• G clamp
• Coloured bulb
• Plastic case
30. FOUR
• G clamp
BEAM ANGLE: 15.2•
Safety chain
• 15 amp plug
• Gel frame and gels
• Gobos
• Built in shutters to manipulate light
• Iris
• The Source Four is used to light
specifics on stage and to isolate an
somebody/something on stage. It’s built
in shutters give it the ability to change
it’s circular light into a block shape.
31. COMPARE & CONTRAST: SOURCE FOUR
• If I wanted to isolate an actor on stage I would
use a source four. This is because it’s shutters
can manipulate it’s light enabling onstage
isolation. I would use it over a flood light because
a flood can’t be manipulated to create an isolated
section. I would also use a source four over a
selecon because a selecon can’t give a defined
edge to it’s light due to it’s ridged lense.
32. SOURCE FOUR CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the back
of the hall.
•
If hanging from the rig attach a g clamp. Additional g
clamps are situated at the back of the hall on the
lighting rack.
•
If using colour you will need a gel. These can be found
in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder which
are hung at the back of the hall above the lighting rack.
•
If you need to isolate the light direction you need to
use the shutters. The shutters are permanently
attached to the light.
•
You can create pattern with a source four using a gobo
which can be found in Julie’s office. To do this you will
also need a gobo holder which can be found on the
lighting rack at the back of the hall.
•
You can also use an iris with this light, which can be
found at the back of the hall above the lighting rack.
•
•
•
•
•
•
•
Safety chain
G clamp
Gel frame
Gel
Gobo
Gobo holder
Iris
33. PROFILE
•
BEAM ANGLE: 6 -48 G clamp
•
Safety chain
•
15 amp plug
•
Shutters to manipulate light
•
Gel frame and gels
•
Gobos
•
Iris
•
2 adjustments (one to focus and one to
blur and make bigger)
•
The Minuette Profile is used to light
specifics and isolate
somebody/something on stage. It’s
shutters manipulate light into any shape.
34. COMPARE & CONTRAST: MINUETTE PROFILE
• If I wanted to create the illusion of a window on stage I
would use a minuette profile due to it’s ability to use a
gobo, which I would need to create this. I would use a
minuette profile over a parcan because a parcan can’t be
controlled or directed, and it’s beam angle is too big. I
would also use a minuette profile over a CCT. This is
because a CCT gives a diffused light as opposed to a
defined light due to it’s ridged lense. It also can’t hold a
gobo which this situation needs.
35. MINUETTE PROFILE CHECKLIST
•
All spare lights can be found at the back of the hall.
•
If hanging from the rig/boom, the light must have a
safety chain. Additional chains are situated at the back
of the hall.
•
If hanging from the rig attach a g clamp. Additional g
clamps are situated at the back of the hall on the
lighting rack.
•
If using colour you will need a gel. These can be found
in the gel cabinet at the back of the hall.
•
If using colour you will also require a gel holder which
are hung at the back of the hall above the lighting rack.
•
If you need to isolate the light direction you need to
use the shutters. The shutters can be found at the
back of the hall, ensure light has four shutters.
•
You can create pattern with a source four using a gobo
which can be found in Julie’s office. To do this you will
also need a gobo holder which can be found on the
lighting rack at the back of the hall.
•
You can also use an iris with this light, which can be
found at the back of the hall above the lighting rack.
• Safety chain
• G clamp
• Gel frame
• Gel
• Gobo
• Gobo holder
• Iris
• Shutters
