This document provides information about various types of lighting equipment that could be used for a talent show called 'Ringwood got talent'. It discusses the power requirements and effects of PAR cans, CP lights, Fresnels, profiles and floor lights. PAR cans can produce a hot spot or halo effect, while Fresnels provide a soft edged beam. Profiles can zoom to make the lighting spot larger or smaller. Floor lights provide uncontrolled spill light over a large area. The document also shows images and descriptions of accessories that can be used with the different light types, such as barndoors, color gels, and color wheels.

1. Lighting equipment for
‘Ringwood got talent’
PAR CAN- stage was.It takes1KW of power(1,000 watts).
Type Appearance Effect
Par 64
lamp
number
Narrow
The surface of the lamp is
totally transparent and
smooth
A hot spot in the middle of
the beam and halo effect
around it
CP60
Medium
The lamp surface has a
frosted coating
A soft fairly consistent spot
of light
CP61
Wide
The surface of the lamp has
ridges and facets in the
glass
A soft elliptical patch of
light
CP62
(http://people.bath.ac.uk/su2bc/infoguides/lighting/fixtures/par.shtml)
thisis the symbol fora par can.
Thisis a par can 64 top hat. Thiswill stopthe audience inthe thetre seeing
the glare of the lightspillingoutfromthe gell,enabeblingthe audience not
to be distractedwhile watchingthe show.
The shape of the beamis obliqueThe lamp can be rotatedwithin
the bodyto allowyouto focusit
dependinglaidoutof the stage
Par cans can burn out deep
colouredgelsquite quickly. ThisI
where youcan keepthe jells
Thisis where youcan control the tilt
of the lampso youcan get the right
angle neededtowhere youwantit
on the stage
Thisis where youcontrol the pan,
so youcan get the rightangle
neededtowhere youwantiton the
stage

2. Thisis a colour wheel thatyou can getfor a par 36, howeverwe don’thave a36
we have a 64, howeveryoucan getone for the 64 and worksexactlythe fame
for it.Theyworkon a separate motor,spinningthe wheelroundatyour
demand;thiswill save the hassle of someone gettingonaladder/towerand
changingitmanually,there forallowingyoutoownfewerparsbecause youcan
have one that can have eitherredgreenblue oryellow atanyone time.
Thisis a par can 64 colourwheel.Itcanholdup to 4 coloursdepending
on whatjellsyouputinthere.
Fresnel- the lampthatwe have at school is a selecon acclaim.Ittakes650W to powerit.It is alsoa
washlamp.
Thisis the symbol forthe fresnel lamp
Thisis a lightwhich
usesa circular glass
whichisnamedafter
the lenswhichituses.
The Fresnel lensisnot
very expensive butgivesa
verysoftedged beamas
well asspreadingalot of
lightoutside the beam.
the Fresnel isa goodlightforstage
lighting,especiallyatclose &
mediumranges
Thisis where youcan control the tilt
of the lampso youcan get the right
angle neededto where youwantit
on the stage
Thisis where youcontrol the pan, so
youcan getthe right angle needed
to where youwantit onthe stage

3. thisisa top hat forthe Fresnel,itworksexactlythe same forthe Fresnel asit
doesforthe par can but differentlyshapedtoadjustthe Fresnel.
Thisis a barn door forthe Fresnel. Theyease shapingof the beam of lightfrom
the fixture,andpreventthe uniquescatterof lightcreatedbythe Fresnel lamps
fromspillingintoareaswhere it’snotwanted,suchasthe eyesof the audience
members ina theatre.
youcan alsogetgelsfor the lampsto change the coloursthatthe lampsgive
out.
The lamp we have here at Ringwood isthe ‘650W FRK16,900 lumens200hrs average life’.
Profile (spot)- the one thatwe have at school isa seleconacclaim. Ithas a 18-34’ of adjustable light
tilt.It takes650w to powerit.
It has an edge toget a
sharperouterlight.
Theycan zoom inand out to make
the lightingspotlargeror smaller.
Thisis controlledbythe witch
controllingthe shuttersize.
Theyusuallyhave alongerbody
comperedtoFresnel lightsandcan
be focusedto be a sharp circular
beamwithfar lessspill aswell.Most
profileshave afixedbeamangle
unlike the otherlights.
Thisis where youcan control the tilt
of the lampso youcan get the right
angle neededtowhere youwantit
on the stage
Thisis where you
control the pan, so you
can get the rightangle
neededtowhere you
wantit on the stage

4. for the profile youcangetsharperiris’s. Thiswill give youasharperedge to
the light,eliminatingthe amountof spill thatisilluminated.Youcanalso get
a sharperedge to the lightandalso a smallerbeam.
youcan alsogetgelsfor the profile tochange the colourinwhichit
illuminate.Thesegelsalsofitthe Fresnel lampsaswell
Floor- selecon hull. Usedforlightingthe set/backdrops.Takes500 w. asymmetric.
Theyare normallyfloorlightsbut
can be hungup fromthe rafters
Thishas an uncontrolledlightspill
whichgivesouta verylarge area of
light.
It has nolensand trustson a
large reflectorto projectthe
lightout,resultinginacheap
yetefficientlightwhich
produceshuge amountsof
spill.
An unequal floodlightdirectsmore
lightupwardsandis usedtolight
flatwalls(ortabs at the back of the
stage in ourcase).Floodlightsare generallyused
to produce large colourwashes.

5. thisisthe lightwe have at the school onhand.
(http://www.seleconlight.com/index.php?option=com_virtuemart&page=shop.product_details&flyp
age=shop.flypage.p2&category_id=129&product_id=52)
There are twotypesof floors, symmetricand
asymmetric.A symmetricfloodlampworldbe
usedfora football pitch(forexample)justtogive
some lighttothe pitchwhile people are playing.
Howeveranasymmetricare genuinelyusedfor
moviesandtheatre.The difference betweenthe
twois that a symmetriclampgivesadirectbeam
of lightgivingahotspotat the top andIt being
bright,anda fade of lightat the bottom.However
a asymmetriclightgivesanequal spreadof light
fromtop to bottomdue to a curvedlenswithinit,
distributingthe lightevenlyandmore efficiently.

6. These are the channels;youcanput
your lightsintoget control overthe
lightupat the lightingdesk.Youcan
patch a total of 2 lightininone bay,
there isa total of 6 baysto 1 pack.
All 15 amp
These are the fuse lights.These will
flashredif they are blown,and
whentheydoyou will have to
replace it.Thiswill helpyounotto
overloadit.
These are the testerbuttons.If you
pressthisyouwill turn on the power
to that bay to testthe lights,tosave
youthe hassle of goingupto the
deskeverytime whenyouwantto
testthemwhenfittingup.Youcan
testmore the 1 lightunlike the
betapack1
Dmx inputand outputthat connects
to the controller(inourcase beinga
lightingdesk).
Thisis the betapack 1, it onlyhas
one antiloginputinsteadof 2.Alsoit
has as nobthat you twistinsteadof
the buttonsthat youpresslike the
2. You can onlytestone channel bay
at one time.

7. The Betapack 3 range issupplied
withMCBs on everychannel,giving
youpeace of mindandmaximum
protection.
Designedtobe rack mounted,
installedonawall or carried
rear mountedelectronic
temperature.Monitoringand
progressive overheatshutdown
There are notestingbuttons
howeverthere isalittle screenthat
youcan testthemon. Thisismore
efficientbecause youcancontrol
the lightsfromthisbay.
The operatorsetsthe fadersintothe rightsettings/intensity basedonthe cue sheets thatare made specificallyforthatplay/gig
ect.Typicallyduringacue, the operatorsetsthe nextscene manuallybecausetheydonothave a memorysotheyhave to do it
live andon site. Then,the operatormakesthe transitionbetweenthe scenesusingthe cross-fadertochange the lightsthatis
supposedtobe on at that momentintime.withananalogue,youcan’trecordscenes,chases,cue ectbecause itdoesn’thave a
memory.Anda analogue cable canonlyhave 6 cue travelingdownatonce

9. Thisis a dmx lightingdesk.Dmx are alsocalledmemoryconsoles. Memoryconsolesare preferable inproductionswhere scenes
do notchange fromshowto show,suchas a theatre production,because scenesare designedanddigitally recorded before the
production, sothere isless chance forhuman error,and lesstime betweenlightingcuesisrequiredtoproduce the same result
there fortheyare more slicker,makingthe lightingalotbetterthananalogue.A dmx cable can carry 512 channelsdownit.
scenesare typicallyusedinproductions,where itisasnap shotof lightsunderone control tosetthe mood/scene.A chase is
generallyusedformusicgigs(butcanbe usedin productions) whereitisa sequence of lightsthatflashone afteranother.They
can be setto go at differentspeedstogive differenteffectsandyoucan give themdifferentfadeswhenswitchingfromone
colourto another(sharp,dissolved,softlyetc…).youcanadjustthe speedsof the lightsflashingbyatempo button,or theycan
pre adjustthe speedduringthe makingof the chase bytypinginhow fast/ longtheywantthe lightsto go. Submasterscan be
recordedondmx desks,these are a multiple of lightsunderone control fader.Cue stacksare pre-setcues/ scenesthatare
controlledoveraplaybuttonthat the operatoroperatesthroughthe show.Cue stackscan also be setby a timerto change the
scene/lightsonit,andalso bya pitchdetectorsowhena certainsoundcomesup itwill change itdependingon whenyouhad
pre set itto change.

10. Thisis the lightingplanthatwe hadfor the show.We needed14par cans, STRANDPATT. 60 4
floods, 4 Fresnel,6profiles