This document provides information on various lighting instruments used for stage maintenance including:
- Parcans are used for general cover and adding depth at music gigs. They cannot be controlled. LED pars allow color control from the lighting desk.
- PC fresnels have a convex lens that allows them to function similarly to a spotlight. CCT fresnels provide a diffused spread of light while 1K fresnels are used for backlighting.
- Profiles, selecons, and birdies are not suitable if a defined or powerful light is needed like with a parcan, PC, or 1K. Flood lights provide general cover but cannot be directed.
The document provides information about various lighting instruments, including their accessories, typical uses, and comparisons between instruments. It describes the Parcan, Profile, CCT, Selecon, PC, 1K, and Source Four lights, listing their accessories, beam angles, and explanations of typical uses. The comparisons discuss which light would be best for different lighting purposes like creating a chase, side lighting, or isolating an actor based on each light's capabilities. Safety information and locations of additional accessories are also noted.
The document discusses various types of stage lighting equipment, including Parcans, LED Parcans, Minuette Profiles, Source Fours, PCs, and Selecons. It describes the key features of each light, when each would be used, and provides checklists of additional equipment needed to operate each light. The document also compares and contrasts the lights, discussing how each is suited for different performance situations like concerts, dances, or theatrical productions.
This document describes and compares various types of stage lighting instruments. It provides details on the key features of par cans, LED pars, PCs, CCTs, selecons, 1Ks, flood lights, birdies, pinspots, Source Fours, and Minuette Profiles. For each light, it gives the intended use and provides an example of when that light would be chosen over another type for a given lighting task.
The document provides information on various types of stage lighting equipment, including parcans, LED parcans, Pc lights, CCT fresnels, selecons, scena 1Ks, floodlights, birdies, pinspots, and source 4 lights. For each light, it lists common accessories, beam angle, wattage, lens type, and provides an explanation of typical uses and scenarios where each light may be used or not used. Checklists of safety steps are also provided for each light type when using or returning the equipment.
- A parcan produces a diffused light that adds depth and is used for general cover at music gigs. An LED par can change colors digitally and is more energy efficient.
- A PC fresnel has a pebble convex lens that allows it to produce a defined spotlight-like beam, unlike other fresnels with ridged lenses.
- A 1k fresnel produces diffused back light without shadows and is more powerful than smaller lights like birdies.
The document describes different types of lighting equipment used in stage productions, including their accessories, purposes, and when each would be preferred over another type. It provides details on Par cans, LED Par cans, Pebble Convex lights, Selecons, CCTs, 1K Scenas, Birdies, Pin spots, Flood lights, Source fours, and Minuette profiles. For each type, it explains typical uses and gives an example scenario where it would be chosen over another option.
The document provides information about various lighting instruments, including their accessories, typical uses, and comparisons between instruments. It describes the Parcan, Profile, CCT, Selecon, PC, 1K, and Source Four lights, listing their accessories, beam angles, and explanations of typical uses. The comparisons discuss which light would be best for different lighting purposes like creating a chase, side lighting, or isolating an actor based on each light's capabilities. Safety information and locations of additional accessories are also noted.
The document discusses various types of stage lighting equipment, including Parcans, LED Parcans, Minuette Profiles, Source Fours, PCs, and Selecons. It describes the key features of each light, when each would be used, and provides checklists of additional equipment needed to operate each light. The document also compares and contrasts the lights, discussing how each is suited for different performance situations like concerts, dances, or theatrical productions.
This document describes and compares various types of stage lighting instruments. It provides details on the key features of par cans, LED pars, PCs, CCTs, selecons, 1Ks, flood lights, birdies, pinspots, Source Fours, and Minuette Profiles. For each light, it gives the intended use and provides an example of when that light would be chosen over another type for a given lighting task.
The document provides information on various types of stage lighting equipment, including parcans, LED parcans, Pc lights, CCT fresnels, selecons, scena 1Ks, floodlights, birdies, pinspots, and source 4 lights. For each light, it lists common accessories, beam angle, wattage, lens type, and provides an explanation of typical uses and scenarios where each light may be used or not used. Checklists of safety steps are also provided for each light type when using or returning the equipment.
- A parcan produces a diffused light that adds depth and is used for general cover at music gigs. An LED par can change colors digitally and is more energy efficient.
- A PC fresnel has a pebble convex lens that allows it to produce a defined spotlight-like beam, unlike other fresnels with ridged lenses.
- A 1k fresnel produces diffused back light without shadows and is more powerful than smaller lights like birdies.
The document describes different types of lighting equipment used in stage productions, including their accessories, purposes, and when each would be preferred over another type. It provides details on Par cans, LED Par cans, Pebble Convex lights, Selecons, CCTs, 1K Scenas, Birdies, Pin spots, Flood lights, Source fours, and Minuette profiles. For each type, it explains typical uses and gives an example scenario where it would be chosen over another option.
Disclosure is an English house/garage music duo consisting of brothers Howard and Guy Lawrence. They grew up in a musical household, with Guy beginning drums at age 3 and Howard starting bass at age 8. Their albums Settle (2013) and Caracal (2015) were nominated for Grammys. They have also produced remixes for major artists like Emeli Sande, Janet Jackson, and Jessie Ware. Disclosure gained popularity after posting early music to Myspace, which led to record deals. Their singles "Latch" and collaborations with AlunaGeorge and Eliza Doolittle achieved UK chart success. They cite the return of joy and female audiences to club music as influences and focus
Doppl is a new programming language that aims providing a natural syntax for implementing parallel algorithms, designing data structures for shared memory applications and automated message passing among multiple tasks. The name is an abbreviation of `data oriented parallel programming language`.
Doppl is a new programming language that aims providing a natural syntax for implementing parallel algorithms, designing data structures for shared memory applications and automated message passing among multiple tasks. The name is an abbreviation of `data oriented parallel programming language`.
Una red de computadoras es un conjunto de equipos informáticos y software conectados entre sí para compartir información y recursos. Se compone de hardware como computadoras, servidores e impresoras, software como sistemas operativos de red, y protocolos de comunicación. Las redes se pueden clasificar por su alcance, tipo de conexión, topología física y grado de autenticación y difusión.
MLM Ustadz Yusuf Mansyur, MLM Menurut Yusuf Mansur, MLM Syariah Yusuf Mansur, MLM Ust Yusuf Mansur, MLM Ustad Yusuf Mansur, MLM Miracle Yusuf Mansur, Yusuf Mansur Ikut MLM, VSI Yusuf Mansur Penipuan, VSI MLM Yusuf Mansur, VSI Bandung
Nos permite administrar una cuenta donde archivar, publicar y difundir muestras presentaciones. Sirve para compartir sin necesidad de adjuntar archivos pesados en nuestros mails, publicarlos en un sitio web o blog.
La empresa Celuluifer es una compañía líder en comunicaciones y tecnología en Cáceres, Antioquia. El proyecto busca implementar estrategias administrativas para mejorar la eficiencia y documentación de la empresa. Actualmente, Celuluifer tiene 3 empleados y un local de 7x12 metros. Su misión es brindar equipos telefónicos y reparaciones con calidad, obteniendo la confianza de los clientes.
Doppl is a new programming language that aims providing a natural syntax for implementing parallel algorithms, designing data structures for shared memory applications and automated message passing among multiple tasks. The name is an abbreviation of `data oriented parallel programming language`.
This document provides information on various types of stage lighting equipment, including fresnels (pebble convex, CCT), par cans, 1Ks, floods, birdies, pinspots, source fours, and miniuette profiles. For each light, it lists key parts and maintenance checklist items. It explains common uses for different lights, such as using 1Ks for backlighting and sources fours or profiles for their ability to manipulate light edges and patterns. Accessories and spare parts are noted as being stored at the back of the hall.
1) The document describes different types of lighting instruments, including parcans, LED parcans, Source Four spots, Minuette Profiles, Fresnels, floods, birdies, and pin spots.
2) For each light, it lists common accessories, typical uses, and provides an example scenario where that light would be suitable over another type.
3) The examples focus on using the optimal light for the task, whether it's creating a chase effect, changing colors digitally, isolating an actor, making a window effect with a gobo, creating washes or backlights, lighting audiences or cycloramas, or illuminating a disco ball.
1) The document describes different types of lighting instruments, including parcans, LED parcans, Source Four spots, Minuette Profiles, Fresnels, floods, birdies, and pin spots.
2) For each light, it lists common accessories, typical uses, and provides an example scenario where that light would be suitable over another type.
3) The examples demonstrate how each light is suited for different purposes based on its beam angle, intensity, ability to add color or gobos, and other qualities that make it more appropriate than alternatives for specific lighting needs.
Disclosure is an English house/garage music duo consisting of brothers Howard and Guy Lawrence. They grew up in a musical household, with Guy beginning drums at age 3 and Howard starting bass at age 8. Their albums Settle (2013) and Caracal (2015) were nominated for Grammys. They have also produced remixes for major artists like Emeli Sande, Janet Jackson, and Jessie Ware. Disclosure gained popularity after posting early music to Myspace, which led to record deals. Their singles "Latch" and collaborations with AlunaGeorge and Eliza Doolittle achieved UK chart success. They cite the return of joy and female audiences to club music as influences and focus
Doppl is a new programming language that aims providing a natural syntax for implementing parallel algorithms, designing data structures for shared memory applications and automated message passing among multiple tasks. The name is an abbreviation of `data oriented parallel programming language`.
Doppl is a new programming language that aims providing a natural syntax for implementing parallel algorithms, designing data structures for shared memory applications and automated message passing among multiple tasks. The name is an abbreviation of `data oriented parallel programming language`.
Una red de computadoras es un conjunto de equipos informáticos y software conectados entre sí para compartir información y recursos. Se compone de hardware como computadoras, servidores e impresoras, software como sistemas operativos de red, y protocolos de comunicación. Las redes se pueden clasificar por su alcance, tipo de conexión, topología física y grado de autenticación y difusión.
MLM Ustadz Yusuf Mansyur, MLM Menurut Yusuf Mansur, MLM Syariah Yusuf Mansur, MLM Ust Yusuf Mansur, MLM Ustad Yusuf Mansur, MLM Miracle Yusuf Mansur, Yusuf Mansur Ikut MLM, VSI Yusuf Mansur Penipuan, VSI MLM Yusuf Mansur, VSI Bandung
Nos permite administrar una cuenta donde archivar, publicar y difundir muestras presentaciones. Sirve para compartir sin necesidad de adjuntar archivos pesados en nuestros mails, publicarlos en un sitio web o blog.
La empresa Celuluifer es una compañía líder en comunicaciones y tecnología en Cáceres, Antioquia. El proyecto busca implementar estrategias administrativas para mejorar la eficiencia y documentación de la empresa. Actualmente, Celuluifer tiene 3 empleados y un local de 7x12 metros. Su misión es brindar equipos telefónicos y reparaciones con calidad, obteniendo la confianza de los clientes.
Doppl is a new programming language that aims providing a natural syntax for implementing parallel algorithms, designing data structures for shared memory applications and automated message passing among multiple tasks. The name is an abbreviation of `data oriented parallel programming language`.
This document provides information on various types of stage lighting equipment, including fresnels (pebble convex, CCT), par cans, 1Ks, floods, birdies, pinspots, source fours, and miniuette profiles. For each light, it lists key parts and maintenance checklist items. It explains common uses for different lights, such as using 1Ks for backlighting and sources fours or profiles for their ability to manipulate light edges and patterns. Accessories and spare parts are noted as being stored at the back of the hall.
1) The document describes different types of lighting instruments, including parcans, LED parcans, Source Four spots, Minuette Profiles, Fresnels, floods, birdies, and pin spots.
2) For each light, it lists common accessories, typical uses, and provides an example scenario where that light would be suitable over another type.
3) The examples focus on using the optimal light for the task, whether it's creating a chase effect, changing colors digitally, isolating an actor, making a window effect with a gobo, creating washes or backlights, lighting audiences or cycloramas, or illuminating a disco ball.
1) The document describes different types of lighting instruments, including parcans, LED parcans, Source Four spots, Minuette Profiles, Fresnels, floods, birdies, and pin spots.
2) For each light, it lists common accessories, typical uses, and provides an example scenario where that light would be suitable over another type.
3) The examples demonstrate how each light is suited for different purposes based on its beam angle, intensity, ability to add color or gobos, and other qualities that make it more appropriate than alternatives for specific lighting needs.
Unit 62 – technical stage maintenance lightingAnnaSm1th
- The document discusses different types of stage lighting equipment including Parcans, LED Parcans, CCT Fresnels, PC Fresnels, and Selecon Fresnels.
- It provides details on the accessories, bulbs, uses, and beam angles of each light. It also gives checklists for their proper use.
- Short descriptions compare the lights and give examples of when each type would be best used, such as using Parcans for their chase effect or PC Fresnels to portray harsh emotions.
The document describes various lighting fixtures including Parcans, Profiles, CCTs, 1Ks, Selecions, PCs, Birdies, Pinspots, Floods and LED Parcans. It provides details on their accessories, typical uses for general cover, specials, backlighting, audience lighting, cycloramas and more. The document compares and contrasts which fixtures would be best for different lighting needs like creating a chase, isolating an actor, side lighting, creating depth, window effects and more.
The document provides information on various types of stage lighting instruments, including their accessories, typical uses, and comparisons between different instruments. It describes Pebble Convex Fresnels, CCT Fresnels, Selecon Fresnels, 1K Scena Fresnels, Parcans, LED Parcans, Birdies, Flood Lights, Pin Spots, and Source Four lights. Examples are given for when each type of instrument would be suitable for specific lighting scenarios on stage.
The document provides information on various types of stage lighting instruments, including their accessories, typical uses, and comparisons between different instruments. It describes Pebble Convex Fresnels, CCT Fresnels, Selecon Fresnels, 1K Scena Fresnels, Parcans, LED Parcans, Birdies, Flood Lights, Pin Spots, and Source Four lights. Examples are given for when each type would be suitable to use for different lighting scenarios on stage.
The document provides information on various types of stage lighting instruments, including their accessories, typical uses, and comparisons between different instruments. It describes Pebble Convex Fresnels, CCT Fresnels, Selecon Fresnels, 1K Scena Fresnels, Parcans, LED Parcans, Birdies, Flood Lights, Pin Spots, and Source Four lights. Examples are given for when each type of instrument would be suitable for specific lighting scenarios on stage.
The document provides information on various types of stage lighting instruments, including their accessories, typical uses, and comparisons between different instruments. It describes Pebble Convex Fresnels, CCT Fresnels, Selecon Fresnels, 1K Scena Fresnels, Parcans, LED Parcans, Birdies, Flood Lights, Pin Spots, and Source Four lights. Examples are given for when each type would be suitable to use for different lighting scenarios on stage.
The document provides information on lighting equipment available in a performance hall. Spare lights, safety chains, G-clamps, barn doors, gel holders, gobos, and iris can all be found at the back of the hall. Instructions are given on how to hang lights from rigs, add safety chains, isolate light directions using barn doors or shutters, add color using gel holders, create patterns with gobos, and reduce beam angles with iris.
Unit 66 - 10 Lights - Jordan Alexander Simpsonjs00523128
This document provides equipment reference forms for three types of stage lighting equipment: the Zero 88 Sirius 24 & 48CH lighting desk, the Source Four Jr. (Profile) 575W light, and the Selecon Acclaim Fresnel 650W light. It describes the key features and components of each piece of equipment, including that the lighting desk controls light levels, holds memories, and programs chases; the Source Four light has gobo and iris effects; and the Selecon Fresnel provides soft-edged light to fill the stage. Accessories like power cables, safety chains, and clamps are identified as essential to operating each light safely and effectively.
This document provides information on various types of stage lighting instruments, including their accessories, common uses, and beam angle ranges. It describes parcans, LED parcans, CCT/fresnels, Source Four spotlights, Minette profiles, 1k Scenas, Selecons, pebble convex lights, birdies, pinspots, and flood lights. For each light, it provides a short example of when it would be used over another type of instrument for a given theatrical application.
A parcan, LED parcan, CCT (Fresnel), Source Four spotlight, Minette profile, 1K Scena (Fresnel), Selecon (Fresnel), Pebble convex, Birdie, Pinspot, and Flood light are described. Each lighting fixture is summarized, including common accessories, typical uses, and reasons why one might choose a particular fixture over another for different applications such as general wash, isolating areas, backlighting, or creating effects. Beam angles are also listed for some fixtures.
The document summarizes the uses and operations of different types of lighting equipment used in technical stage operations. It provides descriptions of 14 different types of lights (Par Can, LED Par Can, Pebble Convex, Selecon, CCT, 1k Scena, Birdie, Pin Spot, Flood Light, Source Four, Minuette Profile) and explains their typical uses, accessories, and beam angles. For each light, it provides an example of when that light would be preferred over another type for a given task.
The document provides information on various stage lighting instruments, including the Pebble Convex, Parcan, CCT, Selecon, Scena 1K, Flood Light, Birdie, Pin Spot, Source Four, and Miniunette Profile. For each light, it lists key features and describes common applications and when one light may be preferable to another for a given task. For example, it notes that the Pebble Convex creates a defined edge unlike other fresnels, and that a CCT could be chosen over a Parcan because it allows the use of barn doors to control the light.
The document provides information on various stage lighting instruments, including the Pebble Convex, Parcan, CCT, Selecon, Scena 1K, Flood Light, Birdie, Pin Spot, Source Four, and Miniunette Profile. For each light, it lists key features and describes common applications and when one light may be preferred over similar options. For example, it states that the Pebble Convex is mainly used for general cover and its defined edge makes it a better choice than a CCT in some cases.
The document provides information on various stage lighting instruments, including the Pebble Convex, Parcan, CCT, Selecon, Scena 1K, Flood Light, Birdie, Pin Spot, Source Four, and Miniunette Profile. For each light, it lists key features and describes common applications and when one light may be preferable to another for a given task. For example, it notes that the Pebble Convex creates a defined edge unlike other fresnels and is mainly used for general cover, while the CCT provides a less defined spread of light and allows the use of barn doors.
The document provides information on various stage lighting instruments, including the Pebble Convex, Parcan, CCT, Selecon, Scena 1K, Flood Light, Birdie, Pin Spot, Source Four, and Miniunette Profile. For each light, it lists key features and describes common applications and when one light may be preferable to another for a given task. For example, it notes that the Pebble Convex creates a defined edge unlike other fresnels and is mainly used for general cover, while the CCT provides a less defined spread of light and allows the use of barn doors.
This document provides information about various types of lighting and audio equipment, including their key features and common uses. It discusses Fresnel lights like CCTs, Selecons, and 1Ks; profile lights like Source Fours; par lights and LED parcans; birdies; flood lights; pin spots; and short throw and long throw projectors. It also covers basic components of a PA system like sound desks, speakers, cables, and Q Lab software used with a Matrox system to control multiple projectors.
This document provides descriptions and usage information for 14 different types of lighting equipment including Fresnel lights, profile lights, LED PAR lights, flood lights, pinspots, and more. Each entry lists the type and make, a brief description of its key features and beam properties, and typical components. These lights vary in power output, ability to focus the beam, inclusion of accessories like barn doors or gels, and intended usage like general lighting versus spotlighting specific objects.
The document provides a checklist for equipment used in a drama studio, including lighting, sound, and projection. For each type of equipment, it lists items that must be checked and potential issues to look for. If issues are found, it provides suggestions for resolving them, such as checking fuses or light bulbs, and locating replacement parts in the back of the hall. Assistance should be sought if problems cannot be determined or resolved.
This document provides a checklist for equipment setup and testing in a drama studio, including:
- Lighting: How to rig and focus 10 fresnel lights, attach safety chains and barn doors, insert gels, and properly plug them into the lighting desk.
- Sound: How to connect an iPod lead to the sound desk and speakers.
- Projection: How to obtain and connect a laptop to the projector.
The checklist specifies what to do if any equipment is missing or not functioning properly, and to seek technical assistance if needed. It must be checked and signed off prior to each use.
This document lists equipment inventory for three rooms - Drama, Dance, and Hall. The Drama room contains equipment for lighting and audio including a laptop, projector, speakers, dimmer pack, lighting desk, and stage lights. The Dance room has equipment for video, audio, and lighting such as laptops, projectors, TVs, DVD players, speakers, mixer, and CD players. The Hall room includes computers, projectors, passive and powered speakers, amplifiers, mixers, CD players, microphone receivers, dimmers, and a lighting desk. A piano is also shared between the three rooms.
This document lists equipment inventory for three rooms - Drama, Dance, and Hall. The Drama room contains a Toshiba laptop, projector with powered speakers, CD player, iPod lead, Zero 88 dimmer pack, Strand lighting desk, and 10 CCT Minuette Fresnels with gel frames. The Dance room has a Sony laptop, projector with speakers, Samsung TV, Samsung DVD/Video player, Nu DVD player, 2 Behringer powered speakers, Gemini mixer, and Numark double CD player. The Hall contains a Dell PC, 2 Hitachi projectors, 4 HK passive speakers, 4 JBL passive speakers, 5 Behringer amps, Yamaha MG16
The document provides a checklist for setting up and testing lighting, sound, and projection equipment in a drama studio. It describes the necessary equipment, how to set it up properly, and what to do if any items are missing or not functioning correctly. Potential issues covered include rigging lights, attaching safety chains, installing gels, patching lights to the dimmer board, checking fuses, replacing bulbs, connecting audio from the mixing desk to speakers, and ensuring the projector is powered on. Assistance should be sought if specific problems cannot be resolved.
This document compares and contrasts the use of sound in musical theatre and contemporary dance. Musical theatre typically uses a live orchestra, sound effects, and motifs to underscore the action and spoon feed the audience. Contemporary dance features original scores and can work in direct correlation with the movement or be disassociated; it leaves more room for audience interpretation. Examples shown are Love Never Dies, a musical, and Revelations, a contemporary dance work, illustrating these differences in how sound is used.
Previous productions of high school musicalahoylauren
High School Musical was a popular Disney Channel television film franchise that consisted of three movies between 2006 and 2008. The films followed Troy Bolton and Gabriella Montez as they navigate their high school experiences and discover their love of singing and performing. The movies were a huge success for Disney Channel and helped launch the careers of stars Zac Efron and Vanessa Hudgens.
This mood board for a rooftop garden scene in High School Musical includes props like plastic pots, ceramic pots, flowers, benches, and trellises to decorate the rooftop setting as well as plastic and paper flowers for aesthetic purposes.
A props mistress is responsible for designing and securing all stage properties needed for each character in a show based on the historical and social context of the play. They must work closely with the director and within the budget to design props that can be used specifically by different characters. A props assistant helps the props mistress by assisting in the creation of props for an entire show. If a props mistress or assistant fails to do their job correctly, it could affect the entire show and delay the premiere.
A lighting operator is responsible for operating lighting during rehearsals and performances. They work closely with the director and sound operator to program lights and ensure the right lighting is used for specific scenes. A lighting operator uses cue sheets and scripts to follow lighting cues at the right times. Their job requires alertness and familiarity with the show to execute cues properly, as mistakes could negatively impact the entire production.
A front of house manager earns an average salary of $58,000. Their job is to manage the front of house assistants and ensure seamless, excellent service for audiences before and during performances. Front of house managers are responsible for shift patterns, show merchandising, maintaining quality service, and overseeing the front of house team to provide a positive experience for customers and protect the business.
A sound operator is responsible for operating the sound during rehearsals and performances of a production. They work closely with the director, lighting operator, and other crew to ensure sounds are played at the correct moments and cues. A sound operator edits sound files, keeps cues, and follows the script to coordinate sound with other elements of the production. Their salary averages $50,000 and it is important they perform their role correctly as the sound is often cues for performers and other crew.
A sound designer earns an average salary of $65,000. They work closely with directors to set the mood and scene through sound, considering factors like historical context and geographical location. Sound designers both design sound and operate equipment to record, manipulate, and play sounds that create distinction between diegetic and non-diegetic elements. Effective sound design is critical to the overall quality of a production.
A stage manager is responsible for overseeing all aspects of a theatrical production from rehearsals through performances to ensure the director's vision is realized. They record cues, maintain a prompt book detailing all elements of the production, set rehearsal schedules, call cues during performances, and ensure understudies are prepared in case of absences. The stage manager's work coordinating all personnel and elements is crucial as any mistakes could impact the entire production. Salaries for stage managers range from £16,000 to over £40,000 depending on experience.
A stage manager is responsible for overseeing all aspects of a theatrical production to ensure the director's vision is realized. They record cues, maintain a prompt book detailing crucial production information, set rehearsal schedules, call cues during performances, and ensure understudies are prepared. The stage manager's work is vital as any mistakes could impact other roles, and they earn between £16,000-£40,000 annually in the UK.
The document provides a synopsis and context for the play "High School Musical". It summarizes the plot of Acts 1 and 2, introducing the main characters Troy Bolton, Gabriella Montez, Sharpay Evans, and Ryan Evans. It also provides geographical, historical, and social context, describing the setting as a typical American high school in Albuquerque, New Mexico. Creative elements of the play like scenery, lighting, props, costumes, and sound effects are briefly outlined.
The document provides context and summaries for the Broadway musical "In the Heights". Set in Washington Heights, New York, the musical tells the story of a vibrant Latino community on the brink of change. It summarizes the plot across two acts, introducing the main characters which include Usnavi, Nina, Benny, Vanessa, Kevin, Camila and Abuela Claudia. Additional sections provide geographical, historical and social context for Washington Heights as well as character analyses that describe each character in more detail.
The document provides a summary of the musical "High School Musical". It takes place at East High School in Albuquerque, New Mexico and follows Troy Bolton and Gabriella Montez as they meet at a ski lodge over winter break and later discover they now attend the same high school. They bond over their secret talents for singing and audition for the school musical, facing opposition from drama club president Sharpay Evans. The summary outlines the plot which sees Troy and Gabriella navigate their new relationship and roles in the musical through the support of friends and challenges from Sharpay.
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Company Valuation webinar series - Tuesday, 4 June 2024FelixPerez547899
This session provided an update as to the latest valuation data in the UK and then delved into a discussion on the upcoming election and the impacts on valuation. We finished, as always with a Q&A
How are Lilac French Bulldogs Beauty Charming the World and Capturing Hearts....Lacey Max
“After being the most listed dog breed in the United States for 31
years in a row, the Labrador Retriever has dropped to second place
in the American Kennel Club's annual survey of the country's most
popular canines. The French Bulldog is the new top dog in the
United States as of 2022. The stylish puppy has ascended the
rankings in rapid time despite having health concerns and limited
color choices.”
Discover timeless style with the 2022 Vintage Roman Numerals Men's Ring. Crafted from premium stainless steel, this 6mm wide ring embodies elegance and durability. Perfect as a gift, it seamlessly blends classic Roman numeral detailing with modern sophistication, making it an ideal accessory for any occasion.
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Brian Fitzsimmons on the Business Strategy and Content Flywheel of Barstool S...Neil Horowitz
On episode 272 of the Digital and Social Media Sports Podcast, Neil chatted with Brian Fitzsimmons, Director of Licensing and Business Development for Barstool Sports.
What follows is a collection of snippets from the podcast. To hear the full interview and more, check out the podcast on all podcast platforms and at www.dsmsports.net
Structural Design Process: Step-by-Step Guide for BuildingsChandresh Chudasama
The structural design process is explained: Follow our step-by-step guide to understand building design intricacies and ensure structural integrity. Learn how to build wonderful buildings with the help of our detailed information. Learn how to create structures with durability and reliability and also gain insights on ways of managing structures.
How MJ Global Leads the Packaging Industry.pdfMJ Global
MJ Global's success in staying ahead of the curve in the packaging industry is a testament to its dedication to innovation, sustainability, and customer-centricity. By embracing technological advancements, leading in eco-friendly solutions, collaborating with industry leaders, and adapting to evolving consumer preferences, MJ Global continues to set new standards in the packaging sector.
Industrial Tech SW: Category Renewal and CreationChristian Dahlen
Every industrial revolution has created a new set of categories and a new set of players.
Multiple new technologies have emerged, but Samsara and C3.ai are only two companies which have gone public so far.
Manufacturing startups constitute the largest pipeline share of unicorns and IPO candidates in the SF Bay Area, and software startups dominate in Germany.
How to Implement a Strategy: Transform Your Strategy with BSC Designer's Comp...Aleksey Savkin
The Strategy Implementation System offers a structured approach to translating stakeholder needs into actionable strategies using high-level and low-level scorecards. It involves stakeholder analysis, strategy decomposition, adoption of strategic frameworks like Balanced Scorecard or OKR, and alignment of goals, initiatives, and KPIs.
Key Components:
- Stakeholder Analysis
- Strategy Decomposition
- Adoption of Business Frameworks
- Goal Setting
- Initiatives and Action Plans
- KPIs and Performance Metrics
- Learning and Adaptation
- Alignment and Cascading of Scorecards
Benefits:
- Systematic strategy formulation and execution.
- Framework flexibility and automation.
- Enhanced alignment and strategic focus across the organization.
At Techbox Square, in Singapore, we're not just creative web designers and developers, we're the driving force behind your brand identity. Contact us today.
Event Report - SAP Sapphire 2024 Orlando - lots of innovation and old challengesHolger Mueller
Holger Mueller of Constellation Research shares his key takeaways from SAP's Sapphire confernece, held in Orlando, June 3rd till 5th 2024, in the Orange Convention Center.
Best practices for project execution and deliveryCLIVE MINCHIN
A select set of project management best practices to keep your project on-track, on-cost and aligned to scope. Many firms have don't have the necessary skills, diligence, methods and oversight of their projects; this leads to slippage, higher costs and longer timeframes. Often firms have a history of projects that simply failed to move the needle. These best practices will help your firm avoid these pitfalls but they require fortitude to apply.
Taurus Zodiac Sign: Unveiling the Traits, Dates, and Horoscope Insights of th...my Pandit
Dive into the steadfast world of the Taurus Zodiac Sign. Discover the grounded, stable, and logical nature of Taurus individuals, and explore their key personality traits, important dates, and horoscope insights. Learn how the determination and patience of the Taurus sign make them the rock-steady achievers and anchors of the zodiac.
Storytelling is an incredibly valuable tool to share data and information. To get the most impact from stories there are a number of key ingredients. These are based on science and human nature. Using these elements in a story you can deliver information impactfully, ensure action and drive change.
Understanding User Needs and Satisfying ThemAggregage
https://www.productmanagementtoday.com/frs/26903918/understanding-user-needs-and-satisfying-them
We know we want to create products which our customers find to be valuable. Whether we label it as customer-centric or product-led depends on how long we've been doing product management. There are three challenges we face when doing this. The obvious challenge is figuring out what our users need; the non-obvious challenges are in creating a shared understanding of those needs and in sensing if what we're doing is meeting those needs.
In this webinar, we won't focus on the research methods for discovering user-needs. We will focus on synthesis of the needs we discover, communication and alignment tools, and how we operationalize addressing those needs.
Industry expert Scott Sehlhorst will:
• Introduce a taxonomy for user goals with real world examples
• Present the Onion Diagram, a tool for contextualizing task-level goals
• Illustrate how customer journey maps capture activity-level and task-level goals
• Demonstrate the best approach to selection and prioritization of user-goals to address
• Highlight the crucial benchmarks, observable changes, in ensuring fulfillment of customer needs
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