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The size originates from the gelatin days: it is the same as a standard baker's sheet, which was used to cast the sheets. In the film industry, gels are usually cut straight from rolls 24 or 48 in (600 or 1,200 mm) wide and 50 ft (15 m) long, as the size required may vary from a single practical halogen spotlight in a ceiling to a whole window.
A color scroller, color changer, or "scroller" is a lighting accessory used to change color gels on stage lighting instruments without the need of a person to be in the vicinity of the light. [5] It is attached in the gel frame holder on the outside of a lighting instrument, immediately in front of lens assembly.
Four different beam angles can be obtained on the PAR-64. The beam angle is determined by the lamp. Lamps come in "very narrow" (6° x 12°), "narrow" (7° x 14°), "medium" (12° x 28°), and "wide" (24° x 48°). Each angle has two numerical values since the beams are elliptical rather than circular. PAR 16s are often referred to as "birdies".
A colour scroller moves plastic "gel" colour gel [actually dyed polyester and/or other base materials coated with dyes] into the beam of the light. It is generally attached to the gel frame holder at the transmitting end of a lighting fixture, so colour is introduced after the beam characteristics have been defined by the optics of the lighting ...
Stage lighting is the craft of lighting as it applies to the production of theater, dance, opera, and other performance arts. [1] Several different types of stage lighting instruments are used in this discipline. [2] In addition to basic lighting, modern stage lighting can also include special effects, such as lasers and fog machines.
An illustration from Kliegl Brothers' 1922 catalog, depicting portable lighting equipment used at Lasky Hollywood Studios. Kliegl Brothers Universal Electric Stage Lighting Company was an American manufacturer of electrical stage lighting products in the 20th century.
The pit is usually a large opening ranging from 4–6 feet (1.2–1.8 m) wide, 20–40 feet (6.1–12.2 m) long and 6–10 feet (1.8–3.0 m) deep. Some orchestra pits have lifts or elevators that can raise the floor of the pit up to the same height as the stage. This allows for easier movement of instruments among other things.
Best Lighting Design Nigel Levings: La bohème: Donald Holder: Movin' Out: Brian MacDevitt: Nine: Kenneth Posner: Hairspray: 2004 58th Tony Awards: Best Lighting Design Peggy Eisenhauer and Jules Fisher: Assassins: Brian MacDevitt: Fiddler on the Roof: Henry IV, Part 1 and Part 2: Kenneth Posner: Wicked: 2005 59th Tony Awards: Best Lighting ...
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