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Strand Lighting
Thepurposeof this bookletis to set out in a straightforward waythe basicprinciples
behindthe planningof televisionlightingsystems.It is not intendedasa guideto the
finer pointsof lightingwhichotherpublications alreadycover.
Originallydeveloped fromfilm lighting,televisionlightinghasnowbecomeanart
form in its ownright.Newideasandpurpose-designed equipmenthavemade
possiblenewstandardsandeffectsthat meetthe uniquechallenge andpotentialof
the medium.Nevertheless, the underlyingprinciplesof goodlightingremainmuch
the sameas ever,andsuccessdependson adherence to simpleruleswhicharejust
asapplicableto televisionasto film-making, photography or painting.
In colourtelevisionproductions, effectivelightingof sceneryandcostumeis
especiallyimportantif costumeandset designers areto achievetheiraims.The
concentration of the eyeontoa smallpictureautomatically leadsto muchcloser
examination of detailin a scenethanwouldbethe caseif life-size.
Consider, for example,a walkin the countryon a sunnyday.Thecolourof the
sceneistakenfor granted,muchof the detailaroundperhapshardlynoticed.Yeta
countryside sceneviewedon a televisionscreenin a darkenedroomat nightis vivid
with colourandalivewithobviousdetailbecausethe imageis concentrated intoa
verysmallarea.
Thefact of colourin televisiondoesnot meanthat additionalcoloursmust
inevitablybe employedin lighting,althoughtherearesituationswherethis is
effectiveandnecessary. Everything aroundus hasits owncolour.A manin a grey
suitwitha colouredtie againsta neutralbackground will achieveprominence when
properlylit.Themostsuccessful productionscanbethosewhichfaithfullytransmit
to the viewerpicturesof subjectsin their naturalcolours.
Thisbookletwasfirst publishedten yearsago,andhasbeenfully updatedto
reflectthe presentstateof the art in televisionlighting.Sincethefirst edition,lighting
consoleshavebecomemoresophisticated evenfor the smallstudioinstallation.
Discharge lightinghasmadean enormousimpacton locationlightingtechniques, for
bothfilm andelectronicmedia.Outsidebroadcastshavebecomemorecomplexand
a sectionhasbeenaddeddealingwiththis subject.
Becauseof the almostuniversaladoptionof colourtelevisionworldwide,all
referenceto monochrome hasbeenomitted.Buta sectionon camerashasbeen
introducedto helpthe non-technical readerappreciatethe needfor the numerous
itemsof mainandancillaryequipmentthat constitute'lightingfor television'.
Part 1: TERMS& DEFINITIONS 3

Part2: GENERALLIGHTING
2:1 Theory 5
2:2 Practice 5&6
2:3 Thetelevisioncamera 8
2:4 Outsidebroadcastlighting 8

Part3: LUMINAIRES
3:1 General 9
3:2 Specialised
luminaires 10
3:3 Constructionandhandling 10
3:4 Cycloramalights 11
3:5 Profilespots, followspots 11
3:6 Dischargeluminaires 12
3:7 Lamps 12

Part4: POWER,DIMMERS& LIGHTING

CONTROL
4:1 Power 13
4:2 Dimmers 13
4:3 Lightingconsoles 14

Part5: GENERALSTUDIODESIGN
5:1 Designconsiderations 15
5:2 Typesof suspension 16

Part6: STUDIOLAYOUTS 18

Part7: EQUIPMENT 23

Part8: TECHNICALINFORMATION 25
 PART

1
U) ASPECTRATIO
z
0
Theratioof the widthto the heightof a TV
screenor viewedimage.
t----t
E-i
t----t BACKLIGHT
~ A luminaireusedto lightthe subjectfrom the
J:l.t rearto helpseparationfrom backingsandto PROFILE
SPOT
µ.l increasethe threedimensionaleffect. /
0 BARNDOOR PANTOGRAPH /
~ SOFTLIGHT
U) Moveable shuttersfixedto a luminaire
(usually a spotlight)to controlandshapethe
:E light beam.
EGG-CRATE
~\
~
BARREL
~ A metaltube, usually.i8mm diameter,for
SPOTLIGHT
suspendingluminaires(scaffoldtube).
FRESNEL
LENS
BASELIGHT
Thebasiclevelof flood lightingintensity SCRIM
requiredto satisfythe mediumused.
BARN
DOOR
CATENARY
A flexiblepowerfeedersuspendedat several
pointsto enablemovementof a lighting
suspensionunit e.g.,pantograph
.
Note: usuallyseenon overheadmobile
cranes. STAND

CHANNEL
Thecircuitfrom the faderon the consoleto
its associateddimmer.

COLOUR
TEMPERATURE
A methodof specifyingthe colourof a
sourcewhichemitslight in a continuous
spectrum.Expressedin Kelvinunits,the
rangeusedin lightingis from 2600K (white
lightwith a highred content)to 6000K
(whitelightwith a high bluecontent).
N.B. Cannotbe usedwith dischargesources
althoughsometimesusedas a guideto
approximationof colour.
FLAG
CONE
A tube placedin front of a spotlightto givea
smallerbeamof light.

CROSSBARREL
Usedbetweenbarrelsto allowaccurate
positioningof luminaires
.

C.S.I.
A dischargelampwhichtendstowardsa
tungstensourcefor colourbalance.(4000K
approximately).

3

CYCLORAMA
A backingmounted in a studioto providea
continuous surfaceand an illusionof infinity.
DIFFUSER
Sheetsof frostedplasticor spunglassfibre
usedto softenthe shadowsproducedbythe
light beam.
DIMMER
An electronicdeviceusedto reducecurrent
flowto a lampandthereforeallowingits light A principal modelling light, usually the
intensityto beadjusted.
DROPARM
Usedto hanga luminaire lowerthanthe
normalsuspension systempermits.
EGGCRATES
A deviceconsisting of smallcrossbaffle
platesto restrict thespreadof the light beam
on a softlight.
EXTENSIONBAR
Usedto extend barrels for accurate
positioning of luminaires.
FADER
A control potentiometer for indirectly setting
thecurrent output of a dimmerand thus
varyingthe light intensity.
FILLER
Usedto control shadeareas; usuallya soft
light but canbe controlledhardlight.
FLAG
A sheetof metal or cardmounted a short
distancein front of the luminaireto givea
sharpcut off to the light beam.
FLOODLIGHT
A luminairethat only hasa reflectorto
controlthe beamand hasa wideangle
distribution. (Softlightandcycloramalight).
FOLLOWSPOT
A narrowanglefocusinghardedgespotlight
usedto followmovingartists.
FRESNEL LENS
A convexlensbuilt up in stepsto reduceits
thickness,thusreducing its sizeandweight.
GOBO
A maskplacedin the gateof a profilespot
to shapethe beam.It is a simpleform of
outline projection.
HARDLIGHT
A luminairethat producesstrongshadows
, SPOTLIGHT
normally a spotlight.
HMJ. (C.I.D.)
A dischargelampwhich is daylight colour
balanced(5600K).
KEYLIGHT
fresnel spot.
LUX - (Lumens/m 2)
The unit of measureme nt of the incident light
arrivingat a surface. (Old systemused foot
candles;lf.c. = 10.76 lux.)
MASTER/GROUP
MASTER
Usuallyrefersto a lighting controlsystem
faderwhich overridesa groupof individual
faders.
PANTOGRAPH
A spring-balancedcross-armed devicefor
varyingtheheightof luminaires.
PICK-UP-TUBE
Thenamesometimesusedfor cameratube
(genera
lly denotesphoto-sensi
tivedevice).
PRESET(BLIND
MODE)
A facility on lighting control systemsthat
enablesa lighting plot to beset up without
affectingthe lightsalreadyoperative.
PROFILESPOT
A luminaireusedto projectshapesor
patterns.
SATURATEDRIG
A lighting installationwhereluminairesare
usedin largenumbersto avoidthe needfor
physicalmovementthus reducingrigging
timeandmanpower.
SCRIM
A fine mesh usedin front of a spotlight to
attenuatethewhole or part of the light beam.
SOFTLIGHT
A luminaire designedto producevirtually
shadowlesslight;usedto control contrast.
A luminairewit h a focusingsystemto
concentrate the light beamand givegreater
control.
STAND
A tripod devicewhich allowsvarying fixed
heights of luminairesabove floor level.
TELESCOPE
A device made from retractable tubesthat is
used to suspend luminairesat varying
heights in thestudio.
TUNGSTEN
HALOGEN
Describesa family of lampswith either hard
glassor quartz envelopes,tungsten
filaments and halogen(usually iodine or
bromine)fillings.
VOLTAGEDROP
That lossof volts which occursthrough
energy wastagewhen a current passes
througha cable or electronic device.
4
 i) Thereis a minimumquantityof light
2:1 THEORY requiredthat will enablethe camerato work 2:2 PRACTICE
Tohelpthe readerit will be usefulto examine successfully. Thisis computedfrom the level BASICLIGHTING
someof the propertiesof lightandhowlight of illuminationrequiredon the pick-up-tubes Thefollowingdescriptionsapplyto the
behaves. to givea good picturewith allowancesbeing
lightingof people;however , it will be readily
Lightingin its mostbasic form consists madefor the camera's opticalsystem.
appreciatedthat all objectscanbetreated in
of sunlightandlightfrom the sky. Mostof ii) Thesceneandaction(day, night, sun,
a similarwayandthus anypictureis built up.
our livesweseefairlywellbalancedlighting dull etc.)
createdbythe sunandsky. An instanceof iii)Theanglesanddistancesof the lightsto The Key (A)
unbalanced lightingarethe picturesfrom the the subject. Why do we call it the'key'light?Becauseit is
'Apollo'moonshotswhereonlythe sun Wemustrememberthat the sungives us the principallightandtendsto bethe keyto
provideslightandthe picturesareof high almostconstantilluminationirrespectiveof the wholepicture; it establishesthe mood
contrastdueto the absenceof skyor 'fill' light. whereweare. Ourdistanceto the sun andcharacterof the picture, and generallyis
Lightalwaystravelsin straightlines, but (150,000,000km)is muchgreaterthan capableof producing acceptableresults
it canbedeviatedby reflection,in mirrors, relativedistancesbetweenobjectsor people. whenusedon its own- it doesnot however
etc.andmoreimportantly,it canbe refracted Withour locallightsourceswe haveto take contributea greatdealto the depthof the
whenpassingbetweenair andglass.All into accountthe inversesquarelaw, which picture.Thekeytendsto be usedat a
lensesrelyon refractionto focusraysof statesthatthe lightfallsoff at a rate verticalangleof 30° but canbewithinttie
light,eitherin a cameraor, morerelevantto determinedby the reciprocalof the square rangeof 20° to 45°. Therangeof horizontal
this booklet,in a luminaire . of the distances , i.e., doublethe distanceand incidencethat givessatisfactoryresultsis
Lightis modifiedby reflectionand, in weget onequarterof the light. within45° eithersideof normal.Whenthe
general,theTVcamerais respondingto that A picturecanbeobtainedby illuminating horizontalandverticalanglesof incidence
reflectedlight.Thismodificationby reflection all partsof the scenein a uniformmanner, are bothapproximately 30° then usually
is importantbecauseit givesthe shapeand but the resultsareflat and uninteresting , good resultsare obtained.Typicallightlevels
textureasweviewthe scene.Wearealso e.g. a dullovercastday! are1000-2000 lux.
verymuchconcernedwiththe colourof the Onereasonfor the disappointingresult Backlight (B&C)
lightsources.Sunlightandincandescent is thattelevisionis a two-dimensional Thebacklightis usedto enhanceseparation
lampsbehavein a similarwaybecausethey system,unlikehumanvisionwhichgivesus anddepth;the angleof backlightto the
are blackbodyradiators.Whatis a black threedimensionalimages . Thehumaneye subjectshouldpreferablynot exceed45° in
bodyradiator?Imaginea pieceof black allowsusto seeshape,form anddepth.For the verticalplaneandcanbevaried more
metalbeingheated:first it glowsdeepred television,we haveto createdepthandthis thanthe key. It is moredifficultto get a good
whenit is radiatingmainlyin the red endof canonly beachievedby lightingin backlightanglein the televisionstudiodueto
the spectrum,throughwhiteheatto an conjunctionwiththe subjectmatter.It is the factthatthe subjectshaveto be
intenseblueat the far endof the spectrum. importantto realisethat it is notthe lightthat positionedquitea longwayintothe studio
Thebalanceof the colourtemperature createsthe picture,but the shadowscreated andthis is generallyimpractical.
dependsmainlyon the relativeamountsof bythe light.An objectuniformlylit would Theratioof intensityof backlightto key
redand blue, the colourtemperaturebeing haveno substanceor shape.Inthe studiowe light is generally1:1 but strongbacklightcan
expressedin Kelvinunits,whichare based cancreatethe illusionof dayor night, sometimesbe effectivein creatingmoodand
on Celsiusunits,startingat AbsoluteZeroor interioror exterior.Oneotheraspectof drama.Twinbacklightsare usually
-273 Celsius . Thusthe mediumred of an lightingis to createatmosphere;having advantageou s for subjectswith longhair.
electricfire is around2000K; in otherwords satisfiedthe technicalrequirement , wecan
aboutl737C. useour lightingto stimulateemotion.Where
Fill light (D, E & F)
Sunlight,whichtendsto red,is 4800K;a a brightfeelingis required,low contrast Filllightis oftenregardedasa baselight
bluecloudlessskyis aboutlOOOOK lightingtogetherwithfairlybrightcolours uponwhichthe modellingis built.Certainly
upwards.Wenormallyseea mixtureof both maysometimesbe used.Wherea sombre the camerashaveto havea definitelevelof
sunandsky;standardEuropeandaylightis atmosphereis requiredhighcontrast lightto workwell,but it is foundthat modern
around5600K.Thebestwayof under- lightingis employed , creatingdarkshadows camerastoleratehighcontrastscenes
standingthe rangeof lightis to thinkof andpossiblyonlypickingout the main extremelywell, andbaselightdoes not have
incandescent lightsof 3200K asa pale pointsof interest.(OrsonWelles ' film - the importancethat it did in the past.It is
pinkishwhiteanddaylightasa palebluish "CitizenKane",isthe supremeexampleof muchbetterto lightthe scene and artists for
white.We, of course,neverseeit that way highlydramaticlighting). effectas individualitems built to a total,
becauseour braintakescareof the colour Fromexperience wecandraw ratherthanfloodthe areawithsoft lightand
difference . Thetelevisioncameracanbe conclusions thatthe sunis a relativelysmall thenaddmodellingkeys.
linedupto acceptincidentlightovera wide source(inarea)of lightandcreateshard Filllightalso tends to bethoughtof asa
range, but if linedup for 3200K will reproduce shadows ; on the otherhandthe skyis a soft source and, in general, is the most usefu
daylightof 5600Kasa slightlybluepicture. largeareaof illuminationandcreatesvery Thisis not necessarily true for all situations .
Somesourcesin usetoday, namelythe soft shadows,if anyat all.Sunlightat dusk It is oftenfound thata side hard light givesa
dischargesources, suchasfluorescentand becomesdiffusedby dustin the atmosphere verysatisfactory resultandspill light from
mercuryor sodiumstreetlights,are not andthissoftensthe effecta little.At dawnthe keys is oftencarefullycontrolledto do just this.
black bodyradiatorsandemitlight in several atmosphereis freeof dustandthis resultsin A pointto be bornein mindis that soft
narrowbands.Althoughstrictlyspeaking hardlightof highcontrast.Themood lightis not shadowless lightandthe position
thesedevices cannothavea colour createdby light is affectedby the colourof of the soft light is mostimportant.It is used
temperature , theycan havean equivalent that light.Directsunlightat mid-dayis yellow generallyto reducethe contrastcreatedby
which is calledthe correlatedcolour and in the eveningit becomesred (dueto the keylight.Thesoft light hasa levelof
temperature . Much research hasbeendone the scatteringof bluelight by dustin the air). approximately 500 lux.
to improvethe colour renderingproperties Theskytendsto let red light passoutwards A soft light usedfrom the front canbe
of dischargesourcesandthe HMIandCID andreflectbluelight backto the earth. A usedto controlcontrastbut not oftenused
lampsare good examplesof modernlamp subjectlit by sunlightwill appearwarm, in television.A soft lightat 45° to the subjec~
technology. whereasif lit from the northsky,it willtend wouldgivea doublekeyeffect. A soft light
It is evidentthat we requirelightwhen to takeon a cold appearance. from the side, usedwith our 30°/ 30° keyligh
workingin the studiobut on what parameters Aswe will nowfind out in televisionour gives the bestresultasyou willseefrom our
is the lightingbased?Thereareseveralfactors sunwill be the spotlightandour skywill bea final illustration . Whenallthe lightshavebeen
whichdictatehowlightingis applied. softlight. builtup (PlotG bottomright)the finalresult
canbe verypleasing .
5
 LIGHTING
PLOTA :
TheKey

()
() LIGHTING
PLOTE:
D ~ D
Filllight
LIGHTING (Softlight
PLOTB:
Singlebacklight
~ <> at45°
to subject)

LIGHTING
PLOTC:
Twin
backlight ()

~ D LIGHTING
PLOTF:
D Filllight
(softlight
from side)

LIGHTING
PLOTD:
Filllight
(softlight
fromfront)
is.
()
()

D ~ D
()
<> ()
D ~ D LIGHTING
PLOTG:
All lights
builtup

6
 Havinglit oneperson,it is nowpossiblewith
a littlemodification
, to lighttwo peoplein a
fairlytypicalTVsituation- the two-way
interview .
Cameras2 and3 givecrossshotsof the
subjectsandcamera1 givesthe wideshot.
Ascanbeseenin PlotH,'A' is Liz's keyand
ac~sas B1Ws backlight.'B' is Bill'skeyand
Lizs backlight.Thetwo softlightsare used
for fillerandthe backgroundis generally
illuminated.
,_..
Bllt:S KEY IS LIZ'SBACKLIGHT
7 LIGHTINGPLOTH
STUDIOOPERATIONS
In colourstudiooperationsthe incident
lightinglevelstendto be between1000to
2000 lux. Generally a figureof 1500lux
incidentis consideredadequatefor most
purposesanddependentuponthe lighting
level,it is normalfor cameras to workat
aboutf2 to.f4. Thegeneralheightfor
lum1na1res 1s3 to 4 metresfrom the studio
floor levelandplottedat 3.5 to 4.5 metres
horizontal(around4 to 5 metresactual
distance).
Whensinglepointsuspension , i.e.,
monopolesor pantographson track,are
used,theneachluminaireis independent
settingof its position. Forflexibilitywhen
usingbarrelswith.two luminairessuspended . In the exampleshown,it is clearly
theyare nggedwiththeir ownpantographs 1mposs1ble
so that differential heightscanbeeasily
achieved.
Theluminairesaregenerallyusedin the whichis fitted in front of the lowerhalfof the
flood modewhichgives the coverage
required.However , by varyingthefocus
(spoVflood)the lightoutputis changedand withina luminaire'slightbeamwith respect
this canbea methodof controllingthe light
beamwithoutthe dimmerandhasthe added
advantageof not changingthe colour
temperature.
Dimmers usedin televisionstudios
normallyhavea squarelawlightoutput
whichmeansthe squareof the fadersetting
from H? ?1vesthe percentage lightoutput,
1.e.,level 6 =36 %. Thetungstenlampsused 2000 luxto 3550 lux, a differenceof
in televisionstudioshavea colour
temperatureof approximately 3200Kat full
voltage.It is normalwhenusingthe
televisionlightingdimmersystemto align
the channelcontrollersto position'7' which
meansthe dimmersupplies currentto
operatethe lampat 49% output,witha
colourtemperatureof approximately
2950K. Thereasonsfor thisarethat in
normaloperatingconditionsa toleranceof
plusor minusonestopaboutthe mean
BILL ,
~~
CAMERA2
CAMERA
: LIZ'SKEY IS Bllt:S BACKLIGHT
givessatisfactorycontrolof lightlevel, i.e.,
level'5' = 25%,level10= 100%.It hasalso
beenfoundthatthe+ I - 200K colour
temperaturevariationis acceptablein the
maJontyof cases.It mustbe pointedout
however, thatthisvariationwhenappliedto
the humanfacemaybe less; muchdepends
on thetextureandcolourof the skin.This
means,in practicallightingtermsthatthe
lightingcan bevaried,from its maximumto
as lowas 2750K (approximately25% light
output), withoutnoticeablecolourpicture
change;thus enablinga widerangeof
controlto.allowbalancingbetweenthe light
sourcesg1v1ng optimumresultsto the
for
transmitted picture.
to balancefor Liz'sbacklight
without reducing Bill's key.Toreducethe
lightfallingon Lizit is usualto usea scrim
lens. Thishasthe effectof attenuatingthe
lowerportionof the lightbeam.Theeffect
to fall-offcanbe likenedto the depthof field
of a lens. As wego furtherawayfrom the
sourcesothe relativeintensitylevelsover
setdistancesbecomelessvariable.When
closeto the luminairethe changesof
intensityare rapidanddramatic.A luminaire
produces 2000 luxat 4m distance ; to go
from 4m to 3m changesthe lightlevelfrom
1550 lux for lm distancechange.When
wego to 5m weget a lightlevelof1280 lux
whichis a differenceof 720 lux for a lm
distancechange.
It canthereforebeseenthat it is much
betterto useslightlymorepowerfulwattage
lumina1res overa reasonable distanceto
achievea certainlightlevelthanto uselower
poweredluminairescloserto the subject.
A.lthoughthis lattertechniquecanproduce
highlightlevelsthe rateof changeof lightis
exaggerated bythe movementsof the subjects.
0
~LIZ
Z)
CAMERA
3
1
 GREEN
TUBE

Theserequirements ledto the riggingproblemsandso manufacturers

development of specialopticalsystemsfor wereencouraged to lookfor alternatives .
colourcameras . Themostobviousone Thebreakthrough camewithCSIandHMI
beingthe useof zoomlensesto ensurea dischargelampswhichenabledsmaller
singlepathfrom the viewedsceneto the luminaires to be usedwithhighlightoutputs.
cameraelectronics . Althoughusefulin manysituations , suchas
Intelevisiontheapertureof the iris in the (i).thefactthatthesesourcescannotbe
studiohasbeengenerallydeterminedby the dimmedsuccessfully sometimeslimitstheir
RED depthof fieldcommensurate with use.
SHAPING
FILTER productionrequirements . Camerairis Outsidebroadcastshavebecome
settingsin the rangeof f2 to f4 withtoday's extremelycomplexandlightingdirectors
\~~~ cameras,requirean incidentscenelightlevel nowexpectlightsourcesof all types,capable
of 1000to 2000 luxso thatthe camera 's of beingdimmed,togetherwith
basicsensitivityis satisfiedandgoodquality, sophisticated lightingconsolesto caterfor
relativelynoisefreepicturesareproduced. outsidebroadcasts as in (ii).
In recentyears,dueto the complexityof
2:4 OUTSIDE lightingrigsandto improvesafetya British
Standard(BS5550) on locationlightingwas
BLUE I BLUE BROADCAST introducedwhichcoversboththefilm and
REFLECTING
<=)=>
DICHROIC
SHAPING
FILTER
LIGHTING televisionindustries.
Todayour lightsareas smallaspossible,
ZOOMLENS
Lightingfor outsidebroadcasts fallsintotwo suppliedfrom sophisticated dimmersand
categories: distributionsystems,completewithall
i) largescalefloodlightingof sportsevents, knownsafetyfeatures.Theconsolesare
2 :3 THETELEVISION churchinteriors,etc., generallyachieved generallyportablederivativesof studio
CAMERA by dischargeluminaires
ii) lightentertainment
;
andmusic
types, capableof dealingwithall lighting
situationsupto andincludinglargescale
Thecamerahasto analysethe reflectedlight programmeswherethe lightingis productionssuchasthe EurovisionSong
from a scenewhichis a mixtureof RED, requiredto bethe sameasthe studio. Contest,etc.
GREEN andBLUE,the primarycolours,in Inthe earlydaysof outsidebroadcast
somecombination: lighting,verysimplerigswereemployed ,
MAGENTA (Purple) RED+BLUE usinga fewluminaireson temporary
YELLOW RED+GREEN scaffolding. Theluminaires , whichwere 6kWHMISPOTLIGHT
CYAN(Turquoise) BLUE+GREEN powereddirectlyfrom the mainssupply
Theabovecombinations arethe more eithersinglyor sometimesswitchedin
straightforward onesandobviouslyothers groups, weregenerallycumbersome and
aremorecomplex.However, all coloured heavy.Carbonarcswereusedbut created
surfacescanbe brokendownintothethree
componentparts. Colourdistortioncantake
placewhenthe sceneis illuminatedwitha
sourceof lighteitherdeficientin some
colouror withan excesse.g., fluorescents
havea highgreenspectralcomponent.
At presentno commercially available
professional qualitycameratube is capable
:ts. of producingthethreeseparatesignals
requiredfor colourtelevision . It is thusa
fundamentalrequirement thatthreeseparate
tubesbeemployed.Theuseof threecolour
tubesandthe consequent splittingof light
that mustoccurmakesthe colourcamera
opticallymorecomplex.
Basicrequirements of the colour
separationsystem:
i) Lightfallingon thethreetubesmusthave
a commonentrancepupil,i.e., eachtube
facemust'see'exactlythe samescenein
orderto avoidparallaxproblems.
ii) Divisionof lightmustbe effectedwith
minimumloss, thusavoidingeither
excessive lightinglevelsin the studioor
'noisy'picturesproducedby lowlight
levelson the cameratubesphoto-
sensitivesurfaces .
Thecamerapickup tubehasa
sensitivitywhichrequiresa certainamount
of lightjust asthefilm in our stillcamera
requiresanamountto satisfyitsASA(ISO)
rating.Belowthis level,noise(under-
exposurein film)will becomeapparent.
Abovethis level, over-exposurewilloccur.
In bothcaseswecontrolthe amountof light
enteringandhencethe exposure , withan iris.
8

3:l GENERAL
As statedin 2:1the spotlightis our 'sun'and
the softlightthe 'sky'.
WHAT IS A SPOTLIGHT?
It is a lightsourcewherethe light beamis
shaped;controlledby a curvedreflector
and/or a lensand maybe dividedintothree
groups:
Fresnel spotlight
This producesa fairlyhardedgedbeam
whosewidthis controlledby the spot/flood
mechanismwhichoperatesby movingthe
lamp/reflectorcombinationwith respectto
the lens.TheFresnellensis a convexlens
whichhasbeensegmentedandflattenedto
reduceweightand helpwith heatdispersion;
it generallyhasa dimpledrearsurfaceto
breakup lampfilamentimages.
Open spotlight
In the openspotlightspot/flood is achieved
by movingeitherthe lampor the reflectorin
relationto the other.The edgeof the light beam
is not so wellcontrolledor definedbut the
luminairehasa higherlightoutput relativeto
the Fresnellenstype.
Fresnelspotlight (Flood/spotadjustment)
In bothtypesof spotlightbarndoorswill
be usedto blockthe pathof the lightand
thus confinethe light beamto thoseareas
we requireto lightfor effect.Barndoorsgive
a soft shadow,the characterof whichvaries
betweenspotandflood particularlywith
openspotlights.
Openspotlight
(Flood/ spot adjustment)
FLOOD SPOT
5kWSOFTLIGHT
SOFTLIGHTS
Althoughin theorysoftlightsshouldbe as
largeas possible,thereareobviouspractical
constraints;therearetwo forms of softlights:
Softlight for filler
This is madeas largein areaas practicable
and reliesupona simpleindirectreflective
systemto scatterlight in a fairly random
manner.

Floodlights for Cyclorama

lighting
2kWOPENSPOTLIGHT Althoughin generaleyelightsareconsidered
a floodlight,verygood resultsareobtained
Profile and Followspots whenthe opticalsystemis refined.This
Thesehaveopticscapableof producing enablesluminairessuchasthe 'IRIS'unitto
hardedgedbeamsandgenerallywork by be usedcloseto the eyeclothyet illuminate
adjustingtheir lenses. veryevenly.It is alsoimportantthat their
overlapcharacteristics arewellcontrolled,
Profileand Followspot(Adjustment) particularlyso witha groundrowunit.
ELLIPSOIDAL
REFLECTOR

1,, III I ~
!I I:
-,,-1
-u.-
~· T~'/
~
GATE

1kWFRESNEL
SPOTLIGHT 4-COMPARTMENT
CYCLORAMA
TOPLIGHT

9
 3:2 SPECIALISED
LUMINAIRES
DUALPURPOSE
Recentyearshaveseenthe development of
the dualpurposeluminaire;this deviceis a
combinationof a hardandsoft sourcein one
unitandis availablein dualwattageversions
aswell.Byits verynaturethe dualpurpose
luminaireoffersfar greaterflexibilitythan
conventionalluminairesandsavestime
duringriggingandstudiooperations . lightingdirectorcaneasilymakethe
However, for the bestresultsthese
1.uminairesshouldbe usedwitha saturated
grid.(Thisis whereat leastoneluminaireis
riggedper suspensionpointoverthe whole
studio).
It hasbeensuggestedthatthe needto
keepthe physicalsizeandweightof these
luminairesto a minimumto enableeasy
handlingandrigging,meansthatthe soft
lightis a compromise;this is not alwaysthe
caseassomemanufacturers designthese
unitsusinglightweightmetals,pressedto
givegreatstrengthandgivinga similarlight
outputto a conventional softlight.Because
of its dualfunctionthe luminaireis more
complexthanthe conventionalhardandsoft
sourcesin generaluse, andtogetherwiththe
increasein weightmayposelimitationsin
handlinganddesignof the studio
suspensionsystem.In usewith properly
designedsaturatedgridsthe advantages can
outweighthe disadvantages.
DUALWATTAGE
Dualfilamentlampsare producedso that
eitherfilamentcanbe usedindependently or,
by addition,differentpowercombinations
areachieved , i.e. l .25kWand2.5kW
filamentswhencombinedgive3.75kWand
spreadof lightis 3:1.
Therecanbeadvantages in riggingby
usingdualwattageluminairesas it allowsthe
sameluminaireto be usedasa standard
throughoutthe studiorig. Alsowhere
marginallightinglevelsare reachedthe
necessary changes . Onedrawbackof dual
wattageluminairesis thattheir physicalsize
is dictatedbythe ventilationrequirements of
the highestwattageused.
Thechartshowsthe usablerangeof
lightoutputfor the variouswattage
combinationsin useat the presenttime. It is
assumedthat the dimmerhasbeensetto '7'
so that plusor minusonestop is available .
Althoughthe opticalsystemof dual
spotstendsto bea compromisefor the two
1000LUX
ONSUBJECT
2.5-5kWDUAL-WATTAGE
LUMINAIRE
filaments,in practicethis hasnot provedto
be noticeable.Softlightscansometimeshave
differingcharacteristicsdependentupon
switchmodesbut mostmodernluminaires
haveovercomethis problem.
Twopointsin favourof the dual
wattageare
(i) withoneluminairein usemaintenance
sparesare keptto a minimum.
(ii) lightingmodechangescaneasilybe
accommodated withoutre-riggingwhich-..,.__,,,:::::::::=:::::i
savesvaluablestudiotime.
3:3 CONSTRUCTION
AND HANDLING
Withmodernlightingthe numberof
luminairesin useimposesa considerable
loaduponthe supportingstructure.It is
thereforeessentialto keepthe weightto a
minimum,andthis is alsodesirablewhen
handlingluminaires.It canbeshownthat
maintenance anddamageincreases withthe
weightof the luminaire,imposinga strainon
the operatingstaff.Ideally,luminairesshould
bewithinthe handlingcapabilityof oneor
two men.A 5kWspotweighingl 7kg canbe
handledby oneman,but whenthis weightis
exceeded, two menare required.
Luminaireshavebeensubstantially
reducedin weightin recentyearswithout
affectingdurabilityor performance. Withthe
increasedrequirementfor lighterluminaires
havecomeassociatedproblems,otherthan
the robustnessof the luminaire,astheir
compactsizedemandsan efficient
ventilationsystemto ensureadequate
convectioncoolingof the lamp.
Toaid riggingandhandlingof luminaires,
poleoperationis usuallyemployedin the
studios.Functionssuchas pan, tilt, spot/flood
and barndooradjustmentscanbe madefrom
the studiofloor witha speciallymade
operatingpoleto avoidusingstepladders
to manuallymaketheseadjustments.
10
 3:4 CYCLORAMA
LIGIITS
Whyarecycloramasso important?They
offer,afterthe initialcost,an inexpensiveand
reliablemethodof providinga multiplicityof
backingswhichwouldbe costlyand more
inhibitingwith conventional'flats'.
Fourcompartmentgroundrowunitsare
usuallyplacedlm from the eyespacedat
l.22m centresandfour compartmenttop
unitsare placed3m from the eyespacedat
2.5m centres.Generallythe floor unitswill
use625Wlampsandtop units1250Wlamps.
Tolightfrom the eyebottomin four
coloursapproximately2000Wper metreis
required.A smallstudio,e.g.,100m2 , with eye
on threesides,i.e., 25m of eye,would
require50kW;if onlytwo coloursare used,
thenthefigureof approximately25kWis still
quitesubstantial. Topeyelightingat the
quoteddistancewill alsorequire2000Wper
metrefor four colours.
Inthe caseof studiosup to 200m2 bottom
eyelightingposesa problemwith regardto
floor space.Tohavea studiowith eyeson
threesideswith unitsplaced1m awayfrom
the clothin a 100m2 studiomeans35%of
floor areais lost.Thislosscangiveproblems
with camerashots(seeillustrationbelow)
Cyclorama
groundrowlights
3:5 PROFILE
AND
FOLLOWSPOTS
TheFresnelspot,althougha focusing
source,producesa beamwith a soft edge.
Whetherby accidentor design,thisfeatureis
essentialto good overalllighting,allowing
onesourceto mergewith another,without
apparentchanges.Thereis alsoa
requirementfor luminaireswith a hard
edgedbeamfor effectspurposes.
Inthe studio,thereareoccasionswhen
certaineffectshaveto be simulatede.g.,
sunlitwindowpatternprojectedon a wall;
eithera full sizedwindowis usedwith a
Fresnelspot,or the profilespotcanbe
employed.The profilespot canbe likenedto
the normalphotographicprojectorwitha
similaropticalsystemfor the projectedhard
edgedimages.In the caseof the window
quotedin the example,a simplecut out
shapeof the windowis made,usuallyfrom
metalfoil, placedin the gate(whichis
too hot for plasticmaterials)and projected
by the correctangleopticsto the surface
wherethe effectis required.Thusa very
good effectcanbe obtainedwithoutthe
needto occupyvaluablestudiospace.One
Thewindowcutoutmentionedis
a dramaticuseof the profilespot.It should,
howeverbe obviousto the reader,that any
shapecanbe usedand projectedto give
visualinterestto the televisionpicture.
Althoughfocusedshapeshavebeen
discussed,verygood effectscanbeachieved
by partialdefocusingof the image.
Thefollowspot canbe regardedasthe
'elderbrother'of the profilespot,but in this
casea patternis not projected.Thefollow
spot hasverynarrowangleopticswhich
allowit to be usedoverlongdistancesasthe
followingkeylight on the mainartist.
Boththe profileandfollow-spotsare
usuallysuppliedwith integralframing
shuttersto givestraightedgesto the beam
andan iris to varythe circularsizeof the
beam.Theywill alsoacceptcolourframeson
the front of the opticsto allowthe useof
colouringmaterialor in somecasescolour
correctionfilters.

~ gJ
pointto be bornein mindis that the
projectorhasto havegoodwideangleoptics
at closerangeratherthan narrowangle

I
!l.:;.. Fo,a aertoc<~o<thwme,a
opticsat a longerdistance.If not,any
movementhoweverslight,will be magnified.

,~:j
~ requiresto moveto its left.
Thishighlightsoneof the drawbacksof
profilespots.Theymustbe stationaryto be
effective- it is mostdisturbingto see
projectedpatternswandering.

lm
------------.---- Cyclorama

and it shouldbe bornein mindwhen

planningsmallstudios.Havingmadethis
point, it mustalwaysbe rememberedthat
the lightingdirectorneedsthe artistsat least
1m awayfrom the eye,so that backlightscan
be usedeffectively. Forthesereasonstop eye
lightingis preferredin studiosup to 200m2 .
Multicoloureyelightingon a grandscale
is moreoftenusedwith largeopenspace
setssuchas light entertainment and music
productions.Inthis type of productionthe
eyetop lightingoftenpredominates. With
othertypesof production,suchas drama,
the requirementfor eyelightingis very much
reducedandthe needis usuallyto light
backingsto windowsandthe studio
exteriors.Owingto the increasedcomplexity
of lightingof artistsand setsin dramatype
productionsgroundroweyelightingis used,
thussavingvaluablegrid space. 1kWCSI/ CIDFOLLOWSPOT

11

3:6DISCHARGE
LUMINAIRES
Dischargeluminaireshavebeenaroundfor
manyyearsandin factwereusedin the film
industryforty yearsago. A big stepforward
took placewhenThornintroducedthe CSI
lampwitha correlatedcolourtemperature
around4000K.It wasusedmainlyfor
outsidebroadcastlighting, but its colourwas
a drawbackwhenusedin mixedlight
situationsbecauseit hadto befilteredto
matchdaylight.TheHMIlamp,when
introduced,overcametheseproblemswitha
correlatedcolourtemperatureof 5600Kand
verygoodcolourrenderingproperties.
Dischargesourcesofferlightoutputfour
timesgreaterperwattthantheirtungsten
equivalent. Usedmainlyfor locationlighting
for outsidebroadcastsandfilm, in the form
of lightweightportableluminairesof high
lightoutput,theyconsumelesspower,
reducingthe sizeof generatorrequired.
Dueto the arc whichproducesthe light
in theselamps,carehasto betakenwiththe
associatedcontrolgearso thatflickereffects
do not occurdueto the synchronisation of
lampandcamerato the mainswaveform,i.e.
50Hzbeatpattern.
Threemethodsaregenerallyusedto
avoidproblems:
(i) Ensurethatthe lightsourceandthe
cameraare runningin synchronization.
(ii)Supplythe lampfrom an electronic
squarewavegeneratorsothat the light
outputis moreconstant.
(iii)Supplythe lampfrom a highfrequency
supplysothat the beatfrequencies are
avoided.
Tungstenhalogenlampshavevery
convenientshapesfor their purposes.The
projectorlampoffersa smallsourceof light
to the opticalsystemof a spotlightandthe
linearlampis a verygoodsourcefor a
softlight.
Thedischargelamp, althougha very
goodcompactsourcefor the spotlight,
requirescarefulluminairedesignto produce
the soft shadoweffectassociated with
conventional tungstensoftlights.
robustquartzenvelope.Quartzenvelopes ,
3:7LAMPS beingthicker,allowa higherinternalworking
pressurewithinthe lampwhichgivesit twice
Twomaintypesof lampsare used- the lifeof its hardglassequivalent.To
tungstenhalogenand discharge,bothof balancethe economics , quartzlampsare
whichcanbesub-dividedintovarious alsomoreexpensive .
categories , dependingon use.Thetungsten MostTVstudiotungstenlampsare
lampproduceslightwhenitsfilamentis operatedat abouthalflightoutputwhich
heated.It radiatesmuchmoreheatthan increases the lamplife bya factorof about
light, howeverit doeshavea continuous ten.Runningthe lampat lowervoltsdoes
spectrumwith littleultra-violetradiation,but not appearto adverselyaffectthe halogen
lotsof infra-red. Thedischargelamp, cycleandhencethe performance.
althoughgivinga higherlightoutputis a Typesof lampsin popularuseareshown
discontinuous sourceandgreatexpertiseis
below.
requiredin the fillingof theselampsso that
their lightoutputgivesgoodcolour DISCHARGE
rendition.Energyis releasedin high Dischargelampshavea quartzenvelopeand
proportionsin the ultra-violetportionof the nofilamentand relyon anarc struck
spectrum.Theluminairemanufacturers takebetweentwo electrodesto excitethefilling
specialprecautionsin designto prevent gas. Thevoltagehasto besufficientlyhigh
operatorsandartistsbeingexposedto so that currentflowwill commencebetween
this hazard. the electrodes. Thiscurrenthasto be
controlled, usuallyby a chokeor ballast.
TUNGSTENHALOGEN Generally theselampsmustbeallowed
Alltungstenfilamentlampsof thistypeare to cooldownbeforetheycanbe re-struck.
filledwitha halogen,usuallybromine,which Mostmoderndischargelampsin usefor film
maintainsthe lightoutputandcolourwithin andtelevisionarethe 'hot re-strike ' type.
finelimits, throughoutthe lamp'slife. Lamps Theycanbe re-struckat anytime bythe
areconstructedwith hardglassor a more applicationof a highvoltageto the
electrodesi.e.about40kV.
TWIN-FILA
MENT LAMPS(TUNGSTEN HALOG
EN)
DISCHARGE
LAMP
S
CSI CID
LINEARLAMPS (TUNGS
TEN HALOGEN)
HMI DISCHARG
E LAMPS
12

4:l POWER
GENERAL
Forall studiosan allowanceof 650Wper
squaremetremustbe madeto givethe
electricalpowerintakerequirements for the
basicstudiolighting.
Asstudiosincreasein size, usuallyabove
200m2 area,additionalpowerallowance
mustbe madefor eyeandeffectslighting.
Forexample,a studioof 2502 m requiresa
210kWpowerintakecomprising162kW
normallighting(650W/ m2) togetherwithan
allowanceof 50kWto lighta 50m eyein two
colours.Thistotal powerrequirementgives
a newestimatingfigureof 850W/ m2 which
shouldbe usedin all largestudios.Typical
figuresaregivenwiththe studioillustrations
It cannotbeoveremphasised that with
TVstudiooperationsmuchthoughtshould
begivento the useof the entirelighting
installation.Thishasextremelyimportant
implicationson the ventilationsystemwhich
is usuallybasedupona two-thirdsutilisation
figure.
Tooperatea tungstenlampat a lower
colourtemperature , the voltageis reduced.
Inthe caseof a 240V lampgoingfrom
3200Kto 3000Kthis meansa reductionof
approximately 40 volts- the currentalso
reducesbut not by sucha margin.It canbe
seenthat operatingthe lampin this waywill
reducethe total powerused.Inthe caseof
lampsbeingoperatedwiththe dimmer
outputat 'T this reductionmeansa savingof
approximately onequarterof total power.
Asa guideit is normalto allowone5kW
dimmerper l .5m2 of floor area.Although
thisfigureseemshighin relationto the
estimatingfiguresgivenpreviouslyit has
beencalculatedassuminga total coverageof
the studioallowingfor barrels,eyecircuits,
floor circuits, etc.If a compromiseis made
andextensioncablesare employedfrom
fewerpoweroutletsthenthisfigurecanbe
reducedbut operationallyis not asflexible.
POWEROUTLETS
Thecablesfrom the dimmersto the power
outletsmustbe designedto minimisevolt
drop - this alsoensuresfusesandcircuit
breakerswill operatewithintheir specified
characteristics.
In the studiothe poweroutletsockets
haveto be distributedin an organised
mannerto suitthe typeof suspension
systememployed.Themajorityof outletswill
beat highlevel,eitheron barrelsor in the
workinggrid andwillalsobe distributed
aroundthe gantryandat floor level.
If a permanenteyesystemis installed
thena specialfeedercablesystemwill be
used; the outletsprobablyalwaysbeing
connectedto the samechannelson the
lightingconsole.Withmodernlighting
controlsystemsdedicatedcyclorama
lightingcircuitsare usuallyinstalled.
Therewill bea mixtureof poweroutlets
accordingto the requirementof the studio.
Largeand mediumstudioswill havea
mixtureof lOkWand5kWoutlets. Small
studios,i.e., below150m2 will usuallyhave
13
5kW.ThelOkWoutlets, whichare limitedin
number,will bedistributedin the mainin the
grid,or at gantrylevel,the outletsbeing
positionednearthe pointsof maximum
demand.Extensioncablesarethen
employedto feedthe lOkWluminaire .
Barrel system
Barrelswill usuallybefittedwithsufficient
socketsfor the typeof studiooperation,and
alsodependentuponthe lengthof barrels
installed,i.e.,a 2m barrelcanaccommodate
two 5kWspots;thereforeat leasttwo
socketsshouldbe provided.It is usefulto
provideoneparallelledtwin socketso that Regulators(AVRs) wereusedon the lighting
two lowerwattageluminairescanbe easily supply.Thesewerecumbersomeandslowin
fed from onedimmerchannel.Thisis actionandcouldcausemoreproblemsthan
particularlyusefulwithlkW profilespotlights theycured. Moderndimmersaregenerally.
. andsetdressingluminaires , suchasthe lkW suppliedwitha closedloop characteristic for
Fresnelspot. mainssupplyvariationsandareveryfast
actingso that asfar asthe operatorsare
Pantograph system
If a pantographpointsuspension systemis awarelittleor no variationsoccurwith
regardto lightoutputat the normal
usedthenonepowersocketshouldbe
providedat the bottomof eachpantograph. operating pointsof the dimmers.
Dimmersaresuppliedas'plug-in' or
Themainpowercableis terminatedto this
socketor to the top of the pantographwith 'wired-in
' . Plugin dimmers,astheir name
suggestsare completedimmersof varying
an independent feedercabledownthe
pantograph. powersizesthat plugin to the mainpower
dimmerrack.Inthe eventof failureor
Telescope system replacement it is veryeasyto changethe
Herethe distributionis usuallycontained dimmer.Wired-in dimmersaredesignedso
abovethe workinggrid with longfeeder thatthe mostcriticalpartsarecapableof
cablesusedfrom eachluminaire . Againthe beingreplacedeasilybut the mainpower
installationof parallelledoutletsocketsin the componentsi.e.,thyristorandchoke,are
workinggrid is usefulfor twin luminaires wiredin,thus the controlcardsare provided
workingon onedimmerchanneloutput. as plug-inunits.
Dimmersfor majortelevisionstudiosare
usuallyproducedin 5kWandlOkWversions;
4:2DIMMERS lowerwattageversionsareavailablebut
proportionatelydo not offermuchsavingin
All modernlightingcontrolsystemsutilise cost.Savingscanbe madewhenusing
solidstatedimmingdevices . Whenthese dimmerrackswith highpackingdensities .
switchon to conducttheydo so by allowing Generally , dimmerracksare designedto
a burstof currentto pass.Thiscurrentis housefrom twelveto forty dimmers;hence
switchedveryrapidlyin millionthsof a they requirehighcurrentinputs.Thiscreates
secondand in so doingcreatesinterference the needfor associatedswitchgeartogether
in theform of electromagneticinduction, withsubstantialfeedercableswhichare
just asthe refrigeratormakesthe radio usuallyarmoured.Thefusesandcircuit
'click'.In broadcasting centresthese breakerswhichfeedthe dimmerrackshave
problemsobviouslymustbe minimisedand to becarefullydesignedto offera high
manufacturers usuallyincorporatea choke degreeof electricalprotectionandsafety.
to slowthe risetime of the harmful
waveformsandthuspreventproblems.
Otherwaysof reducinginterference are:
i) Keepingthe powerfeedercablesandthe
audiocablesseparated.
ii) Useof specialaudiodistributioncables.
If all the abovestepsaretakenthenthe
interferenceis negligibleand notroubleis
experienced.
Usuallya fewvoltsare droppedacross
the dimmerwhenit is conducting.If the
powerdistributioncablesin the studioare
not generousin currentratingthen
additionalvolt drop canoccur.Thetotal of
thesetwo dropsis of the orderof lOVso it
canbeseenthat a boostedinputvoltageto
the dimmerscanbeadvantageous.
Inthe earlierdaysof colourTVit wasfelt
that mainsvariationi!vouldcauseproblems
with regardto lightoutputandhencethe
colourtemperatureof lightsources.Toget
overthe problemAutomaticVoltage
 4:3 LIGHTING MEMORYSYSTEMS
Themostsignificantadvancein recentyears
CONSOLES hasbeenthe development of control
systemswhichenablethe levelof any
GENEflAL channelto be memorised . Themodern
Inthe past, lightingcontrolutilisedlarge, lightingconsoleusesoneor two channel
handoperatedresistance dimmerscapable controllers,eachof thesehavingthe ability
of beingmechanically coupledtogetherso to controlanychannel.Havingselecteda
that 'on cue' the electrician couldchangea channelon the controller , the levelis setand
fewchannelsat a time. Thissystemwas storedaway.Thechannelcontrolleris now
reasonable whentimewasallowedfor freeto setthe stateof the nextselected
changesto the lightingandthe amountof channel.Theconsolealsohasthe abilityto
changesweresmall.Intelevision,earlier manipulate andstoremanygroupsof As mustbe realisedby now,these

1 lightingcontrolsystemsusedauto
transformerdimmersin banksdrivenby an
electro-mechanical
systemwith lowvoltage channelscanbestoredin eachof these
controlfrom a masterconsolewiththe
abilityto memorisethe ON/ Offstateof
eachchannel.
Oneof the biggeststepsforwardwasthe meansthatthe lightingdirectorcanselect
introductionof solidstatedimmerswhich
allowvoltagecontrolof the dimmerdirect
from a consoleratherthancontrolthrough
the electro-mechanical system.Thisresults lightsfrom the precedingsceneareusedhe
in savingsregardingheatdissipationand
space.
A lightingconsolemustprovidefor
variousbasicfunctionsandtheseare:
i) The ability to switcha channelON/ OFFat
any level.
ii) Tobeableto seta channelanywherefrom
'ZERO ' to 'FULL'lightoutput.
iii)Tomix channelswhicharegrouped
together.
iv)Theabilityto overridechannelsby
'Masteror GroupFaders ' andby 'Master
Switches'.
v) Thefacilityfor collectingselectedchannel
informationeithersinglyor in groupsand
storingin 'Memories' .
channelinformation . A modernconsole
probablyhasat least100memories
, thusall
memoriesat the selectedlevelrequired.
Theabilityof the consoleto memorise
the lightingof eachscenewithinthe studio
the lightsrequiredfor the scene,balance
for optimumeffectandthenstorethe
informationuntilrequiredagain. If the same
cannowsetcompletelyindependent levels
from thosealreadymemorisedwithoutthe
needto considerthe old information. The
controlsystemdoesit for him.
consolesare, in a sense,miniature
computers . It is essentialthattheyprovide
rapidaccessandrespondpositivelyto
operationalcommandsat the sametime
being'userfriendly'.Althoughphysical
controlshavebeenreduced,thetotal control
is veryflexibleandmanyoperationscan
easilybe performed . At a touchof a button
or two,mixes,fades, crossfades, add-in
fades,takeout fadesandswitchcuesare
readilyaccomplished . Theonlypossible
limitationnowis in theskillof the operator
utilisingthe systemto itsfull potential.
Consolesare nowavailablefrom about
twenty-fourup to hundredsof channels.
Theycomecompletewithsophisticated back-
up andspecialeffectssystemsso thatall the
lightingeffectsfor pop musicshowscanbe
pre-setandreplayedat the touchof a button.
Asthe physicalsizeof theseconsoles
hasbeenreducedso theyhavebeen
adaptedfor useon outsidebroadcasts .
Thecostsof sophisticated modern
consolesareveryreasonable andin real
termsactualcostshavereducedoverthe
years.

MANUALSYSTEMS
In a manualsystemeachchannelis directly
fedfrom a fader,thusa simple60 way
systemuses60 faders. If the systemis two
'Preset'this meansthattwo fadersare
providedperchannelwiththe ability,using
two PresetMasterFaders,to fadebetween
eitheroneof their preselected states;the
highestof the selectedstatestaking
precedence whenthetwo Mastersarefully
on.Forexample,ChannelX is setat '7' on
the RedPresetand'5' on the GreenPreset.
Withthe RedMasterup andthe Greendown
channelX is setto '7'; whenthe RedMasteris
downandthe GreenMasteris up thenthe
f channelis setat '5'. Whenthe RedMasteris
at FULLraisingthe GreenMasterto FULL
will not changethe stateof channelasthe Red
channelis the highest- the outputwill be '7'.
Thisgivessimpletwin state(or preset)
mixing. Thestateof eachchannelcanbe
easilyseton the lightingconsoleandan
overridingMasterfacilityis available
.
Inthe lesssophisticatedtelevisionstudio
thistypeof consoleis quitesufficientasthe
variationsin the lightingareminimalandcan
be handledquitereadily.
Manualsystemsrequirea lot of spaceto
accommodate thefadersandhavethe
drawbackthat variouschannelstatescannot
besetwithoutresettingthefaderlever.
 SUSPENSION
5:1 DESIGN Wheremonopolesinglepointsuspension is
CONSIDERATIONS used,greatflexibilityis offeredand
luminairescanbe hunganywherein the
It is extremelyimportantto getthe operating studio.Themainrequirements being
heightswithinthe studiocorrectand sufficientsuspens ion unitsandpower
thereforethefollowingsuggestedsystem outlets,togetherwithenoughluminairesfor
givesverygoodresults.It is never the largestproductionrequirement.
satisfactoryto try to fit equipmentintoa If the studiois equippedwith
'box'asanafterthought. pantographsrunningalongfixedbarrels
CYCLORAMAHEIGHTS whichallowno sidewaysmovement, then
additionalbarsandsuspension haveto be
providedas in barrelgrids.
Withbarrelgrids, dueto their inherent
fixednature,additionalbarsarerequiredfor
peripherallightingfor the studiosidesand
alsofor the eyelightingsystem.It is also
importantto providefor the maximum
numberof barrelsandit hasbeenfoundin
practicethat 2.4mbarrelsat l.2m spacings
offerthe bestcoverageallowingfor the size
Cameraviewingaspectratio= 4:3 of dualsourceluminaires .
Assume36° lensusedthisgivesvertical Barrelgridsoftenoperateon the
angleof shot= 27° saturatedprincipleto givehighproductivity
Assumelensheightof l .8m in utilisation.
Cycloramaheight= (Lx tan13.5°) + l .8m
Cycloramaheights(m)for studioswith
maximumdimension(m)of:
Studio Cyc. ht. Studio Cyc.ht.
6 3.2 20 6.6
8 3.7 22 7.1
10 4.2 24 7.6
12 4.7 26 8.0
14 5.2 28 8.5
16 5.6 30 9.0
18 6.1 32 9.5

STUDIOHEIGHTS
Studiosareusuallyconstructedwithfloor
dimensionsin the ratiosvaryingfrom 5:4 to
3:2.Generally the proportionsapproximate
to Length5.5: Width4: Height3.
Forexample :
Studiodimensions =30mx24m
Cycloramaheightfor 30m =9m
Heightallowance for luminairesand
pantographs for suspension system= 2m
Thereforegrid height = llm
Allowanceabovegridfor
maintenance = 2.5m
Allowance for air conditioningandservices
abovegrid maintenance area = 2.5m
Totalstudioheight= 11 + 2.5 + 2.5 = 16m
Theexamplequotedisfor a
conventional studiowitha barrelgrid. The
figuresstill holdfor monopolegridsbut if no
accessis requiredabovethe gridthenthe
total heightcouldbe reduced.

15
 5:2TYPESOF
SUSPENSION
MONOPOLES
Singlepointsuspensionusuallyinvolvesan
overheadlightinggrid whichprovidesa
workingplatformfor the studioelectricians
withthe luminairessuspendedfrom the grid
on a telescopicdevicewhichpermits
variationin heightandfreedomof
movementfor positioningthe luminaireat
the requiredplacein the set.
Theoverheadgrid is an integralpartof
the studioconstructionandis incorporated
in the designof the studiofrom the outset.
Thegrid is dividedintosectionsby
continuousslotsthat runthe lengthof the
studioat intervalsof aroundlm. In some
designsa numberof additionalslotsare
providedrunningacrossthe widthof the
studioto facilitatetransferof telescopes
from onemainslotto another.
Thetelescopesare madeto fit the width
of the slotsandare providedwithwheelsto
enablethe unitto be movedalongthe grid
platformto anypositionin the studio.A
winchis providedon thetop sectionof the
telescopeabovethe grid platform,to enable
the luminaireto be raisedor loweredto the
requiredheight.Thewinchis operatedby
meansof an electricor air poweredhand
tool or by a handoperatedcrank.
Theriggingcrewworkon the grid
platformandmovethe luminairesabovethe
l
setsto the positionsindicatedbythe lighting
director.Thegrid alsocarriesthe main
electricaldistributionsystem.Loadingof the
luminairesandmaintenance is undertaken
by movingthe telescopeto the edgeof the
grid whereaccessis obtainedviaa
peripheralgallery.
THEMOTORISED
HOIST
Themotorisedhoistis the mainrivalin
largerstudiosto the overheadsinglepoint
suspensiongrid. It consistsof a lengthof
barrel(48mmscaffold)supportedby wire
ropesconnectedto a motorwinchmounted
in the studioroof.Poweroutletsfor
connectingthe luminairescanbe mounted
intoa frameabovethe barrelandpower
cableshousedin a collapsibletray which
foldsandunfoldsasthe barrelheightis
altered.Thebarrelsare usually2.4m long
andthe luminairesattachedto themby
meansof clampsor on smallwheeled
trolleyswhichgivethe additionalpossibility
of lateralpositioningof the luminaire.
Thehoistsare placedat regularintervals
alongthe lengthandacrossthe widthof the
studioto enableluminairesto befixedat
almostanyrequiredposition.It is usualto rig
two luminaireson eachbarrel.
Asallthe luminairesnormallyremainon
the barrel,de-riggingthe studioat the endof
a productioncansimplyconsistof raisingall
barrelsto maximumheightthrougha single
mastercontrol.
Thissystemgainsmaximumadvantage
whenthe numberof differenttypesof
luminaireare reducedandthe installation
densityof luminairesis increasedcompared
to the requirements of the singlepoint
suspensionsystem(i.e.,the saturatedgrid).
Th_e dualsourceluminaireis particularly
suitedto thistypeof suspension .
Mediumsizedstudioscanbefittedwith
handwinched hoists,whichare similarin
conceptionto the motorisedhoistbut the
suspensioncablesare divertedthroughroof
mountedpulleysto winchesmountedon the
studiowalleitheroperatedfrom floor level
or from a gantry.
Raisingor loweringof the hoistis
achievedthroughthe useof a handoperated
handleor a powertool similarto that used
withthe singlepointsuspension telescope
.
ROLLER
PANTOGRAPH
Thissuspensionsystemconsistsof long
pantographssuspendedfrom runsof fixed
barrelacrossthe studiowith no lateral
transferpossible . No accessis provided
abovethe grid andall operationshaveto be
carriedout at floor level.Generally
economicalto install,it offersa highdegree
of flexibility.Recentsystemsusemotorised
pantographs for enhancedoperation.
16
 TRACKAND BARRELSYSTEM
Smallerstudios,particularlythoseof limited
height,areideallysuitedto thetrackand
barrelsystem.Thiscomprisespairsof tracks
(similarto that usedfor industrialsliding
doors)mounteddirectlyunderthe studio
ceiling.Thenumberof pairsof tracksis
determinedbythe studiowidth. Thebarrelis
fittedwitha rollercarriageat eachendwhich
runsin thetracking,enablingthe barrelto be
movedalongthe lengthof the studio.
Theluminairesare riggedon the barrel
by meanso~ rollertrolleywhichallows
themto movethe lengthof the barrelor on a
pantographwhichgivestheadditionalfacility
of individualheightadjustment.
Powerdistributionis generallyachieved
by mountingsocketson trunkingbetween
the adjacentpairsof tracks. Theluminaires TRACKAND BARRELSYSTEM
canremainconnectedto thesesocketswith
thetrailingpowercablessupportedby a
supplementary catenarysystem.
LIGHTRIGSYSTEM
Thissuspension systemis a variationon the
trackandbarrelgrid, but it is muchmore
flexibleasthetraversingtrackscanbe
adjusteddiagonallyacrossthe primarytrack,
providinga greatercombinationof luminaire
positions,withtheaddedadvantage that
fewertraversingtracksarerequired.
Moreover, thetraversingtrackcantravel
throughits supportingcarriagesto provide
an extendedoverhangoutsidethe normal
primarysupports,aswellas extrapositions
for luminairesin inaccessible places.
LightRigis a flexiblesystem,idealfor
smallstudioswherethe heightis
comparatively restricted .
FIXEDBARRELSYSTEM
Thisis the simplestform of installationand
onethat is adequatefor presentation studios
or smallto mediumsizedstudioswherea
fixedlightinginstallationcanbe used,asfor
examplewhenthe samesetsareusedfor LIGHTRIG
eachproductionor withverylittlechangein
the scene.
At its simplest,thefixedbarrelsystem
comprisesscaffoldbarrelsmountedacross
thefull widthof the studiojust belowthe
studioceiling.Theluminairesareattachedto
the barrelswithclampsandlittleor no
attemptis madeto providefacilitiesfor
heightvariationor lateralmovement.
ANCil.JLARY
LIGHTING
Althoughgenerallythe studiowill be rigged
withthe necessary luminaires,thereare
occasionswhenotherluminaireswill be
used.Certaineffectscanonlybeachievedby
luminairesat studiofloor level, e.g.,fireflicker
,
waterrippling.Aswellas effects,it is often
desirableto usesoftandhardsourcesat floor
level.In particular
, softlightscanbeat their
mosteffectivewhensquareto a subject.
Whenplanningthestudiothis mustbe
takenintoaccountandit istherefore
necessary to supplyfloor standsto support
the equipment. Otherthantheselightsat
floor level,thereis the needto rig luminaires
on thetop of sceneryflatswhichwill require
specialclamps. FIXEDBARRELSYST
EM

17
 w 2
50m INTERVIEW
SITUATION:-~~~k=W======~kW
CYCLORAMA ~ -v- -~
lkW
. 'C] D~5W~ I

Thestudiolayoutsemployedaredesigned
showmanyof thesituationsthatarisein
to
....................... 625W
l.25kW d~
625W~!:'..._~

normaltelevisionproduction.
showa multiplicityof luminaires
is hopedshowsomeof thewaysin which
Theyalso
in useandit 2.5k~ 0"w 625

theymaybeused.
Inthe caseof the 50m2, 100m2, and
150m2 studios,verysimpleplotsaregiven,
~- ~ 625W
D .,.,. -~kW
d625W

usingthe 2kWandlkW Fresnelspotlights,

togetherwithlowerwattagesoftlights.The [1 "iJ ~25kW v ~!kW
firsttwostudiosshowa simpletalks
programme,
magazine
the150m2 studioistypicalof a
typeprogrammewithinterviews,
popgroupanda consumertypeitemon
a
lkW
II 625W
D
newcars. u = =
o l.25kW = =
Thelayoutusedinthe 250m2 studio
showsa programme aboutspaceresearch
witha presenter, an interviewer, various
modelsof rocketsand setswhichgivean 100m2 INTERVIEW SITUATIONS
impression of the moon. Thisplot is
designed to showthe useof thedual
wattageFresnelspotin itstwo modes. l.25kW (1625W
Inconclusionit maybesaidthatanyof 2.5kW lj
thesituationsdepictedthroughoutthe plans l::J c:;:>
maybefoundin anystudioirrespective of
size.Ofcoursetheywouldbescaleddown,
or possiblyportionsof thelayoutshown.It is
hopedthat bystudyingthe plansthe reader
d
625W

willgetan insightintothecomplexities
modernstudiolightinganda realisation
the quantities andtypesof luninaires
It shouldbebornein mindthat
of
of
used.
l kW
CJ @)
lkW-0

straightforward
programmes)
unitareabecause
requireslightlylesslightper
of thefixednatureof the
0.
lightingsituations(i.e. talks ) (1625W

l_J '"b
performerspositions.
Withlightentertainment thetendencyis
to usea fewperformingpositionswitha
d625W
largenumberof lightsusedfor backingsand
generaleffect.
Inthe caseof drama,thereareusually 1.25kW
manyartistspositionsto becateredfor and
thusthe majorityof the lightingis usedto c;>
lighttheaction.Withballetonegetsa d625W

2b
mixtureof manypositionsandalsovaried
largescalebackings.
Theheadswhichshowmainperformers
positionsareanamalgamof all positions
thatwillbe usedduringthe programme, not ~· 125k<7 -{ ~625W
necessarily in sequence, or combined, at any

~~
onetime.
Theplotsshowidealised luminaire

0 / <>
positions;in practice,of course,some !kW ·~
625W
compromise will benecessary because of
the positionsof thesuspension system. ~625W
~ (1
Thefiguresquotedarefor the minimum
requirement,
specialised
theymaybevariedto suit
needs.Depending uponthe
I / y,,: 2kWC::,.
~625W

installation, droparmsandotherancillary
equipmentmaybeneededbutthis mustbe ~MA- lkW(}
thesubjectof detailedplanningwiththe CYCLORAMA lkWL._j-~==========::
lightingconsultantinvolvedonthe project.

SUGGESTEDEQUIPMENT 100m2 Minimumpowerrequired:65kW

50m2 Minimumpowerrequired:32.SkW 16 x 2kWFresnelspots
8 x 2kWFresnelspots 10 x 1kWFresnelspots
10 x lkW Fresnelspots 6 x l.25/2.5kWSoftlights
8 x l.25kWSoftlights 4 x 1.25Softlights
4 x 1kWProfilespots 4 x 1kWProfilespots
1 x Floorstand 6 x Floorstands
Cyc:12x 625Wsinglecompartmenttop units. Cyc:16 x 625Wsinglecompartmenttop units
Lightingcontrolsystemasappropriate Lightingcontrolsystemasappropriate
18
 1s0m2 <'\.
~~=~==~2k=W===.#============== 2k
=W~========= lk=W~

<?' (?' / lkW g /

~wO f; {w A 1kw ~ /
-0~ ~ v (\.,
SUGGESTEDEQUIPMENT
/i k~~~ 1.2skw
V
~ ,9 ~
,,.
,g~
150m2 Minimumpowerrequired:97.SkW
24 x 2kWFresnelspotsand 2k'}J
10 x 1kWFresnelspots A ;
or: (34 x 1.25/2.SkWDualwattage t::::7
Fresnelspots) "(7 R 2kW 125kW
10 x 1.25/ 2.SkWSoftlights
6 x 1kWProfilespots : 2k~ o
8 x Floorstands
Cyc:24 x 625Wsinglecompartmenttop units t::Je::1 2kW
2.5kW 2.5kW
Lightingcontrolsystemasappropriate

l.25kWt::]

260m2 Minimumpowerrequired:210kW
20 x 5kWFresnelspotsand
10 x 2kWFresnelspots
or: (30 x 2.5/ 5kWDualwattage
i \
D 2kW

2kW ~
lkWG
2.5kW
Fresnelspots)
10 x lkW Fresnelspots 2kW O CJ 2.5kW
6 x 1.25/2. SkWSoftlights
6 x 2.5/ 5kWSoftlights
6 x 1kWProfilespots
ij 'i?qg ,,w
10 x Floorstands
Cyc: 16 x l.25kW 2-compartment top units 2!1
or: 30 x 625W4-compartment groundrow
Note: Thisgivescoveragefor a 40m eye. \ ~0 '"·
Lightingcontrolsystemasappropriate
CURRENT AFFAIR
S PROGRAMME LITFORA ~
NUMBEROFDIFFERENT SUBJECTS lkW CYCLORAMA

A DOCUMENTARYPROGRAMME LITWITHDUAL
WATIAGESPOTLIGHTS
z;::;
5kW 2s0m2
MOONTERRAI
N

2.5kW

()

-...;:::=========================================jvv,.,,,_= 2=
.5k
=W====~ ~=·5=kW
===============
CYCLORAMA 'l.._J' \_-)
19
- he plotfor the 400m2 studioshowsa SUGGESTEDEQUIPMENT 12 x 2.5/5kWSoftlights
.xture of straightforwardFresnelspotsat 8 x 1kWProfilespots
:'JkW,5kWand2kW.Theprogrammeis that 400m2 Minimumpowerrequired:340kW 12 x Floorstands
f an orchestrawithguestsingers,someof Cyc:16 x l.25kW 4-compartment top units
3 x 1OkWFresnelspots
tlom usethe roadway,surroundedbytrees 25 x 5kWFresnelspotsand or: (40 x 625W 4-compartment
depictedin the upperright.In the upperleft 20 x 2kWFresnelspots groundrows)
of the studioplanwe havea set composed
or: (45 x 2.5/5kWDualwattageFresnelspots)
of small'flats'with a groupof singers Lightingcontrolsystemasappropriate
performing. 12 x lkW Fresnelspots

A TYPICAL
MUSICAL
PRODUCTION

I I
I I

I
\
\
\ 5kW

\a I

ORCHESTRALROSTRA 5kW

IJ
2kW

2 METRE
STAGE
\

C\C\C\C\ C\C\C\C\ C\C\C\C\ C\C\dp

CYCLORAMA
I I I : I 't;/'l"JI.
2kWL-J
; 0
5kW
2kW

20
 750m2 DRAMA
SITUAT
ION WITHSEVEN
SETS
2
Wenowcome, inthe caseof 750m studio
HOTELBARSET
to the most complexplot.This istypical of a
playandshowsthesupermarket setbeinglit
to simulatefluorescentlighting,thecar
dealer'syardto showa sunnydayandthe
hotel barset istypicalof a nightscene,
whereit will benoticedthe useof lkW
spotlightson thepracticallightingfittings.
Thecountryhouseis lit for daylightandthe
diningroomshowsanother scenein the
samehouseat night.It will benoticedthat
someof the luminairesusedhavetwo
directionallinesemployed. Thisisto show
theirmulti-purpose useduringthe
programme .

SUGGESTEDEQUIPMENT
750m2 Minimumpowerrequired:640kW
6 x lOkWFresnelspots
50 x 5kWFresnelspotsand
30 x 2kWFresnelspots
or: (80 x 2.5/ 5kWDualwattageFresne
l spots)
20 x 1kWFresnelspots
20 2.5/ 5kWSoftlights
12 x 1kWProfilespots
16 x Floorstands
Cyc:30 x l.25kW 4-compartmenttopunits
or: (70 x 625W4-compartment groundrows)
Lightingcontrolsystemasappropriate

5kW

t: ~
/
@ ~;~ ~,
{)'w
-
l[J
~ -

,s,w
(} ~ LJ~~;)\
2.5kW 25kW
(-_
O
COU
NTR
Y HOUSE ~-o~-d
W

2.5kW
25kW

V 2 5kW lkW

~
~ 5kW

21
 ------

5kW~

'
''
'
'
5kW
0-

2.5kW
~

PHONEBOX(NIGHTSCENE)

/
~
2.5kW
~
5kW

Q
~ ;5k W

5W
t: ~
., I I 5kW ~~ ssv· .--
&¥:t!J--------
'
I

~ D,,w ~
- ~
I I ~_JQ

~
~
~~<S>~&,
5kW ~
@;~~
5kW
BACKING
SkW b CARDEALER'S YARD

22
 TUNGSTENHALOGENLUMINAIRES
0 0
MIZAR 300/500W
spotlight
ThesmallestFresnelspotlight
in the Quartzcolorrange,and
particularlysuitedto lighting
detailandspecialeffects.
POLLUX 5kW & 2.5/5kW
spotlight
A singleor dual-wattage
Fresnelspotlight,suitablefor
studioor locationworking.
Manualor pole-operated
versionsavailable.
SOLO 2K follow spot
Variable-spread followspot
from Strand,incorporatinga
built-iniris diaphragmand
beamshapingshutters.A 1kW
CSI/ CIDversionis also
available.
IRIS 4 cyclorama top light
Fourcompartmentcyclorama
top light designedfor 4-colour
light mixing.Alsoavailablein
3 compartment(horizontal)
and 2 compartment
(horizontalor vertical)
versions.
23
POLARIS !kW spotlight
A compactFresnelspotlight
availablein manualor pole
operatedversions.
BAMBINO SkW &
2.5/5kW spotlight
Specificallydesignedfor
outsidelocations,this Fresnel
spotlightutilisessingleor
twin-filamentlamps.Manualor
poleoperatedversionsavailable.
CADENZA 19/32 2kW
profile spot
A mediumto wideangle
variablespreadStrand
luminairewith integraliris
diaphragmand beam-shaping
shutters.
MINI IRIS cyclorama
top light
Designedfor TV.presentation
suites,E.N.G.locations,audio
visualandstill studios.
Extremely compactbut using
the samereflectorsystem
developedfor all the Iris
range.
BAMBINO lkW spotlight
A Fresnelspotlightdesigned
for locationworkingin
situationswherespaceis
restricted.
VEGA lOkW spotlight
CompactlightweightFresnel
spotlightavailablein manual
or pole-operatedversions.
ARTURO L25kW
softlight
Designedfor smallstudiosor
as a locationfill light.Manual
or pole-operated versions
available.
PALLAS 4 cyclorama
groundrow
A four compartmentunit for
4-colourlight mixing.Available
in rigid or hingedversions.
CASTOR2kW&
l.25/2.5kW spotlight
ThisFresnelspotlightis
suitable for studioand outside
location,utilisingsingleor
twin-filamentlamps.Manualor
poleoperatedversionsavailable.
GIANO 2.5/SkW dual
source spot/softlight
A dual-purpose Fresnel
spotlight/softlightoperating
from separatesingle-filament
lamps at the soft end,twin
filamentlampat the Fresnelend.
ARTURO 2.5/SkW
softlight
A variablepowersoftlight
producingindirect
illumination.Manualor pole
operatedversionsavailable.
PALLAS 1cyclorama
groundrow
Singlecompartmentversion
of Pallas4.
D
LII
BAMBINO 2kW spotlight Sli
Designedspecificallyfor sp
locationuse,this Fresnel -c
spotlightis availablein
manualor pole-operated
versions.
KAHOUTECK 2.5/5kW
dual source spot/softlight
Thisdual-purposeFresnel
spotlightutilisesa singletwin·
filamentlamp.
ARTURO 1.25/2.SkW
softlight
A dual powerindirectsoftlight
available in manualor pole·
operatedversions.
IRIS 1cyclorama top light
Singlecompartmentversion
idealfor smallstudios.Manual
or poleoperatedversions
available.
 DISCHARGE LUMINAIRES(DAYLIGHT)
=1
ht SIRIO 575W HMI
spotli ght
A compact Fresnelspotlight,
.vrthtwicethe light output of a
2 W filteredtungstensource.
Ideal for small locationsand
·rounce"light.
SIRIO 4kW HMI spotlight
Jht 'resnelspotlightdesignedto
:iroduce maximumpunch
1· ghting for locationuse.Light
put approximate ly that of a
:.!kWfiltered tungstensource.
SHA ULA 575W HMI
floodlight
ii A compactopen-face
minaireidealfor lighting
.argeareas.
lt ARTURO 575W HMI
softlight
A locationfill light providing
virtually shadowlessdiffused
lighting complementing the
Sirio focusing Fresnels ,
matchingdaylightcolour
temperature.
0 0
SIRIO l.2kW HMI
spotlight
Highintensit y,variablebeam
Fresnelspotlight. Lightoutput
approximatelythat of a 5kW
filteredtungsten source.
SIRIO 6kW HMI spotlight
A Fresnelspotlight with an
output equalto 25kWof
filteredtungstenlight.
Comparablewith the 'Brute'.
ALTAIR !kW CID / l.2kW
HMI spotlight
A compactFresne l spotlight
with two lampholdersto
accepteithera CIDor HMI
lamp.
ARTURO l.25kW HMI
softlight
Designedfor locationworking
with diffusedlightingand
matchingdaylightcolour
temperatureof the Sirio
focusingFresnels.
SIRIO 2.5kW HMI
sp otlight
A Fresnelspotlightsuitablefor
lightinglargeareasand
balancingstrongsunlight.
Lightoutput equalto lOkWof
filteredtungstenlight.
SIRIO 12kW HMI
spotlight
Designedfor locationworking,
this Fresnelspotlight1sthe
largestdischargelampdesigned
for televisionand filming
ALTAIR 2.5kW CID / HMI
spotlight
A twin lampholderFresnel
spotlightdesignedto operate
with a CIDor HMIlamp.
ARTURO 2.5kW HMI
softlight
A fill light with virtually
shadowlessdiffusedlighting
with daylight colour
temperature,matchingthe
Siriofocusing Fresnels.
PORTABLELIGHTING
c (
MEGALUX 250W
handlamp
Comfortablyoperatedwith
one hand, this open-face
floodlightis poweredby 30v
battery.
PULSAR 650W floodlight
Variable beam,open-face
floodlight with fibreglass
lamphead. Idealas a fill light
or for lightingset detail.
BROAD 1.2kW floodlight
A lightweightfloodlight
providinga wideangledeven
fill light.Ideal for concealment
on set.
JUPITER 6 (3.9kW)
floodlight
High-intensity light source,
ideally suited to outside
locationworking.
QuartzQj[m._SPA
products are manufactured in Italy
PINZA 500W clamplight
A compactfill light, this open·
facefloodlight is idealfor use
wherespaceis limited.
Clampsto any convenient
mounting.
REDHEAD BOOWspot/
floodlight
A variablebeam,open-face
luminaire. Threeversions
available:one for stand
mounting, one fitted with a
clamp,and onefor battery/
generatorpowersupplies.
BLONDE 2kW floodlight
A compacthigh-intensi ty
variable-beamopen-face
floodlight, ideal for E.N.G. and
outsidelocations.
LIGHTING KITS
A wideconfigurationof kits is
available, usingsuitable
standardequipmentfrom the
Quartzcolorrange.
•
24
 CHARACTERISTICS
OF TUNGSTENHALOGENLAMPS
z
0 200
1
......... J

I
0µ....
180

I
LIGHJOUTPUT
I
I
v
z......... 160
I ,v
I .,v
~ 140
v POWJR
(WADS)
/

z::c: ,I v /
v
----
120
i.--

u
µl
w
(.'.)
J ..../ _i.,..CUR,RENT
___,_-,
t- L---

E-i
~
_J
0
~ ~ L-::::::::
COLi)URTEMPERATURE
> 100
0
w
~
COLOU~~ERATU~ ..-.,P,1
Cl:: ~ vv \
I---
--
I --
~ ....CURRENT
/ I
w
:::::,
_J

:3:
I.J...
80
~
/
/

~
v \
0
~
60
P.OW~(Wfu°S)
/
/ \
/ / \
v / \
40

\
/
LIGljJOUTPUT
,

/
v ~
20
"LIFE
...........
r---......
0
60 70 80 90 100 110 120 130 140
%APPLIED VOLTAGE
Theabovegraphshowsthe effectof changingthe appliedvoltageto a lamp.The%changewill applyto the
lampmanufacturer's
statedcharacteristics
.
SQUARELAWDIMMING
Thesquareof thefadersettinggivesthe percentagelightoutpute.g. Faderat '6' equalslightoutput of 36%.
Light Colour MainsVoltage Current Power
Fader Output% Temp(K) % 240 120 % %
10 100 3200 100 240 120 100 100
9 81 3120 93 224 112 96 89
8 64 3040 88 211 106 93 82
7 49 2960 81 194 97 88 72
6 36 2860 74 178 89 85 63
5 25 2750 66 158 79 78 52
4 16 2600 59 142 71 73 43
3 9 2400 51 122 61 67 34
2 4 2200 39 94 47 59 23
1 1 23 55 27 46 11
0 0 0 0 0 0 0 0
Thetableshowsthe valuesfor the operatingparametersof tungstenhalogenlampswhenusedwitha squarelaw
dimmingsystem.It shouldbe notedthatthe idealcolourtemperaturefigureis seldomreachedin practiceand
mostlampswill runabout100-200Klessthroughouttheir range.
25
 CIE 1931 (X,Y)-CHROMATICITY
DIAGRAM

520

GREEN
AREA
.-
"

505

500

-
-,:::

z
=
=
--
-
CYANAREA

WHITE I REDAREA
BLACKBODYCURVE 10,000 AREA
/
/
/
/

BLUEAREA

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8

CO-EFFICI
ENTOFX
Colourtemperaturecurverelatesto blackbody radiators.
TheHMI, CIDandCSIlampslaycloseto the curvewithin the prescribedlimits.

26
 KEYTO SfUDIO LAYOUTS

lkW Profilespotlight

1kWFresnelspotlighton sceneryflat

1kWFresnelspotlighton stand

1kWFresnelspotlight

2kWFresnelspotlight

2.5kWFresnelspotlight

5kWFresnelspotlight

[1 lOkWFresnelspotlight

OD 2.5/ 5kWDual-purpose
spot/softlight

0 1.25kWsoftlight

0 2.5kWsoftlight

0 5kWsoftlight

d Cycloramalight

LUMINAIRESYMBOLS
0.5 0.6
cJ Floodlight [1 Fresnelspotlight

C Specialfloodlight ~ Effectsprojector
a Reflectorspotlight O Softlight

()
Sealedbeam ,n
lamp \._µ Bifocalspotlight

~ Variablespread
D Lensspotlight ~ profilespotlight

26
D Profilespotlight D Followspot.
 ~trand Lighting
RankStrandLimited,POBox51,GreatWestRoad,Brentford,Middlesex
TW89HR, UnitedKingdom.
Tel:015603171Telex:27976

USA-18lll SouthSantaFeAve,POBox9004, RanchoDominguez

, Calif.90224.
Tel: (213)637-7500.Telex:664741
CANADA-6490 ViscountRoad,Mississauga
, Ontario,L4V1H3.
Tel: (416)677-7130.Telex: 06968646
WESTGERMANY
- 3340 Wolfenbuttel
16- Salzdahlum
.
Tel: 053 31/ 7951-53.Telex:95641
HONGKONG-802 HoustonCentre,63 ModyRoad,Tsimshatsui
East,Kowloon
.
Tel:3-685161.
Telex:44953
OFFICES
INPARIS
ANDNEWYORK
DISTRIBUTORS
THROUGHOUT
THEWORLD