concert lighting

Status
Not open for further replies.
Location
NE (9.06 miles @5.9 Degrees from Winged Horses)
Occupation
EC - retired
Went to my first real "concert" in KC a couple days ago. LOUD. Some for the lights, looked like strip fixtures from the nose bleed section, could change colors in a heartbeat. How?

Forget motor control from now on. I want to shoot balls of fire into the air as the fingers fly on the keyboard.
 

iwire

Moderator
Staff member
Location
Massachusetts
Trans-Siberan Orchestra at the Sprint Center.

Great show and you sure picked a show with a hell of a lighting rig.

The last time I saw TSO the large majority of their lighting was LED and as such can change colors very quickly.

http://en.wikipedia.org/wiki/LED_stage_lighting

LED lighting has very little if any glow left after power is removed unlike large incandescent lamps which fade out with power removed.
 

dbuckley

Senior Member
Forget motor control from now on. I want to shoot balls of fire into the air as the fingers fly on the keyboard.
Yeah, entertainment technology is fun, isn't it :)

There are three "generations" of rock and roll lighting.

The first was incandescent lights, known as parcans - basically a glorified bean can with a PAR64 1K lamp in them. Hang up lots of them with pretty colour filters ("gels") on the front, and you have beutiful colours. Need lots of power though, rigs with over a hundred cans are common, so you are talking about many KW, verging up to significant fractions of a MW. Somewhere there will be racks of dimmers ("dimmer world"), and thre iwll be a lot of copper wire, mostly in the form of socapex cables, which can handle six channels of power.

Check out any video from the 80s (eg Queen) to see this tyope of lighting, still very popular today.

Then in 80s the Vari*lite company patented (and rented!) the moving light; these had a discharge lamp source, integrated filtering using dischroic filters, and they could move. First used by Genisis (yes, the 80s progressive rock group). The area is now dominated by Martin. When you see beams of light moving through the air, then thats a "mover". The discharge lamps on this type of fixture run continuously, using mechanical shutters. And some of these lights actually have a traditional tngstan light source rather than a discharge lamp, so they dim like a parcan.

The third generation of entertainment lighting is LEDs. Over the last couple of decades LEDs have gone from being something one used as a indicator light to being the building block for many types of useful lighting instrument.

One can now get LED lights in many formats, from things that look just like parcans, to strips, and to the giant video screens are LED powered. There are movers with LED light sources.

A reltively recent innovation is LED powered "proper" lighting instruments, that replace traditional stagelights, and that have a colour output that is "white" and can be used with gels like an ordinary stagelight.

Another recent great innovation is tri-colour LEDs, where one LED has multiple LEDs within it, so that it produces a single colour; prior to this fixtures had red, green and blue LEDs seperately, and this leads to issues like colour fringing.

LEDS threaten to revolutionise entertainment lighting; some folks reckon in 25 years we'll be using nothing else. Perhapos I'll be around to sere that.

Theres as few other sorts of lights used,like strobes and follow-spots.

Besides lighting, there are special effects (smoke, haze, pyrotechnics), animation (moving stuff around using motive power rather than human shoving), sound, flying (of stuff, and people) and many other technical branches of entertainment technology.

Yep, I love this stuff :)
 

hurk27

Senior Member
And you will hear of brand names like Color Tran, NSI who bought out Color Tran, then Leviton bought out NSI go figure, did quite a few fixed stage installs with spun aluminum gel cans par 64 500 watt NSP's or 600 watt DYS lamps (quartz) many movers, flash packs, lazers, both processor controlled and manual slider controls with flash buttons, and even some radio controlled systems, the largest dimmer pack I have ever saw was a color tran that had a 60 amp per channel rating each had 6 channels, each of these dimmer packs required over 150 amps 3 phase at 208 volts or 200 amps at 240 volts single phase, and there were 10 of them for this club, but that was old school, and probably never see that kind of power again since most now are 20 amps a channel, you just have to use more of them, most are now flown up with the lights to cut down on wiring, the one problem with this industry is there are just a few light companies out there and have design there own lights and controllers for their own shows and you can't buy them, while there are manufactures who do make allot of stage lighting, the good stuff you see at the big shows are custom designs that are owned sometimes by even the bands that use them, lots of copyrights going on in this industry, also very hard to break into.

I have a close friend of mine who once in a while will call me to help with making up towers and light bars, and or repairs to his many systems, he does a lot of shows in Chicago, Indy, South Bend, and even some for certain local bands, and while he has a fortune in equipment $100k+ he still can not break into the larger big band tour shows because of the priority lighting used by these large bands unless he gets a break when something happens to the bands lighting system or it doesn't make it to the show or they will sometimes grab a one night gig as they pass through and don't want to drag out the big stuff, like when Melissa Etheridge played at Valpo University back in the 90's.
 
One of the sea changes in at least the fixed lighting industry was the shift from a few large dimmers (6-7kw each) and some sort of load-side patching to dimmer-per-circuit with control channel patching. The latter was originally little diode pin boards when the electronic consoles moved in.
 
Status
Not open for further replies.
Top