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175A Lighting > Final > Flashcards

Final Flashcards

(110 cards)

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1
Q

Intensity

A

The relative brightness of light

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2
Q

Color

A

The element of light that people tend to notice first. A psychological property that is perceived by the human retina.

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3
Q

Distribution

A

The direction, shape, size, and quality of light; or the character and texture of light.

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4
Q

Movement

A

The quality of light and how it travels/moves in

  1. Time
  2. Space
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5
Q

Describe how the controllers talk to the fixture (the path)

A

Controllers talk to dimmer, dimmer talks to fixture, all happens through DMX.

From block diagram:

  1. Cue and Submasters from controller
  2. DMX
  3. Dimmer Rack
  4. Conduit
  5. Drop Box
  6. Dimmer
  7. Channel
  8. Light comes on
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6
Q

Cue

A

A cue is just a scene if lighting.

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7
Q

Dimmer

A

Electrical apparatus that powers the light fixture and controls their brightness by changing the voltage supplied to them

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8
Q

DMX

A

Virtual address controlling the signals to fixtures. Usually fixture takes multiple DMX addresses. For example, a typical RGB LED takes 3 DMX addresses (1 for red, 1 for green, 1 for blue). So if you set the DMX address of the LED as 001, you need to save 002 and 003 for the same LED, and your next LED will start at 004, taking 004-006).

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9
Q

Submasters

A

Programmable fader (manual control) used for direct, live control over a group of lights. And to control house lights and work lights. And emergency light.

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10
Q

Channel

A

“Official routes of communication”

The chain of devices from the input control apparatus to the dimmer.

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11
Q

Primary colors of light

A

Red, Blue, Green

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12
Q

Retina

A

Part of the eye that is stimulated by light waves and creates images in the brain or something
Cones=color
Rods=Black & White

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13
Q

Collaboration (of a Theatrical Production)

A

It’s important because theater/performance requires communication and many departments working together
“It takes a village”

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14
Q

Director/Choreographer

A

In the food chain they’re under the Producer

They create the content

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15
Q

Producer

A

At top of chainHas great appetite
The producer is responsible for the overall financial and managerial functions of a production or venue, raises or provides financial backing, and hires personnel for creative positions (writer, director, designers, composer, choreographer—and in some cases, performers)
Under producer is the:
Development director, company manager, Creative team includes choreographer, composer, director, scenic designer, costume designer, lighting designer, sound designer, projection designer
Production team includes production manager, technical director, master electrician properties department, wardrobe

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16
Q

Scenic designer

A

Lead designers creates environment

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17
Q

Costumes designer

A

Dresses performers

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18
Q

Light designers

A

Designs light, focuses on audiences, tries to capture their attention and tell them where to look, the binding agent of everything the theatrical design

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19
Q

Sound designers

A

Designs sound, unless there is a living composer then the composer jumps up with scenic director

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20
Q

Video

A

Sub to scenic and creates projections

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21
Q

Plot

A

A map of where lighting fixtures are in the theater, defining space, entrances, exits, walls, foot markings, centerline, quarter line, and playable space.

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22
Q

Ground Plan (Plan View)

A

This is a type of architectural drawing, the appearance of building as seen from above (birds eye view). A map of the space.
In Architecture this is the Base Drawing.

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23
Q

Section View (or elevation)

A

Like looking from the audience
Section/elevation=side or front view, tells you height
Tells you what the birds eye view can’t

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24
Q

Paper work

A

“A lighting database, derived from the plot, with 9 primary fields sorted for their intended use”. The 9 fields fall into four categories: location, fixture, description, purpose, and control

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25
Hookup (channel schedule)
Organized by channel number
26
Position
Where the fixture is on a pipe, counting from either side
27
Channel
Digital control handle for each light
28
Dimmer
Electrical apparatus that powers the light fixture and controls their brightness by changing the voltage supplied to them
29
Fixture
Lighting instruments
30
Purpose
Intended use of the fixture
31
Color
Gel color for that fixture | Major manufacturers are: Lee, Rosco, GAM
32
Unit #
Where on the pipe the fixture is located
33
GOBO
A piece of a delicately cut metal template or stencil that gives a pattern to the light. Used in an ellipsoid.
34
Instrument schedule
Part of the paperwork, database organized by hanging positions
35
Magic sheet
A sheet that shows the coverage and temperatures of instruments, grouped by their direction (front diagonal, high side, etc. ) one of the last things you do in the process. Channel number drives the magic sheet*
36
Spacing sheet
A sheet used to track blocking of performers, wing position, and map out movement in a form of a visual story board
37
1st electric
The first pipe that hangs fixtures, counting from the proscenium
38
Raceway
Circuit distribution system
39
Multi cable
Cables that carry multiple discrete channels
40
Source 4 Ellipsoidal
oidal The most common focusable fixture. Offers the most versatility & control. Principal tool for theatrical LD’s. One or two plano-convex lenses or one step lens. Newer units create an even field with little or no diffusion. Field has a well-defined edge. Can be changed from sharp to fairly soft by altering the lens/lamp relationship. When the edge is sharp, the unit is in focus. Optics allow the projection of images. Shutters: for coverage control. Shape the field. Mask unwanted light. Iris: for size control. Frame round objects. Can project patterns. Used where the ability to cut off scenery and architecture is needed. Front Washes Area Light Sidelight Diagonal Backlight Pools Specials
41
Fresnel
A single Fresnel lens. A spherical reflector. Soft-edged, diffuse beam, circular field. Vary the size by moving the lamp/reflector. Lamp forward = flood focus: largest pool. Lamp back = spot focus: smallest pool. Control beam with Tophats & Barndoors. Valued for their ability to blend seamlessly. In higher wattages, good for saturated color washes. Used in Backlight & Downlight. Can create soft-edged Pools. Can be used as Area Light from on-stage positions. Not useful front of house. Can be used as Sidelight in some cases.
42
Par
The most basic lensed fixture. A sealed-beam lamp containing the source, the reflector and the lens in a fixed relationship. Lamp: Parabolic Aluminized Reflector. The field is oval or oblong. Very hot center, very sudden fall off, very wide spill: hard to control. Too little control to be widely useful in the theater. Most useful in Backlight and Downlight applications. A good fixture for saturated color washes.
43
Floodlights/ Cyc light
``` Used to create a smooth, edge-less wash. Used primarily on drops and scenery. Floodlights include: Scoops. Cyc (cyclorama) lights. Striplights: which are Lamps of the same type mounted side by side in a long box separated by baffles. designated by: Type & wattage of lamp. Number of circuits (colors). Length of unit. Number of lamps per circuit. ```
44
C-Clamp
A clamp that is C-shaped and secures the fixture to the pipe
45
Yoke
Allows fixture to tilt/pan
46
Pan Bolt
Secured yoke to C-Clamp | Allows to pan
47
Tilt handle
Secures fixture to yoke | Allows to tilt
48
Running the barrel
Adjusts the sharpness of the edge
49
Beam angle
A measurement of size. Beam angle stops at where light falls to 50% as bright as the peak brightness of the center
50
(Field Angle)
Similar to beam angle, but it is defined as where the light falls off to 10% as bright as the peak brightness of the center.
51
Spot
A mode in a Fresnel where the lit area is the tightest
52
Flood
A mode in a Fresnel where the kit area is the widest
53
Shutter
Metal piece that shapes the pool and masks unwanted area
54
Pattern slot
Where you insert a GOBO in an ellipsoidal
55
GOBO
A piece of delicately cut metal or stencil that gives a pattern to the light. Used in an ellipsoid
56
Rotating the barrel
Sharpening the edge of the light
57
Color frame
Gel frame, used in an ellipsoid or fresnel
58
Safety cable
A metal cable that ties the light to the pipe in case the c-clamp came loose
59
Scroller
A box in front of an ellipsoidal or a fresnel that can scroll through a selection of color gels
60
Movers (revolution, TW)
Revolution (moving source 4, shutters, hard/soft edge, patterns) TW (moving fresnel, good color addition)
61
LED
Different than incandescents (because they use much less energy, last longer, and has more variant colors) Not too worry too much??
62
Dynamics
Dynamic shifts; changes in tone, speed, emotion, music, focus, actor, or scenery
63
Relative intensity
The intensity compares to how bright everything is. Aka everything is relative.
64
Cues
A signal or indication for a specific action to be executed. Ex) lights come up, belly flop
65
French scene
A change in human scenery, dynamics, emotional intensity, and composition. When someone, or a group of people, enter or exit.
66
Purpose of stage lighting
1. Selective visibility 2. Revelation of form 3. Composition 4. Mood
67
Key light
The main source of light in a scene
68
Fill light
A light that compliments the key light, soften a shadow, interject additional information
69
Lumen
The measure of brightness
70
Colorcut List
“Shows all the colors required by the show, and calculates the number of each cut size required per color” Pinpoints color through specific fixtures, hanging positions, and shot order “Organized by color manufacturers and then by color numbers, specific size and quantity of each filter”
71
Circuit
A conductive path through which electricity flows
72
W=V(A)
Watts=Volts(Amps)
73
Controller (Console)
The light board itself
74
EOS
The name of the family of Lighting Control System that we use-the program/software itself
75
ETC
The manufacturer of almost all theatrical instruments and the stakeholders of our happiness
76
Soft patch/address
``` Attach a specific dimmer to a designated channel; performed through the console #DMX ```
77
Remdim
Bring up the specific channels while bringing down all other lights. Old short hand for “dimming remaining lights”
78
Record
Document the current settings for light fixture(s) (Intensity, color- if LED or color scrollers; position, if movers, etc.) into a cue, followed by a number time (fade-up/down); can add auto follow or hang
79
Blind/live
Blind: An option to make changes to previous cues on the console without affecting lights in real time; changes are automatically saved without recording. Blind: Turning on channels in command =/= Lights turning on Live: Every command directly affects the lights
80
Angle of reflection
Angle of incidence
81
Transparent
Allows light to pass through
82
Translucent (semi-transparent)
Allow lights to pass through, but not detailed images to pass through
83
Boom/tree
A metal pole on which lights can hang. Usually placed on the wings of the stage.
84
Experience Filter
How the influence of language, culture, or external forces affects perception “FILTERING THROUGH YOUR KNOWLEDGE AND EXPERIENCE” Ex: Not having the word “blue” in some cultures/languages results in the lack of identification and organization of the specific color. And thus, they cannot perceive the distinction of blue from the neighboring, analogous colors
85
Sensory Fatigue
The body desensitizes/adapts to an extreme stimulus that new stimuli are ignored Ex: staring at the sun for too long and cannot see details in everything else after a duration of exposure
86
Sequence of Experience
From light to dark; ramping up intensity or effects in a sequential fashion to build drama “Sequence of sensory input compliments your perception of an input”
87
Palette Cleanser
Rest/wipe/reset dynamics Ex: Blackouts in 70 Scenes allows new information to be processed by your poor inadequate brain (Lol) Ex: a blinder
88
Rack the Cut
Crop/Shape the Light
89
Spherical Reflector (Fresnel) Don’t need to know multipliers
Circle (sphere) has 1 focal point Light reflects back through the source In a Fresnel, lamp and reflector always move together Soft edged, diffused beam Diffusion due to stepped PC lens, and diffusion surface Circular beam pattern USES: Primarily a backlight, sometimes top light
90
Ellipsoidal Reflector Don’t need to know multipliers
Ellipse has 2 focal points Light bouncing off an ellipse travels through 2nd focal point This causes ‘image’ to reverse Lamp is adjustable inside reflector to adjust hot or flat field USES: Fronts, pools, specials, sides; most versatile fixture
91
Parabolic Reflectors (PAR) Don’t need to know multipliers/beam spread
Light from focal point reflects off parabolic reflector in parallel beams Sealed beam lamps (PAR, old car headlights) have lense, lamp, reflector Oval beam pattern Very hot center, very fast fall off, very wide spill USES: Backlight and downlight alternative
92
Focal point
“The point at which rays or waves meet after reflection or refraction, or the the point from which diverging rays or waves appear to proceed”
93
3 components of a fixture
Lamp: fiat lux ``` Reflector: bounce lux back Reflector Shape: Ellipsoidals - ellipse Fresnels - circle PAR - parabola ``` Lens: spread out/concentrate lux Lens Shape: Ellipsoidals - Plano-Convex Fresnels - Plano-Convex + Spherical PAR - a series of gridded, frosted lens
94
Primary/secondary focus
Where you should look first Where your secondary focus should be Ex) primary focus =Jeff and Joan Secondary = monsters
95
Key light
Main source of light on stage in a scene
96
Fill light
The light that compliments the key light/softens a shadow/interject additional information
97
Isolation
Isolating subjects with light
98
Wash
Aka flood of light
99
High sides
Lights from high above the ground to either side of the lighting object
100
Shins
Lights from the side but at height of your shin
101
Gels
A transparent colored material that filters all but a selective band of wavelengths. Varies by transparency and color
102
Additive mixing
Mixing all primary colors=white In theater, an example would be having two lights with different colors to shine in the same unpigmented surface Ex) in LED lights
103
Subtractive mixing
Mixing all primary colors=black In theater, an example would be using a color gel to filter white light into red light since all other non-red wavelengths are filtered out. Ex) in pigments
104
Rods
Perceived brightness | Peripheral vision used for low light perception.
105
Cones: red, green, blue
Perceived color, sensitive to different wavelengths of light (RGB)
106
Primary colors of light
Hues that cannot be mixed Red, Green, Blue -Additive Red, yellow, blue -subtractive/color theory
107
Secondary colors of light
Can be produced by mixing equally/33% with primary colors | Orange, purple, black etc.
108
Color temperature
The measure of white light and spectral properties of a light source in degree kelvin Ex) 3,200 degrees = Tungsten Halogen=stage light
109
Saturation
How rich a color is | Chromatic density
110
Transmission
The percentage of filtered light emitted from a source

175A Lighting (1 decks)

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