Also, get ready for some trippy effects when the gobo wheel rotating or static is used. Playback The part of a memory system where memorised lighting states are recalled to control the light on stage via master levers or pushes.
If an area is lit with some lights in warm tones and some in cools, the dimmers of the control board can be used to achieve a whole series of options from an extreme of the warm colour alone, through the neutrality of both together, to the other extreme of cool colour alone.
Colour Filters. Back to priorities?
Strobe Device giving a fast series of very short light flashes under which action appears to be frozen. The lighting families that we have already discussed floods, focus spots, profile spots and beamlights have assumed the use of traditional incandescent lamps as the source of illumination. Bar Horizontal metal tube of scaffolding diameter for hanging lights pipe in America.
Parcan The simple instrument which holds a par lamp and therefore does not require any optical system of lenses or reflectors.
It shows, at minimum: Profile spot: And remember to remember that these are areas where an actor's head is to be lit - they ore unlikely to be the some as the light patterns on the floor. Great resource from the Seeds blog: Also the muscle operated diaphragm in the human eye which adjusts the eye's aperture to changing light intensities.
Well, do we really need all these areas? The major proportion of a stage lighting rig is focused to form a palette of areas and colours whose various combinations will provide the desired fluidity of selectivity and atmosphere. The lights should change in time with the music.
And it should be evenly balanced to avoid favouring one segment of audience to an extent that is not really permissible in a staging form so democratic as theatre-in-the-round. The light is therefore suitable for lighting skies and cloths, it is not selective enough for lighting actors. Red, green and blue are considered the primary additive colors of light.