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VENUE 071


Project Co-coordinator) asked me what I really wanted the rig to look like and what we should do with it. I had never forgotten the modular cluster lighting idea, and this was the ideal time to put it into place. It was also driven by health and safety because in the future we won’t be climbing up to the lights; the lights will be coming down to us.” However, there was an issue to overcome. Flip Tanner explained: “When you operate the lights, when they come a standstill it creates inertia that makes them wobble. We got to this really difficult part of the project, where we actually thought about giving up and putting catwalks back, because it’s absolutely essential that those units are stable. Vince Herbert disappeared into his shed and invented the Lightlock.” Said Herbert: “In the name of research I spent some time on a swing in a park in Stratford-upon-Avon. The idea I had was that if you could start yourself swinging by moving your legs, you could stop yourself by moving your legs in the other direction. I must have looked crazy testing out my theory. However, it worked. An equal and opposite amount of energy: simple physics.” Added Tanner: “Another simple process. It’s not a gyroscope; it’s a heavy platter using the same sensor they use in the toy helicopter industry. The sensor they use detects movement and the plate spins oppositely. The four pickup points on the cradle very quickly resolve into rotation. So you’re not trying to stabilise sway, you’re always trying to do anti-rotation.” Working with Trekwerk, Herbert designed 30 unique lighting clusters, flown from Trekwerk-designed dual line hoists, powered by a 600V DC bus featuring regenerative technology. The cluster itself consists of a motor and a dumb-head. That head has a composite cable which takes 32 amp, single-phase power and one Ethernet and one DMX line down to it, which is distributed


by one of the Swisson XSD-D 4-channel satellite packs. The packs work as either a switch unit for moving lights, or can work as a dimming unit for a cluster of generic fixtures. Explained Gavin Owen: “We have those lights and clusters that are spread around the thrust, which are effectively a motorised trapeze bar. And the RSC were very keen that they could work at height wherever possible and also open up work on the thrust stage in repertory, so if they couldn’t get access to the stage they could still work overhead without impeding the set-up. So for that reason, those clusters are able to be rigged either at height from an adjacent gallery then tracked into position, or rigged from below, around the thrust stage.” Such intricate infrastructure means there is a great degree of flexibility in the different lighting configurations that can be implemented. Over 100 lens tubes for the existing stock of ETC Source Four profiles - 5°, 14°, 19°, 50°, 70° and 90° - have been supplied and fitted, along with 100 ETC Source Four PAR EA fixtures. The stock boasts three ARRI Compact HMI 2500’s, a selection of Rainbow Colour Changing Scrollers, 12 Martin Professional MAC TW1 wash lights, seven Martin Professional MAC III profiles, four Vari-Lite VL1000TS wash luminaries and five Martin Professional Atomic 3000 DMX strobes. Perhaps not quite as glamorous as the show lighting, but equally as essential to the theatre’s success, is a working light system that incorporates ETC Paradigm control with Global Design Solutions (GDS) Blues System LED fittings. In excess of 100 GDS Blue Domes and Blue Beams, together with a selection of conventional fluorescents, make up the system. GDS driver cards provide dimming capabilities to the Philip Payne LEDs within the ‘Exit’ signs, which means they can be controlled in accordance with ambient light levels.


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