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FEATURE: THEATRE LIGHTING


system is required to stay at the forefront of the industry as other systems such as DALI (from the architectural/ building control industry) and video-based protocols are now catching up.” The remote device


management (RDM) standard is being implemented into fixtures and controllers, although the industry uptake has been slower than initially expected. An add-on to DMX, it will provide bidirectional data flow to remote luminaires to monitor their status and enable greater levels of remote device set-up and management, including DMX address range allocation. Michael Brooksbank highlights another trend: “Lighting designers are using video as a part of their designs. From a controller standpoint, more media servers are being controlled by the lighting console, sometimes with the elimination of a separate video server, by integrating video control into the lighting console. The net effect is that theatrical controller and concert controller technologies are merging.”


LED is here, and it is


advancing, but it is not yet the perfect solution, as Alex Wardle, head of project management for Charcoalblue, points out: “LED lighting is great: it allows us to provide effects that cannot be achieved and has advantages over traditional illumination. But it is not necessarily the right solution for everything. There is an emotional effect from the white light of a sharp beam cutting through a theatre that cannot be recreated by LED. I, for one, hope that tungsten will not be banned or discontinued in the near future, for environmental reasons or others; our theatres will be poorer because of it.” 


www.carnival.com www.charcoalblue.com www.chauvetlighting.com www.delfontmackintosh.co.uk www.etcconnect.com www.germanlightproducts.com www.martin.com www.nicolaudie.com www.pr-lighting.com www.robe.cz www.stage-electrics.co.uk www.theambassadors.com www.whitelight.ltd.uk


Picture: Brinkhoff Moegenburg


MIXED LIGHTING ALTERS THE MOOD AT CHARLIE AND THE CHOCOLATE FACTORY


Charlie and the Chocolate Factory, directed by Sam Mendes, opened last summer at Theatre Royal Drury Lane to critical and public acclaim. A modern lighting rig uses moving lights and LED lighting fixtures rather than colour scrollers to provide all of the colour changing in the show. Martin MAC TW1 tungsten lamps are mixed with MAC


Aura LED units to create different moods at stages during the show. “The early scenes have a


very traditional, tungsten-like feel, while later ones need a really sharp bump change of level or colour, for which LEDs are unbeatable,” notes Whitelight lighting designer Paul Pyant. “We’ve had great fun with Martin’s MAC Auras


in particular,” David Howe, Whitelight associate lighting director, adds. “These offer a great beam and a fantastic range of colours, but they’re also tiny, so we’ve been able to sneak them into under-box positions where you wouldn’t normally be able to fit a moving light. They’ve worked really well from there, as re-focusable cross lights and roving specials.”


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June 2014 53


CASE STUDY


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