Welcome to the Lighting Section for Brooklyn Center’s newly refurbished, art-deco Walt Whitman Theatre.  Reading this section as well as the entire Tech Information area, as well as studying the Vectorworks light plot and Lightwright information, will hopefully give you a comfortable understanding of how the system functions and its robust capabilities.

        Vectorworks (v11) format lighting and circuit plots, as well as Lightwright (v4) files for the Whitman Theatre stage lighting system, and/or as light plot Adobe Reader .pdf files are available for downloading on the Lighting DataFiles page.  Also available is the basic Vectorworks ground plan which includes information that is not shown on the light plot, such as actual locations of Borders/Legs/Cyc, as well as the physical locations of the Box Booms, Ladders and the entire Lineset schedule.

        The Vectorworks and Lightwright information in this section lists most of the equipment which is available to the client, except for certain items such as house lights and recital lighting which do not change.

        In any case, there may be limitations placed on the use of this equipment, usually due to time conflicts with other events and/or your production budget. The final determination as to how much of this equipment will be available to you will be made by Brooklyn Center’s Production Manager.
 

·     The Vectorworks plot shows the house Rep Plot with dimmer circuits designated. Note that the term “Rep Plot” only refers to the unit type, position and circuiting of the lighting units.  There is no “Rep” focus or color, which is the choice of the visiting Designer.  The Designer is cautioned to pay attention to the number of circuits available at each position. 
 

·     Note that there is one 1 spare circuit each, available on the #1 thru #4 Electrics, as well as 6 spare circuits on each side ladder which are normally not assigned to rep plot lighting units.

·     All numbers shown next to a unit, not captioned in any way, show the dimmer/circuit into which the unit is plugged. These circuits do not change and in the case of pipe ends on 1 thru 4 electrics, all 5 electric strip lights and the side lighting ladders, indicate some type of ganging/two-fer’ing of units on the pipe.  The exceptions to this would be on the #1 thru #4 electric pipe end units, which are configured and plugged to allow either paired units as hi-sides and/or for units to be used on individual dimmer circuits.  Ditto for the ladder two-fer’d units.  Unplug a two-fer’d unit if not needed.

·     The 1-2-3 coves as indicated, have a 50’ throw from 1&3 cove, and a 75’ throw from 2 cove; (to plaster line at center line). The units are ETC Source 4  - 19 & 26 degree units (refer to light plot for specifics) , 750 watt fixtures, all with accessory slots and irises and work well as a 4 lamp pit, or stage wash using tints, or a 6 lamp wash with saturated colors.  These units do not re-locate or change.

·     The box boom units are ETC Source 4 25/50 zooms, at 750 watts and function well as a 3 lamp wash and work well as either a carry-over of the ladder side light washes, diagonal front washes, pit side light, etc., as you see fit.  As with the cove units, their location is fixed; they do not relocate.

            A note about the “do not relocate” items: theoretically everything can be moved, struck, changed, if time and budget allow.  We have been known to completely strike all the on-stage electrics and ladders for events which bring in a complete lighting package.  The decision as to when equipment gets moved/struck is made by the Center’s Production Manager in consultation with the Center’s Lighting Director, the visiting company’s technical staff as well as the client/producer who is ultimately responsible for making budgetary decisions.  Also, the Rep plot -- especially the #1 thru #4 electrics circuit layout -- allows for flexibility in terms of moving/shifting instruments. The big caveat is always time, which impacts cost, so you must consult our Production Manager and Lighting Director before planning on making changes.

·     The Par Wides on the #1 & #2 Electric work well as upstage front light washes or back light for the pit. We have had good success using these units with R104/L228 diffusion combined with your choice of color.   If you do this, you may want to specify barn doors for the pipe ends, to help eliminate spill on the legs.

·     Ladder trim heights may trim as low as +7’ to the middle of the bottom unit, to facilitate head high color changes.  The ladders can fly into the deck for quick servicing/color changing during a show, assuming the stage is clear of obstructions (scenery, dancers, performers, etc.). 

·     The #5 Electric utilizes L&E MR16 strip lights to light the cyclorama, and/or any backdrop as desired at the available linesets upstage of the strips.  These units do not relocate, and depending on the production staging requirements, they may not be available. 

Please note the following: 

1.   There are 12 total 6’-3”/3 circuit fixtures configured as a double hung position, with the 6 upper fixtures utilizing 75watt flood lamps and the 6 lower fixtures having 75watt spot lamps.  As distributed on the 12x2.4kw dimmer circuits provided, they allow for an even wash of the cyc/drop when utilized as a complete set of 12 fixtures in a color wash – with 3 washes available.  They do not function well in any other fashion, i.e., as an upper wash separate from a lower wash, nor do they readily provide for inside/outside separation.

2.   For best results, we utilize Rosco R104 linear diffusion combined with the color of choice to smooth out the wash.  Or use the R124, R125, R126 – Red, Blue, Green colors with built in diffusion.

·    There are Booms, Bases, Floor Stands, Barn Doors, Top Hats, Doughnuts, etc., available but that are shared by all four Theatres in the complex. If you are going to require any accessories, you must inquire with the Center's Lighting Director in advance, so that arrangements can be made.

·    All units, cable and circuit receptacles use 20 amp 2P&G, industry standard pin connectors.  We provide all cabling for in-house equipment.

·    There is no 120 volt FOH termination panel, but all dimmers may be  controlled with a DMX signal via the ETC Net2 system (see below), including “FOH Only” ports on assorted configurable nodes, that allows DMX signal to only the FOH DMX channels 193-258 (including fixed focus and gelled (R26) Curtain Warmers on dimmer 245 – that are normally controlled from the Unison system).

·    Please note that the 1 thru 4 electrics use full length raceways with multi-cable drops that travel with the pipe -- as such, we do not remove these raceways and multi-cables.  Thus, there are maximum trim height restrictions on these linesets. Contact the Brooklyn Center Production Manager for more information.
 

Color filters for the stage lights are considered a perishable item and all clients are required to provide all color as needed for the event or reimburse Brooklyn Center for the cost of providing color. The exceptions to this policy are as follows:

1.  Brooklyn Center maintains a large selection of Rosco and Lee filters, pre cut to 6-1/4”, 7-1/2 ” and 10” size. These colors are available, as stock and circumstance allow. We recognize that having Brooklyn Center provide color can speed up the tech process, and we will do so when practical. However, please read on as this is a very general statement that requires further qualification.

2.  Events using the entire plot, i.e. dance, opera, etc., are expected to provide all on-stage color. This includes: ladders, 1-4 Elec., kickers, booms, and color-change color.  Color-change color must come with frames!   It is not useful for a company to arrive with color sans frames as it wastes precious load-in time putting company color in house frames, only to have to remove it after an event.  So that the strike can go efficiently, the Center will provide FOH color, which includes the Coves, and Box Booms.

The main lighting console is an ETC Emphasis 2d server with Express 48 channel 2 scene face-panel (console) with the following features:

- 48 channel 2 scene / or 96 channel single scene / or 500 channels via keypad (see note below concerning channel restrictions).

            - 24 submasters x 10 pages, any sub can be a pile-on /inhibit /effect /subroutine /supermaster

            - Bump buttons on channels and subs, sub bumps can solo or add

- Patch at level to the 258 stage lighting dimmers, with 32,000+ DMX channels accessible via the ETC Net2 system (see below)

            - Console connection is direct to Net2 via the Emphasis server

            - Effects section

            - Groups and macro capability

- Cue section on crossfaders, with unlimited cue ability, follows, delays etc..

            - 2 Color LCD monitors at console

            - 3-1/2 disk drive, hard drive and USB ports at the Emphasis server.

            - USITT/ASCII cue import/ export ability.

            -  Remote Focus Unit (RFU) on stage for focus

The Master Lighting and Sound Mixing Consoles are both located at the technical control desks in the theatre auditorium proper, at the rear of the center orchestra seating (behind Row W).  These control desks are equipped with comm headsets, LittleLite console lamps and comfortable seats; all have a good view of stage.

For further information concerning the capabilities of the Emphasis/Express and Net2 systems, visit the ETC website at www.etcconnect.com  

House lights, work lights and utility power circuits as well as other functions, are controlled from the assorted ETC Unison LCD panel control systems, with stations at the Stage Managers/prompt position, stage right as well as on a backstage right, portable station and at the Master Lighting Control console at the rear of the center orchestra seating.  All control elements are DMX based, and as such, can be controlled from the Express console as needed, well as from any other DMX console.

·    Lighting control signals utilize standard Ethernet distribution throughout the theatre with breakout taps at these locations:

      There are also multiple taps at the Ethernet patch-bay at the main stage lighting electronic control rack, located in the “Patch Panel" room off-stage right of the orchestra pit.  Note that in the Stage Right "Patch Panel" room, the Ethernet and DMX taps are immediately adjacent to the stage. The Ethernet taps at the stage lighting electronic control rack merges all appropriate Ethernet signals as needed to the ETC Net2 environment, and as such, has tremendous flexibility for DMX signal routing as well as allowing other Ethernet signals to be distributed as needed, external of the Net2 system. 

·     All Sensor dimmers and relays are on the Net2 environment and note that the Emphasis/Express console utilizes one e-net tap at the console position for control input into the Net2 system.

·     The system is equipped with the following Net2 nodes:

- 2 – ETC Net2 4 port, rack mounted nodes at the electronics rack in the patch room, down stage right

- 1 – ETC Net2 4 port, portable node for utility usage.

- 3 – ETC Net2 2 port, portable nodes for utility usage.

Ethernet taps as listed above can be powered off the Power-over-Ethernet LinkSys switcher to provide power to the ETC Net2 portable nodes without the need for an adjacent AC power source.

·   Brooklyn Center’s conventional lighting system is “normally” set to DMX Universe1, DMX channels 1-512; in-house moving lights utilize Universe 2 (see Below).

Note:  All nodes are configurable for any input/output on any DMX Universe as needed and can be located wherever Ethernet taps are located.  The importance of this is that while the in-house dimmers and Moving Light Fixtures use DMX Universe 1 and 2, the Net2 node system allows a visiting company to use any DMX Universe as desired and pre-configured, and to be routed via the nodes to appropriate locations without conflict with the house DMX Universes.  Please call for additional information if there are questions concerning this.

·   The Master Lighting Control position in the Rear Orchestra has 2 dedicated DMX 5 pin XLR cables running direct to the down stage right area for DMX/Control signal usage external of the Net2 environment.

The dimming system is an ETC Sensor system with CEM+, consisting of 245 – 20 amp/2400 watt stage lighting dimmers, 23 Sensor DMX controlled relays with 16 relays available on the pit and stage as 20 amp utility power outlets, 12 Sensor dimmers for recital and 44 Sensor dimmers for house lighting.  See the circuit plot for locations of stage lighting circuits.

 

As you begin to make decisions as to how to best utilize the lighting system for your event, please consult with the Lighting Director as to what information he require to integrate your show into the facility:

The Lighting Department currently utilizes the following lighting software:

-          Vectorworks Spotlight 12.5 (backwards compatible to v10.5).

-          Vectorworks Spotlight 10.5 (backwards compatible to v8).  

-          LightWright 4 (Backwards compatible to LW v2&3)

-          Expression/Express Off-Line 3.1

-          Emphasis Off-Line Editor v2.5

-          WYSIWYG v15

We can offer our clients assorted versions of the Vectorworks light plot, plus associated LightWright files to be sent out as e-mail attachments and/or on CD-ROM.  The basic lighting and circuit plots are available in this section -- click here: File Download Section

We have had very good success importing a cue disk/file from a visiting company in the ETC Expression II-III/Insight II-III/Express (all varieties) format via the merge capabilities of Emphasis Off-Line and/or Express/ion Off-Line.  This can save approx. 2 hrs. cueing time in the theatre, as well as eliminating usage conflicts with the RFU being used for focus at the same time that cues needed to be entered into the console. Note that the in-house moving light fixtures normally have cues written in the 600 and up numbered range.  This leaves the first 599 cues available to a client – if the existing ML cue/group/sub/focus point structure is to remain intact within the console.  Emphasis Off-Line Editor allows a merge of a range of cues – such as .1 to 599 as example, without affecting the cues above 600. 

A good rule-of-thumb is not to assume this importing/merging will work on the day of the event, and we advise all clients to make the effort to e-mail the ETC Expression/Insight II-III/Express version .SHW file to the address below as early as is practical, so that we can make this conversion prior to the day you load-in.  Please send all correspondence as needed to: Brooklyn Center Lighting Director - Steve Bailey at: Bailey@BrooklynCenter.com
 

·     Brooklyn Center utilizes 5 High End Studio Spot CMY/Zoom Moving Light Fixtures (ML) as well as a 6^th spare.  These MLs will be normally hung as part of the Rep Plot on #1A Electric on lineset 9, and are positioned for use for an event utilizing the pit/apron as the primary playing area.
 

·     These fixtures are on house DMX Universe 2, and are controlled via the in-house Emphasis/Express control system, or via any console choice of the client.
 

·     The MLs require the use of one of the Net2 2 port portable nodes as listed above for operation, as well as 2 lighting circuits of the SR Ladder spare multi-cable, configured with direct power relays (Circuits 143&144).
 

·     The normal Express/Emphasis console configuration has these movers assigned to console channels #265 thru #384; our experience has been that most touring companies typically limit their show to about 250 channels.  This allows conventional fixtures, dimmers and accessories on any channel below or above the 265-384 range (up to the maximum of 500 channels).  Maintaining these channels assignments allows the movers to be available for quick usage, with pre-recorded cues, focus points, groups, palettes, etc., to be maintained in the console.  Should you not be using these fixtures, these channels and cue range become available for use.
 

·    Usage of the moving light equipment is only made available via prior approval of Brooklyn Center’s General Manager and Production Manager.  This approval will be then be transmitted to the Center’s Stage Manager, Lighting Director and/or Console Operator/Head Electrician. 
 

·     Note:  Permission for this specialized equipment must be arranged well in advance of your arrival.  Be sure to check that your request to our GM has cleared and has been passed along to the Production Department by calling ahead to make sure your requests were transmitted and approved.  Do not rely solely on email -- there are four levels of spam filters and network security that have to be transversed before emails actually reach the Center.  Emails can and have been held hostage by spam/virus security without anyone knowing it.  Please appreciate the reality that nothing can be resolved the day of your load-in.  It is your show; do not leave your special requests to the questionable reliability of the internet -- phone ahead!    

     We have 2 high intensity follow spots --  Lycian Model 1293 – 3kw xenons.   These instruments are located in the rear of the theatre in the 5^th  floor control booths, with each spot about 7ft. left and right of dead center. The Lycians are fixed position, permanent installations; they cannot be relocated. The spot operators cannot come to the deck for scene changes at intermission.   Color frames are standard 10” round Strong SuperTrouper-type frames.

· Total power available for stage lighting, house lighting and switched relays is 1600 amps
 per phase, 3 phase, 120/208 volts. 

· Stage Lighting Company Switch, located mid-stage right, can provide 400 amps/ 3 phase.  Brooklyn Center provides 10 ft. CamLok tails – Neutral and Ground reversed.  

· Audio Company Switch is located downstage right, and is rated at 100 amps per phase, in a 3 phase box. It has a separate water pipe ground w/ 10 ft. CamLok tails – Neutral and Ground reversed. 

· House Audio and Audio Company switches are on a separate 400 amp /per phase/3 phase service.

· Multiple 20 amp, single pole, quad outlets, on wall mounted locations downstage right and left as on 75’ft power cords, for utility usage through out  the stage area.  Total is 18 – 20 amp outlets, with 12 as DMX controlled via either the Unison control system, or via any DMX system.

· Power at our Loading Dock, or “remote audio/video bus” power is available with an independent  200 amp 3 phase company switch, but only with prior notification to our Production Manager well in advance of your playdate.