The stage lighting system in the Whitman Theater, in brief, consists of the
following:
Control; ETC Ion, 1024 address console with dual LCD touch screens, up to 120
faders/submasters and a radio remote focus unit. House light, work light and
other functions are on an ETC Unison system.
Dimming: ETC Sensor dimmer-per-circuit system with 245– 2400 watt stage
lighting dimmers, plus 16 DMX controlled direct power, 20 amp relay circuits.
All dimmer and relay control is via an ETC Net2 system.
Company Power: 400amp, 3 phase, 5 wire, 120/208 volt company switch located
mid stage right, and a 100 amp 3 phase, 5 wire, 120/208 volt company switch
located downstage right.
Distribution: Industry standard 2P&G, 20 amp pin connector
Stage Lighting: Approx. 260 ETC Source 4, fixed and zoom ellipsoidals, S4
Pars, and MR16's (12) for cyc lighting, as well as assorted Altman Shakespeare
and zoom ellipsoidals. Follow Spots (2) are Lycian 3kw xenons.
Note that much additional information about the lighting system, specifically
the layout of stage lighting, circuiting, locations, etc... as well as detailed
dimming information and assignments, are to be found in the associated
downloadable files in the tech. downloads section. Here are to be found the
Light Plots for various event configurations, Ground Plans, Circuit Layouts and
Lightwright Hookups.
There may be limitations placed on the use of this equipment based on the the
particular requirements of the rental agreement, as well as 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 system details are organized as follows:
Control:
Stage Lighting control 1.1
House Lighting Control 1.2
- House/Work Lighting 1.2.1
- Spotting Light 1.2.2
- Running Lights 1.2.3
Network 1.3
Dimming, distribution and power 2
Dimming 2.1
Distribution 2.2
Power 2.3
- Company Power - Lighting 2.3.1
- Company Power – Audio 2.3.2
- Shore Power 2.3.3
- Stage Utility Power 2.3.4
Stage Lighting Equipment 3
Conventional Equipment 3.1
Cable 3.2
Gobos and Holders 3.3
Moving Lights 3.4
Auxiliary Equipment, Color, etc... 3.5
- Dance Lighting Towers 3.5.1 - Color 3.5.2
- Accessory devices 3.5.3
Equipment use, suggestions, etc... 4
- Coves 4.1
- Box Booms 4.2.
- Par Washes 4.3
- Cyc Lighting 4.4
- Lighting Ladders 4.5
- Communication – i.e. also known as Paperwork 5
1. Control:
1.1 -Stage Lighting:
- The main lighting console is an ETC Ion 1024 console with some of the
following functions and features:
- 10,000 channels, 1024 DMX addresses across 32 universes
- 120 faders on 3 - 2x20 fader wings. Any fader can be a single channel, groups
of channels on submasters, effects on subs as well as multiple cue lists
- 2 – 17” Color LCD touch screen monitors at console
- Hard drive and USB port on facepanel
- USITT/ASCII cue import/ export capability.
- Dual local DMX ports, console is normally on the Net 2 system
- Radio Focus Remote (RFR) on stage for focus, cue recall, etc..
- The Lighting and House Audio 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
communication headsets, LittleLite console lamps and comfortable seats; all have
a good view of stage. There is room at this location for additional lighting
control equipment as provided by the event, as longs it's not an Avo Diamond 4.
For further information concerning the capabilities of the Ion console and Net2
systems, visit the ETC website at www.etcconnect.com
1.2 - House and Work Lighting:
1.2.1 - House lights, work lights and utility power circuits as well as other
functions, are controlled from assorted ETC Unison LCD panel control systems,
with stations at the Stage Managers/prompt position - Down Stage Right as well
as on a backstage right portable station (used for focus) and at the lighting
control position at the rear of the center orchestra seating. All control
elements are DMX based, and as such, can be controlled from the Ion console as
needed, well as from any other DMX console. Note that the Unison system uses
pre-recorded intensities and timings for fades of house lighting and curtain
warmers. If the current levels and timings are not appropriate for your event,
these functions need to be controlled by the stage lighting controller. In any
event, Brooklyn Center reserves the right to maintain control at all times over
auditorium (house) lighting.
1.2.2. - There is a Red LED spotting light at center line on the front of the
balcony, controlled on the Unison system
1.2.3. - Backstage running lights are a custom system of spotlights in the stage
right wing allowing for both no color and blue running lights, controlled in 5
zones for no color (downstage to upstage) and 3 zones (downstage to upstage) for
blue. The crossover behind the upstage blackout drop is lit as a no color path
the width of the crossover, from spotlights on the gridiron. The SL running
lights are the trough fixture for the fly rail – as there is little wing space
on this side. All the above are controlled on an auxiliary Leprecon console in
the SR wing and are dimmable,
1.3 - Network:
- All lighting control is on the ETC Net2 system, This provides for multiple
universes of DMX control to be routed throughout the theater to all required
systems.
- Lighting control signals utilize standard Ethernet distribution throughout the
theatre with RJ45 Cat 5 breakout taps at the following locations:
3 taps -- Rear Orchestra lighting control position
2 taps -- Down-Stage Left Proscenium Wall
1 tap -- Upstage Left Wall
1 tap -- Stage Manager Desk (DSR Proscenium Wall)
1 tap -- Mid-Stage Right (adjacent to the Company Switch)
1 tap -- Stage Right Catwalk (as a feed to the in-house moving light system)
- 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
Ion console utilizes one e-net tap at the console position for control input
into the Net2 system.
- The facility is equipped with the following Net2 nodes:
- 1 – ETC Net2 4 port node at the console position, allowing 4 universes of
inputs/outputs at this location into the Net2 system
- 1 - ETC Net2 4 port, rack mounted node 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 on DMX Universe 1 - DMX
channels 1-512. In-house moving lights utilize Universe 2 (see Below).
Important Note: Users should pay attention to the house DMX usage on Universes 1
& 2, as the house lighting, work lights and utility power system use addressing
from DMX channels 1 thru 304 and 385 thru 407, with house moving lights on
universe 2. Thus these addresses are not available to users with visiting
consoles and equipment and we recommend that any equipment as accessory and
additional to house equipment be addressed on Universes 3 (DMX address 513 –
1024) and above (if using house moving lights).
The Lighting Control position in the Rear Orchestra has 2 dedicated “Dry Line”
DMX 5 pin XLR cables running direct to the down stage right area for DMX/Control
signal usage external of the Net2 environment.
2. Dimming, Distribution and Power:
2.1 - Dimming:
- All dimming is via ETC Sensor dimmers with CEM+ control modules, 20 amp/2400
watt capacity. All dimmers respond to DMX via the ETC Net2 network system.
- There are 245 STAGE LIGHTING dimmer circuits located through the theatre.
2.2 - Distribution:
- Please refer to the Adobe – Whitman Theater Stage Circuit layout for locations
of stage lighting circuits.
- All stage lighting circuits use industry standard, 20 amp 2P&G Pin Connectors.
- All DMX Controlled relay outlets in the on-stage locations, have both 2P&G Pin
outlets as well as 20 amp Edison duplex receptacles.
- The assorted DMX controlled relay receptacles on the pit (Orchestra light
power, etc...) are 20 amp Edison duplex receptacles in brass flush mounted
receptacles.
- The 1 thru 4 electrics use full length raceways with multi-cable drops that
travel with the pipe, on stage right. As such, we do not remove these raceways
and multi-cables. Thus, there are maximum trim height restrictions on these
linesets. Contact the Center’s Production Manager for more information.
- 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.
- The Vectorworks and Adobe assorted light plots show 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.
- 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.
2.3 - Power:
2.3.1 – Company Switch – Lighting - 400 amp, 3 phase, 5 wire, 120/208 volt
company switch, located mid-stage right. Theater has a set of 10ft. Cam-Lok
tie-in tails in place, neutral and ground reversed.
2.3.2 – Company Switch – Audio - 100 amp, 3 phase, 5 wire, 120/208 volt company
switch, located on the downstage right wall, for audio/other power uses. Theater
has a set of 5ft. Cam-Lok tie-in tails in place, neutral and ground reversed
2.3.3 - Shore Power - 200 amp, 3 phase 5 wire, 120/208 volt company switch,
located in dock area, for auxiliary power for television, film, recording
trucks, crew busses (with tails), etc...
Note: All power tie-ins other then plugging to an existing receptacle, is to be
done by house staff.
2.3.4 – Stage utility power consists of multiple 20 amp, single pole utility
power outlets and extension cables available on stage and pit.
2 – Quad box with dual Edison duplex receptacles, 20 amp, isolated grounds,
wall mounted 1 ea. on downstage left and right proscenium walls.
4 – Quad box, with dual Edison duplex receptacles, 20 amp, isolated grounds,
on 75ft. Cables, 2 ea. on downstage left and right proscenium walls.
6 – Edison Duplex and 2P&G pin connector receptacles, 20 amp, DMX relay
controlled, in stage lighting circuit boxes on downstage proscenium walls, 3 SL,
3 SR.
6 – Quad Edison receptacles, 20 amp, with single 2P&G pin connector, 20 amp,
on pigtail, all on 75ft cables, on upstage wall – 2 USL, 2 UC, 2 USR. On DMX
controlled relays
42 – Edison duplex receptacle, 20 amp ea., brass covered and flush mounted to
pit floor, controlled by DMX relays
- Note that all DMX controlled relays can converted in pairs to Sensor 2400 watt
dimmers.
3. Stage Lighting Equipment
3.1 - Conventional Lighting Equipment Inventory:
8 – ETC Source 4, 19 degree ellipsoidals, w/ Iris, 750w HPL750 lamp
(FOH - #2 Cove - Center)
16 – ETC Source 4, 26 degree ellipsoidals, w/ Iris, 750w HPL750 lamp
(FOH - #1&3 Coves - L&R)
64 - ETC Source 4, 25-50 degree zoom ellipsoidals, 750w HPL750 lamp
(20 on Box Booms L&R, 44 on #1 thru #4 Electrics)
18 – Altman Shakespeare, 15-35 degree zoom ellipsoidals, 575w GLC lamp
(16 on #1-4 Electrics, 2 as spare)
32 – Altman 4.5”, 25-50 degree zoom ellipsoidals, 575w GLC lamp
(Mounted in dance towers)
24 – Altman Shakespeare, 30 degrees ellipsoidals, 575w GLC
(Ladders L&R)
24 - Altman Shakespeare, 40 degrees ellipsoidals, 575w GLC lamp
(Ladders L&R)
8 – Altman 360Q, 6x9/36 degree ellipsoidals, 575w GLC lamp
(All as floor plate mounted shinbuster units)
50 – ETC Source 4 Par Wides, 750 w, HPL750 lamp, VNSP, NSP and MFL lenses
available per unit
(#1-4 Electrics, 2 as Curtain Warmers @575w, – pre-focused and gelled)
12 – ETC Source 4 ParNels, 750w HPL750 lamp
(Juliette booms SL & SR – See Pit Event Plot)
6 - L&E, MR16 striplights, 6’-3”, 3 circuit, 3 color, 75w EYC flood lamps
(5 Electric – Top Units)
6 - L&E, MR16 striplights, 6’-3”, 3 circuit, 3 color, 75w EYF spot lamps
(#5 Electric – Bottom Units)
2 – Lycian Model 1293, 3000 watt xenon follow spots. Spots utilizes standard
Strong Super Trouper color frames
(Booths)
Note This inventory is also part of the Lightwright data.
3.2 - Cable:
- All cable and two-fers use 20amp 2P&G pin connectors. The facility provides
all cable and two-fers as required for in-house equipment. Any and all equipment
as extra and as provided by user shall be provided with appropriate cable as
required.
3.3 - Gobos and Gobo Holders:
- The facility can provide a limited supply of template holders for facility
owned ellipsoidals.
- We can provide up to 28 holders for Source 4 units and up to 24 for Altman
units. Note that all gobo holders have a B size aperture. Also note that Altman
holders work in S4's while S4 holders DO NOT work in Altman fixtures
- We can provide for a limited stock of gobo's, but these are considered
perishable items and are the users responsibility to provide for both rep. plot
equipment as well as any supplemental equipment.
3.4 - Moving Lights
5 - High End Studio Spot CMY/Zoom Moving Light Fixtures (ML) as well as a 6th
spare.
- These MLs are 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 controlled on house DMX Universe 2, via the Ion control
system, or via any console choice of the client.
- The ML's 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 Ion console configuration has these movers assigned to console
channels #301 thru #305; as 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 301-305
range (up to the maximum of 10,000 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 double-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.
3.5 - Auxiliary Equipment:
3.5.1 - Dance Side Lighting Towers:
- 8 - Steel towers, measuring 18” wide x 30” deep x 76” tall, each contains 4 -
Altman 4.5”, 25-50 degree zoom ellipsoidals (generally 2 units as head-hi, 2 as
shins per tower), 32 total for all 8 towers.
See the Vectorworks and/or the Adobe Dance Light Plot for unit spacing. All
dimmer circuiting is via the floor pocket distribution system (see Circuit
Plan). Note that these instruments are pre-built into the towers and not
removable for usage in the general lighting system. Also note that usage of
these towers is at the discretion of the Center’s Production Manager.
3.5.2 - Color:
- Color filters for the Brooklyn Center repertory stage light equipment is
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 is that Brooklyn Center maintains a large
selection of Rosco and Lee filters, as well as some GAM and Apollo, pre-cut to
6-1/4” and 7-1/2 ” sizes. We recognize that having Brooklyn Center provide color
can speed up the tech. process, and we will do so when practical. In the event
that we do not stock sufficient quantities, or have particular colors, we
reserve the right to bill the company for these perishable items as required.
Note that all events using supplemental lighting equipment from other sources,
are expected to provide all color for these instruments as required.
3.5.3 – Accessories, boom bases, top hats, barn doors:
- Boom bases, shin plates, hi-hats, barn-doors, etc... are all shared inventory
equipment with the Dept. of Theater. Any use of this equipment is via prior
arraignment only.
4. Equipment use and suggestions:
- 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 system. The decision as to when equipment gets
moved/struck is made by the Center’s Production Manager in consultation with 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.
4.1 - Coves
- 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 iris's in the unit accessory slot, 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, and there are no spare or different lens tubes available.
4.2 - Box Booms
- 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.
4.3 - Washes/Pars:
- The S4 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.
4.4 - Cyc Lighting:
- There are 12 L&E MR16 Mini-Strip fixtures total, 6’-3”/3 circuit, 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.
- 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.
4.5 - Lighting Ladders:
- 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 (dance lighting towers, scenery, dancers, performers, etc.).
5. Communication and Paperwork:
- 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 requires to integrate your show into the facility:
The Lighting Department currently utilizes the following lighting software:
- Vectorworks Spotlight 2009 (backwards compatible to v8).
- LightWright 5 (Backwards compatible to LW v2,3 & 4)
- Eos/Ion Offline, also available as Client mode on Ion system
- Expression/Express Off-Line 3.1
- We can offer our clients assorted versions of the Vectorworks light plot, plus
associated LightWright files to be sent out as e-mail attachment. The basic
lighting and circuit plots are also available on the Brooklyn Center website in
the Tech Info - 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 capabilities of Express/ion Off-Line to convert to an ASCII cue
format, which is then imported to Ion Off-Line. Caution should be taken as not
all data get transferred, effects and parts as example, due to the differing
methods the consoles use to handle this information. The cue transfer 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.
- It is good practice to 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
Thanks for reading, SB, January 2010