This information is available in Adobe Reader (.PDF) format; click here to download it.  
The specifications in any of the Tech Info pages supersede all previous versions and are subject to change without notice for upgrades and improvements.

The Whitman Theatre lighting system 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– 2400W 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.

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 will be found in the associated down-loadable files the Tech Downloads section.  Also Light Plots for various event configurations, Ground Plans and Circuit Layouts can be found in that section as well.

 
      There may be limitations placed on the use of this equipment based on 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 and the General Manager prior to your first rehearsal.  Again, the day of the event is not the time to negotiate your equipment needs.

System Details

1.      Control:                                                                                                                

1.      Stage Lighting control                      1.1

2.      House Lighting Control                    1.2

3.      House/Work Lighting                       1.2.1

                     - Spotting Light                                       1.2.2

                     - Running Lights                                     1.2.3

4.      Network                                            1.3

2.      Dimming, distribution and power           2

1.      Dimming                                           2.1

2.      Distribution                                       2.2

3.      Power                                               2.3      

4.      Company Power - Lighting               2.3.1

              - Company Power – Audio                            2.3.2

              - Shore Power                                               2.3.3

              - Stage Utility Power                                      2.3.4

3.      Stage Lighting Equipment                      3

1.      Conventional Equipment                  3.1

2.      Cable                                                3.2

3.      Gobos and Holders                          3.3

4.      Moving Lights                                    3.4

5.      Auxiliary Equipment, Color, etc...     3.5

6.      -  Dance Lighting Towers                 3.5.1  

      -  Color                                                 3.5.2

7.      -  Accessory devices                        3.5.3

                  8.      Equipment use, suggestions, etc.    4

9.      Coves                                                4.1

                   -   Box Booms                                           4.2.

                   -   Par Washes                                         4.3

                   -   Cyc Lighting                                          4.4      

                   -   Lighting Ladders                                   4.5      

            -    Communication – i.e., Paperwork                                                       

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 face-panel

- 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 theater 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 long as 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.

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.

-    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 controlled via the Net2 system.

The Whitman Theatre 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.

1 – ETC Net3 gateway portable 4 port node, in Net2 format, on SR Catwalk.  This node provides DMX to the #1 thru #4 electrics via cable run adjacent to the electrics power cables, as well as DMX to the 1A Electric.

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.

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

- Ethernet taps as listed above have Power-Over-Ethernet from the Dell Ethernet switch.

- 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, 20A/2400W capacity.  All dimmers respond to DMX via the ETC Net2 network system.

            - There are 245 STAGE LIGHTING dimmer circuits located through the theater.

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, 20A 2P&G Pin Connectors.

- All DMX Controlled relay outlets in the on-stage locations, have both 2P&G Pin outlets as well as 20A Edison duplex receptacles.

- The assorted DMX controlled relay receptacles on the pit (Orchestra light power, etc...) are 20A 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 line sets.

·         #1 Electric - Max out trim is 24’-4” (if stripped) (21’ if units need to be focused)

·         #2 Electric - Max out trim is 25’-8”

·         #3 Electric - Max out trim is 30'2”

·         #4 Electric - Max out trim is 29’-2”

·         # 5 Electric - Max out trim is 39’-4”

·         Stage Left Ladder - Max out trim is 23’-6”

·         Stage Right Ladder - Max out trim is 22’-6”

- All measurements are to middle of lowest pipe.

- It should be noted that our personal lift is a JLG self propelled 20’ lift – therefore a height of 27’ is the highest that we can focus an electric.

- 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 assorted Adobe 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 – 400A, 3 phase, 5 wire, 120/208V 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 – 100A, 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 – 200A, 3 phase 5 wire, 120/208 volt company switch, located in dock area, for auxiliary power for television, film, recording trucks, crew buses (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 20A, single pole utility power outlets and extension cables available on stage and pit.

2 – Quad box with dual Edison duplex receptacles, 20A, isolated grounds, wall mounted 1 ea. on downstage left and right proscenium walls.

4 – Quad box, with dual Edison duplex receptacles, 20A, isolated grounds, on 75ft. Cables, 2 ea. on downstage left and right proscenium walls.

6 – Edison Duplex and 2P&G pin connector receptacles, 20A, DMX relay controlled, in stage lighting circuit boxes on downstage proscenium walls, 3 SL, 3 SR. 

6 – Quad Edison receptacles, 20A, 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 – Orchestra Pit Receptacles - Edison duplex receptacle, 20A 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 2400W dimmers.

3. Stage Lighting Equipment

3.1 - Conventional Lighting Equipment Inventory:

16 – ETC Source 4, 15-30 degree zoom ellpsoidals, 750w HPL750 lamp

(Box L&R, 1-4 Electrics)

64 – ETC Source 4, 25-50 degree zoom ellpsoidals, 750w HPL750 lamp

(Box L&R, 1-4 Electrics)

8 – ETC Source 4, 19 degree ellipsoidals, w/ Iris, 750w HPL750 lamp

FOH - #2 Cove – Center)

40 – ETC Source 4, 26 degree ellipsoidals, 16 w/ Iris (Coves ONLY), 750w HPL750 lamp

 (FOH - #1&3 Coves – L&R, Ladders L&R)

64 – ETC Source 4, 36 degree ellipsoidals, 750w HPL750 lamp

(24 on Ladders L&R, 32 in Dance Towers, 8 on shin plates)

48– ETC Source 4 Par Wide, 750 w, HPL750 lamp, VNSP, NSP and MFL lenses available per unit

(48 on #1-4 Electrics, plus 2 as Curtain Warmers @575w, – pre-focused and gelled)

12 – ETC Source 4 ParNels, 750w HPL750 lamp

(Juliet 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)

All

Cabel;s

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 32 “B” sized holders for Source 4 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

6 – Martin MAC700 Profiles

- These MLs are part of the Rep Plot on #1A Electric, hung on lineset 9, and are positioned for best 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 the Net3 Gateway 4 port portable node as listed above for operation, as well as the SR spare multi-cable circuits 139-144, configured with DMX addressed power relays.

The normal Ion console configuration has these fixtures assigned to console channels #301 thru #306; 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 301-306 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. 

Note:  Use of the moving light equipment is only made available with prior approval of Brooklyn Center’s General Manager and Production Manager.   Arrangement for use of this specialized equipment must be made well in advance of your arrival.  Be sure to discuss your wish to use the moving light equipment for your production with our General Manager so it can be incorporated into your contract.  This equipment is NOT part of the standard rental package and must be rented separately (additional charges will apply).  It is also highly advisable, once you have contracted for its use with the GM, to also thoroughly discuss your lighting design concept with the Production Manager and Lighting Director as well.

3.5 - Auxiliary Equipment:

3.5.1 - Dance Side Lighting Towers:

            - 8 - Steel towers, measuring 18” wide x 30” deep x 76” tall, each contain 4 – ETC Source 4 36 deg. ellipsoidals (generally 2 units as head-hi, 2 as shins per tower), 32 total for all 8 towers.

- See 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, 15-30 deg. And  25-50 deg. 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.).  Note that the stage right ladder maximum trim height is determined by the building architectural obstruction - an overhang for the 3^rd floor. 

 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 House system.

            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 Adobe format on the Brooklyn Center website in the Tech Info 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 theater, 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 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 our Lighting Director, Steve Bailey at: Bailey@BrooklynCenter.com

Thanks for reading, SB. 

Rev., December 2011

Hanging Plot for Walt Whitman Theatre

(* means does not change)

Rigging Notes:   

The following pipes have limitations on their out trims:  All measurements to middle of pipe.

#1 Electric - Max out trim is 24’-4”

#2 Electric - Max out trim is 25’-8”

#3 Electric - Max out trim is 30'2”

#4 Electric - Max out trim is 29’-2”

# 5 Electric - Max out trim is 39’-4”

Stage Left Ladder - Max out trim is 23’-6”

Stage Right Ladder - Max out trim is 22’-6”

The #1 thru # 5 Electrics are Clancy Power-Assist counterweighted winch systems.  They have a 2,000 pound lift capacity.

The left and right Lighting Ladders are line shaft winches with 2,000 lbs lift capacity each.

All winch controls are distributed to the individual units – I.E. there is no central winch control system.

 

Movie Screen - Bottom of screen will not clear higher than 20’ - 2”

House curtain - High trim - Bottom of curtain will just clear 20’ - 1 ½”

Please note: with a working pipe travel of 41’, and a proscenium opening of 20’, scenery higher than 20’ will most likely not fly out, unless you are really good with a section and trims.

Pipes that are directly upstage and downstage of an Electric, will foul on the units, and therefore, should be used with extreme caution.

The house has approximately 7000lbs. of weight left, after loading the normal house rep light plot, and soft goods hang.

Most pipes fly in to about 4’ off the deck, except line set 13 (6’).

NOTE WELL:  There are NO hanging points over the House or Apron for trusses or speaker stacks.  There are NO accessible points. If your event is dependent on being able to hang speakers or a downstage truss, we will NOT be able to book your event!

TRUSSES MAY NOT BREAK THE FIRE CURTAIN LINE!

Vermets or other truss-lifting devices may not be set up on the Orchestra pit lift, as it is not stable enough for it to be safe and it will not be approved.