Backstage Lighting

[Mayhem]

This is similar to the problem I experienced when following your link to the Sylvania web site.

Go to http://catalog.myosram.com/

the follow the path: Lamps for General Lighting --> Incandescent Lamps --> DECOR (Decorative Lamps) --> DECOR COLOR Coloured Lamps

Hope that it works.

 

[zackw250]

We just put track lighting backstage. You can aim them, put colored gels on them, and control there intensity.

I wouldn't use theatrical fixtures for something like general backstage light. Doesn't make sence.

 

[avkid]

incandescent bulbs can be controlled with a dimmer switch found in a hardware store

 

[tjbaudio]

I have some par 38 cans that have small gell frames so I can gell them any color I want, or NC. If I need realy low output I can stick a standard light in them. They can be put on a mic stand or flown from the electrics. I also like rope lighing in situations where it does not have to move often. As for red or blue work light I dont know. I have always used blue out of habbit. I think this year I will play with red!

TJB

 

[ship]

incandescent bulbs can be controlled with a dimmer switch found in a hardware store

Technically, those hardware store dimmers unless fed in the normal way with wiring and mounted to the wall also are very specifically against code to use. Don't tell anyone but it's a common practice to break this part of the code and even not listen to the cooling fins where a box with ventilation is involved.

This said, such use is industry, yours is not. You do need to follow code much less are not trained yet in making stuff more safe than hack. Most in the industy are not even trained or put a second thought into such things beyond being hack either. Stuff like 1900 boxes (normal wall boxes) with the cord strain reliefs loose, or knockout holes either missing or bent in amongst loose screws and other problems. A crappy little lighting company taught me a better way such as in using outdoor boxes, weather tight strain reliefs, and outdoor covers on the operation so as to produce a product that is very safe to handle. Even to the point on 2Kw dimmers to the point of mounting brackets over the knob to protect the dimmer from impacts. Costs money to do such things. 99% of all household dimmers in the industry are both against code and also blown out in having been overloaded. Overcurrent protection of the equipment also having been something missed in adaption of these dimmers to application.

Instead I expect that given the mass amounts of keys available to you, that sneaking into the science lab and borrowing the variable resistance dimmers would be a better plan and also many times more accurate in what intensity you desire them to be at. (This was more joke than reality.) More realistically, you might even be able to coordinate with them to store such things for them in us as opposed to sitting on the shelf for the once a year demo. Such dimmers are also very acceptable for the purpose you intend. Such variable resistance dimmer packs are normally rated at 1,000 Watts and should have pleanty of power to do run lights.

 

[zackw250]

Yaeh, our tracks were wired into the lighting systems during our facility's original construction (4 months ago).

It's easy to cut corners and break code, but when the fire inspecter comes around and shuts you down because of it, it's not going to be pretty

We have inspections once every 2 months.... it sucks! But I guess its all for the greater good.

 

[hollinj]

My theatre uses blacklights for the flyrail, other backstage lighting is done with clip lights with dark gels on them. (Blue) Rosco also makes colored gels that are made to go over the florecent light bulbs We use those for lighting in the booth. Jake

 

[propmonkey]

above our flies we have strip lights one set of the lights in them have a blue gel on them the other 2 we leave for work lights. it works pretty good. at the theatre i work at in the summer we have 20 watt blue bulbs with a shield on them just placed where you need them.

you could also use black wrap on the wall lights to help aim them.

 

[SteveB]

Afters years of getting tired placing clip lights in the SR wing and behind the blackout drop for crossover, we scrounged around for some spare fixtures- Colortran Mini-Ellipses in this case, plus a donated ENR 12 pack and an unused Leprecon 12 channel DMX console and set up the following:

In the SR wing (no real wing on SL where the rail lights work as running lights) we hung a Kindorf channel steel track about 18 ft. above the SR wing (under a catwalk) with 5 Mini-Ellipses and 5 Par38 cans with 150w Par38 blue flood lamps. The crossover got 3 gridiron mounted (underhung on beam clamps in the Murphy channels) Mini's (since swapped for spare 6x12 360Q's) shuttered off the blackout, but spilling on the US wall. Works great as a crossover wash.

The Leprecon sends DMX to the SR catwalk mounted ENR which runs 5 zones of SR clear (Mini's), 3 zones of Blue, plus the crossover wash and is located on stage level in the SR wing for easy access. Gives us Blue anywhere SR, plus whatever level of clear desired, only where we need it.

The Leprecon gets replaced by our soon-to-be-installed ETC Unison system, with an LCD panel SR for the SM, plus duplicate controls on the Light Desk and or SR portable LCD panels. Or we can cue it all off the Express as needed. Unsion allows an automatic turn on when crew comes in to work as well as automatic shutdown at end of the call.

Haven't had to buy a clip light in years and what few I have remaining never get stolen.

Steve B.